I first saw this at age 15 during its first run in Pittsburgh. I knew nothing of the book or the prior Vincent Price film. I recall thinking it plodding in places, wordy or hyperactive when it shouldn't have been, inconsistently symbolic and too much a product of the times I was still trying to make sense of. But some imagery survived, as did Matthias's passion, Richie's undoing, the musical score and Coulter Counter, and that closing shot.
Fast Forward 37 Years: On second viewing this is one creepy little flick. Certainly more dated in places (mark March 1975 on your calendars) but likely scores to this day because it doesn't follow the book and displays no CGI. Solidly crafted, purposely paced, and, given a script that compels you to suspend your disbelief, good acting all around.
This Neville is a self-deprecating wheeze too used to being in charge and on the verge of a justifiable breakdown. When he sticks to that characterization Charlton Heston is something of a revelation, though his love scenes with Rosalind Cash just don't quite ring (and perhaps that's the point). Anthony Zerbe still hits home. And listen closely for Dutch's accent.
Fans of Paddy McGoohan's The Prisoner should recognize Ron Grainer's score in places and the "jeeplet" Heston squeezes out of and back into. The screenwriters apply their combined backgrounds in English literature and poetry, law, and chemistry (study their other credits). You soon understand The Family better than you expect to. Their catapult tosses a dud, but the shot stays in, while the closing shot is telegraphed at least three times.
In sum, it could be better but it could also be insufferably worse. Give it a try.
Fast Forward 37 Years: On second viewing this is one creepy little flick. Certainly more dated in places (mark March 1975 on your calendars) but likely scores to this day because it doesn't follow the book and displays no CGI. Solidly crafted, purposely paced, and, given a script that compels you to suspend your disbelief, good acting all around.
This Neville is a self-deprecating wheeze too used to being in charge and on the verge of a justifiable breakdown. When he sticks to that characterization Charlton Heston is something of a revelation, though his love scenes with Rosalind Cash just don't quite ring (and perhaps that's the point). Anthony Zerbe still hits home. And listen closely for Dutch's accent.
Fans of Paddy McGoohan's The Prisoner should recognize Ron Grainer's score in places and the "jeeplet" Heston squeezes out of and back into. The screenwriters apply their combined backgrounds in English literature and poetry, law, and chemistry (study their other credits). You soon understand The Family better than you expect to. Their catapult tosses a dud, but the shot stays in, while the closing shot is telegraphed at least three times.
In sum, it could be better but it could also be insufferably worse. Give it a try.