THE FIEND
UK, 1972, 98 minutes, Colour.
Ann Todd, Patrick Magee, Tony Beckley, Madeleine Hinde, Suzanna Leigh, Percy Herbert, Maxine Barrie.
Directed by Robert Hartford- Davis.
The Fiend is a small-budget drama – in the tradition of some of the British horror films of the period. However, it is more drama and crime than any horror aspect. It was directed by Robert Hartford- Davis who had made some small films in the 1960s, made some horror films including Corruption and The Incense of the Damned. After this he went to the United States, directed two blacksploitation films, Black Gun and The Take, some television but died only a few years after moving to the US.
The film has a strong cast led by veteran Ann Todd as a repressed mother, doting on her son (Tony Beckley) and dependent on a sect minister played with his sinister aplomb and voice by Patrick Magee (who appeared in A Clockwork Orange at the same period).
The film is highly critical of sect religion, a group called The Brethren separate themselves from the world, have a chapel in the house of Ann Todd, the minister having a severe hold over everyone, demanding obedience, exercising very puritanical judgments.
The son is a serial killer, imbued with anti-women ideas from his mother who was abandoned when he was young. However, he feels strong sexual urges as well as the need to kill. The film may be pop-psychology but is rather interesting in its presentation of psychosexuality.
The film is really a mixture of the serial killings and the life of the son who works as a security guard as well as a swimming pool instructor. It is also interesting in its presentation of religion, the Jesus language of the period – but which is much stronger in subsequent decades with the publicising of more Pentecostal groups, fringe religions, the development of sects and fundamentalist Christianity.
1.A small-budget film of the 70s? Drama? On psychology, religion, crime? Sexual assault – and later consciousness about these crimes?
2.The title – with reference to Kenny as a killer, to the minister as dominating?
3.The London suburban settings, the ordinary streets, homes, clubs, factories, swimming pool?
4.The chapel, the iconic use of Christian imagery, crucifixes, banners, the Bible, Jesus’ words? The musical score? The interpolation of the songs – so beautifully sung by Maxine Barrie?
5.The credibility of the plot, heightened, melodramatic?
6.The focus on the minister, Patrick Magee and his appearance, voice? The solemnity and severity of his preaching? His stern manner? The small congregation, the singer and her efforts in prayer, the various testimonies, the baptism by immersion, the little boy and his baptism? Birdie and her playing the organ? The atmosphere of the Brethren, closed, puritanical, obedient, a sect, their meetings?
7.The critique of religion, blind faith, the faith of the minister, the severity of sect loyalties, brainwashing? The minister and his power, ruthlessness? Preventing Kenny being present at his mother’s death?
8.The opening and the girl being pursued, murdered? Kenny, coming home, his mother and her doting on him, his father abandoning them for another woman, Kenny and his preoccupation with the girls? The dependence on the minister? His security work, at the swimming pool? The prostitute and her client, killing her? Disposing of the body on the building site? In the river? Picking up the girl at the cinema, going for the swim? The effect on his psychosexual torment? At home, his relationship with his mother, her dominance? The role of the nurse and his mother urging suspicion?
9.The investigation, the police, the commissionaire with the prostitute, the interrogation?
10.The nurse, at home, with Patty, the doctor, the discussions? Patty and her journalism? The nurse with Birdie, injecting the insulin, Birdie’s severe demands? The minister’s reaction to the news about the insulin, it being forbidden? The nurse telling the stories to Patty and the doctor?
11.Patty, wanting a story, the appeal of the sect, going to the meeting, pretending to be helpless, meeting with Birdie, Birdie’s friendship, the sexual stirring for Birdie? The sermons, the immersion? Her return to the house, searching, trapped, tied up, escape?
12.Birdie, the past, her dependence on the minister, animosity towards her husband, his women, the way that she brought up her son, spoiling him, making him dependent on the minister, the chapel, playing the organ, the minister and the long scene of her confession, pressuring her to speak out? Her feelings about Patty? The revelation about the insulin? Her collapse, lacking the insulin, the minister letting her die – all in the name of God’s will?
13.The minister and his cruelty, Birdie dying and his depriving Kenny of seeing her?
14.Kenny, the reaction to the minister, putting him on the cross? An alternate Christ figure?
15.The themes of the 70s, religion, later decades, fundamentalist churches and sects? A greater knowledge of psychosexual behaviour?
16.The effect of the melodramatic style – making the characters and events credible or less credible?
