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| Rating: |
   
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| Run Time: |
87 min |
| MPAA Rating: |
NR |
| Released: |
1961 |
| Directors: |
William Castle
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| Genre/Type: |
Horror
Slasher Film
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| Producers: |
William Castle
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Plot Synopsis by Hal Erickson
Homicidal represents producer/director William Castle's slant on Hitchcock's
Psycho. The film concerns a young woman named Miriam Webster (Patricia Breslin) who seemingly has everything a girl could want - including a successful flower shop business, and a handsome beau, Karl (
Glenn Corbett), who works as a pharmacist. Events take a turn for the worse, however, when Miriam's half-brother, Warren, returns from Europe - with a rather unpleasant friend in-tow: a blonde named Emily (Jean Arless). Emily promptly sets about destroying Miriam's life: the newcomer attempts to wheedle Karl away from Miriam, then rips the flower shop to pieces, then ultimately reveals a little taste for knife-wielding that directly threatens Miriam's safety. Like
The Tingler and other Castle outings, this one originally featured a gimmick, preserved in the video release: a "fright-break" just prior to the climax, which allowed terrified audience members approximately 45 seconds to get out of their seats and leave the theater - to avoid the prospect of being "frightened to death." One look at Jean Arless's credit in the cast listing betrays the final twist in this one, directly (and unapologetically) lifted by Castle from
Psycho.
William Castle's attempt to capitalize on the success of
Psycho lacks the distinctive performances and genuinely unsettling shocks of its model, but remains entertaining thanks to Castle's gift for showmanship. Hitchcock fans may hem and haw over Robb White's script, which lifts a majority of the key plot hooks and set pieces from
Psycho, but it is actually a fairly clever pastiche with a few unexpected twists of its own. It is also surprisingly intense for its time, especially the scenes where Emily menaces her mute, crippled mother. Homicidal further benefits from an amazing, full-throttle performance by Jean Arless, who deploys a level of scenery-chewing histrionics worthy of
Joan Crawford as she essays the troubled character (a jaw-droppingly over-the-top scene where she ritualistically destroys a romantic rival's flower shop is a highlight in this respect). However, the key element of Homicidal is William Castle's direction, which mixes the grittier elements of Hitchcock's approach with pure B-movie flamboyance. In the process, he crafts a number of suprisingly effective shocks, including a shock scene set on a staircase that sets a similar scene in
Psycho on its ear and stopping the film right before its climactic revelation to offer the audience a "fright break" (complete with ticking clock on the screen). In short, Homicidal may not be as artful as
Psycho, but its campy shocks offer a special kind of fun for horror fans with a sense of humor.