I saw what you did 1965
I saw what you did 1965
I Saw What You Did
1965, Mystery & thriller, 1h 22m
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User Reviews
Yes, good old William Castle is on the loose again, with a low budget and a creepy plot. and Joan Crawford, whose salary probably used up most of Castle’s available cash.
You know you’re in trouble from the first few scenes, with corny eyeball-shaped framing devices, then the intrusion of Van Alexander’s completely out-of-place bouncy score, with its recurring principal theme of «Ninny nanny noo-noo.» (Most of his credits are for 60s sitcoms, and it shows.) Then we’re treated to exteriors of the Mannering house which are nothing more than Thomas Kincade- style paintings. (Virtually the whole film was shot on a sound stage, except for some rear projections.)
The plot itself is clichéd, but decently «executed.» The casting is a problem, with Joan Crawford at age 60 trying to be the hypotenuse in a love triangle between 50-year-old John Ireland and some young bimbo (or we should say, ex-bimbo). Not much choice there. The two teenage girls are straight out of 60s sitcom land, and the younger sister joins the ranks of «most annoying child actors.» There are some tense moments, including a ripoff of the shower scene from «Psycho» (except with a naked man instead of Janet Leigh).
And since we’re already knee-deep in 60s sitcoms with the trite score and giggly teenaged actors, we’re given an ending that would have been right in place on Dobie Gillis or the Patty Duke Show. Except with a dead body.
and she knows who you are!
This is another strange William Castle concoction that features Joan Crawford in one of the B-horror movies she made near the end of her career, and yet the only way they could fit her into this story was to make her a kooky neighbor lady who wears tacky jewelry that looks like some sort of bizarre Aztec armor.
Everyone knows the plot, which involves two teenage girls who spend an evening making prank phone calls and, through the miracle of plot contrivance, stumble into the path of a psychotic man who has just committed murder.
I don’t know if any of the other viewers felt the same way, but I really think the movie’s violence is a bit shocking for its day. The first murder is an ironic ripoff of «Psycho», with the person in the shower committing the murder instead of being slashed, and I was surprised at how graphic it really is.
Also, I don’t know whether this was really the filmmakers’ intention or not, but they have captured the excitement of a teenage adventure and carried it effortlessly into a suspenseful conclusion. Ironically, the only thing in the movie that feels wrong is the subplot involving Crawford. It was obviously inserted to give the movie a star and to pad out the running time.
. which is a no-budget thriller.
Two teenage girls (Sara Lane, Andi Garrett) make prank phone calls saying the title line. By mistake they call Steve Marak (John Ireland) who’s just killed his wife. Then things get out of control.
One of William Castle’s low budget horror films that he churned out in the 1960s. None of them are that good but this is definitely one of the better ones. It’s photographed in moody black & white and director Castle makes excellent use of darkness (notice all the darkness above the girls when they make the calls) and shadows and fog (which inexplicably shows up at the end). There’s also a very vicious shower stabbing in the first 20 minutes with shots obviously imitating «Psycho». There are also quite a few good moments calculated to make you jump.
On the debit side—there’s not enough story even for 83 minutes; Joan Crawford (dressed to the 9s for no reason) is wasted as a next-door neighbor; Ireland is stone-faced throughout; Lane and Garrett are horrible actresses (and, tellingly, never made another movie) and the script has lines that no teenager would utter.
Still, there are worse ways to kill 90 minutes and the jolts in this film do work. Worth seeing if you’re a horror fan.
«I Saw What You Did» has teenagers Libby and Kit spending a night home alone along with Libby’s younger sister, Tess. What do three young girls do for fun on a Friday night in 1965? Make prank phone calls, of course! But Libby and Kit’s idea of innocent fun turns dangerous when they ring a psychopath who has just murdered his wife.
I admittedly am not a fan of William Castle’s earliest work (as much as I don’t want to say it, I find his earlier ghost films «House on Haunted Hill» and «13 Ghosts» remarkably dull), but here Castle seems to have struck my fancy. «I Saw What You Did» is a straightforward suspense film that relies on crafty writing in order to really hold our attention, but the script pulls it off. The causal reactions that put Libby and Kit into such grave danger are extremely clever, and that is perhaps the film’s greatest strength— the writing is inventive and smart. In terms of action, there is not a lot that happens over the course of the film, but it still manages to engage all the same, and running at 82 minutes, it packs its punch well.
The film’s black-and-white photography is gorgeous and drenches everything atmosphere, and its famous «uxoricide» scene cribs Hitchcock’s «Psycho» but is arguably more brutal; it marks a pivotal point in the film as well that will have the audience shifting in their seat— even the film’s hokey score is discredited by that scene alone. As lightweight as the film feels for much of its duration, the first murder is there to remind us that it’s really not.
The two leading young girls are remarkably likable in their roles, and Joan Crawford infamously pulls off the role of the psychopath’s sultry mistress next-door. While Crawford is often credited for hamming things up in her later career, I found her performance here to be actually quite incredible and terrifying; her interrogation of Libby when the girls arrive at the madman’s house was absolutely hair-raising— in fact, I’d go so far as to say she’s scarier in that moment than John Ireland is throughout the entire film.
Overall, «I Saw What You Did» is noteworthy as a thriller, but also as a cultural relic of a bygone era of rotary dials, and a world where prank calls could lead to murderous madmen peeking in your windows. It’s a clever and suspenseful film that is tame by today’s standards, but the maliciousness of its first murder scene does keep it floating above total kitsch. It’s fun, short, and sweet, and Joan Crawford somehow manages to be at her scariest in a role that could have easily been very boring in the hands of another actress. It’s a shame that it hasn’t been re-released on DVD or Blu-ray for new generations to have availability to; the original Anchor Bay disc went out of print years ago and is inexplicably among the rarest horror DVDs out there. 9/10.
A young teenager called Libby Mannering (Andi Garrett) invites her best friend Kit Austin (Sarah Lane) over whilst her parents are away on an overnight business trip. Together with Libby’s little sister Tess (Sharyl Locke), whom they find themselves babysitting, they amuse themselves by making prank phone calls teasing whoever answers by saying «I saw what you did, I know who you are.» Things take a sinister turn when they accidentally call a psychopath called Steve Marek (John Ireland) who has just brutally murdered his wife in the shower so he can be with his neighbour and lover Amy (Joan Crawford). The dangerous and deranged Marek is convinced that they really «saw what (he) did» and sets about finding them so he can kill them too. Libby becomes fascinated by Marek, whom she has only ever heard over the telephone, and attracted by his voice she thinks that he might be after a date with her. Despite protestations from Kit and Tess, she finds Marek’s number in the phone directory and drives to his house hoping to catch sight of him through his window. However, she is caught by the jealous and possessive Amy and she steals her registration card before throwing her off the property. Amy confronts Marek about Libby and proceeds to blackmail him into marrying her since she now knows what he did to his wife. Marek kills her with a kitchen knife and tracks down Libby via the registration card. Kit’s father has arrived to collect her, which means that she and Tess are now all alone in her parents’ remote and large farmhouse. In a nerve-jangling finale, they find themselves playing hide and seek with the deranged killer who is determined to silence them.
Garrett and Lane’s performances were not as wooden as I thought they might be and they just act believably as teenage girls who are generally well behaved but get up to mischief now and then. Joan Crawford is a joy to watch as she doesn’t take the film too seriously and treats it as a sort of send up of the melodramatic roles for which she was famous. John Ireland is convincing and suitably unnerving as the psychopathic Marek and look out for John Crawford who was the leading man in that splendid British b-thriller The Impersonator in a small role as a policeman.
What do you say when terror calls? Just the average «hello,» or something more terrified?
I’m sorry to say Joan does seem a bit stewed. She acts like a marvelous actress on a binge caught unawares. Her part is miniscule, but she gives it her off-kilter all. John Ireland is here, 10 years after being stung by Joan in «Queen Bee,» which everyone has already mentioned. That film was infinitely scarier than this one, with Joan stopping just short of eating babies. Ooh, she was a bad one. In this film she’s a bad one of a different sort—bad as in «not good.»
At this point, things pick up considerably. We’ve got the rantin’ and ravin’ of Joan, the stammering and completely terrified girl, and John «Sexy Voice» Ireland. All our characters have reported for duty, and the plot has emerged. Everything is ready to go. I think this is where the film reaches its own little pinnacle of greatness. Joan confronts John (didja know there was also a John Crawford back then?) with the a bunch of incorrect information, but it’s just enough to get him riled. From this point on, everyone’s in trouble and who can save them now?
All in all, a very enjoyable film, although I don’t think it’s too terribly frightening. (Joan’s hair is scary, as I think someone else mentioned, but that’s about it.) It’s what one would expect from William Castle. Laughs in a Halloween costume.
I saw what you did 1965
There was a time in horror when a phone call was scarier than a knife. All it took to unnerve someone was a vague but menacing message delivered in a creepy voice. Killers throughout the genre have traditionally used telephones to intimidate their victims. Yet, what happens when the roles are reversed, and the villain […]
The post When a Stranger Calls a Killer: Fred Walton’s 1988 Remake of ‘I Saw What You Did’ [Young Blood] appeared first on Bloody Disgusting!.
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