At a Catholic public school, Benjamin Stanfield is tired of being the teacher's pet and decides to play a practical joke on his form master Father Goddard. In confession, Stanfield tells Goddard that he has accidentally murdered his friend Blakey and buried him in the forest. When Goddard investigates the matter, he finds a buried scarecrow. Goddard is outraged, but, due to the seal of confession, he knows he cannot expel Stanfield. Shortly after, Stanfield once again enters the confession booth, telling Goddard that what before was a practical joke, he has now made happen. In disbelief, Goddard once again goes to the forest to investigate the matter. This time, he discovers Blakey's dead body. The plot soon thickens as Stanfield's fellow student Arthur Dyson mysteriously disappears... Written by
One man, two boys... one deadly game.
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Did You Know?
Director Anthony Page
said of this film whilst location scouting around Ellesmere for this movie: "I'm trying to find the exact places for filming Blakey's [played by Billy Connolly
] approach to the school. The locations are very important. It's a question of getting the exact balance between Gothic feeling of the school and the surrounding countryside . . . I'm delighted with the quality that John Coquillon
[the film's director of photography] is bringing to the picture. I have never worked with him before, but his low-keyed effects on the screen are absolutely right for our story . . . You can see Richard Burton
in these landscapes, can't you? He's marvelous in the part of [Father] Goddard. He has that huge, outsize quality, rather like Russian actors. There's nothing too small or mean about Richard's acting. At the moment he is just getting into the part because he has only been filming for a week. So far we haven't done any of his really big scenes. A lot of corridor walking except that yesterday we started filming some of the bits after the first murder and the effect on the screen is extraordinary. Also Goddard has a sadistic streak, which Richard is bringing out in the character with such subtly. He has that marvelous dry, cutting edge which he used so brilliantly in Virginia Woolf [i.e. Who's Afraid of Virginia Woolf?
(1966)]." See more