Steineded How sad is this?

Platicsco Good story, Not enough for a whole film

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Justina The film never slows down or bores, plunging from one harrowing sequence to the next.

FilmCriticLalitRao Night must fall has the dubious distinction of being not only an underrated horror film but also one of those brilliant films which has found scarce admiration in the realm of British cinema.However,these glaring shortcomings would not make much difference for those film aficionados who would like to explore new facets of horror cinema with a difference.British actor Albert Finney and director Karel Reisz have made a great horror film which works primarily on Albert Finney's mannerisms.This is a film which holds our attention as its suspense elements are merged with our comic occurrences thereby creating a kind of happiness during distress atmosphere.The psychological depth of Karel Reisz's feminine characters is so immense that it reveals their weaknesses as well as their fascination for a person who would stop at nothing in order to harm them.This is something which helps us comprehend that all characters are part of a wide spectrum of a character study which would be beneficial for society as a whole.

heyomike-1 I loved this film, but it's not for everybody. There are many experimental aspects (music, camera angles, the performances) that reflect the time period in which it was filmed. Think Who's Afraid of Virginia Woolfe, Dr. Strangelove, Psycho, etc, and you'll be more prepared. It came the year after Tom Jones and was co-produced by Finney, and as a result, was not the kind of film Finney fans were expecting. I suspect that is why the film is not more well known.A couple of IMDb viewers were rather harsh concerning Finney's performance, but I have to disagree. I was completely mesmerized and I highly recommend it.Probably not a good movie to watch on a dark stormy night by yourself. At the same time, don't expect a typical horror film--I was thrown off by the very beginning and halfway through, I was questioning what I had seen--I think this was deliberate, and has a lot to do with Danny's character. I think this is a cautionary tale more than anything else. You'll understand what I mean if you've seen it.

swabidoo To each his own taste, but I have to disagree with the other review of this movie. I love Albert Finney's performance as a psychopath who has the gift of perceiving the innermost needs of those he meets and then molding his own personality to take advantage of those needs. (I don't know anyone from Wales, nor do I know what a stereotypical "mad Welshman" is.) He and Mona Washbourne play off each other superbly. I do agree with the other review's assessment of the cinematography, and especially love the lighting. To see Finney in TOM JONES (previous) or TWO FOR THE ROAD (following), although he is young, his face does have character and expression lines - he is human. The lighting in this movie smooths his face to make it seem devoid of affect; you feel that his reactions to the people and the world around him spring not from human emotion but from insanity. If you're an Albert Finney fan I definitely recommend viewing this movie and making your own judgment.

alfred-norgrove I'm very glad I watched this extremely well made British '60s film before reading other critical judgements; otherwise I might not have bothered with it. I've seen a lot of British thrillers and films noirs from this period, and some of them are really terrible; not terrifying, dreadful. By comparison this one is a gem.Finney dominates the scene with his accustomed bravura. I agree he overdoes it, if he'd turned it down a couple of notches, he'd have been perfect. An interesting idea that Arthur Seton in "Saturday Night.." was being **outrageous**. I'm sure Finney imagined he was doing realism! Mona Washbourne is also very good. Not many parts like this are currently being written for elderly or middle-aged female actors in British or U.S films, but back then they were pretty common. Lastly, a word of praise for Susan Hampshire in her pre-Forsyte Saga days. She never looked better; a nuanced, sympathetic performance of that breed of emotionally challenged posh girls, who were often treated as off-putting caricatures in British cinema. Not here thankfully. The entire cast is excellent. This film was a huge treat all round.