And Soon the Darkness

United Kingdom

1970

99 Min

Color

1.85:1

English, French

Currently 3.0/5 Stars.
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PROD Brian Clemens, Albert Fennell

SCR Brian Clemens, Terry Nation

CAST Pamela Franklin, Michele Dotrice, Sandor Elès, John Nettleton, Clare Kelly, Hana Maria Pravda, John Franklyn

PROD DES Johnny Goodman, Serge LeBeau

SOUND Bill Rowe, A.W. Lumkin, Terry Allen

Synopsis

Jane and Cathy, two English women in their early twenties, are on a cycling tour of France. While traveling in rural France, they begin to disagree about the route. Cathy would prefer to take things in at a leisurely pace, while Jane is trying to stick to strict schedule. After arguing, they part ways. When her friend fails to rejoin her, Jane begins to worry and returns to the last place she saw her. Cathy has vanished. Alone and with a limited knowledge of French, Jane doesn’t know who to trust as she frantically searches for her missing friend. —IMDb

Director

Robert Fuest

Robert Fuest (born in 1927 in London) is an English film director, screenwriter, and production designer who has worked mostly in the horror, fantasy and suspense genres.

Fuest’s most highly praised and popular films, which feature strong black comedy undertones, include perennial cult favorites The Abominable Dr. Phibes (1971), Dr. Phibes Rises Again (1972), and The Final Programme (aka The Last Days of Man on Earth) (1973). Other films include And Soon the Darkness (1970), a straightforward suspense thriller which received considerable critical acclaim but little commercial success, and The Devil’s Rain (1975), a horror film shot in the U.S. The latter movie received such scathing reviews it may arguably have killed off his once promising career, as Fuest immediately thereafter found himself relegated to directing fairly anonymous television work. His only subsequent theatrical release to date has been Aphrodite (1982), a soft-core sex movie filmed in Greece.

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Stephen Campbell

2Jul12

An Underated classic

Lights in the Dusk

23Apr12

Quietly audacious; set almost entirely in broad daylight, and managing to make the idyllic French countryside, with its wide-open spaces and rustic locales, as menacing as the hostile backwoods of Deliverance or the outback planes of Wolf Creek. While it stalls in the third act, the film is still notable for its attempts to go against the usual conventions of the genre, creating tension from everyday interactions and misunderstandings, and managing to sustain an extraordinary feeling of unease and uncertainty through Fuest's languid, observational approach.

Mr. Arkadin and 3 others like this

HKFanatic, Varun Anisetty, mannequinlegs