ATLRetro

Chris Herzog
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

FEAR IS THE KEY—1972
5 out of 5 Bananas
Starring: Barry Newman, Suzy Kendell, John Vernon, Ben Kingsley
Director: Michael Tuchner
Rated: PG
Studio: Arrow Video
Region: A
BRD Release Date: February 13, 2024
Audio Formats: MPEG-4 AVC
Resolution: 1080p
Aspect Ratio: 2.34:1
Run Time: 105 Min.
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FEAR IS THE KEY is rife with surprises, and too snug a review could ruin the viewing experience. Let’s just get that out of the way right now. Instead of plot specifics, let’s talk about some other stuff in the movie.  First of all, it contains a fantastic car chase. Stunt coordinator Carey Loftin did the driving here; he also did the chases in VANISHING POINT, THE FRENCH CONNECTION, DUEL, and even THE LOVE BUG. Loftin is one of the unsung heroes of action sequences, and FEAR is another notch on his belt. Sure, Barry Newman and Suzy Kendell are fine, but damn… that chase! There are various twists and turns, with the film ending up in a submarine—actually, it’s a bathyscaphe, but why split hairs. Once again, I’m staying away from the plot on purpose.

We can talk about Alistair MacLean, at least a little bit. I remember stacks of the Scottish writer’s novels everywhere at the bookstores and the airport gift shops when I was younger. These mid-century potboilers usually had to do with various plots to assassinate, overthrow, destroy or steal Macguffins of various stripes, and several included themes of underwater suspense. Many of them became fine movies, like THE GUNS OF NAVARONE, ICE STATION ZEBRA, and of course WHERE EAGLES DARE. In this film, everything clicks together in typical MacLean-ian fashion. No spoilers!

This picture has a great cast as well, many at the height of their powers. Newman had just finished VANISHING POINT and seemingly jumped right out of that and into the next car. Kendell was probably tired of all these Gialos (THE BIRD WITH THE CRYSTAL PLUMAGE, TORSO, SPASMO). This was certainly a change of pace for her. The villains are first-rate too. John Vernon is always great—and pretty much the same, whether he’s in DIRTY HARRY, SAVAGE STREETS, or ANIMAL HOUSE.  Villain #2 is a young Ben Kinglsey. He had done a lot of British television, but this was his first film—and then he went back to TV and didn’t return for ten years at which point GANDHI was released, and he swept out of nowhere to grab the Academy Award™ for Best Actor.  Everyone is on their game here.

Much of the picture was shot on location in Louisiana’s Gulf Coast, while most of the sets were done in England at Bray Studios. As it turns out, most of these folks are British, including the director, much of the cast, and the visual effects crew. American accents are mostly on point with an exception; Kendall didn’t really make the grade here, as she tries and fails to sound like a Southern American heiress. A false note, but not sounded by the loudest instrument in the orchestra. There are too many other wonderful things going on here. An unsung hero is Derek Meddings for his miniature and special effects work. Meddings work was just as good as any onscreen at the time and ever since, frankly. Starting with the Supermarionation series in England like THUNDERBIRDS and STINGRAY, he began working with Gerry and Sylvia Anderson  providing highly memorable visual effects. He became one of the best special effects designers in the world, creating work for various James Bond pictures, the SUPERMAN franchise, and BATMAN.

Arrow’s presentation is rather attractive and articulate. The video quality looks very good, as should be expected. The audio has a nice mono sound that gets the job done. This definitely needed a good, thorough commentary, and Howard S. Berger delivers. He’s almost always great, and this is no exception. Berger takes a deep dive here, and he gives all the answers to the questions you’ll be asking and more. There’s also a visual essay with the author Scout Tafoya. In addition, we also have two fairly long archive interviews from the crew members and the associate producer. Finally, the composer, Roy Budd, gets his own featurette. Budd was always different, with plenty of jazz chops. GET CARTER was arguably his best work, but FEAR IS THE KEY was right behind it. Music historian Neil Brand puts it all together for us.

There are a few more bells and whistles, particularly in this limited edition. We have an illustrated collector’s booklet, featuring the writer Sean Hogan. Of course, there’s also a trailer—and finally, artist Nathanael Marsh has created some sweet new artwork for the sleeve, as well as a poster. If you prefer the original poster artwork for display, it’s on the opposite side of the sleeve. All in all, FEAR IS THE KEY is an outstanding film, and worth the price of the disc for the movie alone. Everything else is cherries on top.

When he’s not casually shuffling across dry creek beds, Chris Herzog is a writer, researcher, and teacher. His film criticism can also be found in Screem magazine and back issues of the late, lamented Video WatcH*Dog.

Ape caricature art by Richard Smith.