BA_Harrison Late '60s British psychological thriller Twisted Nerve makes a rather insensitive connection between mongolism (Down's Syndrome) and psychopathic tendencies, which may be upsetting for some viewers (the film ran into trouble on its original release for just that reason); however, political incorrectness aside, this is a very entertaining movie—a deftly directed, well acted study of a dangerous character who is completely unable to understand, feel or function like a normal human being.A young Hywel Bennett plays 22-year-old Martin Durnley, brother to a mongol, whom he regularly visits at a care home. Stopping off at a store on the way home, Martin spies lovely librarian Susan (Hayley Mills) in the toy department, and employs a rather unorthodox strategy to make her acquaintance: he involves her in a case of shoplifting, subsequently pretending to be mentally retarded to excuse his actions. Calling himself Georgie, he proceeds to concoct an elaborate ruse to worm his way into Susan's life, eventually taking up residency in the guest house she shares with her mother Joan (Billie Whitelaw), and lodgers Shashie Kadir (Salmaan Peerzada) and Gerry Henderson (Barry Foster).As well as providing an excuse to get close to Susan, Martin's deception enables him to be rid of his domineering and disapproving stepfather Henry (Frank Finlay): one night, when 'Georgie' is supposedly tucked up in bed, Martin sneaks out of the guest house and murders Henry, returning back before anyone can notice his absence; however, there's no such thing as the perfect crime, and circumstances lead Susan to suspect that Georgie isn't quite the innocent simpleton he seems to be, putting herself (and her mother) in mortal danger.Although it is Mills who is arguably the 'star' of Twisted Nerve, it is Bennett who impresses the most, putting in a thoroughly chilling and utterly convincing performance throughout, both as Machiavellian Martin and gormless Georgie (the ease with which he switches between personas is superb). Billie Whitelaw also puts in a very strong turn, adding a further level of complexity to the story with her troubled character, who finds herself drawn to Georgie like a moth to a flame (or like a sexually-frustrated, middle-aged woman to an axe). Director Roy Boulting handles the tension brilliantly, with one scene involving a plate of biscuits almost worthy of Hitchcock himself.The Hitchcock connection continues with a haunting Bernard Herrmann score (that will be familiar to fans of Kill Bill) and a Psycho-style ending that sees Martin shooting at his reflection in a mirror, effectively killing off that part of his personality, leaving only Georgie remaining. Like Norman Bates, he is last seen in a prison cell, a psychological mess repeatedly calling out for Susan.

valensee I came by this title by chance, but I definitely didn't end up regretting it. We all tend to have our own preferences when it comes to actors, but I don't think anyone could've chosen the leads better - Bennett's innocent looks serve nothing but to further add to the disturbing nature of the character he's portraying - the terror of Martin is that he could be anyone, the guy at school who's taken a liking into you, your next door neighbour, a cashier at the local shop - he's likable and cute and there's no way of telling his true intentions until it's too late. Laced with the perfect amount of nerve-wrecking music and unfolding the plot slowly and meticulously all the way up to the boiling point, I think anyone who fancies themselves a good thriller shouldn't miss on this one, especially with all the wonderful work that has been put into the character and plot development.

The_Void Twisted Nerve doesn't seem to have a great reputation, and while the film (like its lead character) certainly does have some problems, I enjoyed this one in spite of them. The main problem people seem to have with this film (so much so that the filmmakers actually had to tack on an apology before the film starts!) stems from the fact that it seems to be professing that siblings of mongoloid children were more likely to become psychopaths. This idea is somewhat silly and I can see why it would bother some people; but seriously, this is just a thriller and while the idea is unlikely and misguided, it didn't bother me too much. It also should be noted that 'nurture' plays a big part in the lead character's mental health problems. The film focuses on Martin Durnley. His mother treats him like a child, his stepfather dislikes him and his mongoloid brother is institutionalised. He meets a young girl named Susan Harper, who takes pity on him (or rather, his alternative personality 'Georgie') after a shoplifting incident. But this soon leads to obsession for the troubled young man...If you go into this film expecting something deep or brilliant, you will be disappointed. As mentioned, the point that the film tries to make is not well imposed and not much else about the film has any depth. Still, as a thriller it works well. The main influence for the film is clearly Hitchcock's masterpiece 'Psycho' and the two share a lot in common. The central character is interesting for the fact that he's so strange. Hywel Bennett really succeeds in creating a character that is both bizarre and completely sinister. The supporting cast isn't as great in terms of performances, but the two leading ladies are much nicer to look at. Hayley Mills delivers the typical young British female lead, while Billie Whitelaw is the real standout for me as the young girl's mother. Twisted Nerve also features a memorable tune, and possibly takes influence from Fritz Lang's M as the lead character often whistles it. The film flows well throughout and delivers the intrigue from the character actions and the situation rather than through suspense. I can see why this film is not often hailed as a classic; but if you're looking for an interesting watch and don't care about some silly ideas, Twisted Nerve comes recommended.

adriangr I have to agree with other critics of this film because after finally getting the chance to see it, I have realised it does not deliver on any level. The story opens with a disturbed man named Martin being caught stealing a toy from a department store. Following a later argument with his parents, he leaves home and sets up a clever deception built around an attractive girl named Susan (who he encountered while stealing the toy), conning her into thinking he's retarded and moving into her family's small guest house, while at the same time conning his parents into thinking he has taken a trip to Paris. Martin's behaviour is for the most part indecipherable, but one thing's for sure, it's all going to end in tears.The reason, I think, behind the film's failing, is it's pivotal explanation for why Martin is behaving abnormally, which is spurious in the extreme. Based around a medical condition, the film goes to great lengths to show learned doctors discussing just such a topic and how it might affect a sufferer. The trouble is that the script writers did not seem to know what "disturbed" traits to actually give the the character of Martin, so he simply acts erratically, inconsistently and ultimately homicidally just to make the plot exciting. The feeble reasoning behind his behaviour really dates the film, and I can only assume there must have been some research being done at around the time the film was made (1968) that inspired such ideas.At any rate, the film was not well received at the time because of it, and it only appears worse when viewed today. So too does some really appalling racism directed towards an Indian doctor in the film, which is highly embarrassing to watch. The acting on the whole is pretty good, although Hywel Bennett does not instill the character of Martin with any particular depth, and Hayley Mills looks very pretty as Susan and fulfils the role very well although she isn't given very much to do. Much more interesting is Billie Whitelaw as Susan's mother, who makes a real impact with her appearance.Sadly the film itself can't claim to grab the attention. Despite a small sprinkling of blood and murder, things never get really tense or gripping. The overall impression is spoiled by the sheer datedness of the thing, but more importantly, it seems as though the whole thing was written around the expectation that the spectacular psychological revelations would carry it, but as they don't work, the film as a whole doesn't work either. As it stands, it's just another film about a disturbed man causing trouble, and it doesn't really do that very well.