| Rebecca Balding | ... | Scotty Parker | |
| Cameron Mitchell | ... | Lt. Sandy McGiver | |
| Avery Schreiber | ... | Sgt. Manny Ruggin | |
| Barbara Steele | ... | Victoria Engels | |
| Steve Doubet | ... | Jack Towne | |
| Brad Rearden | ... | Mason Engels | |
| John Widelock | ... | Peter Ransom | |
| Jack Stryker | ... | Police Chief | |
| Thelma Pelish | ... | Housing Lady | |
| Tina Tyler | ... | Victoria at 16 | |
| Yvonne De Carlo | ... | Mrs. Engels | |
| Juli Andelman | ... | Doris Prichart | |
| Annabella Price | ... | TV Rape Victim | |
| Joe Pronto | ... | TV Rapist | |
| Jason Zahler | ... | Mason at 3 | |
| Joan Lemmo | ... | Rooming House Lady | |
| Ernie Potvin | ... | Boarding House Husband | |
| Virginia Rose | ... | Boarding House Wife | |
| Ina Gould | ... | Landlady | |
| Rachel Bard | ... | Nurse in Psycho Ward |
Directed by | |||
| Denny Harris | |||
Writing credits | ||
| Ken Wheat | (written by) & | |
| Jim Wheat | (written by) and | |
| Wallace C. Bennett | (written by) | |
Produced by | |||
| Denny Harris | .... | executive producer | |
| Joan Harris | .... | executive producer | |
| Jim Wheat | .... | producer | |
| Ken Wheat | .... | producer | |
| Leslie Zurla | .... | associate producer | |
Original Music by | |||
| Roger Kellaway | |||
Cinematography by | |||
| Michael D. Murphy | |||
| David Shore | |||
Film Editing by | |||
| M. Edward Salier | (as Edward Salier) | ||
Casting by | |||
| Leslie Zurla | |||
Production Design by | |||
| Chris Henry | (as Christopher Henry) | ||
Costume Design by | |||
| Fredda Weiss | |||
Makeup Department | |||
| Dante | .... | makeup artist | |
| Mary M. Hunter | .... | makeup artist | |
| John Malone | .... | hairdresser (as John E. Malone) | |
Production Management | |||
| Carol Lee Emrich | .... | production manager | |
| M. Edward Salier | .... | post-production supervisor (as Edward Salier) | |
Second Unit Director or Assistant Director | |||
| Leslie Zurla | .... | assistant director | |
Art Department | |||
| Michael Feffer | .... | assistant property master | |
| Skip Troutman | .... | property master | |
| Peter Nigel Williams | .... | property master | |
| McCoy Wood | .... | special construction consultant | |
Sound Department | |||
| Robert Glass | .... | dubbing | |
| Larry Goga | .... | production sound mixer | |
| Robert Knudson | .... | dubbing | |
| Bonnie Kozek | .... | sound effects editor | |
| Don MacDougall | .... | dubbing | |
Special Effects by | |||
| Steve Karkus | .... | special effects | |
Stunts | |||
| Jeannie Epper | .... | stunts | |
| Joe Pronto | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Michael Barrett | .... | best boy (as Mike Barrett) | |
| Alfred Del Boccio | .... | operator: chapman crane | |
| Félix Enríquez Alcalá | .... | gaffer (as Felix Alcala) | |
| Robert Fischer | .... | grip (as Bob Fisher) | |
| David Gordon | .... | key grip (as David J. Gordon) | |
| Denny Harris | .... | photographer: second unit | |
| Rachael Jenkins | .... | electrician (as Rachel Jenkins) | |
| Bruce Johnston | .... | generator operator | |
| George MacDonald | .... | gaffer | |
| Kerry Magness | .... | gaffer | |
| William Mamches | .... | best boy | |
| Bill Pecchi | .... | key grip (as Bill Pecchi Jr.) | |
| George Posedal | .... | assistant camera (as George Posedel) | |
| George Posedal | .... | photographer: second unit (as George Posedel) | |
| Barbara Seiler | .... | still photographer | |
| Stuart A. Spohn | .... | gaffer (as Stuart Spohn) | |
| Robert Stern | .... | key grip | |
| Bruce Ward | .... | grip | |
| Jonathan Woolf | .... | key grip (as Jonathon J. Woolf) | |
Costume and Wardrobe Department | |||
| Brian Higby | .... | wardrobe | |
| Betty M. Nowell | .... | wardrobe (as Betty Nowell) | |
Editorial Department | |||
| Mori Biener | .... | assistant post-production supervisor | |
| Ann Hagerman | .... | assistant editor | |
| Jack Hofstra | .... | additional editor | |
| Richard Ross | .... | assistant editor | |
| David Tour | .... | additional editor | |
Music Department | |||
| Tony Coe | .... | musician: saxophone solos | |
| M. Edward Salier | .... | music editor (as Edward Salier) | |
Other crew | |||
| Jean Gonzales | .... | welfare teacher | |
| Lori Hannigan | .... | caterer | |
| Steven McGrew | .... | utility | |
| Joan Newstrom | .... | location auditor | |
| Ernie Potvin | .... | title designer | |
| Trudi Reynolds | .... | caterer | |
| Catherine Stoddard | .... | script supervisor | |
| Mary Jo Thatcher | .... | production assistant | |
| Marion Tumen | .... | script supervisor | |
| Leslie Zurla | .... | location manager | |
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| Black Christmas | Like Minds | Terror Train | The Slumber Party Massacre | Basket Case 2 |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb USA section |
Let it begin. Post-Halloween slashers are in force. But this just made it in before the major onslaught, and admirably it's a above par entry. Actually it probably has more common with "Psycho" , and touch of "Black Christmas", than most brain-dead slashers. The one-note story is quite typical and fairly bare on building much in the way of sub-plots, but it's the dreary, underlining atmosphere that smothers the gloomy seaside mansion and invokes a real unsteadiness of slow-burn tension. Even the performances lend well, and the central outlook on a dysfunctional family (who rent out spare rooms in their mansion to students) grows incredibly eerie. A silently steely Barbara Steele is memorably striking in her support role, while Rebecca Balding is competently fine as the main heroine. Cameron Mitchell and Yvonne De Carlo also show up. There's a subtle stylishness to Denny Harris' direction in many effective sequences, where obviously his less concerned about a body count and ghastly shocks. The feel is more like an old-fashioned Gothic-tale, with psychotic-drama currents. A problem though, would that there happened to be many flat (or dead-air) moments. Dead silence, and believable actions aplenty. It's low-budget shows, and minimal scope gives the film a tight, dank and creaky vibe that works. Even the vast, forlorn coastal location choices, and shadowy, cob-web house-bound settings are nailed down to perfection. Roger Kellaway's hysterically sombre music score had that familiar sound to it, but Michael D. Murphy & David Shore's murkily prying cinematography really sneaks up onto the viewer. Even within the empty passages, it still emit's a spine-tingling ambiance and workably solid performances by the cast.