The Night Stalker (1972)

The Night Stalker (1972): adapted by Richard Matheson from the novel by Jeff Rice; directed by John Llewellyn Moxey; starring Darren McGavin (Carl Kolchak), Carol Lynley (Gail), Simon Oakland (Tony Vincenzo), Ralph Meeker (FBI Agent Bernie Jenks), Claude Akins (Sheriff Butcher), and Barry Atwater (Janos Skorzeny):

The Night Stalker shocked everyone in 1972 when its first airing became ABC's highest rated original TV movie to that point, with a crazy 54 Share (a typical Super Bowl generally gets a share in the mid-60's). It was produced by genre giant Dan Curtis and written by genre god Richard Matheson, so it had a lot going for it -- not least of which veteran character actor Darren McGavin as a cynical Las Vegas newspaper reporter who finds himself battling a vampire.

The movie originally aired in a 90-minute time slot, so it clocks in at a tense, terse 75 minutes without commercials. McGavin is great, a reluctant, almost noirish hero with a good reason for supplying voice-over narration throughout -- he is talking into a tape recorder, after all.

The battles and physical stunts involving various confrontations with the vampire sometimes border on the crazy: people fly all over the place. In what would become a Kolchak trope, Carl quite realistically slips and falls occasionally while fleeing his supernatural pursuer. But he always gets up. And with the police both unbelieving and seriously incompetent, Kolchak is Las Vegas' only chance to escape becoming Fun Town, U.S.A. for Vampires.

Matheson and Curtis opt to have their vampire speak not at all -- I think a good choice. He's more of a vicious animal than anything else, and Barry Atwater does a fine job of portraying a completely non-charming, non-erotic vampire. The silent route would be used by Curtis in the Jack Palance version of Dracula that he produced, and may have also influenced the decision to make the fairly talkative vampire Barlow in Stephen King's Salem's Lot into the non-talking horror of the first TV-movie version. In all, highly recommended.

River of Doubt

Deliverance: adapted by James Dickey and John Boorman from the novel by Dickey; directed by John Boorman; starring Jon Voight (Ed), Burt Reynolds (Lewis), Ned Beatty (Bobby), and Ronny Cox (Drew) (1972): James Dickey and John Boorman's nightmarish canoe trip continues to resonate more than 40 years later as one of the greatest horror movies ever made. It evokes horror in the white-water expanses of the river the four unfortunate Atlanta men canoe upon, and in the claustrophobic nooks and crannies of the forests and cliffs that surround that river. Through these spaces move men who are comfortable within them, and men who are assuredly not.

The acting of the four primaries is superb, with a charismatic turn by Burt Reynolds as the only outdoorsman among the four, and with nervous, overwhelmed performances by new-to-the-screen Ned Beatty and Ronny Cox. As the conflicted protagonist ("Now you get to be the hero," one injured character mumbles), Jon Voight is smart and emotionally overwhelmed. It's as raw and varied a performance as his great work in Midnight Cowboy.

I suppose there are obvious subtexts to be mentioned, most notably the idea that this screwed-up, violent misadventure in the Great Outdoors can stand in for America's contemporaneous follies in Viet Nam. The movie rewards such interpretations because it is wholly itself in its horrors -- at no point are we asked to believe that this is a story about anything other than four city slickers on a vacation gone bad.

The horrors include grievous bodily injury and rape and murder, all framed within the context of an increasingly hostile natural world that hints at the supernatural. The human antagonists could just as well be orcs or some of Lovecraft's inbred human monsters. But they have ties to the world outside, and because of that, the authorities can't be trusted, at least not anywhere near the river. These monsters have suspicious, angry relatives.

The return to civilization is signalled by a rusting vehicle. A taxi gets delayed by a church being transported away from the soon-to-be-inundated banks of the river, which is being turned into a lake. For the surviving characters, there will be nightmares and guilt and at least some doubt as to what actually killed one of their number -- and, perhaps, a dead and bloated hand rising from the water. Highly recommended.