FRIGHT (1956)

This gullible talk-fest with a sleep-inducing pace and a puzzling title was directed and produced by W. Lee Wilder, the younger B-movie brother of Billy, who turns out another questionable production in his nearly forgotten career, one of six films for Planet Filmplays. His son, Myles Wilder, penned the original story and screenplay which addresses hypnotism and reincarnation. The future comedy writer could have had a lot of fun with this film two decades later. The sixty-eight-minute film was distributed by Exploitation Productions, a credit that does make some sense. About the only thing alluding to fright is the use of a Theremin as it oscillates its way into the anonymous score by Lew Davies in his first and final film. Putting aside the disjointed opening score, the cinematography suggests an exciting crime drama as the authorities chase a murderer in the opening sequence. Savor these first three minutes or so. After this, any fright—other than the poster—comes to a grinding halt.

Through long-distance hypnosis and simple word associations with an escaped murderer, [Frank Marth] a psychiatrist, Eric Fleming, is able to prevent his plunge into the East River from the Queensboro Bridge. Accomplished over a distance of about four city blocks thanks to a microphone, speakers and a searchlight burning Marth's retinas. In the gathering crowd is Nancy Malone, whose indirect hypnosis provides Fleming another opportunity to perform his magic. After a few consultations, he unveils her belief that she is the reincarnated spirit of a Baroness. The moviegoer suffers through her dual personality. Likewise, the non-charismatic Fleming has a dual-acting personality—credible one moment then lackluster and stiff—indicating his inexperience in this, his second feature film. Malone does not burn up any film frames either, as both at times seem to be in the midst of a final rehearsal. I suspect Wilder shares a chunk of responsibility for this.

Malone could be nuts but she is not joking. Her subconscious is taken over by the long-dead Baroness—as the legend goes—who had an affair with a Crown Prince. Not exactly undying love, they made a vow to die together rather than live apart. Fleming wants the genuine Malone back for himself and since “Mythter Marth” is scheduled to be executed anyway, he hypnotizes him to play the Crown Prince. The film's convoluted journey preposterously concludes by reuniting the imaginary lovers one last time. The Crown Prince of Marth is expected to shoot—what sounds like a cap gun—Baroness Malone. Her reincarnated self falls to the floor releasing the hold on her and the genuine Marth is quickly ushered back to his cell. It takes a death row murderer to get away with a reincarnation killing. I hoped I had been hypnotized by the end, but alas, I woke up entirely on my own.

Note: Some posters made it a point to include under the main cast, “featuring an all-star New York Broadway cast.” Not sure that mattered after the premiere. A bit more significant today is witnessing the beginnings of four future television regulars. Fleming is well known for the popular western, “Rawhide,” though his full potential was never realized due to a fatal freak accident. Malone went on to a prolific television career as an actress, director and producer. Marth set a non-stop pace in lead and supporting roles. The versatile actor could not be typecast and went on to appear in just about every major American prime-time show during the Sixties and Seventies. Finally, Myles Wilder went on to write for many successful television comedies during the same decades. His father, however, never progressed beyond the hokum in this film.