I'm a great admirer of director Pete Walker and I personally feel that most of his horror films unquestionably belong to the absolute best independent British productions ever made! Titles like "Frightmare", "Schizo" and "House of Whipcord" are downright GREAT genre films with genuinely shocking plot-twists and an almost natural aversion to political correctness. Back in 1971, Walker made his very first attempt to do horror with "Die Screaming Marianne" and, to my own regret; it wasn't a very good one. The story largely feels like a failed crossover between a crime-thriller and the Italian giallo (which was also hugely popular in that era) and it's still too similar to the silly & light-headed sex comedies that Walker used to make previously, like "School for Sex" or "The Four Dimensions of Greta". The ravishing star Susan George plays the headstrong girl Marianne who flees from her parental mansion in Portugal and hooks up with a duo of typically British friends. Her infamous father (a former corrupt judge) and her wicked stepsister need her back in Portugal urgently because Marianne will soon turn 21 years old, and then she has access to her deceased mother's fortune as well as the dirty family secrets. This is a very basic description of the film's story and there are loads of unimportant sub plots and incomprehensible twists that aren't really worth mentioning. The screenplay is stunningly incoherent and abruptly jumps from one sequence to another without even trying to make sense. New characters are introduced swiftly and they travel back and forth between Portugal and London like it's an ordinary day trip. And yet, despite all its flaws, "Die Screaming Marianne" surely has potential and it's interesting viewing for Pete Walker fans, as he already approaches some of the topics that'll become his hobbyhorses in later films. The judge character played by Leo Genn, for example, is a typically corrupt and perverted figure that smuggles away all his dirty acts and the stepsister is a greedy bitch who'd do anything for power and money. Other positive elements include some nice set pieces, a catchy title song and a beautifully staged scene inside a sauna! Susanne George is magnificent but her two male counterparts are odd-looking idiots. Like another reviewer already pointed out, this film becomes much more interesting if you watch it with Walker's audio commentary on, as he amplifies many bits and pieces that are shown poorly in the actual film.
31 Reviews
Die Screaming, Marianne
Scarecrow-886 January 2007
Warning: Spoilers
Strange behavior is on the menu for this frustratingly slow-moving "thriller" about a Swiss bank account everyone needs the numbers to so that what's inside can be retrieved. Marianne(Susan George, dressed evocatively in skimpy outfits the entire film)is only one of two people who know it..the other, her mother, is dead. Marianne's father, The Judge(Leo Genn)needs notes that are scathing enough to possibly send him to jail. The film offers a distinct possibility of The Judge being the very one who murdered Marianne's mother. Hildegarde(Judy Huxtable)is slowly going mad and wants the cash within that bank account. It's her inner hatred for Marianne(she's papa's little girl)that drives her to find some way of getting those numbers to open it. Sebastian(Christopher Sandford)gets in the mix as he started a relationship(that didn't last because he bored Marianne)with Marianne..but we come to find out he had already been involved with Hildegarde once before. He will make a deal with the devil, Hildegarde, to bring Marianne, who had ran away from home out of fear for her life, back to The Judge so that brute force might extract those numbers from her mouth. The unfortunate victim in all this isn't Marianne as much as her lover, Eli(Barry Evans)who comes with her only to face possible danger not just from Hildegarde, but even from his own friend Sebastian. The obsession for the money is at the heart of the film which takes way too long to get going. What made me restless was the way the characters just didn't get on with it. We spend so much time watching them skirting the issue of THE important confrontation to get those numbers from Marianne's brain. I think Pete Walker wants to try and evade as much suspense as possible which hurts this film because I, for one, just didn't care for any of them enough. I think it comes down to George in the lead. She spends most of this film simply blank without a hint of expression. I wanted to beat out her thoughts into words myself so she can just say what she damn well feels. Hildegarde wants the money so bad enough it takes her damn well a long time to do anything. She tries manipulation using Sebastian as a means to snuff out the numbers, but shouldn't she know after such a length of Marianne's absence that wouldn't work? The film limply moves along at a turtle's pace and by the time any real action occurs I was so uninvolved to care.
Sorry Pete.
BA_Harrison8 March 2013
I'm a big fan of Pete Walker's exploitative style of horror and Susan George rates very highly on my '70s crumpet-ometer', so I was pretty stoked at the prospect of finally watching 'Die Screaming, Marianne', which sees Walker directing the lovely actress as a free-spirited young woman on the run from those who will stop at nothing to get their hands on the contents of a swiss bank account for which only she holds the numbers.
Unfortunately, this early attempt by the director to break free from his sexploitation roots sees him struggling to find his feet, the plot meandering all over the place, the pacing dreadfully slow, with very little of the bolder elements that would make his later films so much fun; in fact, if it wasn't for George, who looks absolutely stunning throughout, go-go dancing in a bikini during the opening credits, modelling some very short dresses, relaxing in a bubble bath (curse those bubbles!), cavorting in her underwear, and wearing just a towel while trapped in a sauna (Die Steaming, Marianne?), 'Die Screaming, Marianne' would qualify as a total snoozeathon.
3.5 out of 10, generously rounded up to 4 for IMDb.
Unfortunately, this early attempt by the director to break free from his sexploitation roots sees him struggling to find his feet, the plot meandering all over the place, the pacing dreadfully slow, with very little of the bolder elements that would make his later films so much fun; in fact, if it wasn't for George, who looks absolutely stunning throughout, go-go dancing in a bikini during the opening credits, modelling some very short dresses, relaxing in a bubble bath (curse those bubbles!), cavorting in her underwear, and wearing just a towel while trapped in a sauna (Die Steaming, Marianne?), 'Die Screaming, Marianne' would qualify as a total snoozeathon.
3.5 out of 10, generously rounded up to 4 for IMDb.
Forget the film, listen to the audio commentary!
world_of_weird5 December 2005
DIE SCREAMING MARIANNE is a standard-issue potboiler which is high on 'exotic' locations but low on excitement. Susan George is good to look at, as always, but she can't save boredom from setting in or do much to salvage the dreadful screenplay. Veteran exploitations Pete Walker didn't hit his stride as a truly effective film-maker until he began directing horror movies, bringing sleaze and gore to suburbia, so quite what this tedious mess is doing in Anchor Bay's otherwise excellent Pete Walker boxed set is a mystery to me. THE FLESH AND BLOOD SHOW or SCHIZO would have been more welcome inclusions, but Walker made films for a wide variety of companies and distributors, so maybe some rights complications prevented their inclusion. Having said that, the title sequence is justly celebrated, and Walker offers an amusing and illuminating audio commentary on the film's troubled history (at one point he cancelled the production, and the location filming in Portugal was hampered by personality clashes) and his admiration for the lovely George is touchingly clear throughout. In fact, it's a lot more entertaining than the film itself! Kenneth Kendel, Barry Evans and Anthony Sharpe offer effective support in smallish roles.
Die Yawning Marianne!
chris-251211 July 2006
If there was ever a genre of horror dedicated to inflicting obscene and brutal quantities of boredom onto the audience, then Die Screaming, Marianne would be its keynote work. I heard so much about how brutal Pete Walker movies were and everyone was right. This movie is brutal. I didn't even realize Susan George was the lead until other posts pointed it out in this forum. Basically if you like watching Susan driving around, walking around, renting a house, driving around some more, talking aimlessly, then driving around, and then... Well you get the picture. A completely boring and flat film. It should have been called Die SLEEPING Marianne! It makes Andy Warhol's Eat feel like a cross between Fukasawa's Battle Royal and De Bont's Speed. Unbelievably dull.
She's a go-go.
lost-in-limbo13 October 2007
Go-go dancer Marianne is fleeing her father 'The Judge' and lethal step-sister from their Portugal seaside mansion, as when she turns 21 she'll inherited from her deceased mother a fortune in cash, and some discriminating evidence which could put away her father. Wanting this evidence he tracks her down, but her stepsister has her eyes on the money. After constantly being on the run, she decides to head back home.
After reading all the middling things to below-par opinions about this Pete Walker film, I just couldn't help myself and that dazzling figure of the skilfully talented actress Susan George was the main reason for taking the dip. I didn't care. I'm new to Walker's work, and maybe this psycho-thriller wasn't a good choice for my second film (the first being "The Comeback"), but it was an okay time-waster. I use okay lightly though, because even with the lovely Susan George and her always wilful and compassionate portrayals. No she just wasn't a sexpot. Still there are gaping problems. She does look quite lost in the picture, but the support roles of the delightful Barry Evans and sly Christopher Sandford seemed even more dazed. Hell everyone should be! What got here was a salty, and for most part lifelessly talky lets chuck everything, but the kitchen sink psychological melodrama of greed and family betrayal. Walker's direction is quite forward, but rough around the edges. After letting the film really kick off, he seems to lose out to the film's sluggish and lounging pace where the characters really don't get up too much and take their sweet time to execute their obscure plans. The choppy, and flabby mid-section really spells out the screenplay's intentions, and elaborate twists. Gladly we have George to watch, because it does become a maze of incoherent sub-plots. Eventually the shifty air, is broken up at a last ditch attempt (and not terribly successful) of heart-racing, and random thrills. Nonetheless Walker gets across one or two effective, suspenseful set-pieces, despite not sustaining it for long periods. Cyril Ornadel's strikingly haunting, uncanny score swings with the era, and Norman Langley's finely featured cinematography stands out with its kinetic flourishes and beautiful scope of the Portugal locations. Lending to film's greatly hypnotic edge was Leo Genn's fascinatingly humid and perverted performance as 'The Judge' and Judy Huxtable's seductively titular psychotic half-sister Hildegarde. Kenneth Hendel's subtle, moody support part is well delivered.
Walker shows pockets of promise and the cast complement with solid acting, but Murray Smith's confusingly messy and languid screenplay brings it down with a thud.
After reading all the middling things to below-par opinions about this Pete Walker film, I just couldn't help myself and that dazzling figure of the skilfully talented actress Susan George was the main reason for taking the dip. I didn't care. I'm new to Walker's work, and maybe this psycho-thriller wasn't a good choice for my second film (the first being "The Comeback"), but it was an okay time-waster. I use okay lightly though, because even with the lovely Susan George and her always wilful and compassionate portrayals. No she just wasn't a sexpot. Still there are gaping problems. She does look quite lost in the picture, but the support roles of the delightful Barry Evans and sly Christopher Sandford seemed even more dazed. Hell everyone should be! What got here was a salty, and for most part lifelessly talky lets chuck everything, but the kitchen sink psychological melodrama of greed and family betrayal. Walker's direction is quite forward, but rough around the edges. After letting the film really kick off, he seems to lose out to the film's sluggish and lounging pace where the characters really don't get up too much and take their sweet time to execute their obscure plans. The choppy, and flabby mid-section really spells out the screenplay's intentions, and elaborate twists. Gladly we have George to watch, because it does become a maze of incoherent sub-plots. Eventually the shifty air, is broken up at a last ditch attempt (and not terribly successful) of heart-racing, and random thrills. Nonetheless Walker gets across one or two effective, suspenseful set-pieces, despite not sustaining it for long periods. Cyril Ornadel's strikingly haunting, uncanny score swings with the era, and Norman Langley's finely featured cinematography stands out with its kinetic flourishes and beautiful scope of the Portugal locations. Lending to film's greatly hypnotic edge was Leo Genn's fascinatingly humid and perverted performance as 'The Judge' and Judy Huxtable's seductively titular psychotic half-sister Hildegarde. Kenneth Hendel's subtle, moody support part is well delivered.
Walker shows pockets of promise and the cast complement with solid acting, but Murray Smith's confusingly messy and languid screenplay brings it down with a thud.
Boring even with Susan George all over it.
Year288927 March 2002
Somehow this film manages to be boring as hell even with the lovely Susan George all over it, and in her prime too.
This disjointed relic from British Cinema's Bronze Age features George as a bonne viveuse who is keeping her distance from a dis-functional family which threaten to unravel her hopes of a normal romantic life, and all because she possesses within her mind the secret swiss bank account number which contains her inheritance, which will be entirely her's when she reaches the age of 21. Various losers try to get her to come across with the goods and they certainly take their time with it. And for some odd reason Maryanne tags along with their schemes right up till the last minute even though she knows who she's dealing with. It's kind of confusing.
There is a cheesy song about Maryanne at the end, and the opening credits are rather dated, with Ms. George doing her best go-go dancer routine.
This disjointed relic from British Cinema's Bronze Age features George as a bonne viveuse who is keeping her distance from a dis-functional family which threaten to unravel her hopes of a normal romantic life, and all because she possesses within her mind the secret swiss bank account number which contains her inheritance, which will be entirely her's when she reaches the age of 21. Various losers try to get her to come across with the goods and they certainly take their time with it. And for some odd reason Maryanne tags along with their schemes right up till the last minute even though she knows who she's dealing with. It's kind of confusing.
There is a cheesy song about Maryanne at the end, and the opening credits are rather dated, with Ms. George doing her best go-go dancer routine.
"It isn't that I have through that incest is a crime or not".
morrison-dylan-fan28 November 2012
Warning: Spoilers
With having become keen in seeing more films by Pete Walker,thanks to his light hearted,sadly forgotten Sex Comedy Tiffany Jones,and also being very interested in catching a glimpse of Susan George for the very first time,I decided to go for a "2 for the price of 1" deal,by taking a look at a collaboration of their's,and finding out how Marianne is made to die screaming.
The plot:
Running away from her family villa in Portugal,due to gangster's being after her,who are desperate to get hold of bank account details that only she has been told about from her late mum,Marianne McDonald bumps into passing driver Sebastian Smith,who tells Marianne the he will make sure that she is safe,by taking McDonald to live with him in London.
A few days/weeks later:
Having spent a period of time attempting to build a connection between himself and Marianne,Sebastian gives McDonald the rather surprising news,that due to feeling a need of wanting to know that she will always be "safe",Smith has decided to arrange for both of them to get married to each other today!.
Feeling anxious about Sebastian's "kind" offer,Marianne smartly uses the appearance of Smith's friend Eli Frome at the wedding as a way to ruin Sebastian's marriage plans,as McDonald begins to fear that the people who were set to do anything to get the bank account details out of her in Portugal are now getting closer to her than ever before.
View on the film:
For the first half an hour of the movie,screenwriter Murray Smith struggles to strike a cohesive balance with the (initially) underlying mystery-Thriller elements and the teen Drama-style sections of the movie,with the "wedding games" between Sebastian and Marianne feeling completely disconnected to the events that take place in the second half of the film.
Happily,as Murray quickly makes a pretty thin excuse for the character's all to go to Portugal,the teen Drama elements are trimmed away, and replaced by the terrific mystery-Thriller section of the plot being wonderfully pushed right to the front,with Murray showing Marianne's terror to gradually increase,as McDonald begins to feel that she is getting pulled back into the web of death and double- crossing that Marianne desperately wants to escape from.
Shooting the film in the stark Portugal sun light,director Pete Walker impressively uses the strongest parts in Murray Smith's likable screenplay to create the foundations for his future Horror work,with Walker showing a female character to be far deadlier and smarter than the male,and also uses the nickname of McDonal's dad ("The Judge") to show how members of the ruling elite want to use all of their powers to crush everyone underneath.Working closely with the fantastic editing of Tristam Cones,and a great,quick-thinking performance from the very pretty Susan George,Walker cleverly uses spilt-screens and whip pans to show the desperation of the character's to force out the bank account details from Marianne,and also does well in hiding the films low budget,by setting the ending around the ancient buildings of Portugal,that give the movie a tremendous,chilling atmosphere,as the dying screams of Marianne start to echo round the film.
The plot:
Running away from her family villa in Portugal,due to gangster's being after her,who are desperate to get hold of bank account details that only she has been told about from her late mum,Marianne McDonald bumps into passing driver Sebastian Smith,who tells Marianne the he will make sure that she is safe,by taking McDonald to live with him in London.
A few days/weeks later:
Having spent a period of time attempting to build a connection between himself and Marianne,Sebastian gives McDonald the rather surprising news,that due to feeling a need of wanting to know that she will always be "safe",Smith has decided to arrange for both of them to get married to each other today!.
Feeling anxious about Sebastian's "kind" offer,Marianne smartly uses the appearance of Smith's friend Eli Frome at the wedding as a way to ruin Sebastian's marriage plans,as McDonald begins to fear that the people who were set to do anything to get the bank account details out of her in Portugal are now getting closer to her than ever before.
View on the film:
For the first half an hour of the movie,screenwriter Murray Smith struggles to strike a cohesive balance with the (initially) underlying mystery-Thriller elements and the teen Drama-style sections of the movie,with the "wedding games" between Sebastian and Marianne feeling completely disconnected to the events that take place in the second half of the film.
Happily,as Murray quickly makes a pretty thin excuse for the character's all to go to Portugal,the teen Drama elements are trimmed away, and replaced by the terrific mystery-Thriller section of the plot being wonderfully pushed right to the front,with Murray showing Marianne's terror to gradually increase,as McDonald begins to feel that she is getting pulled back into the web of death and double- crossing that Marianne desperately wants to escape from.
Shooting the film in the stark Portugal sun light,director Pete Walker impressively uses the strongest parts in Murray Smith's likable screenplay to create the foundations for his future Horror work,with Walker showing a female character to be far deadlier and smarter than the male,and also uses the nickname of McDonal's dad ("The Judge") to show how members of the ruling elite want to use all of their powers to crush everyone underneath.Working closely with the fantastic editing of Tristam Cones,and a great,quick-thinking performance from the very pretty Susan George,Walker cleverly uses spilt-screens and whip pans to show the desperation of the character's to force out the bank account details from Marianne,and also does well in hiding the films low budget,by setting the ending around the ancient buildings of Portugal,that give the movie a tremendous,chilling atmosphere,as the dying screams of Marianne start to echo round the film.
Not much to recommend here!
sanzar8 March 2001
Pic is routine in all respects and a real timewaster! Marketed as a horror film, it's nothing more than a boring tale of a dysfunctional family trying to lay their mitts on a numbered Swiss Bank account containing incriminating documents, along with a sizeable amount of cash. Poor Marianne is about to inherit this stash on her 21st birthday, but her father and sister want to grab it from her. Nothing horrific (nor even interesting) here.
The cast is decidedly drab and unattractive (even toplined Susan George is unflatteringly photographed)and performances are strictly of the stock variety. Potentially interesting Portuguese scenery is also wasted by the pedestrian set-ups employed by helmer Pete Walker.
Director Walker made a few mildly interesting films ("House of Whipcord", "Frightmare") along with a goodly amount of dreck. Thankfully he retired in '82, saving viewers from further boredom.
The cast is decidedly drab and unattractive (even toplined Susan George is unflatteringly photographed)and performances are strictly of the stock variety. Potentially interesting Portuguese scenery is also wasted by the pedestrian set-ups employed by helmer Pete Walker.
Director Walker made a few mildly interesting films ("House of Whipcord", "Frightmare") along with a goodly amount of dreck. Thankfully he retired in '82, saving viewers from further boredom.
A total waste of Susan George...
rwbingham4 January 2006
I got the DVD as I am a great fan of Susan George, who normally is prepared to flaunt her excellent physique in many of her films (we see plenty of her in "Straw Dogs", A Strange Affair" etc.), but this film goes out of its way to totally keep her covered: even in the bubble bath she is wearing clothes under the foam!
The continuity is truly risible - for example, in the above bath scene, all the close ups show her dry and her breasts covered with the white bra, but longer shots show her covered in foam but the bra still visible under the bubbles! In another sequence they leave the airport in a black Mercedes registration number BA-99-77, but in the very next shot the car's registration plates have changed to 11-32-32. The make-up on her face to show that her half-sister has tortured her with a cigarette lighter is seen before the incident happens.
The plot, direction and lighting is all dire too. Fortunately I only bought the DVD secondhand very cheaply, as it was a total waste of money.
The continuity is truly risible - for example, in the above bath scene, all the close ups show her dry and her breasts covered with the white bra, but longer shots show her covered in foam but the bra still visible under the bubbles! In another sequence they leave the airport in a black Mercedes registration number BA-99-77, but in the very next shot the car's registration plates have changed to 11-32-32. The make-up on her face to show that her half-sister has tortured her with a cigarette lighter is seen before the incident happens.
The plot, direction and lighting is all dire too. Fortunately I only bought the DVD secondhand very cheaply, as it was a total waste of money.
Die yawning, audience.
Hey_Sweden10 May 2012
Warning: Spoilers
That summary may sound a little harsh, but it's not far off in describing Pete Walker's "Die Screaming, Marianne". The biggest problem is that for a supposed psychological "thriller", this comes up awfully short on *thrills*. It works as an amusing, soap opera style melodrama, but is much too leisurely for its own good. And, to be perfectly frank, it's not terribly well written. The absolutely stunning Susan George plays Marianne, a poor little rich girl on the run who is practically forced into marriage by a stranger named Sebastian (Christopher Sandford). However, his plan goes awry when the name of his friend Eli (Barry Evans) mistakenly ends up on the marriage certificate. Sebastian drops out of the picture, if only for a bit, while Eli eventually has to be told the truth about his new bride: she's due to inherit a sizable sum upon her 21st birthday, which is imminent, and there are those in her family who want either revenge or to get their hands on the money and / or incriminating documents. Said relatives include a father (Leo Genn) who was a crooked judge, and a venal and nasty half sister (Judy Huxtable). "Die Screaming, Marianne" doesn't offer more than moderate entertainment. It does feature some impressive location work and scenery, and fine supporting performances by all, but its main drawing card - which is good enough of a hook - is its showcasing of the luscious young George in the leading role. She's often dressed quite provocatively and, in fact, Marianne likes to dance in a bikini. Ms. George makes this whole thing worth sitting through, and Evans is very likable as the true innocent of the piece. One can't help but feel some disdain towards the character of Marianne for being too cagey and not telling Eli the whole story when it would have helped him more; besides, she was doing nobody any favours by delaying the inevitable set of confrontations. The movie really could have used *some* more action, and only starts to get good near the end. It makes the mistake that a fair amount of movies make by being too talky and stretching out things too much. It's a pity - this easily could have been more fun. But Walker would only get better as he went along, creating such fine entries in the British New Wave of horror as "The Flesh and Blood Show", "Frightmare", and "House of Whipcord". Five out of 10.
Susan George Was Hot & Sexy!
whpratt125 November 2004
Always enjoyed Susan George and her great style of acting.
In this particular film she showed her great natural beauty as a young star just starting her career. It was right after this film that she filmed in "Straw Dogs". This film had great scenes of London and their local neighborhoods and European furniture. Susan George,(Marianne),"Twinky",'69, played a wild and sexy gal who had plenty of lovers and did some wild dances and was running away from a plot to kill her. Christopher Sandford,(Sebastian),"Vampira",'74, chases after Marianne and looks like a vampire in this picture with wild clothing and way out acting. Leo Genn,(The Judge),"Quo Vadis",'51 is a veteran actor who plays the role as the leader of the Plot! If you love Susan George and missed this film, you will enjoy her beautiful youthful look!
In this particular film she showed her great natural beauty as a young star just starting her career. It was right after this film that she filmed in "Straw Dogs". This film had great scenes of London and their local neighborhoods and European furniture. Susan George,(Marianne),"Twinky",'69, played a wild and sexy gal who had plenty of lovers and did some wild dances and was running away from a plot to kill her. Christopher Sandford,(Sebastian),"Vampira",'74, chases after Marianne and looks like a vampire in this picture with wild clothing and way out acting. Leo Genn,(The Judge),"Quo Vadis",'51 is a veteran actor who plays the role as the leader of the Plot! If you love Susan George and missed this film, you will enjoy her beautiful youthful look!
A strictly so-so woman-in-jeopardy thriller
Woodyanders17 May 2007
Warning: Spoilers
Saucy free-spirited tart Marianne (a sweetly disarming performance by the delectable Susan George) will inherit a sizable sum of money from her wealthy, but severely dysfunctional family on her 21st birthday. Susan will also acquire several documents about the illegal activities of her crooked judge father (well played by Leo Genn). Pretty soon Marianne finds herself in substantial danger. Director Pete ("Frightmare") Walker crucially fails to wring much tension or momentum from the standard woman-in-peril thriller potboiler premise. Moreover, Walker lets the pace crawl along at a sluggish rate, thereby ensuring that a dull quality hangs heavy throughout most of the movie. Norman Langley's pretty, picturesque cinematography makes cool use of fades, dissolves and split screen. Cyril Ornadel's lush, elegant score, the scenic Portugal locations and the haunting melancholy theme song are all likewise solid and effective. Nice supporting turns by Barry Evans as loyal boyfriend Eli, the lovely Judy Huxtable as bitchy half-sister Hildegarde, and Christopher Sandford as bitter ex-suitor Sebastian. Susan George's deliciously considerable pulchritudinous presence keeps the picture watchable: Susan does a memorably sexy go-go dance during the groovy opening credits sequence and looks absolutely smashing in a skimpy black bikini. Unfortunately, Murray Smith's tediously talky script, an off-putting glum tone and the slow-going, largely uneventful plot make this feature a really draggy chore to endure. A merely decent timewaster.
Not Good
jfgibson7327 December 2008
Pretty much everything I want to say about this movie has already been stated in other reviews. I want to reiterate several points in the hopes of preventing others from making the same mistake as those of us who spent time on this one.
I watched this right to the end, so I won't say that it is entirely boring--it had me wanting to know how it would resolve. However, every plot point was absolutely wasted--everything that happens to each character is anti-climactic. More than anything else, it is poorly written.
Yes, Susan George is nice to watch, but that is about it. It is falsely marketed as horror, and I blame IMDb for allowing it to be categorized as such. It is almost entirely drama, although it aspires to be a thriller. I don't think it could have been less effective at building tension if it was a Disney Channel original. It's just not a good story. There are moments when they could have had the characters do something much more nasty, but I just thought their choices were lame.
To give you an idea of where I'm coming from, I like a lot of low-budget, obscure, and independent productions. I enjoy bad movies when they are entertaining. I saw the low rating and thought that's what this movie is, but if you read through the comments, you'll see most of us thought it was just boring.
I watched this right to the end, so I won't say that it is entirely boring--it had me wanting to know how it would resolve. However, every plot point was absolutely wasted--everything that happens to each character is anti-climactic. More than anything else, it is poorly written.
Yes, Susan George is nice to watch, but that is about it. It is falsely marketed as horror, and I blame IMDb for allowing it to be categorized as such. It is almost entirely drama, although it aspires to be a thriller. I don't think it could have been less effective at building tension if it was a Disney Channel original. It's just not a good story. There are moments when they could have had the characters do something much more nasty, but I just thought their choices were lame.
To give you an idea of where I'm coming from, I like a lot of low-budget, obscure, and independent productions. I enjoy bad movies when they are entertaining. I saw the low rating and thought that's what this movie is, but if you read through the comments, you'll see most of us thought it was just boring.
Less than dynamic early Pete Walker thriller
Red-Barracuda15 June 2017
Pete Walker was one of the most interesting British horror directors of the 1970's, with impressive efforts like The Flesh and Blood Show (1972), House of Whipcord (1974) and Frightmare (1974) to his name. This earlier film is sometimes described as his first foray into horror but really it is nothing of the sort. Despite a title that suggests that it could be, this one turns out to be a psychological thriller with really no horror aspects at all. A young woman's life is threatened when her crooked father tries to prevent her reaching her 21st birthday and in doing so inherit a fortune plus some documents which will incriminate him.
Aside from being an early example of a Walker film, this one is notable for featuring Susan George in a starring role a year before she appeared in Sam Peckinpah's controversial Straw Dogs (1971). In truth, the opening credit sequence which has her gyrating in a bikini in front of a deep red background is very striking indeed, although it is probably in fairness the best bit in the entire film. The main issue with this one is its pretty poor script which meanders about somewhat with a definite lack of focus. The first half of the film which is set in England is the better part with some intrigue and character set-ups but once the action relocates to Portugal things grind to a bit of a halt and it does get a bit boring. It's kind of unfortunate, as the bare bones of the story has got at least some potential but there is something very half-hearted in how things are ultimately played out. Seemingly Walker had some issues with the young cast members during the Portuguese section and this may account for the results on screen being less than impressive. Whatever the case, this is still worth seeing if you have an interest in Walker's movies as it does at least showcase some of his recurring themes such as elderly villains interfering with the lives of the younger generation. But, despite its director and cute leading lady, it has to be admitted that this is not essential stuff by any means. With its cool title and nice cover art it will look good in your film library though and that's not such a terrible thing I guess.
Aside from being an early example of a Walker film, this one is notable for featuring Susan George in a starring role a year before she appeared in Sam Peckinpah's controversial Straw Dogs (1971). In truth, the opening credit sequence which has her gyrating in a bikini in front of a deep red background is very striking indeed, although it is probably in fairness the best bit in the entire film. The main issue with this one is its pretty poor script which meanders about somewhat with a definite lack of focus. The first half of the film which is set in England is the better part with some intrigue and character set-ups but once the action relocates to Portugal things grind to a bit of a halt and it does get a bit boring. It's kind of unfortunate, as the bare bones of the story has got at least some potential but there is something very half-hearted in how things are ultimately played out. Seemingly Walker had some issues with the young cast members during the Portuguese section and this may account for the results on screen being less than impressive. Whatever the case, this is still worth seeing if you have an interest in Walker's movies as it does at least showcase some of his recurring themes such as elderly villains interfering with the lives of the younger generation. But, despite its director and cute leading lady, it has to be admitted that this is not essential stuff by any means. With its cool title and nice cover art it will look good in your film library though and that's not such a terrible thing I guess.
Enjoyably silly and Susan George is mesmerising
Groverdox26 August 2018
It's hard not to have a soft spot for Pete Walker. He was an impresario of British sleaze, genuinely making sexploitation and low budget horror films, and gleefully mixing the two.
"Die Screaming Marianne" is an outlier in his filmography. Despite the title, it's not a horror film, and there's no sex or nudity. It's more like a crime thriller, and Walker was not, by any stretch of the imagination, a thriller director.
The titular Marianne is played by the ravishing Susan George, an actress so effortlessly sexy you don't even mind that she doesn't get naked, even in a subpar film like this. She is also probably the best actress Walker ever worked with.
Marianne's mother died when she was a tried and inexplicably bequeathed to her a large sum of money and proof that her father, a crooked judge, is a crooked judge.
Her older sister in after her for her money, and her father wants the proof - though what it could be I can only guess.
Marianne escapes from her creepy family and goes on the run. She has a truly chance meeting with an utterly uncharismatic, birdlike '70s hairdo sporting creep, who almost runs over her in his convertible. After a few harsh words, she decides to come with him, and a few scenes later, they are married. The creep has an undue interest in the certificate that says they are really married, hinting that he is obviously involved with Marianne's sinister family, and yet when he looks at the certificate, he finds she has instead been married off to the much more preposessing Eli, played by Barry Evans, an actor best known for failing to snatch the sexploitation actor crown from Robin Askwith.
If you aren't yet getting the feeling that the movie's plot was made up on the spot, consider this: if the creep was in on the conspiracy from the beginning, why was his original meeting with Marianne so obviously by chance? They could have at least made it look somewhat staged. He couldn't have possibly met her that way on purpose, and yet the movie later seems to think he did.
Eli is a much better fit than the creepy '70s throwback fossil, and he and Marianne seem to get along, but pretty soon two large men pose as police officers and pluck him off the street and take him to a dingy back room that looks like part of an adult book store. They sit him down, offer him a cigarette, and one leaves while the other leisurely appears to consider different murder weapons. He takes a gun and screws and unscrews a silencer, and then wraps a length of cord around his hands the way murderers do. Seeing this, and given a fantastic opportunity to escape, Eli does so. He does, admittedly, have to fight off one of the guys on the way out, with a little pocket knife.
Remember what I said about the movie feeling made up along the way? If those two men were going to kill Eli, why did they take him into the room before they had even decided what weapon they were going to use? If they had a gun and a silencer, why would they even consider a length of cord?
Eventually, Marianne and Eli decide to go back to her family in Portugal. Why isn't really explained, but Susan George is such a great actress you can actually believe this decision, which, truth be told, is probably another example of idiotic plotting on behalf of the screenwriter.
Scenes in the movie often seem to end out of nowhere. There is a scene where the judge talks to a man, and the man suddenly makes choking noises and slides out of the frame. Scene over. I guess he died. Was he killed? By who? The judge? They didn't even seem to touch each other.
The ending also comes out of nowhere, but it actually manages to be sad, mostly due to the amazing presence that is Susan George, and the fact that she and Barry Evans (RIP) had real chemistry.
Come to think of it, all the actors in "Die Screaming Marianne" are better than the flimsy material deserved. Their presence, together with the ridiculousness of the movie's plot, staging and editing, kept me watching, and kept me entertained.
"Die Screaming Marianne" is an outlier in his filmography. Despite the title, it's not a horror film, and there's no sex or nudity. It's more like a crime thriller, and Walker was not, by any stretch of the imagination, a thriller director.
The titular Marianne is played by the ravishing Susan George, an actress so effortlessly sexy you don't even mind that she doesn't get naked, even in a subpar film like this. She is also probably the best actress Walker ever worked with.
Marianne's mother died when she was a tried and inexplicably bequeathed to her a large sum of money and proof that her father, a crooked judge, is a crooked judge.
Her older sister in after her for her money, and her father wants the proof - though what it could be I can only guess.
Marianne escapes from her creepy family and goes on the run. She has a truly chance meeting with an utterly uncharismatic, birdlike '70s hairdo sporting creep, who almost runs over her in his convertible. After a few harsh words, she decides to come with him, and a few scenes later, they are married. The creep has an undue interest in the certificate that says they are really married, hinting that he is obviously involved with Marianne's sinister family, and yet when he looks at the certificate, he finds she has instead been married off to the much more preposessing Eli, played by Barry Evans, an actor best known for failing to snatch the sexploitation actor crown from Robin Askwith.
If you aren't yet getting the feeling that the movie's plot was made up on the spot, consider this: if the creep was in on the conspiracy from the beginning, why was his original meeting with Marianne so obviously by chance? They could have at least made it look somewhat staged. He couldn't have possibly met her that way on purpose, and yet the movie later seems to think he did.
Eli is a much better fit than the creepy '70s throwback fossil, and he and Marianne seem to get along, but pretty soon two large men pose as police officers and pluck him off the street and take him to a dingy back room that looks like part of an adult book store. They sit him down, offer him a cigarette, and one leaves while the other leisurely appears to consider different murder weapons. He takes a gun and screws and unscrews a silencer, and then wraps a length of cord around his hands the way murderers do. Seeing this, and given a fantastic opportunity to escape, Eli does so. He does, admittedly, have to fight off one of the guys on the way out, with a little pocket knife.
Remember what I said about the movie feeling made up along the way? If those two men were going to kill Eli, why did they take him into the room before they had even decided what weapon they were going to use? If they had a gun and a silencer, why would they even consider a length of cord?
Eventually, Marianne and Eli decide to go back to her family in Portugal. Why isn't really explained, but Susan George is such a great actress you can actually believe this decision, which, truth be told, is probably another example of idiotic plotting on behalf of the screenwriter.
Scenes in the movie often seem to end out of nowhere. There is a scene where the judge talks to a man, and the man suddenly makes choking noises and slides out of the frame. Scene over. I guess he died. Was he killed? By who? The judge? They didn't even seem to touch each other.
The ending also comes out of nowhere, but it actually manages to be sad, mostly due to the amazing presence that is Susan George, and the fact that she and Barry Evans (RIP) had real chemistry.
Come to think of it, all the actors in "Die Screaming Marianne" are better than the flimsy material deserved. Their presence, together with the ridiculousness of the movie's plot, staging and editing, kept me watching, and kept me entertained.
Poor poor Leo
milliefan23 December 2012
I foolishly bought the DVD of this without checking out the reviews first ...won't do that again! One thing that surprises me is that while many IMDb reviewers mention that Die Screaming, Marianne is a waste of Susan George's talents, nobody has commented on the fact that the former Oscar nominee Leo Genn had been reduced to appearing in this tawdry, inept trash. In fact, poor Leo ended up doing uncredited bit parts in a couple of films after this (though neither was actually as bad as Marianne). I remember as a kid, when this film played for three mights at my local fleapit as the bottom half a double bill, the it was incorrectly titled "Ice Cream and Marianne" in the local paper! Still makes me chuckle ...
The absolute WORST film of all time
nickyak21 September 2002
Forget PLAN 9 FROM OUTER SPACE or BRIDE OF THE MONSTER. This gem, which was released in the early 80s in a very gory video box, was marketed as a horror film, yet is really a lame drama about 2 cops searching for a lost girl. Everyone even remotely connected to this film (especially it's video release) should be jailed for life.
Slow moving ...
parry_na18 January 2016
Warning: Spoilers
Director Pete Walker (whose 'Schizo' film was reviewed earlier) is notorious for his low-budget horror films throughout the 1970's. This, his first, is a horror in title alone, and a couple of mildly grisly moments. The film aims to be some kind of slow-burning psychological thriller concerning Marianne's crooked relatives attempting to kill her so to claim her vast inheritance, but contains too few surprises and a pace far too slow to sustain that.
Susan George plays the titular character and is terrific throughout, her initially headstrong behaviour played as naïve and confused rather than as reckless as she first appears (also, for an exploitation picture, she wears her various skimpy costumes extremely well). Barry Evans is the good guy, Eli. Evans seems too fey for the role (Patrick Mower and Ian McShane were also considered), but his niceness is reassuring against the shenanigans of ratty Sebastian (Christopher Sandford). Judy Huxtable gives probably the best performance as Hildegarde, but the character's decline into madness is beyond even her talents.
Sapphire and Steel composer Cyril Ornadel produces a memorable musical score (his theme was written so as to be in time with Susan George's stylish and much-discussed go-go dance routine during the opening credits) including a haunting, possibly 'cheesy' song illustrating Marianne's plight that is repeated at various intervals to arresting effect.
Ultimately, like other Pete Walker ventures, the project might well have been improved if slightly shorter, possibly cut back to 80 or 90 minutes. Marianne's relentless plight becomes too elongated to care about, the most potent moment being a nicely staged slow poisoning in a sauna that Marianne cunningly defeats by climbing out of the window.
Susan George plays the titular character and is terrific throughout, her initially headstrong behaviour played as naïve and confused rather than as reckless as she first appears (also, for an exploitation picture, she wears her various skimpy costumes extremely well). Barry Evans is the good guy, Eli. Evans seems too fey for the role (Patrick Mower and Ian McShane were also considered), but his niceness is reassuring against the shenanigans of ratty Sebastian (Christopher Sandford). Judy Huxtable gives probably the best performance as Hildegarde, but the character's decline into madness is beyond even her talents.
Sapphire and Steel composer Cyril Ornadel produces a memorable musical score (his theme was written so as to be in time with Susan George's stylish and much-discussed go-go dance routine during the opening credits) including a haunting, possibly 'cheesy' song illustrating Marianne's plight that is repeated at various intervals to arresting effect.
Ultimately, like other Pete Walker ventures, the project might well have been improved if slightly shorter, possibly cut back to 80 or 90 minutes. Marianne's relentless plight becomes too elongated to care about, the most potent moment being a nicely staged slow poisoning in a sauna that Marianne cunningly defeats by climbing out of the window.
Die Yawning, Marianne
fidelio72 February 2011
Warning: Spoilers
It is hard to believe that 'Die Screaming, Marianne', a boring and uninspired 'shocker', was directed by British horror master Pete Walker, who would go on to make the wonderful 'Frightmare'. Admittedly this was his first film and he needed time to refine his art, but 'Marianne' has little if anything to recommend it. It is very like the Italian 'giallo' films which were popular back in the early seventies, and hardly deserves to be called a horror film.
Susan George stars as Marianne McDonald/Evans and, to her credit, plays a strong and resourceful character. Her evil father, a corrupt judge played by Leo Genn, and her power-hungry and avaricious stepsister, are out to get their hands on Marianne's fortune - a hefty amount left to her by her rich mother - which she is to inherit on her twenty-first birthday.
'Die Screaming, Marianne' belongs to the family of horror films whose titles promise much and then do not deliver the titular carnage. Such films as 'Driller Killer' and 'The Texas Chain Saw Massacre'. 'Driller Killer' is an interesting psychological horror film which owes much to 'Repulsion' and it certainly has its merits, but its reputation as a notorious video nasty is just silly considering the very tame gore in the film. And 'Texas' is a horror masterpiece but it definitely does not offer up a constant stream of blood and severed limbs as its title suggests.
Susan George completists will want to see 'Die Screaming, Marianne' but anyone else will find the proceedings tedious and instantly forgettable. There is a good title song which has a nice melancholy feel to it, and there is a cool opening credits sequence which sees George go-go dancing in a black bikini. But the rest of the film - apart from the rather attractive scenery in the scenes shot in Portugal - is almost excruciatingly dull and pointless. Do yourself a favour, and catch Susan in the horror film 'Fright' instead. So much better.
Susan George stars as Marianne McDonald/Evans and, to her credit, plays a strong and resourceful character. Her evil father, a corrupt judge played by Leo Genn, and her power-hungry and avaricious stepsister, are out to get their hands on Marianne's fortune - a hefty amount left to her by her rich mother - which she is to inherit on her twenty-first birthday.
'Die Screaming, Marianne' belongs to the family of horror films whose titles promise much and then do not deliver the titular carnage. Such films as 'Driller Killer' and 'The Texas Chain Saw Massacre'. 'Driller Killer' is an interesting psychological horror film which owes much to 'Repulsion' and it certainly has its merits, but its reputation as a notorious video nasty is just silly considering the very tame gore in the film. And 'Texas' is a horror masterpiece but it definitely does not offer up a constant stream of blood and severed limbs as its title suggests.
Susan George completists will want to see 'Die Screaming, Marianne' but anyone else will find the proceedings tedious and instantly forgettable. There is a good title song which has a nice melancholy feel to it, and there is a cool opening credits sequence which sees George go-go dancing in a black bikini. But the rest of the film - apart from the rather attractive scenery in the scenes shot in Portugal - is almost excruciatingly dull and pointless. Do yourself a favour, and catch Susan in the horror film 'Fright' instead. So much better.
Competent but tedious early Pete Walker
HenryHextonEsq16 May 2010
Not particularly gripping tale of a 'free spirited' Susan George becoming embroiled in a seedy crime racket, led by a 'defrocked' Judge.
Not just *a* Judge, but 'The Judge' - Leo Genn's character who is continually accorded the definite article by sundry friends and enemies - who are largely interchangeable. This melodrama, with a heavy accent on the corrupt authority figures, bears some resemblance to Pete Walker's later baroque horrors. But the formula isn't developed as of yet - and he had yet to work with the waggish scriptwriter David McGillivray. Walker followed this film with the relatively interesting curio, "The Flesh and Blood Show" - collaborating with the talented veteran Alfred Shaughnessy of "Upstairs, Downstairs" fame - and then his fecund period began with "The House of Whipcord" in 1974.
Susan George and Judy Huxtable are done a great disservice by Walker and scriptwriter Murray Smith here with their reductive portrayal of female characters. Such as shame for George in particular, subject of much brutality in Peckinpah's "Straw Dogs" the following year, but also Huxtable, who was the evocative beauty at the heart of the whimsical "Les Bicylettes de Belsize" two years earlier.
There is always some degree of objectification of women in Walker's films, but what is lacking here is the suspenseful, charged context of his later films. "Frightmare" and "House of Mortal Sin" have something of the Hitchcockian about them: Hitchcock-meets-the Grimm Brothers-meets-British exploitation cinema of the 70s. This is a rather more humdrum affair, with even the exotic locations eliciting no more than a Gallic shrug in this viewer.
Not just *a* Judge, but 'The Judge' - Leo Genn's character who is continually accorded the definite article by sundry friends and enemies - who are largely interchangeable. This melodrama, with a heavy accent on the corrupt authority figures, bears some resemblance to Pete Walker's later baroque horrors. But the formula isn't developed as of yet - and he had yet to work with the waggish scriptwriter David McGillivray. Walker followed this film with the relatively interesting curio, "The Flesh and Blood Show" - collaborating with the talented veteran Alfred Shaughnessy of "Upstairs, Downstairs" fame - and then his fecund period began with "The House of Whipcord" in 1974.
Susan George and Judy Huxtable are done a great disservice by Walker and scriptwriter Murray Smith here with their reductive portrayal of female characters. Such as shame for George in particular, subject of much brutality in Peckinpah's "Straw Dogs" the following year, but also Huxtable, who was the evocative beauty at the heart of the whimsical "Les Bicylettes de Belsize" two years earlier.
There is always some degree of objectification of women in Walker's films, but what is lacking here is the suspenseful, charged context of his later films. "Frightmare" and "House of Mortal Sin" have something of the Hitchcockian about them: Hitchcock-meets-the Grimm Brothers-meets-British exploitation cinema of the 70s. This is a rather more humdrum affair, with even the exotic locations eliciting no more than a Gallic shrug in this viewer.
Susan George looks great in this film though, especially when she is almost nude.
bryank-0484422 July 2015
Warning: Spoilers
The title suggests a decent horror movie with tons of gore. With a title like 'Die Screaming, Marianne', I would have thought that as well, but that's not the case. Instead, this is more of a incestuous thriller than straight horror. The lady playing Marianne is Susan George, who starred in the original 'Straw Dogs'. Marianne is an exotic dancer who is wanted by some criminals. She escapes their capture, and takes refuge with a guy named Sebastian (Christopher Sanford) who is a little too nice for my comfort.
Marianne figures out that Sebastian is not the guy he says he is after he suddenly proposed marriage to her, as he has partnered up with Mariannes father (Leo Genn), a corrupt authority figure who is after Marianne's fortune, a large wealth of money left to her by her mother, which she will inherit on her 21st birthday. And Marianne's father is not the only one after her fortune, as Marianne tries to avoid capture and being killed by family.
This is one of those films that has a good plot, but was poorly executed. The script isn't that good, and each climactic moment utterly fails to bring any kind of resolution. It keeps a decent pace, but with its terrible dialogue and anticlimactic moments, it runs longer than it should. Susan George looks great in this film though, especially when she is almost nude.
Marianne figures out that Sebastian is not the guy he says he is after he suddenly proposed marriage to her, as he has partnered up with Mariannes father (Leo Genn), a corrupt authority figure who is after Marianne's fortune, a large wealth of money left to her by her mother, which she will inherit on her 21st birthday. And Marianne's father is not the only one after her fortune, as Marianne tries to avoid capture and being killed by family.
This is one of those films that has a good plot, but was poorly executed. The script isn't that good, and each climactic moment utterly fails to bring any kind of resolution. It keeps a decent pace, but with its terrible dialogue and anticlimactic moments, it runs longer than it should. Susan George looks great in this film though, especially when she is almost nude.
Uninteresting effort from Pete Walker
The_Void13 January 2008
Pete Walker may have made the likes of House of Mortal Sin and House of Whipcord, but he also made some real rubbish in his interesting career; and Die Screaming Marianne is hands down the worst Pete Walker film that I've seen. This was actually Pete Walker's first attempt at a horror film, although it's more of a crime thriller than a horror movie. It's also very boring, and that's definitely the main flaw! The plot focuses on a divorce. The couple in question have two daughters; one in England, the other in Portugal. After the mother dies, the English daughter stands to inherit a lot of money and some documents incriminating her father. They other daughter wants the money, and the father wants the documents. The film stars the lovely Susan George in the central role as well as a few other familiar faces. The plot moves at snail pace and there really is very little of interest. The film is sometimes said to be an imitation of the Giallo style that was popular in Italy in the early seventies, and that may be true; although most Giallo's I've seen are much more interesting than this. Overall, it has to be said that Pete Walker can do a lot better than this and Die Screaming Marianne is a below par effort from the usually solid director. Nice title, though.
Susan George stars
alistairc_20009 October 2011
Warning: Spoilers
This is part of the Pete Walker coffin box set. Also for some reason Media Blasters in the states have also released a stand alone copy recently. Perhaps they think that the customers in the US deeper pockets. The Plot
A woman (Susan George) is hiding from a sinister character called the Judge. She is a go go girl as the sixties would have it or the the 21st century would say she is a tramp. Sleeping with the first bloke who comes along. This is a seedy look at early seventies London. Sue goes from the Portugal to London with the ugliest geezer ever. Apparantley she sleep with him for a bit then moves on to his pal and falls in love. The jilted rat boy goes back to Portuagal. He goes to see the judge and the judge wants Sue back as she has the number of a safety deposit box containing cash.
If you have got this far you will realise that the this movie is not going to go down as my movie of the year. This movie has a limp plot which is really confusing. The characters are at no point do you believe in the characters. The only person I liked was the judge.
This is not really a horror movie and as a thriller it is pretty limp. Easily the worst Walker film I have watched.
A woman (Susan George) is hiding from a sinister character called the Judge. She is a go go girl as the sixties would have it or the the 21st century would say she is a tramp. Sleeping with the first bloke who comes along. This is a seedy look at early seventies London. Sue goes from the Portugal to London with the ugliest geezer ever. Apparantley she sleep with him for a bit then moves on to his pal and falls in love. The jilted rat boy goes back to Portuagal. He goes to see the judge and the judge wants Sue back as she has the number of a safety deposit box containing cash.
If you have got this far you will realise that the this movie is not going to go down as my movie of the year. This movie has a limp plot which is really confusing. The characters are at no point do you believe in the characters. The only person I liked was the judge.
This is not really a horror movie and as a thriller it is pretty limp. Easily the worst Walker film I have watched.
Not Pete Walker's Best Work
gavin694216 May 2013
After their parents divorce, one daughter lives with her mother in England while the other lives with her father in Portugal. After the untimely death of her mother, the one daughter stands to inherit a large sum of money and also a number of documents containing information that will incriminate her father, who was a crooked judge.
Another reviewer wrote that despite having Susan George, this is a rather boring film. I have to generally concur -- this is not the horror or exploitation that Walker fans have come to expect, and for those thinking this will be as good as "The Comeback"... well, expect disappointment.
Not to say it is a bad film, because it is not. But for a film that is called "Die Screaming", you get precious little dying and screaming from this one.
Another reviewer wrote that despite having Susan George, this is a rather boring film. I have to generally concur -- this is not the horror or exploitation that Walker fans have come to expect, and for those thinking this will be as good as "The Comeback"... well, expect disappointment.
Not to say it is a bad film, because it is not. But for a film that is called "Die Screaming", you get precious little dying and screaming from this one.
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