The file marked Disney Horror films isn’t too substantial; the notion of staff hailing John Hough’s The Watcher in the Woods as ‘This could be our Exorcist’ suggests that the company were indeed looking in surprising directions in the early 1980’s. The Watcher in the Woods came out just before The Shining, and has a number of similar tropes, notably children discovering backwards writing on the windows of a crumbling mansion. But Watcher was pulled by the company bosses, re-edited and given a new opening and closing sequence; the original version, and Hough’s preferred version, are even harder to find than this 1982 reissue. Safe pair of hands Vincent McEveety was drafted in for the reshoots, but the regular reader of this blog will know that John Hough is the draw here; from Dirty Mary, Crazy Larry to Biggles, his skills are first rate. Here, he brings a real gloss to proceedings as David McCallum and his family move into an old house, where Bette Davis has a secret relating to a missing child and a spectral presence. Since the 1980’s, PG horror has become something of a staple, but in 1980, the whole concept of a children’s horror movie seemed like a contradiction. Hough’s movie has plentiful jump scares, like a child putting on a witch’s mask, that don’t connect to the main narrative. But reboots and remakes are welcome when they right wrongs; Disney’s idea was ahead of the curve, and even though there’s been a take Lifetime tv movie remake with Anjelica Huston, it would be nice to see Disney get to grips with this property and see what attracted them to it in the first place. It’s certainly got atmosphere, even if the story defies logic for children and adults alike.
Produced by Robert Wagner, this nutty spy caper takes place largely on the rather lovely and certainly picturesque Scottish island of Mull, and the tiny town of Tobermory, recognisable from the children’s tv show Balamory. Released in 1972, David Greene’s feature reflects a growing problem in Scotland; the creation of Thought Factories by criminal geniuses like Madame Sin (Bette Davis), where sound waves can be used to cleave the unwitting into two like apples, and thoughts can be implanted into unwary Polaris submarine commanders like the one played by Gordon Jackson here. For a tv movie, released to cinemas when no execs bought into the daftness on show, Madame Sin is pretty lavish stuff, with classy support from Dudley Sutton, Denholm Elliot and Space 1999’s shape-shifter Catherine Schell, and the story, while on the brisk side, is reasonably fresh, But Davis is the highlight here, clearly having fun as a Fu Manchu-style super-villainess and spitting out truly outlandish dialogue like “How would you like your submarine, gentlemen, gift wrapped?’