London, 1949. John Christie is an unassuming, middle aged man who, along with his wife Ethel, manages the apartment building at 10 Rillington Place. His unassuming demeanor masks the fact ... See full summary »
Three performers for six roles: this is the game of the film. A melodrama about two love triangles. In the first, Hagalin is killed by his mistress and her lover. In the second, attorney ... See full summary »
An idealistic rookie cop joins the LAPD to make ends meet while finishing law school, and is indoctrinated by a seasoned veteran. As time goes on, he loses his ambitions and family as police work becomes his entire life.
George C. Scott,
A former getaway driver from Chicago (George C. Scott) has retired to a peaceful life in a Portuguese fishing village. He is asked to pull off one last job, involving driving a dangerous ... See full summary »
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Trish Van Devere
Some university students change their views on sex after hearing a lecture on the blind Syrian philosopher Al-Maarri. He gets his way with one of them after sneaking what I imagine is ... See full summary »
London, 1949. John Christie is an unassuming, middle aged man who, along with his wife Ethel, manages the apartment building at 10 Rillington Place. His unassuming demeanor masks the fact of being a serial killer. His modus operandi is to act as a person with a medical background, lure unsuspecting women to his apartment on the pretense of curing them of some ailment, knock them unconscious with carbon monoxide gas, gain his sexual release through contact with the unconscious body, then strangle the victim dead before disposing of the body usually by burying it in his back yard. His next intended target is Beryl Evans, a young woman who has just moved into a flat in his building. Beryl's husband, Tim Evans, is an illiterate man who likes to put on airs. Already with an infant daughter named Geraldine, the Evanses learn they are going to have another baby, which they cannot afford to have, nor can they afford to abort the pregnancy. This problem, on top of the constant issue of lack of... Written by
Filmed in the real Rillington Place, which had changed its name to Ruston Close in 1954, the year after Christie's execution. Filming took place in no.7 when the occupants of no.10 refused filming to take place. The street was later demolished at the end of 1970 and the area later redeveloped, completed in 1977 as Bartle Road and St Andrew's Square. See more »
In the Bar scene where Beryl and Tim agree to have the abortion done, Tim is seen drinking from an almost full glass of beer, then when the camera switches, it is almost empty, then it fills back up for the next shot. See more »
No need to repeat consensus points already made. Instead, I'll try to touch on noteworthy aspects generally unmentioned.
The movie's not only a reflection on the death penalty, but on anti-abortion laws, as well. Those desperate women wouldn't have been driven into the clutches of the lunatic Cristie were abortion licensed and legal. That may not have stopped his madness, but he would have had to come up with a different ploy.
The movie focuses on one particular episode (the Evans killings) rather than the series of killings that actually covered a considerable time period. So, cooped up in the city, Cristie ends up hiding his many victims where he can (in the garden, in the washroom, in the walls). What surprises me is that no one, least of all, the wife, notices what must have been an atrocious smell.
Note the dispatch with which Evans is hanged, unlike the more ritualized American way. I assume the movie is an accurate depiction. He walks into an ordinary room, the hood is placed over his head, and plop, the trapdoor opens. And it takes just about that long. The suddenness really startled me.
Contrast two ends of the serial killer spectrumthe shy, unattractive Cristie and the charming, handsome Ted Bundy of 1970's America. Understandably, Bundy had no trouble luring girls to their doom; judging from the movie, however, Cristie's victims must have been truly desperate to let that little creep lay hands on them.
Not mentioned in the movie, but in one of the books that I recall, is that Cristie kept swatches of pubic hair as trophies.
Like any good document on serial killers, the film presents a glimpse of lives and social levels that otherwise go unnoticed. Here we get a sense of a decaying part of London and the dreary lives hanging on there. A good movie or book is like a knife slicing through a cake, exposing layers that otherwise remain hidden. That's the particular strength of this film.
My only reservation is the casting of Judy Geeson as Evans' wife. She seems too pretty and smart to be hooked up with a dead-ender like Evans. Still and all, Geeson's performance is excellent note her subtle expressions on first meeting the creepy Cristie. Nonetheless, I suspect her casting was the one concession the producers made to commercial appeal.
All in all, it's a grim, ugly film-- as it should be. We may not get much sense of why Cristie has taken the warped, monstrous turn he has. But then such dark matters may be beyond us, anyway. Above all, the movie should not be viewed in a depressed state or if you're looking for a room to rent.
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