UnowPriceless hyped garbage

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Keeley Coleman The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Leofwine_draca The first film from the short-lived Tyburn film company (that later gave us THE GHOUL and LEGEND OF THE WEERWOLF, two of my favourites) is a lot different from what you might expect. Here we have an extremely slow-moving, long, and yet compelling drama about the volatile relationship between two people, namely David Masters (Ralph Bates) and his domineering mother Carrie (Lana Turner).There are many things to recommend in this film, which may be too subtle and understated for some modern viewers who have an over-reliance on action/gore. From the odd opening - in which we see a young boy killing his pet cat in a bowl of milk - to the circular ending, in which that boy (now grown up) does the same thing, my eyes never left the screen. Top quality acting from an interesting cast and attention to detail make this film one to watch. Here we have fully fleshed-out, three dimensional characters who act and talk like real people. The story is rooted in reality for a change, and there are no physical horror aspects - except those of a cat, which may or may not be evil.Ralph Bates (who made his horror debut in TASTE THE BLOOD OF Dracula and who may not have been the best of actors, but was always enjoyable) gives what is, in my mind, his best performance as the tormented son of Lana Turner, forever a weak-willed victim. He always seemed to play the same kind of role throughout his short-lived horror career (his characteristics: quiet voice, floppy hair, handsome yet feminine) and here he reaches his highlight, the most in-depth role he played. His is a journey into complete madness, brought about by extreme cruelty and sheer wickedness from his parent over a period of thirty years. He is the son his mother never wanted, the son who will never be able to do anything right or make any decisions of his own. He has grown up to depend on his mother so that, even as an adult, he cannot bring himself to leave her and go to live with his wife.Lana Turner is the wicked mother, putting in a subtle performance of evil. Turner is very unlikeable and actually quite convincing in the role, and is never anything but serious: you can believe that she's capable of plotting devastation and murder in the back of her mind. Seasoned veterans Trevor Howard and Patrick Allen pop up for brief cameos, while Suzan Farmer and Olga Georges-Picot provide some pathos and sympathy as women caught up in the feud between mother and son.Although the film is slow-moving, the plot is a good one, and events gradually build up until they culminate in mass murder and total insanity. I definitely feel that this film is an underrated classic, simply as it tries something different from usual and succeeds in being original. I love the ending which has Ralph Bates saying - in a child's voice, to make it extra creepy - "Mother, I just killed a cat." PERSECUTION is a film that essays the total mental breakdown of an odd family - and does it in such a way to make it gripping, haunting viewing.

Wizard-8 I found a copy of this movie in a thrift store, and since it only cost fifty cents, I figured what the heck? Probably I should mention that I'm not a die hard fan of British horror films, though I've seen a few that I've liked. I found this one unusual in several aspects. There's the casting of Lana Turner, of course, and she manages to be appropriately (and convincingly) hateful. But two other things struck me most about the movie, the first being was how effectively bleak the movie's atmosphere was; every scene felt grim and dark. Another thing was that the core story could have fit nicely in one of those notorious EC horror comic books. Note that I said, "the core" - as it is, the story in this movie is much too drawn out. While it never gets to be boring, it won't take viewers long to start asking the movie to simply get on with it, which it never does. This story may have worked as one of the stories in a horror anthology movie, but as it is, viewers will lose patience long before the movie reaches the end.

Paul Andrews Persecution starts as a young David Masters (Mark Weavers) drowns his deranged mother's (Lana Turner) cat Sheba in it's own milk claiming she loved it more than him, as a Christms present his bitter mum Carrie gives him a small coffin with Sheba's body inside which she makes him go outside & bury in her cat graveyard all of whom seem to have had the same name. Jump forward several years & David (Ralph Bates) is now a young man married to Janie (Suzan Farmer) & together they have a baby son called Paul who on David's birthday is suffocated by his mother's latest cat who she has again called Sheba, distraught Janie becomes a nervous wreck while David sinks deeper & deeper into some sort of depression until all the tension in the house finally comes to a shocking conclusion...This British production was directed by Don Chaffey for the short lived Tyburn Films, this was the first of only three films they ever produced which was followed by their best effort Legend of the Werewolf (1975) & then came the alright The Ghoul (1975) although both of which are far superior to Persecution which is a pretty bad psychological horror. The script by Robert Hutton, Frederick Warner & Rosemary Wootten has some absolutely hilarious melodramatics between Carrie & David, the relationships between the character's in Persecution are badly written & thought out, I mean no one behaves like this, no one. Some of the dialogue is just as embarrassing, it has be to heard to be believed. Then of course there's the supposed shock twist ending which is obviously meant to mirror & parallel the events that have happened previously in a 'wasn't that neat, ironic & clever' sort of way but again it's just so overblown, unintentionally funny & downright silly that I couldn't take it seriously & I actually started to laugh when David made Carrie drink milk out of the bowl on the floor. The whole film is played totally straight & is utterly serious in tone which just kills the whole thing because it's so bad & stupid you can't take it seriously. This could have been an effective little Anglo horror but instead it tries to be clever & in the end it doesn't really know what it wants to be & I'm not sure who Persecution will appeal too as it's not a horror, it's not a thriller & it's too silly to be a proper attempt at drama, the pace is slow, not that much really happens & there's nothing to retain ones interest.Director Chaffey does OK, there' one or two nice moments here but they're few & far between. When he does go for out-and-horror it just doesn't work, fat ugly cats aren't scary & the scene when Carrie gets lost in the maze is terrible. Forget about any gore as there isn't any.It's quite well made with the usual high production standards you would expect from a British film from this period although the film has badly dated with the fashions & in particular Ralph Bates hairdo. The acting is pretty awful & together with the material they have to work with they come across as plank's.Persecution is a pretty bad film, it's so bad some parts are hilariously watchable but overall this is definitely one to give a miss.

verna55 Let's get one thing straight. I'm a huge Lana Turner fan. So even if I didn't particularly like this movie, chances are I would probably defend it anyway. Don't get me wrong, PERSECUTION(AKA: THE TERROR OF SHEBA and THE GRAVEYARD) is by no means a good movie, but as far as low-budget horror movies go, I've seen much worse. Turner stars as a ruthless woman who, with the aid of her beloved cat, makes life miserable for her spineless son(Ralph Bates) and his bewildered bride(Suzan Farmer), until her son finally decides he's had enough and gives his mom and her precious kitty their comeuppance. The suspense lags in places, and the plot is not terribly interesting, but any horror film that unites two pros like Lana Turner and Trevor Howard has to have something going for it. Admittedly, Turner isn't perfectly suited to her role. This is the kind of grotesque, no holds-barred histronics that would appeal to an easily carried away actress like Bette Davis or perhaps Joan Crawford. But, at least Turner has some fun with it. It's all so juvenile that it would be kind of hard to not enjoy it a little. One thing is for certain: Turner's presence gives this somewhat plodding film a much needed touch of class and classic Hollywood glamour.