London-based Hammer Films had a fertile and fiscally rewarding period in the 1950s and 1960s styling itself as the British second coming of the old Universal Studios Monster Movies. They gave Dracula, Frankenstein, and the Mummy quite a workout, relying on generally solid and scary scripts, a stable of dependable stage-trained actors, not-bad special effects, atmospheric locations (e.g., Highgate Cemetery) and an abundance of aspiring starlets with daring décolletage. Many viewers remember Hammer monster movies in their nightmares, but few recall that the studio also turned out some high-quality psychological thrillers, most of them scripted by Jimmy Sangster. This week I recommend my favorite of these films: 1961’s Taste of Fear (aka Scream of Fear).
The story centers on a frequently-invoked but still effective thriller trope: The central character who has some physical limitation that makes them unusually vulnerable. In this case, it’s Penny Appleby, who has needed a wheelchair since suffering a tragic accident. She has traveled far to visit the wealthy father whom she has not seen since her parents’ divorce over a decade ago. Her father’s new wife and a family friend named Dr. Gerrard greet her warmly, but inform her that her father is away on business. Yet as the days go by, a series of peculiar and shocking events make her start to think her father has in fact been murdered! Has she come across the world’s wickedest stepmother, or is she losing her mind? Nerve-shredding suspense and some truly inventive plot twists follow.
Taste of Fear is often referred to as Hitchcockian, and while I can see why, it recalls for me much more the French classic Diabolique, which Sangster almost certainly must have seen. Both films create a sense of dread and continually lead the viewer to think “Ah, that’s what’s really going on” to be immediately followed by “I was wrong again – I have no idea what’s really going on”.
Hammer made the film in partnership with Columbia Pictures, which accounts for them landing American Susan Strasberg for the role of Penny. She brings across very well a young woman who is understandably fearful but at the same time determined and smart enough to keep pressing the question. The rest of the cast are British talents of the type that Hammer more typically favored, including Dracula himself, Christopher Lee, as an effectively creepy Dr. Gerrard.
The other undeniable strength of the film is Douglas Slocombe’s pristine, gorgeous black and white cinematography. Both he and director Seth Holt have refined visual instincts regarding the balance of light and shadow that keeps the audience on the edge of their seats. They also create a stunningly horrifying shot underwater that I will not detail because it would spoil a plot point, but you’ll appreciate it when you see it. Credit former film editor Holt also for a tightly constructed movie – flabbiness is the enemy of suspense and everything in this movie is lean and tight.
Taste of Fear is a shamefully-forgotten thriller that you would do well to remember. I found a copy on Daily Motion, which I believe has the legal right to rebroadcast old movies on line, so you can enjoy Taste of Fear free of guilt right here.
3 thoughts on “Weekend Film Recommendation: Taste of Fear”
Sounds lovely!!! Thank you. I do love a good suspense plot. I don’t care to examine what this says about me.
Diabolique – so mean! (The characters).
Thank you Keith. This one has been on my list of Susan Strassberg films to see, along with Kapo (1960), for a long time.
I have missed your film reviews.
What a pleasure to see a Humphreys review again, and, as is so often the case, of a film I hadn’t been aware of! Thank you for coming out of “retirement” for this one.
I do wonder, however, how many of those “aspiring starlets with daring décolletage” might also have been among the ranks of “dependable stage-trained actors.” Certainly that was true of Susan Strasberg, who had a substantial stage career, in addition to working in film and television.
(“Starlet” is an interesting word. The definition is generally something like “a young female actor who hopes to be or is thought likely to be famous in the future” (Cambridge Dictionary online), so denotatively it would certainly apply to the likes of Strasberg, but it carries the connotation of beauty, as conventionally defined, as well, perhaps, as well as of immaturity and perhaps even of lack of acting chops. Enough digressing, though. Thank you again for the review.)
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