Dude…how cool was Robert Wise?
He was responsible for a rather prestigious handful of classics like West Side Story (one of my all-time favorites), The Sound of Music, The Haunting, and The Day the Earth Stood Still. Beyond those major titles, he didn’t exactly shit around with the rest of his career, but it must be mentioned that one of his lesser works was the bemoaned Star Trek: The Motion Picture. It’s hard to understand what happened with that one. Thinking back on those previously mentioned flicks, this guy wasn’t exactly known for Trek’s brand of boredom. Regardless of the occasional misstep, we know this was the kind of filmmaker who could do it all, and his mostly forgotten film Audrey Rose serves as further proof.
Janice and Bill Templeton (Marsha Mason and John Beck) lead a charmed lifestyle as demonstrated by the playful innocence of an afternoon bike ride with their daughter, Ivy (Susan Swift), accompanying the opening credits. This is, as far as we can tell, a complete and happy family. Bill works hard at his successful advertising firm while Janice tends to their upscale apartment until she picks up Ivy from school. Today, however, Janice notices a strange man waiting with the rest of the mom-herd. Then, he seems to follow her and Ivy for a few blocks, or he shows up at the stores they frequent, or is waiting outside their apartment building. He is not adept at stealth, but that doesn’t seem to be his intention, once he begins making contact with the family and sending gifts for Ivy.
Once they have decided taking legal action against him isn’t an option, the worried couple agrees to meet this man, Elliot Hoover (Anthony Hopkins), who says he wishes no harm against young Ivy. What he tells them I will not completely reveal in this review, but I will tell you watching him so desperate to explain it is quite moving. Hopkins excellently delivers a complicated tale that sounds every bit as crazy as the Templetons already think he is. As the viewer, you can’t help but feel for him immediately. He is so gentle and thoughtful in his approach to describing a concept unfamiliar to most people at the time.
That time, 1977, was not kind to the film. Audiences and critics were quick to dismiss it as an Exorcist mimic, but it is really nothing of the sort. Sure, the child character happens to be the same age as Regan MacNeil in William Friedkin’s exquisite horror film, but otherwise, the movies have very little to do with each other. Ivy is tormented by horrible night terrors, and she is in danger, but this film is focused much more on the positive side of religion, love, and a parent’s fight to save a child. More than that, this isn’t a horror film.
The movie does boast moments of wrenching fright, though, and it almost appears to be playing on the expectations of post-Exorcist filmgoers. By design, it doesn’t completely let your suspicions rest, like when the camera tracks from sleeping Ivy’s bedroom, catching ominous demonic gargoyles on its way to her mother’s bedroom. Once the statues have left the frame, Ivy begins to scream. It’s that kind of clever little moment, and the Robert Wise Super-Slap Zooms honed while shooting The Haunting, that slyly lie to you about what you’re watching. During the first half, if you let your guard down, you are likely to jump out of your seat.
Sadly, the movie has a few moments of startlingly bad ADR, but beyond that, the performances, shooting, music, and editing make for an enjoyable and intriguing viewing experience. Plus, it’s a good-looking HD transfer, as we have come to expect from Twilight Time. Check ‘er out.
THE PACKAGE
Booklet Insert: I have to admit something about this piece’s first line. I was barbarically paraphrasing what is better said by Twilight Time film historian, Julie Kirgo, in her thoughtful essay.
Original Theatrical Trailer: Always fun to see old trailers
Isolated Score: Why not?
