The Killing Kind (1974)

Troubled and unstable Oedipal wreck sex offender Terry Lambert (an excellent and convincing performance by John Savage in an early lead role) gets released from prison after serving a two year sentence for gang rape he was forced to participate in and returns to the gloomy boarding house run by his doting and desperately lonely overbearing mother Thelma (superbly played with moving restraint and subtlety by Ann Southern). Terry develops an unhealthy fixation on comely, but naive aspiring model new boarder Lori Davis (a fine portrayal by Cindy Williams) and plots revenge on the folks responsible for sending him to jail. Director Curtis Harrington, working from a grimly compelling script by George Edwards and Tony Crechales, delivers an arrestingly stark, sad, and deeply creepy portrait of everyday madness, despair, denial, and the darker side of smothering motherhood that inevitably begets insanity and tragedy while doing his trademark expert job of creating and sustaining a bleak and seamy atmosphere that proves to be quite potent, intriguing, and ultimately heartbreaking as the depressing narrative unfolds towards a shattering bummer conclusion. Moreover, the uncomfortably incestuous and suffocating relationship between Terry and Thelma, a severely deviant and twisted sexuality, a few shocking moments of sudden brutal violence, and a dryly amusing sense of black humor further add to this picture's supremely unsettling edge. Savage and especially Southern do sterling work in their parts, with sturdy support from Luana Anders as snoopy and repressed librarian neighbor Louise, Ruth Roman as successful lawyer Rhea Benson, Sue Bernard as trampy rape victim Tina Moore, Marjorie Eaten as the doddery Mrs. Orland, and Peter Brocco as Louise's domineering crippled father. Mario Tosi's stylish cinematography makes neat occasional use of artful dissolves, slow motion, and freeze frames. Andrew Belling's haunting melancholy score does the moody trick. Highly recommended viewing for fans of Harrington's often offbeat and impressive work.

I'm kind of neutral on this one. Savage and Sothern have some pretty freaky chemistry going on throughout this movie. I spent the entire movie wanting to laugh, but had that Norman Bates feeling running up and down my spine. You honestly didn't know who to feel sorry for the entire movie -- including the audience. The downside - I expected more chemistry between the killer and the victims. As psychologically intense as the mother-son relationship was, the killer-victim stints left me dry. Technical merit I am going to leave out - I watched a low budget copy of a DVD with horrible sound and picture quality (It CAN'T be the original film quality I won't believe it!) For a psychological case study I give it a B, for a movie to kill an hour or 2 with C-.

It took me about a year to hunt down this obscure little flick, but after finally getting my hands on it, I can honestly say it was well worth the efforts. THE KILLING KIND is more than a horror film. It's a stylish, thought-provoking psycho-thriller that explores the mind of a very disturbed individual. John Savage(very impressive in an early starring role) plays Terry Lambert, a young man who is forced to participate in the brutal gang rape of a pretty young girl(Sue Bernard), then is sent to prison. Two years later, Savage is released and returns to the boardinghouse run by his loving, but overprotective mother, Thelma(the wonderful Ann Sothern). At first, Terry seems completelely adjusted and ready to put his life back in order, but he slowly becomes a madman, desperate for revenge and becomes involved in the terrifying deaths of three people. It's then up to his mother to turn her son in or protect him from the consequences that he will suffer for his actions. This is a spellbinding film that concentrates more on suspense and character development than supplying cheap thrills. THE KILLING KIND is definitely cult director Curtis Harrington's masterpiece, and the great cast does some of their finest work. The best performance is given by Ann Sothern who paints a touching portrait of a doting mother who is forced to confront the harsh realities of her son's true nature. At this stage in her career, Sothern was playing mostly character parts, but this is much more than a flashy character role. This particular role gives Sothern the opportunity to display a variety of emotions and she never misses a beat. Sothern is always excellent and certainly handles every role she plays with great style and skill, but this is truly the very best of her latter-day performances.

As sleazy and melodramatic as it all may sound, this is one of exploitation filmmaker Curtis Harrington's better flicks. John Savage(the closest thing we've ever come to another James Dean) is intense and believable every minute as the very disturbed young man, and Ann Sothern is also impressive in one of her more bizarre character parts as the boy's lonely mother who isn't all there herself. Ruth Roman plays Savage's "lousy lawyer", while Luana Anders(of DEMENTIA 13 fame) is the creepy, repressed librarian living next door who makes several unsuccessful attempts to seduce Savage. Cindy Williams, in her pre-LAVERNE AND SHIRLEY days, plays an attractive, but none-too-bright out-of-town girl who makes the dreaded mistake of renting a room in Savage and Sothern's home. It's all relatively low-key, and the finale is too dramatic for it's own good, but thankfully the movie never takes itself too seriously, and the cast, even the actors in the most minor roles, have a ball with it, making this flick a mini-classic of the early 1970's sex/murder/exploitation genre. The film was never released theatrically, but has had a fairly substantial audience thanks to home video.