Inn of the Damned (1975)

the audience applauded

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

I enjoyed the movie itself.Good original but sad story. Touched a not very exposed taboo.That is Female molestation of younger teenage girls briefly. The sound quality and lighting is not the best.Time for a remake in the digital era.

Read anything about "Inn of the Damned" and you'll doubtlessly come across a description of the way the movie was intended as a one-hour long episode of a TV series that was to begin with the director's earlier "Night of Fear". The TV show idea was scrapped when the ABC failed to pick it up, and so Bourke expanded his concept into an almost two hour long movie.Read any review of the movie, however, and you'll read about the movie's strange, unsuccessful melding of two genres: the western and the horror movie. What you WON'T read, however, is what a fantastic short horror movie was buried in "Inn of the Damned"'s almost two hour length. It features the fulfillment of the promise Bourke showed in "Night of Fear", with some genuinely shocking, disturbing, and nail-biting moments. Alas, these all come too late for those of us with short attention spans. The movie doesn't really try to mix the two genres; it starts as a tepid horror movie, has about an hour long preamble as a middling western, and then goes into full-on horror mode. The horror story could've been told in any time period.The movie jolts us back into its REAL story with a strange subplot about two young women who stay at the titular inn who hate each other, but the older has sapphic feelings for the younger. Some would say that this is just more bizarre preamble before the movie gets going again, but I see it as a fantastic beginning of the superior and worth the price of admission, final act. It supplies us with nudity and lesbianism, yes, but also a macabre subplot that comes to an even more macabre end. And so the end begins in earnest.I scoffed when I saw the "Hitchcockian" quote on the video cover. I was wrong. The master would have been proud of the movie's suspenseful, shocking and disturbing final moments. It's just too bad you have to wait so late in the movie to get there.

It is getting a bit dated now and our view of films changes over time but the first time I ever saw this film I could NOT believe it had been made in Australia - I didn't think we were that good. I first saw it 30 years ago but still have a copy and am watching it again. There is more sex than I remembered - how odd - but there is some good acting and great scenery of paddocks shot around Camden. These are probably housing estates now.I found the punch line quite moving and still do. The acting is good and quite professional. On the whole, it is still a scary movie without the use of cgi or special effects.

The Syme home video publicity claims this film is in the tradition of a Hitchcock suspense thriller but it is played more as a spaghetti western with the typical opening hauntingly choral musical score, and sadly Terry Bourke's direction is not in the same league. The tale revolves around the mysterious vanishing of guests from a hostel deep in the Australian rain forests of Gippsland, Victoria in 1896, run by the Straulles, an Austrian couple. Unfortunately the owners of this wayside inn are simply not as sinisterly menacing as Anthony Perkins' Norman Bates in Hitchcock's classic, `Psycho'. Originally an outstanding stage actress, Dame Judith Anderson (Caroline Straulle, who is obviously fussy about the social standing of her guests/victims, bemusingly objecting to a whore) gave a more convincing performance as the chillingly malicious housekeeper Mrs Danvers in Hitchcock's 1940 version of Daphne Du Maurier's `Rebecca', for which she was deservedly nominated an Oscar. Her co-star (Joseph Furst) prior to this, seems to have made a career out of playing caricature mad Austrians, as in the Bond movie `Diamonds Are Forever'. There is an attempt at an ominous moodiness in the guesthouse but it is hardly developed to any great level and the various murders are weakly staged, accompanied by Bob Young's strangely clonkingly unsuspenseful music, which at other times can be jauntily, and even eerily, melodic. One wonders why the victims didn't just simply get out of bed rather than screaming hysterically whilst waiting to be crushed by the slowly descending canopy? At one point the more successful mixture of western and gothic horror in `The Beguiled', with Clint Eastwood, is hinted at when its sexual tensions are mirrored with the depiction of an illicit and exploitative relationship between a stepmother (Diana Dangerfield) and her younger charge (Carla Hoogeveen; `Class of ‘74').Why the Straulles sought revenge on their guests for the abduction of their two children a dozen years earlier by a ghoulish escaped convict, or why they believed the two pictures they kept locked in a room were really their `liebchen' is not satisfactorily explained. Nor is any reason given as to why disposing of the bodies in the well didn't contaminate the water supply and mercifully kill off the psychotic couple. The coachman, Biscayne (Robert Quilter), who brings unwitting visitors to the hostel, is wanted for murder and also happens to be a horse thief which provides the opportunity to follow a western style manhunt when he is pursued by an American bounty hunter and maverick, Cal Kincaid (Alex Cord). Real horror and terror are missing, leaving only puzzlement as to what else this could have been about, as it certainly failed me on the obvious levels. The actors have some poor lines to work with (after a botched murder attempt Lazar Straulle lamely utters `Die, die, why don't you die?') and they are challenged to do an adequate job, as we are to enjoy it, never finding our sympathies drawn for any of the characters. It maybe that the audiences of 1974 appreciated this style of film making more and its female nudity in particular, although the naked fruit feast scenes are laughable rather than erotic, but unfortunately my appetite for this morsel has been jaded by too many slicker Hollywood movies.Although the horror may not be pronounced, Brian Probyn's cinematography captures a certain malevolence as well as promoting the diversity of the region's arresting wilderness and lush rain forests, and his work can be further seen in `Far East', John Duigan's colourful remake of `Casablanca'. John Meillon as a bumbling petty thief also gives a brief taste of his future performance as Paul Hogan's amiable sidekick, Walter Reilly in the first two `Crocodile Dundee' movies.Whilst it is hard to recommend this feature for entertainment value alone it does have appeal for those with a curious interest in the history of Australian film making and its actors. I used the trackdown service from All About Movies for a secondhand copy of this video, although ScreenSound Australia also holds preservation material.