USA, 1975
105m
35mm film, colour
mono, English
An American horror film directed by J. Lee Thompson.
Plot Summary
Peter Proud suffers flashbacks to a previous life and finds himself drawn to a place he is sure he has never visited but which seems familiar. He meets Marcia Curtis, who believes that her long dead husband has been reincarnated in Proud. Things start to get really worrying when Proud falls in love with Ann Curtis, Marcia’s daughter – but if Proud really is the reincarnation of Marcia’s husband, isn’t Ann his daughter…?
Credits
Crew
Director: J. Lee Thompson
B.C.P., Cinerama
Vice President in Charge of Production: John Pommer
Executive Producer: Charles A. Pratt
Producer: Frank P. Rosenberg
Production Manager: Hal Blair
Script: Max Ehrlich
Assistant Director: Buck Hall
Director of Photography: Victor J. Kemper
Music: Jerry Goldsmith
Score Mixer: Dan Wallin
Make-up: Jack H. Young
Hair: Virginia Jones
Matte Artist: Jim Danforth
Production Designer: Jack Martin Smith
Set Decorators: Robert De Vestel, Barbara Krieger
Locations: Holyoke, Massachusetts, USA; Springfield, Massachusetts, USA
Cast
Michael Sarrazin (Peter Proud)
Jennifer O’Neill (Ann Curtis)
Margot Kidder (Marcia Curtis)
Cornelia Sharpe (Nora Hayes)
Paul Hecht (Dr Samuel Goodman)
Tony Stephano (Jeff Curtis)
Norman Burton (Dr Frederick Spear)
Anne Ives (Ellen Curtis)
Debralee Scott (Suzy)
Jon Richards (newspaper custodian)
Steve Franken (Dr Charles Crennis)
Fred Stuthman (Pop Johnson)
Lester Fletcher (car salesman)
Paul Nevens (room clerk)
Breanna Benjamin (Miss Hagerson)
Addison Powell (Reeves)
Phillip Clark (number five)
Gene Boland (Charlie)
Albert Henderson (police sergeant)
Connie Garrison (Ellie)
Press
1975
Screen International no.3 (20 September 1975) p.15
If the credits didn’t inform me that this film is based on a novel I would have imagined it to have been padded out from a short story. The basic elements of the plot are strong. But its development is only hindered by the tedious bickerings between Peter and Nora; and the suspense that should be building in the second half sags into lunatic melodrama whenever alcoholic Marcia reaches for another drink. The inclusion of so much irrelevant friction suggests panic efforts to popularise for the sake of audiences whose intelligence has been underrated But, in spite of the banalities and the unimaginatively stereotyped female, characters, Michael Sarazin’s sympathetic performance keeps the story credible and interesting.”- from a review by Marjorie Bilbow
References
Periodicals
- Radio Times 18-24 February 1984 p.16 – review
- Screen International no.3 (20 September 1975) p.15 – credits, synopsis, review (by Marjorie Bilbow)
Books
- American International Pictures: A Comprehensive Filmography by Rob Craig pp.303-304
- American International Pictures: A Filmography by Robert L. Ottoson pp.277-278 – credits, synopsis, review
- Faster and Furiouser: The Revised and Fattened Fable of American International Pictures by Mark Thomas McGee p.320
- Horror and Science Fiction Films II by Donald C. Willis p.325
- Horror Films of the 1970s by John Kenneth Muir p.366 – credits, note
- Horrorshows: The A-Z of Horror in Film, TV, Radio and Theatre by Gene Wright p.158 – credits, review
