THE OTHER

A sleeper from 1972, THE OTHER beat the likes of THE OMEN and CARRIE to the post when it came to exploiting the notion of kids being capable of less than cherubic deeds.

Here, we meet twins Niles (Chris Udvarnoky) and Holland (Martin Udvarnoky). They play together in the fields outside their family farmhouse, their rural Gothic setting initially calling to mind the likes of DEADLY BLESSING.

These two blonde miscreants are prone to acts of minor mischief - especially when it concerns giving elderly neighbour Mrs Rowe (Portia Nelson) a fright. This they do, and she gives chase suitably, shouting at Holland and threatening to tell his dad of his misdeeds. She obviously doesn't get to see her neighbours often, as she has no idea the kids' father died some time ago.

Back on their farm, we learn a little more about Niles and Holland's situation. Their mother Alexandra (Diana Muldaur) is a recluse following one too many tragedies in recent months. She has a sorrow that won't lift, despite her attempts to raise a smile for the benefit of loving son Niles.

Her sister and her family are there to help out, the length of their visit seemingly indefinite. Also on hand is Russian housekeeper Ada (Uta Hagen).

Ada looks after Niles and, unbeknownst to anyone else, has taught him how to play a special "game" in which she trains him in the use of psychic powers. This fact, of course, becomes more prominent in the film's latter half.

In the meantime, we watch Niles and Holland as they hide away during their afternoons in the farms barns, plotting against those who oppose their close relationship and discussing how Holland has graciously relinquished his position as man of the house over to younger (by 20 minutes) brother Niles, handing over their father's wedding ring as a token of such.

The big reveal comes about an hour into proceedings. I'm not going to spoil it for readers but it should painfully obvious, if not from this hopefully vague synopsis then definitely from within minutes of settling down to watch the film.

But, even if the twist can be seen from a mile away, there is still much to recommend about THE OTHER. For one, its slow-burning sense of dread is a breath of fresh air when considered against all the jump-shock-gore flicks of recent years. This one exhibits an austere atmosphere in comparison, all quietly nuanced performances and careful attention to detail. There's no blood (despite one character falling from a height onto a pitchfork), there are very few genuine "frights" and you'll leave it with more a feeling of melancholy than one of having had a rollercoaster ride. However, these are all traits of a well-written, expertly acted and very carefully directed film.

The director is Robert Mulligan (TO KILL A MOCKINGBIRD). He gives time to his cast, allowing them to grow and prosper while keeping the audience's imagination awake with outlandish moments such as a trip to a travelling carnival that dips into definite Alexandro Jodorowsky territory.

The screenplay comes courtesy of Tom Tryon, who adapted the material from his own novel. This, along with the beautiful widescreen cinematography of Robert Surtees and Jerry Goldsmith's impressively restrained score, was a very shrewd move indeed.

Another masterstroke is the impeccable casting. The kids are marvellous, with just the right amount of ambiguity about them to make key scenes - a surreal moment involving one character waking from inside a coffin; a horrific baby-snatching incident - highly memorable. The adults are just as good: Muldaur has old-school movie star looks and uses them to subtly break our hearts; Hagen portrays a character that is at once a surrogate mother, a white witch and ultimately martyr, with such conviction that she thoroughly convinces at each turn.

Although the film is available with a 12 rating nowadays, it was originally saddled with an X certificate upon its theatrical release in the UK. Despite its somewhat genteel first two acts, and a distinct lack of sex, blood or swearing, the final act does deliver one crushing blow of cruelty that you doubt many studio directors would have the bollocks to pull off these days.

THE OTHER comes to dual-format blu-ray and DVD from Eureka. We were sent a copy of the blu-ray disc to review.

It presents the film uncut in full 1080p HD and looks great. Correctly framed, 16x9 enhanced and benefitting from an extremely natural-looking filmic presentation, the transfer exhibits true grain schemes and authentic colours throughout. Close-up scenes show off the delicate details in characters' faces, while wider shots are most impressive during the gloriously warm exterior moments.

English audio comes in HD 2.0 and is a highly reliable, credible mix. Optional English subtitles for the Hard-of-Hearing are well-written and easy to read at all times.

The disc opens to a static main menu page. From there, a static scene selection menu allows access to the film via 24 chapters.

A sole bonus feature graces the disc: the film's original theatrical trailer. This runs for over 3 minutes and is a great proposition, carefully avoiding any obvious spoilers.

This set also includes a beautifully designed 36-page booklet, replete with attractive monochrome photography. It contains a fascinating new piece of writing by Aaron Hillis, as well as a thoroughly appreciated reprint of a 1972 interview with Mulligan. This was conducted by Terry Curtis Fox for Focus! magazine and is an absorbing, illuminating read. It's rounded off by the usual viewing notes and full credits for the main feature. Lovely stuff.

THE OTHER is a great, understated slice of Gothic horror that deserves to be seen more widely. Hopefully Eureka's sterling blu-ray presentation will encourage such justice to be done.

Review by Stuart Willis