Horror Extreme Movie Catalog

For some inexplicable reason, this telefeature is but rarely accorded the respect it merits. In point of fact, it is a most accomplished, gripping, and well acted affair, from the days when a "made for TV" movie, could still boast performers, writing, and technical credentials of the first water.

The story is an intense, psychological study of a young man suffering from hysterical blindness following the death of his professor father in a fire. Set in a large, shadowy, Victorian house, this very gothic story hinges on the sibling rivalry between the young man and his spinster sister, both of whom blame themselves, in different ways, for their father's demise. Eventually, the young man's sanity begins to give way, in the face of a series of inexplicable hauntings, which may, or may not be supernatural. Only the denouement will tell.

With its pronounced subtext of repressed, family guilt, the film has literary antecedents in the work of Shirley Jackson, Walter De La Mare, and Nathanial Hawthorne.

Starring a cast of major (big screen) movie and stage actors, this film has everything that is conspicuously absent in current television: an excellent musical score, evocative photography, (including characterization through color schemes), muted lighting, accomplished art direction, an interesting premise and script, intelligent dialogue, (gasp!)and a very good sense of pacing.

Add to that, a baseline story that improves on the novel upon which it was based, (yes I read it) and you have a viewing experience very different from the "made for TV's" of today, which are,(I'm told--since I don't watch them) an endless stream of tedious, politically correct, AIDS,[...], and spouse abuse victim propaganda studies--I believe the catch phrase is "victim of the week" stories.)

All in all, "How Awful About Allan" serves as a sad reminder of what was still artistically possible in the world of commercial television, in earlier times.

Anthony Perkins portrays Allan Colleigh, a young man who's psychosomatically blinded by the gruesome sight of his father burning to death in the family house. After spending eight months in a mental institution, Allan returns home to live with his sister Katherine and a mysterious new lodger. Tormented by beckoning midnight voices and sinister hands reaching for him in the shadows, Allan becomes convinced that the lodger wants to do him harm, but Katherine has a difficult time believing her brother's rantings. Is our hero really being menaced, or is he only the victim of his own imagination?

This vintage Curtis Harrington shocker draws inspiration from PSYCHO, WHAT EVER HAPPENED TO BABY JANE?, and HUSH HUSH SWEET CHARLOTTE in equal measure. The result is simply too derivative to be considered a classic, but its blend of campy thrills and surreal shocks make it a lot of fun. The teleplay by Henry Farrell (author of the BABY JANE novel and co-screenwriter of CHARLOTTE) hinges upon a "surprise" ending that most modern viewers won't find too hard to guess, but his story line offers just enough plot contortions and snappy dialogue to keep things at an entertaining level.

The film is primarily a vehicle for Anthony Perkins, who has a grand old time portraying the harried title character. Allan Colleigh isn't quite as off-the-wall as Norman Bates, but Perkins manages to make him a fairly interesting horror figure nevertheless. Even though it's mostly Anthony's show, that of course doesn't prevent Julie Harris from providing rock solid support as his sibling. The finale gives Harris an opportunity to gnaw at the scenery herself and she does so with tremendous relish; it's a brief moment that you won't easily forget. Joan Hackett, a fine talent who never quite received the recognition that she should have, makes a welcome appearance as their concerned neighbor. The picture also benefits from vigorious direction by Curtis Harrington, who uses the limited number of locations to create a claustrophobic atmosphere that smothers the audience with dread.