Peter Collinson is one of the lost, potentially great cult British directors who never was, for various reasons (principally his death at a young age), and while Fright is a flawed piece of work, you can see and feel the influence it had on 1970’s exploitation cinema, particularly in Britain.
Collinson is best known for 1969’s legendary crime caper The Italian Job, but that is a picture which most people primarily associate with Michael Caine as a key cultural touchstone of the Swinging Sixties, not to mention the iconic Mini Coopers. Unlike other pictures of the period, 2001: A Space Odyssey, say, which first and foremost people would associate with Stanley Kubrick, Peter Collinson was a mere component of The Italian Job’s success in the eyes of many and found his talent as a helmsman overshadowed by the colour and style of that picture. Had things turned in a different direction, Collinson’s follow up might have ended up more anticipated as well as venerated.
As befits someone who was prone to experimentation, Collinson completely changes tack with Fright, a picture about as distant from the Europe-hopping caper of The Italian Job as you could probably imagine. Susan George as a teenage babysitter looking after the young child of middle class couple George Cole and Honor Blackman in a big, old fashioned house, who finds herself terrified and menaced by Ian Bannen’s escaped psychopath. Collinson probably didn’t realise it at the time but Fright is, unexpected, a British forerunner of the American slasher sub-genre in the broader horror context that would be mainstreamed and popularised by Halloween at the end of the same decade, before spawning a legion of imitators and sequels that would define 80’s horror.
Why, in that case, is Fright not better known within both the annals of cult, horror or British cinema?
Blu-Ray Review: Fright (1971)Read More »