Michael Winner's rare, ambitious film tries to reimagine the prequel to Henry James' famous novel and its characters, offering Marlon Brando one of his most malevolent and disturbing roles; a good companion piece to The Innocents.
The Nightcomers (1972)
Tomatometer
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Reviews Counted:4
Fresh:3
Rotten:1
Average Rating:N/A
Synopsis: Isolated in a traditional English country manor, two rich orphans--Miles (Christopher Ellis) and Flora (Verna Harvey)--have only their nurse, their housekeeper, and a strange gardener named Quint... Isolated in a traditional English country manor, two rich orphans--Miles (Christopher Ellis) and Flora (Verna Harvey)--have only their nurse, their housekeeper, and a strange gardener named Quint (Marlon Brando) to provide them with company and care. The youngsters are particularly intrigued by Quint's mannerisms, intuition, and omniscience. Witnessing Quint and his prurient relationship with their nurse, Miss Jessel (Stephanie Beacham), profoundly influences their budding sexual desires, and soon the children begin to mimic their caretakers. Things take a drastic turn however, when the odd parental figures seem as if they're going to split up and the children take violent measures to secure an eternal union. Teetering somewhere between psychodrama and psychedelia, NIGHTCOMERS is an aesthetically captivating film. Michael Winner breathes life into a whimsical story unveiling the origin of the children from the Henry James novel, TURN OF THE SCREW. Brando's performance as the seemingly wholesome gardener is eerie, and the shocking ending of NIGHTCOMERS is truly haunting. [More]
Starring: Marlon Brando, Stephanie Beacham, Thora Hird, Harry Andrews
Starring: Marlon Brando, Stephanie Beacham, Thora Hird, Harry Andrews, Christopher Ellis, Anna Palk
Director: Michael Winner
Director: Michael Winner
Screenwriter: Michael Hastings
Producer: Elliott Kastner, Michael Winner
Composer: Jerry Fielding
Reviews for The Nightcomers
Strips the artistry of the Henry James original and leaves us with a hairy, overweight, naked and sweating Brando brutally kneading Stephanie Beacham's breasts into new shapes
Michael Winner's film ends where James's tale begins, and it is a deflating attempt to flesh out that which was never meant to be fleshed out, describing in sordid detail the love affair between the mistress and the groundskeeper and how it affected the t
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