Curtains

Classic! Synapse deliveres yet another top-flight product. John Vernon Lives! (Yes, I'm aware of the excessive exclamation points, but hey!)And Then There Were None with a dwindling dramatis personae of aspiring actresses, Canadian cult favorite Curtains seems to actively benefit from what might best be described as its schizoid production schedule. Partway through the shoot, cinematographer turned director Richard Ciupka was given the boot by producer Peter R. Simpson, who then ordered extensive rewrites and reshoots, involving a different set of crew members, and entailing major changes to the architecture of the story as well as its tone. This was filmed in 1980, not released until 1983. As a result, Curtains vacillates in approach, sometimes erratically, between Hitchcockian psychological thriller and early-‘80s-vintage slasher movie, albeit one that’s relatively light on the splashy displays of gore found in Simpson’s earlier Prom Night. The upshot of the film’s erratic shifts in mood and morphology is a free-floating atmosphere of uncertainty, deception, and delusion akin to a fever dream or a nightmare.Curtains opens with a suitably theatrical bit of psychodramatic psych-out that’s worthy of Brian De Palma. Samantha Sherwood (Samantha Eggar, The Collector, The Brood) histrionically accuses an unseen lover of infidelity, pulls out a pistol, and lets him have it. Cut to a theater balcony where, standing next to a burning spotlight, impresario Jonathan Stryker (John Vernon, best known as Dean Wormer in Animal House and the depraved warden in the Linda Blair WIP classic, Chained Heat) opines with stentorian conviction: “I don’t believe it!” Samantha, as it happens, is actually auditioning for the lead in Stryker’s new film, Audra, though he clearly doesn’t believe she’s got the chops for it. So, in an inspired extension of the Stanislavsky method, Samantha has herself committed to an insane asylum in order to immerse herself in the role. You can be sure that the opening scene comes back into play before film’s end.Playful oscillations between playacting and reality recur throughout subsequent scenes, like the one that toys with the conventions of the slasher genre to amusing effect: Alone in her apartment, an actress named Amanda Teuther (Deborah Burgess) sips wine and peruses a script, while outside in the darkness a shadowy stalker dons a silk-stocking mask and breaks in. Of course, it all turns out to be nothing more than some rather uninspired erotic role-playing, but then the scene further blurs boundaries by throwing in a dream sequence that puts Amanda in the clutches of a particularly needy sad-faced doll. Such an intricate Chinese-puzzle-box structure lends Curtains unexpected charm and unpredictability, whether or not it came about intentionally or accumulated by mere happenstance during the film’s prolonged production history.All this would be enough to recommend Curtains to genre aficionados. But there are other reasons to savor the film’s haphazard appeal. Factor in a strong cast: Besides veterans Eggar and Vernon, there are familiar genre faces like Lesleh Donaldson (Happy Birthday to Me) and Lynne Griffin (Black Christmas), as well as bit parts for Michael Wincott (perhaps best known for Strange Days and Basquiat) and the late Maury Chaykin. Or consider the truly great hag mask the killer wears. And then there are several standout set pieces: the infamous ice-skating sequence, a scene that tinkers around with the shower scene from Psycho (complete with a particularly nasty surprise twist), and another set in an empty prop shed that’s so well-stocked with dangling mannequin parts as to suggest the influence of Mario Bava’s Blood and Black LaceImage/Sound:Synapse has done a great job cleaning up Curtains for its Blu-ray debut. Picture and sound quality on this 1080p/AVC-encoded disc are predictably superior to previous subpar home-video releases. Color density and saturation are noticeably richer, enhancing an arresting color palette dominated by snowy whites, eerie blues, and neon pinks. Fine details like the striking Art Deco décor in Stryker’s weekend retreat register more vividly. Blacks are satisfyingly solid, and grain levels look suitably cinematic. The Master Audio surround mix, created especially for this release, improves on the original mono by dispersing the portentous score and some clever off-screen sound effects across the peripheral channels.Extras:The audio commentary with actresses Lesleh Donaldson and Lynne Griffin makes for a lively listen, conveying lots of information about the Canadian film industry’s production methods in the late ‘70s and early ‘80s (a must for Canuxploitation fans), concentrating in particular on Curtains’s torturous production history and lengthy reshoots. The alternate audio track runs about an hour, providing additional perspective from producer Peter R. Simpson and actress Samantha Eggar. Rather than being a true commentary, the track consists of a pair of telephone interviews that have been stitched together. Simpson drops some interesting tidbits of trivia, especially about Shannon Tweed’s role as a body double in a scene that was ultimately never used (Dang!), while Eggar provides more of a career overview, having little to say about a film she obviously cares for very little. “The Ultimate Nightmare” is a solid making-of doc with contributions from cast and crew members including composer Paul Zasa and “Act I” director Richard Ciupka. Ciupka is also the focus of a vintage featurette that overviews his career as cinematographer for the likes of Louis Malle and offers fascinating glimpses at some of the location shooting for Curtains.A slasher for adults, by adults.

Early 80's slasher film that never get the respect it deserved, probably because of its troubled production history (It started filming in 1980, but two years of reshoots caused the director, Richard Ciupka, to take the pseudonym "Jonathan Stryker", which just happens to be the name of the main character in this film, giving the whole viewing experience a "film-within-a-film" feel). In the film, conceited and abusive film director Jonathan Stryker (John Vernon; CHAINED HEAT - 1983) has to shelve his latest film, AUDRA, when leading lady Samantha Sherwood (Samantha Eggar; THE BROOD - 1979) suffers a mental breakdown (she tries to stab Jonathan with a letter opener in the doctor's office) and is led away in a straitjacket. It all turns out to be a grand performance by Samantha, since the title role of Audra is a madwoman and Samantha gets herself committed, all in the name of "research". Jonathan is in on the ruse, but Dr. Pendleton (Calvin Butler) thinks Samantha is actually insane. The more time Samantha spends in the loony bin with all the female crazies (the screamers, the laughers and even serial ticklers!), the more Samantha seems to go actually mad, so much so that Jonathan decides to keep Samantha in the institution and hold an audition at his mansion with six actresses battling for the role of Audra. What Jonathan doesn't count on is Samantha escaping from the asylum (with the help of some unseen female accomplice) and she vows to get the role back by any means possible. I guess you know what that means: The other actresses auditioning for the role, diva Brooke Parsons (Linda Thorson; HALF PAST DEAD - 2002); ballet dancer Laurian Summers (Anne Ditchburn); stand-up comedienne Patti O'Connor (Lynne Griffin; BLACK CHRISTMAS - 1974); musician Tara Demillo (Sandra Warren; TERROR TRAIN - 1980); professional ice skater Christie Burns (Lesleh Donaldson; FUNERAL HOME - 1980); and Amanda Teuther (Deborah Burgess), begin to meet unwanted (and sometimes gory) demises. But is Samantha the one responsible? Amanda (who likes to play elaborate rape fantasies with her boyfriend, Peter [Booth Savage], when he breaks into her apartment with a stocking over his head and assaults her on her bed while she feigns disgust) never makes it to the audition, as she is viciously stabbed in her own apartment by someone wearing an old hag mask (this is after Amanda has a very vivid death dream about a creepy toy doll, which makes an appearance at two other murders). The other five actresses do make it to Jonathan's mansion, where he introduces them to his assistant Matthew (Michael Wincott; METRO - 1997) and Samantha shows up to tell Jonathan and the other actresses that she is Audra and everyone else doesn't stand a chance. Jonathan disagrees and it's not long before the other actresses begin dying, but what is the connection with the creepy doll? CURTAINS has its share of atmospheric sequences and shocking deaths. Director Richard Ciupka (DEAD END - 1999) and screenwriter Robert Guza Jr, (who wrote the story to PROM NIGHT - 1980) nearly have this film achieve classic status based solely on the death of Christie Burns, who is ice-skating on a frozen pond to some cheesy love ballad on her radio, when the music suddenly stops and she finds the creepy doll buried in the snow. The killer, dressed all in black (including ice skates!) and wearing the old hag mask, skates behind Christie and attacks her with a scythe, chasing her into the woods and eventually killing her (Brooke finds Christie's decapitated head in her toilet later in the film!). If the rest of the film could maintain this intensity and inventive camerawork, we might be mentioning it in the same breath with HALLOWEEN (1978) and FRIDAY THE 13TH (1980). As it stands, CURTAINS is a well acted, if very fractured (especially the sudden disappearance of Matthew and the non-sensical ending), slasher film that delivers the creepy goods. It's not particularly bloody, but it doesn't need to be. That doll is still sending shivers down my spine! Canadian staple Maury Chaykin (THE VINDICATOR - 1986) puts in a cameo as Brooke's agent. Originally released on VHS by Vestron Video and not available on DVD except as part of the four film THE MIDNIGHT HORROR COLLECTION compilation from Echo Bridge Home Entertainment, but buyer beware, because the print used is a VHS port that looks worse than the Vestron Video version. Finally released on DVD & Blu-Ray in a remastered widescreen transfer from Synapse Films. This is the one you want. Rated R.

I bought this for "Bloodrage," the seminal 42nd Street Grindhouse extravaganza, as to date, this release is the ONLY way to acquire this incredible piece of Grindhouse sleaze. To be honest, the picture quality is pretty wretched, especially by todays standards. But the strictly VHS quality of all the material on this disc, only adds to the retro experience. Arranged like an actual night at a seedy Times Square movie theater, from back in the Golden Days, where you would put down $6 and sit back for hours of sleazy entertainment. The dvd starts out with a short film, seemingly cut down from a hardcore feature from the late 70's, and features grindhouse trailers and animated shorts, before the first feature, "Curtains," begins. "Bloodrage" is the final film, indicating that it is really the main feature. The movie "Curtains" was a strange and inappropriate choice, as it is not really a "Grindhouse" feature at all, and features none of the exploitation elements of the day. For those looking to buy a copy of "Curtains," do NOT buy this dvd, as the Synapse release has been restored in hi def. The copy on this dvd is poor. But in spite of the poor picture quality, I give this one a high rating for the way it is arranged, and for all the ultra rare material included. Until that much anticipated Bluray restoration of Joseph Zito's epic sleazefest "Bloodrage," this is the only way to get it, other than that old VHS tape that goes for over $100...

Second time round for me and I was left feeling extremely disappointed. People will get fed up with me mentioning this, but in 2 scenes the same actress is seen topless or with a breast out and because of the awful camerawork and lighting we see nothing. Scene 1, in the hot tub, she has her top removed but we can't see a thing thanks to the poor positioning of the cameraman and the damn steam. Scene 2, a fellow actress exposes the same woman's left breast but again because of the cameraman we see very little! I've said it once, and I will say it again, if you're not going to show it don't film it!Aside from that a half decent film, but by no means a classic slasher from the era due to the lack of gore and T&A. Nice to see Linda Thorsen though. Would I watch it again? Probably not

CONTAINS SPOILERS: It makes little sense why a movie would have a beginning and an ending but a very hollow middle act and this is what lets down an otherwise enjoyable slasher movie. Curtains starts when a theatre director played by John Vernon and his wife pretend that she is insane in order for her to research her part properly. Vernon turns on his wife and she finds that she has now really been committed. And so Curtains gets off to a great pacy start and a good storyline. However fatally the movie moves on without care for us, the viewer. The next scene and she has escaped and is now out for revenge on her husband- Really, so how did this all come about?The second act involves Vernon inviting 6 actresses up to his secluded villa where they will perform to see who gets the job. However the wife has returned and someone is killing off the actresses- however it may not be who you think?The acting is very good for what it is and Vernon as usual is good. Some scenes finish with a closed curtain which is a neat idea and the final quarter of an hour are very good. Gorehounds will be disappointed as there is no blood in this one. All in all Curtains is a good movie, certainly rewatchable, but our characters and storyline needed to be padded out a bit more. There are some outstanding scenes though, the ice skating one being a particular standout.Finally the Region 1 is the only way to go with this movie, picture wise the film has been restored to 2k so you really need to forget the Region 2 version, and anyway currently on this site, the R1 is bizarrely the cheaper of the two. There's tons of extras on here too, audio commentaries (though not with the director) and a making of featurette.

Under-rated slasher from the 80s. The BR has great picture quality. Essential for 80s slasher fans. Film 7.5/10 BR 8.5/10

Perfect thankyou

Mit dem Titel bin ich nicht ganz glücklich, aber der Film selbst hat sehr starke Aspekte, nicht zuletzt die großartigen Schauspielerinnen und den bösen Regisseur, der eigentlich als Übertäter lange in Frage kam! Natürlich müsste der Film heute ab 16 sein und er ist sehenswert!!!