Someone Behind the Door (1971)

As an actor, Charles Bronson was late developing into a European star and even later finding fame as a star in his native America. Ironically, it was after he became a recognisable face that his performances rapidly became less animated, less colourful, earning him the unfortunate nickname in some circles of Great Stone Face. Anyone coming to Someone Behind The Door (aka Two Minds For Murder) familiar with Bronson's later roles – especially his 70s and 80s American output – will be pleasantly surprised to find him giving a real performance here, a performance of some depth and nuance. As the amnesiac-on-the-run, he is required to be confused and frightened, with periodic mood swings from harmlessly docile to violently enraged. It's quite refreshing to see Bronson going through a greater range of emotions than usual – would you believe it, with the right role and director to coax him through it the man can actually act! No such questions hang over Anthony Perkins who, as usual, is a picture of urbane sinisterness, outwardly pleasant but inwardly a thoroughly evil piece of work. Perkins always makes a splendid villain and this film is no exception.Brain surgeon and brilliant mental analyst Laurence Jefferies (Anthony Perkins) is widely regarded as a genius in his field, but his love life is less than successful. His marriage to Frances (Jill Ireland) is in chaos: he dedicated to his work, she desperate to feel wanted and loved. Frances has been having a secret affair with a journalist, but unknown to her Laurence knows all about the betrayal and is plotting his own warped revenge scheme. All he needs to complete his evil plan is a scapegoat, someone to take the rap for the ruthless crime he has concocted. The arrival of an escaped mental patient (Charles Bronson), suffering from amnesia and possibly responsible for a savage sex attack, provides Laurence with just the opportunity he needs… Someone Behind The Door has about it the feel of a stage production, reminiscent of thrillers like Wait Until Dark, Rear Window and Bronson's own Rider On The Rain with its action restricted mainly to a single set (aside from a handful of exteriors). There's little direct action per se, certainly not the visceral gun battles/fist fights/car chases of later Bronson actioners, but this works in the film's favour since its thrills are built up more through the exchanges of dialogue and the accumulation of small details. The film suffers from a couple of longueurs, and its narrative relies heavily on twists and surprises (meaning there's not much scope for repeat viewings), but for what it is it's a very smooth, watchable and suspenseful piece which deserves a look. Not bad at all.

A man is brought to a hospital with a severe case of amnesia and neurosurgeon Laurence Jeffries takes it upon himself to help out the patient. He dismisses it as intoxication, and pretends to take him to the station. However he brings him back to his home, but the motivation for this is unclear, and everything he's doing to supposedly treat him is done in secrecy. The identity of the stranger is becoming clearer, but so are the doctor's true intentions as he begins to manipulate the situation. Confined, low-key low-budget French/Italian psychological drama with commendable performances by Charles Bronson and Anthony Perkins. The whole-set-up is like a stage show, were it lies heavily upon the expressively versatile performances and ambitiously novel material. The layer-bound premise is totally illogical, but strangely absorbing with its unforeseeable offbeat nature of offering up numerous surprises, and interestingly unlikely developments. However there are some questionable, teething problems involving the scheming, and its possible outcome. There's just too many cracks, to make it bullet proof that you just wonder if there was much thought put in behind it. Still there are elements that are smartly conceived, and this can be contributed to the manipulative tension (where the repressed anger, and violence is played out through a human tool) and mind-messing that director Nicolas Gessner (the man behind the superb 'The Little Girl Who Lives Down the Lane (1976)') ably works in. As well the believably committed turns of the two leads. Bronson and Perkins worked off each other magnificently. Perkins' cold, planned performance with Bronson's disorientated, assailable figure is sincerely pre-figured. There's no doubt this is one of Bronson's best acting turns. Jill Ireland is adequate in her small role. Gessner's sure-footed direction subtly paints a glum, intrusive puzzle with unique filming techniques that slowly strings you along to a powerfully bitter climax, which finally concludes on an inspired final shot of possible sickening regret. Sometimes it loses out by ponderously stretching it out too much with some raggedy editing, and another weak spot was the playful, but unremarkable misplaced music score by Georges Garvarentz. It just didn't add any sort of punch, or feel. Pierre Lhomme's slick cinematography is steadily framed.

Is it just me or did it seem like Charles Bronson was a serious, Academy Award-winning actor in this film? Maybe it is just me. But, most who've seen this flick will concede that it is a bit different from the usual Bronson fare, and that his acting was top-notch. The only thing hurting this movie is its slow pace and its somewhat convoluted plot. Other than that, it's a fairly decent movie. Appreciate the cinematography! 6/10

I really don't know how much money Charles Bronson used to make when he appeared in these overseas films, it must have been a nice chunk of change. This movie is hardly watchable. If you are a fan of the lead actors, you probably won't mind watching this once. Otherwise avoid this film at all costs.