of psychotic, violent behavior— and the local population makes it very clear that they will toler- ate no such interference from this “outsider.”
Director Newland never re- sorts to traditional “horror” tac- tics, yet the mounting sense of dread is ever palpable thanks to the sensitive performances throughout. Richard’s paranoia is unsettling enough, but the true horror of CRAWLSPACE is re- vealed as Albert and Alice real- ize, too late, what they’ve given up. Even without children, they’ve enjoyed many blessings in their lives (extended families and friendships), and they’ve been ir- revocably destroyed by their im- pulsive decision to keep and protect the one thing they felt
they never had. Though fre- quently compared (including on the DVD liner) to the subse- quent TV-movie favorite BAD RONALD, CRAWLSPACE is in a class by itself.
The DVD presentation is somewhat ratty and splicy at the seams (beginning and end, reel changes) and will not replicate the experience to which origi- nal viewers were treated—then again, those who discovered CRAWLSPACE on local late- night reruns will feel right at home. The mono soundtrack (including a Jerry Goldsmith score), thankfully, comes through quite efficiently. Extras number zero—but the film itself is the thing, and this release comes well recommended.
THE DEVIL’S DAUGHTER
1973, Wild Eye, DD-1.0, $14.99, 73m 20s, DVD-1 By Shane M. Dallmann
Wild Eye’s “TV Movie Terror Collection” continues with an all- star howler from Colin Higgins (author of HAROLD AND MAUDE and subsequently its screen- writer) and JAWS 2 director Jeannot Szwarc. THE DEVIL’S DAUGHTER is not to be confused with the same-titled American release of Michele Soavi’s THE SECT.
ROSEMARY’S BABY may not have been exactly new, but it had just hit television—and THE EX- ORCIST was preparing to incin- erate box-office records across the country. What better “sure
Belinda Montgomery’s plans (and glass figurines) are shattered when she discovers she was pledged to Satan as a child in THE DEVIL’S DAUGHTER.
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