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.
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.