Asylum

1972

Horror

40
IMDb Rating 6.5 10 5,005

Synopsis


Downloaded 11,615 times
April 1, 2019

Director

Cast

Barbara Parkins as Rosa O'Flynn / Oldsmith
Britt Ekland as Duchess Irma
Peter Cushing as Utterson
720p.BLU 1080p.BLU
736.73 MB
1280*720
English
NR
23.976 fps
88 min
P/S N/A / N/A
1.4 GB
1920×1080
English
NR
23.976 fps
88 min
P/S N/A / N/A

Movie Reviews

Reviewed by Snake-666 7 / 10 / 10

Entertaining British horror anthology.

Roy Ward Baker directs this horror anthology from the pen of macabre master Robert Bloch. Dr. Martin (Robert Powell) is a psychiatrist who wishes to work at an asylum for the incurably insane. In order to gain employment he is set a task by the house chieftain Dr. Rutherford (Patrick Magee) whereby he must discover the identity of a former doctor-turned-patient. Dr. Martin speaks to four different patients in an attempt to discover who used to be the psychiatrist and each patient relates to him their own particular terrifying story. Robert Bloch, the man responsible for writing the novel of one of horror’s greatest movies, ‘Psycho’ (1960), writes for us four intriguing and pleasurable short horror pieces bound together wonderfully in the confines of an asylum. The film (produced by Amicus studios and now available in the UK in a wonderful box set) has a distinct feeling of a Hammer Horror production to it. The emphasis is on the story and artistic merit rather than cheap shocks and Roy Ward Baker does an excellent job throughout the production of building tension so that each shock has a desirable effect on the viewer. Each segment benefits from a marvellous cast which features the undeniable talents of the legendary Peter Cushing in ‘The Weird Taylor’ and the beautiful Britt Ekland in ‘Lucy Comes to Stay’. Britt Ekland would go on to co-star as the seductive landlord’s daughter Willow in the classic British horror ‘The Wicker Man’ just one year later. The various segments themselves vary in quality, although not too dramatically. The opening segment, ‘Frozen Fear’ is a deliciously campy story about a man whose murdered wife seeks revenge on him and his lover. This particular segment may be a little too silly for some horror fans but it works as a perfect mood setter for the rest of the movie. The directorial style is what makes this segment worth watching. There are some wonderfully flowing shots which seek to give the short segment a distinctly unsettling edge despite the short falls of the script and story. A wonderful performance from Barbara Parkins of ‘Valley of the Dolls’ (1967) fame in the role of Bonnie caps the segment exquisitely and the climatic scene back in the asylum following the story give the segment an overall horrific nature. This segment is followed by ‘The Weird Taylor’ which stars Peter Cushing as a devastated father who turns to the occult to resurrect his deceased son. He enlists the help of Bruno (Barry Morse), a taylor desperately in need of money, to make for him a suit to specific instructions. This segment is possibly the weakest of the four yet remains enthralling as the viewer cannot help but wonder just where this particular story is headed. Once again Roy Ward Baker’s direction during this segment is powerful as he creates a dark and despairing atmosphere despite the limitations of time and the story. Cushing’s performance is certainly memorable as is Barry Morse’s. The climax of the story is well portrayed but is unfortunately harmed by an air of unnecessary camp. Still, ‘The Weird Taylor’ is entertaining nonetheless but may be off-putting due to its overly slow nature. Up next is ‘Lucy Comes to Stay’ which tells the story of a young girl (Charlotte Rampling as Barbara) who apparently has been recently released from a mental institution for her schizophrenia. She is still haunted by her imaginary friend Lucy (Britt Ekland) who soon makes an appearance and convinces her to leave the safety of her brother’s house. Murder and mayhem follow and the despairing Barbara reaches breaking point pretty quickly. This particular segment works more on the basis of the storyline rather than direction as there is little in the way of atmospheric build-up. Britt’s on-screen presence is commanding and powerful and her portrayal of a horror villain is so good that one wishes this segment had been made into an entire feature length movie as opposed to the short segment that it is. The shock scenes are blended into the story seamlessly with a superb accompanying soundtrack. This is my favourite of all the segments. The film finally finishes with ‘Manikins of Horror’ where a former doctor believes that he can make and control little dolls. This segment takes place wholly back in the asylum and unlike the previous three stories there are no flashbacks to past events. This segment is possibly the most original of the stories and could even be possible influence for ‘Child’s Play’ (1988). Unfortunately, the story falls short as it becomes hard for one to suspend their disbelief yet the segment works as an excellent precursor to the genuinely surprising and shocking ending. Undeniably camp yet strangely intriguing this is a fitting ending to a generally entertaining horror film. For those who like horror anthologies and Hammer-style productions, one cannot go too far wrong with this entertaining British horror film. The film fails to maintain quality from start to finish but does not fail to entertain, surprise or shock. To sum up - an entertaining piece of horror anthology fare with some excellent direction, beautifully atmospheric scenarios and accompanying music and a strong cast who all give credible performances. My rating for ‘Asylum’ (1972) – 7/10.

Reviewed by lucky_dice_mgt 10 / 10 / 10

A lost classic

Very good photography, acting, dialog set this horror anthology above most others. There is a clever beginning which then evolves into 4 separate stories of individuals inside an asylum. The 1st story is the most gruesome. The 2nd story is the most intriguing and also has Peter Cushing in it doing a excellent job as usual. The 3rd story is the weakest and the 4 th story ties into the twist ending. With each story only lasting an average of 15 minutes, they keep the viewers interest. This also has a nice soundtrack { something almost totally missing from todays horror crap,remkaes and sequels} . For those of us who like style, originality and solid acting in our horror films, this deserves a look.

Reviewed by manchester_england2004 10 / 10 / 10

Another superb horror anthology from Amicus!

ASYLUM is the fifth in a series of seven Amicus horror anthologies. If THE MONSTER CLUB is included as part of the series, this would make eight movies. Although, that movie is very different from the others. I look upon the Amicus anthologies with great memories as I used to love them when I was in my teens. My feelings for them today are just as strong. ASYLUM may no longer be my favourite of the Amicus horror anthologies. But it is the first one I saw and as such holds a special place in my heart. There are three identifiable stories in this movie. Although, unlike the other Amicus anthologies, the linking story is much more prominent and as such acts as a fourth. The movie starts with Robert Powell as a young doctor driving to an Dunsmoor Asylum, an asylum for the incurable insane. The opening credits play over his journey with the famous "A Night on Bald Mountain" used for the score. With a magnificent example of classical music being used to score the movie, I knew it was going to be an enjoyable experience. When Powell arrives at the asylum, he finds out that the head of the institution, Dr. Starr, has himself now become an inmate. His associate, Dr. Rutherford, sets Powell a test to judge his ability to take the job. The test - meet the inmates and identify which one is Dr. Starr. Powell then goes up to meet the inmates and is introduced to the orderly, played by Geoffrey Bayldon. I loved Bayldon's performance here and consider it to be one of the best of his career. At 85 and still going strong, I wish him a happy life in the remainder of his retirement. Each of the three stories begins with Powell introducing himself to the inmates. The first story involves Barbara Parkins who has made plans to run off with her lover, played by Richard Todd. Unfortunately, Todd's wife, played by Sylvia Syms, stands in the way. Todd decides to kill his wife, dismember her body and wrap each part up neatly in brown paper. The body parts are then left in a freezer in the cellar. Unfortunately, Todd's wife won't let him leave quite so easily! This story moves along slowly at times but features good performances by the three actors. The second story involves Barry Morse as a tailor facing eviction from his shop because he can't afford to pay the rent. A sinister customer, played to perfection by the late great Peter Cushing, asks him to make a suit from unusual material. Cushing tells him that the suit is a gift for his son. But it turns out his son is dead! I will spoil no more but I will state that I really enjoyed this story and fail to understand why it is so heavily bashed by IMDb users. The story is worth seeing just for Cushing's performance alone. But Barry Morse should be given recognition for giving the performance of his career as the somewhat nervous tailor trying hard to get the suit finished in time. The third story sees Charlotte Rampling returning home after a stay in a mental hospital. Her brother, played superbly by the great professional, James Villiers, acts caring for his sister but has a sinister side that makes the audience question his loyalties. Anyway, Rampling sees her friend, Lucy, played by Britt Ekland, after taking some pills. Ekland persuades Rampling to run off with her and leave her brother behind. This story takes a series of twists and turns before reaching its disturbing conclusion. Rampling's performance as a young woman with a seemingly split personality is easily one of the best in the movie. The remainder of the movie takes place in the asylum and this constitutes the final story. Powell meets a seemingly calm rational doctor, played by the great Herbert Lom, one of my all-time favourite actors. Lom has created a series of mechanical figures, including one of himself. He tries persuading those around him that he can bring the figure to life but everyone thinks he's crazy. But could he be right? Watch and see. The linking story works so well due to the superb performance delivered by Robert Powell. His performance as a seemingly confident yet naive young doctor was genuinely believable and he held my attention in every scene he was in. Patrick Magee should not be forgotten either. His performance as the aging experienced doctor was believable because he was seen to have flaws that remind us all that experience is not something to be relied upon as a sole strength when dealing with tough challenges. Roy Ward Baker directs the movie and many of his styles are evident here. He makes excellent use of "A Night on Bald Mountain" to score the movie, ensuring it fits with the somewhat Gothic setting. His other choices of music have an orchestral Gothic style that ensure consistency and help build suspense and tension, something particularly evident in the final story. Baker makes excellent use of camera angles to hook the audience with something quirky or sinister, draw them in slowly and then deliver a sudden shock out of nowhere. These styles were also used on many of his other movies but it is here where it works best. The scripting is carefully put together so the movie distances itself from its four predecessors. The choice of using part of the linking story to act as the final story was a wise decision since it's actually better than the other three. Overall, ASYLUM is a must-see for fans of the Amicus anthologies, fans of other Amicus movies or fans of portmanteau horror movies. If my summary provides the movie with enough appeal in your eyes, check it out. You'll enjoy it!

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