One of a handful of low-budget, British science fiction thrillers which came out at the same time (INVASION was another) and effectively portraying man's encounter with the first of an invading alien force. THE NIGHT CALLER is a low-key chiller, short on action but high on suspense. An adept cast work their hardest to bring life to their lines, which are unfortunately mired in scientific jargon, yet the film works because the plot shift from a Quatermass-style military investigation to a mildly sleazy "missing girl" mystery comes as a welcome surprise.
This is an undeniably British film, what with its stiff, impeccable accents and stuffy police investigation, yet the American influence is clear. John Saxon is the charismatic and imported American lead, who brings what life he can to his stuffy lines. Despite being a thriller more mature than its American counterparts, the producers of this still couldn't resist throwing in a tacky, "monster" claw-hand which is seen briefly coming through some doorways, to mixed effect.
THE NIGHT CALLER does threaten to become occasionally boring due to the lack of action, but the short running time thankfully dispels this. Things pick up for a police "stake-out" at the film's finale, which results in the unexpected death of one of the leading protagonists. Along with this, the conclusion is also unusually downbeat, with the alien visitor getting away with his crimes and returning to his home planet.
There is much to enjoy in this film, not least the efforts of a sterling cast. Patricia Haines is good value as the sturdy female lead and makes an interesting team with Saxon. Also around are Maurice Denham (as a scientist) and John Carson (shortly before his success as the evil squire in THE PLAGUE OF THE ZOMBIES) as a military major who helps out. The familiar faces of Jack Watson and Warren Mitchell pad out the cast, the latter appearing in a clever comic scene where he is interviewed, with his wife, by the police.
The alien in this film is kept in the shadows for much of the running time, which is a good thing because the final revelation of his appearance is a disappointingly human one. To keep things moving, a few staples are thrown in - a car chase, a sleazy interview with a homosexual porn shop worker - as well as a load of unused scientific equipment in the background of some scenes to give them a realistic look. The film is shot in stark black and white, and good use is made of shadows and lighting. I've also watched the colourised version which doesn't have quite the same impact. John Gilling's assured direction serves up a few chills and a sense of real urgency in places but the low budget means that this is no classic. It is, however, an intriguing oddity, and well worth watching for fans of the period.
This is an undeniably British film, what with its stiff, impeccable accents and stuffy police investigation, yet the American influence is clear. John Saxon is the charismatic and imported American lead, who brings what life he can to his stuffy lines. Despite being a thriller more mature than its American counterparts, the producers of this still couldn't resist throwing in a tacky, "monster" claw-hand which is seen briefly coming through some doorways, to mixed effect.
THE NIGHT CALLER does threaten to become occasionally boring due to the lack of action, but the short running time thankfully dispels this. Things pick up for a police "stake-out" at the film's finale, which results in the unexpected death of one of the leading protagonists. Along with this, the conclusion is also unusually downbeat, with the alien visitor getting away with his crimes and returning to his home planet.
There is much to enjoy in this film, not least the efforts of a sterling cast. Patricia Haines is good value as the sturdy female lead and makes an interesting team with Saxon. Also around are Maurice Denham (as a scientist) and John Carson (shortly before his success as the evil squire in THE PLAGUE OF THE ZOMBIES) as a military major who helps out. The familiar faces of Jack Watson and Warren Mitchell pad out the cast, the latter appearing in a clever comic scene where he is interviewed, with his wife, by the police.
The alien in this film is kept in the shadows for much of the running time, which is a good thing because the final revelation of his appearance is a disappointingly human one. To keep things moving, a few staples are thrown in - a car chase, a sleazy interview with a homosexual porn shop worker - as well as a load of unused scientific equipment in the background of some scenes to give them a realistic look. The film is shot in stark black and white, and good use is made of shadows and lighting. I've also watched the colourised version which doesn't have quite the same impact. John Gilling's assured direction serves up a few chills and a sense of real urgency in places but the low budget means that this is no classic. It is, however, an intriguing oddity, and well worth watching for fans of the period.