IMDb > Shivers (1975)
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Shivers (1975) More at IMDbPro »

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Shivers -- The residents of a suburban high-rise apartment building are being infected by a strain of parasites that turn them into mindless, sex-crazed fiends out to infect others by the slightest sexual contact.


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6.6/10   11,455 votes »
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David Cronenberg (written by)
View company contact information for Shivers on IMDbPro.
Release Date:
6 July 1976 (USA) See more »
T-E-R-R-O-R beyond the power of priest or science to exorcise! See more »
The residents of a suburban high-rise apartment building are being infected by a strain of parasites that turn them into mindless, sex-crazed fiends out to infect others by the slightest sexual contact. Full summary » | Full synopsis »
1 win See more »
(178 articles)
Stephen King Week: Scott Looks Back at The Dead Zone
 (From DailyDead. 29 October 2015, 5:34 PM, PDT)

Cronenberg’s The Brood
 (From Trailers from Hell. 26 October 2015, 6:06 PM, PDT)

Interview: Actress Lynn Lowry Remembers David Cronenberg’s Shivers
 (From shocktillyoudrop. 15 October 2015, 7:58 AM, PDT)

User Reviews:
Intelligent social-commentary disguised as a lurid slice of pure exploitation; a great film See more (97 total) »


  (in credits order) (verified as complete)
Paul Hampton ... Roger St. Luc
Joe Silver ... Rollo Linsky

Lynn Lowry ... Nurse Forsythe
Allan Kolman ... Nicholas Tudor (as Alan Migicovsky)
Susan Petrie ... Janine Tudor

Barbara Steele ... Betts
Ronald Mlodzik ... Merrick
Barry Baldaro ... Detective Heller (as Barry Boldero)
Camil Ducharme ... Mr. Guilbault
Hanka Posnanska ... Mrs. Guilbault
Wally Martin ... Doorman

Vlasta Vrana ... Kresimer Sviben
Silvie Debois ... Benda Sviben
Charles Perley ... Delivery Boy
Al Rochman ... Parkins
Julie Wildman ... Miss Lewis
Arthur Grosser ... Mr. Wolfe
Edith Johnson ... Olive
Dorothy Davis ... Vi
Joy Coghill ... Mona Wheatley

Joan Blackman ... Elevator Mother
Kirsten Bishop ... Elevator Daughter (as Kirsten Bishopric)
Fred Doederlein ... Emil Hobbes
Sonny Forbes ... Garbage Room Man
Nora Johnson ... Laundry Woman
Cathy Graham ... Annabelle
Robert Brennen ... Boy
Felicia Shulman ... Girl
Roy Wittan ... Bearded Man (as Roy Whittan)
Denis Payne ... First Elevator Man
Kevin Fenlow ... Second Elevator Man
rest of cast listed alphabetically:

David Cronenberg ... Infected in the crowd / The stabbed shoulder (uncredited)

Directed by
David Cronenberg 
Writing credits
David Cronenberg (written by)

Produced by
Don Carmody .... co-producer
John Dunning .... executive producer
André Link .... executive producer
Alfred Pariser .... executive producer
Ivan Reitman .... producer
Peter James .... executive producer (uncredited)
Cinematography by
Robert Saad 
Film Editing by
Patrick Dodd 
Art Direction by
Erla Gliserman 
Makeup Department
Joe Blasco .... creatures creator
Joe Blasco .... special makeup artist
Louiselle Champagne .... makeup assistant (as Louisette Champagne)
David Dittmar .... assistant special makeup
Suzanne Garand .... makeup artist (as Suzanne Riou-Garand)
Production Management
Don Carmody .... production manager
Art Department
Rose Marie McSherry .... art assistant
Sound Department
Len Blum .... sound assistant
Danny Goldberg .... sound supervisor (as Dan Goldberg)
Michael Higgs .... sound recordist
Jean-Claude Matte .... boom operator
Nolan Roberts .... re-recording
Jim Thompson .... boom operator
Fournier Frères .... stunts
Camera and Electrical Department
John Daoust .... key grip
Attila Dory .... still photographer
Yves Drapeau .... first assistant camera
Paul Gravel .... second assistant camera
Jean-Paul Houle .... best boy
Jim Lawler .... assistant grip
Rick Maguire .... first assistant camera
Dexter Pattie .... assistant electrician
John Sawyer .... gaffer
Tom Sawyer .... electrician
Music Department
Ivan Reitman .... music supervisor
Other crew
Diane Boucher .... continuity
Stewart Harding .... production assistant
Irene Litinsky .... production secretary
Josette Perrotta .... production secretary
Cliff Rothman .... production assistant
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"They Came from Within" - USA (alternative title)
See more »
87 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Australia:R | Canada:R (Manitoba/Nova Scotia/Ontario) | Canada:R (Manitoba/Ontario) | Canada:18 (Nova Scotia) | Canada:13+ (Quebec) | Finland:K-18 | France:-16 | Germany:16 (re-rating) | Ireland:18 | Italy:VM18 | Italy:T (DVD re-rating) | Netherlands:16 | Norway:18 | Sweden:15 | UK:18 | UK:X (original rating) | USA:R | West Germany:18

Did You Know?

The movie's filming dates in the summer of 1974 is revealed by the news broadcast of an actual labor dispute involving the construction of Montreal's Olympic Stadium for the 1976 Olympic Games.See more »
Miscellaneous: When the parasite attacks Betts in the bathtub, it removes the drain plug and itself comes out of the drain; however, the water in the bathtub never starts draining. The water level remains the same until the following scene when she gets out.See more »
Betts:I loathe to eat alone. It makes me feel so fat and lonely.See more »


What are the differences between the UK Blu-ray and the US DVD?
See more »
8 out of 9 people found the following review useful.
Intelligent social-commentary disguised as a lurid slice of pure exploitation; a great film, 20 June 2008
Author: Graham Greene from United Kingdom

For me, the best of Cronenberg's earlier works is an exercise in claustrophobic tension building, wrapped in a concept of pure exploitation, and all further used as an excuse for a wicked Buñuelian-like satire on the woes of contemporary consumer culture and the antiseptic nature of modern living. The way that Cronenberg creates this world of gated purification turned into a beacon for the very best of late twentieth century existence, only to then pull the walls down from within as the characters are turned into dribbling, sex starved deviants is not only an effective horror-film scenario - drawing on the prevalent notions of isolation and paranoia usually found in films of this particular nature - but also as a comment on the vapid, overwhelming sense of boredom that modern life, with all its consumer fads and soulless pursuit of social fulfilment can present.

Like the very best of these retro exploitation films, Shivers (1975) works on at least two distinct levels of enjoyment and interpretation, with the obvious shocker elements suggesting an even more warped take on the territory of Night of the Living Dead (1968) - with sidelines into the same kind of atmosphere created by John Carpenter in his subsequent Assault of Precinct 13 (1976) - while the more personal and psychological aspects of the script complement the more recognisable elements of horror in a way that creates a perfect symbiosis between presentation and form. Admittedly, the look of the film and the obvious limitations of the low budget might disappoint some viewers more accustomed to glossier, 21st century thrillers; whilst the once shocking elements of the film might even seem somewhat quaint, especially in light of the veritable pornography of violence in films such as Saw III (2006), Hostel (2005) and The Hills Have Eyes (2006). Nonetheless, I think many viewers more familiar with horror/thriller/science-fiction cinema of this particular period will still be able to appreciate what Cronenberg was trying to achieve with this depiction of violence and depravity; with the scenes and scenarios - especially in the film's frenzied final act - really going for the jugular in terms of outré shock spectacle and the subversion of traditionally wholesome, all American iconography.

The idea of a small band of survivors coming together in the name of self-preservation as an inexplicable horror affects those closest to them is still a well worn concept in horror cinema, and one that works incredibly well when combined here with Cronenberg's cold, Kubrickian vision of a sterile, social environment as sex and death become distorted amidst moments of stock exploitation, sly wit and a genuinely subversive sense of satirical absurdity. Though it is admittedly rough around the edges and lacking in the obvious prestige of films like The Brood (1979) and Videodrome (1982), I'd still take this over A History of Violence (2005) or Eastern Promises (2007) any day; with Shivers standing out as not only one of Cronenberg's very best films, but one of the most unique, unconventional and completely engrossing exploitations works of this particular cinematic period.

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