Main Cast: Dennis Christopher, Linda Kerridge, Tim Thomerson, Morgan Paull, Hennen Chambers
Release Year: 1980
Country: US
Run Time: 100 minutes
MPAA Rating: R
Plot
An interesting, introspective variant on the '80s slasher formula, this low-key psychological thriller details the troubled life of obsessed movie junkie Eric Binford (Dennis Christopher), whose love of old movies extends far beyond his job at a film distributor's warehouse and endless late-night film screenings in his bedroom. His singular obsession eventually rounds the bend into psychosis after he crosses paths with a Marilyn Monroe look-alike (Linda Kerridge), who becomes the physical embodiment of his cinematic desires. When stood up on what he believed would be their first date, Eric becomes homicidally unbalanced, transforming himself into a gallery of classic movie characters -- including Dracula, The Mummy, Hopalong Cassidy, and Norman Bates -- and sets out to destroy his oppressors, starting with his crotchety wheelchair-bound Aunt Stella (Eve Brent Ashe), then targeting a boorish co-worker (a very young Mickey Rourke), and eventually working his way toward Kerridge. The film begins with a groovy concept, but loses something in the execution -- the horror and comedy elements fail to gel completely, and Christopher's performance is too creepy to generate much empathy. ~ Cavett Binion, All Movie Guide
Review
This unusual effort attempts to bring some psychological and emotional depth to the slasher genre but ultimately falls short of the mark. The key problem with Fade To Black is that its ambitions exceed its grasp on both artistic and technical grounds. The idea of a movie-obsessed soul losing touch with reality is a great one but writer Vernon Zimmerman buries it under a numbing mass of underdeveloped characters and stilted dialogue. The script also devotes too much time to preaching about the psychological effects of cinematic violence, a point that ultimately rings hollow because the film ends up halfheartedly dabbling in that sort of violence. Fade To Black’s overall effect is further hampered by Zimmerman’s weak direction, which awkwardly juggles the film’s thriller and dramatic aspects and delivers the film’s suspense setpieces in a depressingly pedestrian manner. The actors struggle valiantly with the material but the sloppy, often cartoonish characterizations ultimately do them in: Dennis Christopher bravely pours emotion into a protagonist that’s ultimately too creepy to be sympathetic and Linda Kerridge is charming as his love interest but also unfortunately saddled with a character who behaves illogically at every turn. Unfortunately, their work is overshadowed by the universally shrill and overdone performances of the supporting cast: Tim Thomerson in particularly unconvincing as a ‘police psychologist’ who must be seen to be dis-believed. In the end, Fade To Black fails both as horror film and a drama because it lacks the chops and consistency to make either aim work. ~ Donald Guarisco, All Movie Guide
Eve Brent Ashe - Aunt Stella; Bob Drew - Rev. Shick; Gwynne Gilford - Anne; John Steadman - Sam; Mickey Rourke - Richie; Melinda O. Fee - Talk Show Hostess; Jane Wiley - Gofer; Peter Horton - Joey; Norman Burton - Marty; James Luisi - Gallagher; Anita Converse - Dee Dee; Marcie Barkin - Stacy; Gilbert Lawrence Kahn - Counterman; Sharon Schlarth - Mail Girl; Marya Small - Doreen; Bruce Reed - Franco; Teddi Siddall - Jill; Marilyn Staley - Starlet
Credit
Joseph Wolf - Associate Producer, Ron Fury - First Assistant Director, Vernon Zimmerman - Director, Barbara Pokras - Editor, James Ruxin - Editor, Howard Kunin - Editor, James Mitchell - Editor, Sylvio Tabet - Executive Producer, Irwin Yablans - Executive Producer, Craig Safan - Composer (Music Score), Alex Phillips, Jr. - Cinematographer, George G. Braunstein - Producer, Ron Hamady - Producer, Sylvio Tabet - Producer, Robert E. Lowy - Set Designer, James Wayne - Special Effects, Vernon Zimmerman - Screenwriter
Eric Binford is an obsessed movie addict whose love of old movies extends far beyond his job at a film distributor's warehouse and endless late night film screenings in his bedroom. His singular obsession eventually rounds the bend into psychosis after he crosses paths with Marilyn O'Connor, a Marilyn Monroe look-alike who becomes the physical embodiment of his cinematic desires.
When (unintentionally) stood up on what he believed would be their first date, Eric becomes homicidally unbalanced, transforming himself into a gallery of classic movie characters - including Dracula, The Mummy, Hopalong Cassidy, and Norman Bates - and sets out to destroy his oppressors, starting with his crotchety wheelchair-bound Aunt Stella, then targeting a boorish co-worker, and eventually working his way toward Marilyn.
