Sort of a cross between HUCK FINN and THE NIGHT OF THE HUNTER, this 1965 Anthony Perkins headliner is a unique and chilling low budgeter. Solid performances, stylish direction and great black and white photography enhance one of the decade’s most underrated films.
The
Package
In true low-budget fashion, the presence of a star, the
late Anthony Perkins, was used as this film’s prime selling
“hook” (and was most likely the reason it got made at all). Tony
was given above the title billing and featured prominently in
the film’s advertising, despite the fact that his is a
supporting role with about twenty minutes of screen time.
The film’s real headliner is the youthful Edward
Albert, making an impressive feature debut (far less impressive
were his adult performances in films like GALAXY OF TERROR and
THE HOUSE WHERE EVIL DWELLS). Rounding out the cast are veterans
like Henry Hull, Salome Jens and Eddie Albert, the seasoned
father of young Edward.
The Story
Adapted from a now-forgotten 1953 novel by Helen
Eustis, this episodic story is set in the Deep South sometime
during the late 1800’s. It starts out with 12-year-old George
(Edward Albert) escaping from his abusive foster parents. He
finds himself in the temporary care of an old hermit who relates
the chilling tale of the Fool Killer, an eight-foot tall,
ax-wielding maniac put on Earth to kill fools. The tale may seem
silly, but it haunts George throughout the remainder of his
wanderings.
He meets up with Milo (Perkins, essentially reprising
his most famous role), a seemingly calm and collected-too
collected-Civil War veteran who’s forever ranting about
mysterious “enemies” all apparently out to get him. As the days
stretch on, Milo reveals himself to be extremely disturbed,
possibly even psychotic. When they stumble upon a Christian
revival festival one night, George finds himself caught up in a
frenzy of religious fanaticism. He awakens the next morning to
discover that the preacher who headlined the revival has been
murdered and Milo is nowhere to be found.
After another bout of wandering, George reluctantly
settles down with a kindly couple only too happy to take him in.
It seems that George’s wanderlust may at last have been
tamed…until Milo unexpectedly shows up one day. George
immediately invites his friend to dinner with his newfound
family-a BIG mistake, it turns out, as Milo is appalled that
they’ve “changed” George. The stage is set for a showdown with
the increasingly unhinged Milo, and the film’s horrific climax
doesn’t disappoint.
The Direction
With THE FOOL KILLER, Mexican director Servando
Gonzalez has crafted a film as stylish as just about any you’ll
see, utilizing much experimental (some would say pretentious)
camerawork and editing. A montage depicting different landscapes
shot from a variety of angles (horizontal, vertical and even
upside down!) separated by STAR WARS-esque wipes feels like it
could have been lifted from a film by Godard. Equally innovative
is Gonzalez’s mix of disparate storytelling techniques, from
voice-over narration to the main character speaking directly
into the camera. Somehow it all works, and is enhanced
throughout by superbly shadowy, film noirish black and white
photography signaling that even when the story is at its most
tranquil, the specter of danger is never far off.
Vital Statistics
THE FOOL
KILLER
Landau Releasing Corporation/Republic Pictures
Director: Servando Gonzalez
Producer: David Friedkin, Herbert R. Steinmann
Screenplay: Morton Fine, David Friedkin (Based on a novel by
Helen Eustis)
Cinematography: Alex Phillips, Jr.
Editor: Juan Jose Marino
Cast: Edward Albert, Anthony Perkins, Dana Elcar, Henry Hull,
Salome Jens, Charlotte Jones, Arnold Moss, Sindee Ann Richards