The Other (1972) User Reviews

Powerful stuff.

[Hey_Sweden · 8/10 · 11 August 2013]

"The Other" is an adaptation of the Thomas Tryon novel, scripted (and executive produced) by Tryon himself, which tells us a story of evil set against the backdrop of a peaceful farming community in Depression era Connecticut. Director Robert Mulligan ("To Kill a Mockingbird") milks the location for a lot of atmosphere - and the finale is particularly sinister - but the horrors of this film are largely psychological, which will appeal to those genre fans looking for something subtle.

It stars legendary acting teacher Uta Hagen, in one of her rare film roles, as Ada, the doting grandmother to twin boys Niles and Holland (played by actual identical twins Chris and Martin Udvarnoky). Niles is the more grounded one and Holland the more mischievous one. They also live with other relatives including an incapacitated mother, Alexandra (Diana Muldaur). Niles has been taught a special "game" by Ada, which allows him to see through the eyes of others.

But don't let that lead you to believe there's much if any of the supernatural in this story. It's done in a more realistic manner, and the effectiveness of the film hinges on ambiance, mood, and performances. Hagen is quite wonderful, and the Udvarnokys - who unfortunately never made another film - offer completely natural, unaffected portrayals. The excellent cast also features Victor French, Lou Frizzell, Portia Nelson, John Ritter (in one of his earliest big screen appearances), Jack Collins, and Ed Bakey. Production design (by Albert Brenner), cinematography (by Robert Surtees), and music (by Jerry Goldsmith) are all beautiful. This is one of those films that does take you back to a different time and place. The end is haunting and not likely to be forgotten by the viewer anytime soon.

The story's critical revelation actually occurs sooner than you might expect, but things only build from there; Tryon still has more twists and turns up his sleeve.

Highly recommended to horror fans, especially those who favour the traditional variety of horror.

Eight out of 10.

Still Creepy After All These Years

[Mr Blue-4 · 8/10 · 28 November 2001]

Like a lot of people here, I grew up with this movie. I believe that CBS started showing it in prime time as early as 1973. In any advent, they showed it a lot through the 70's, and I think I saw it every time. A lot of it made a huge impression on me as a kid:"Holland" performing the magic trick for his elderly neighbor, the kid jumping in the barn on the pitchfork (and the next cut is his casket being taken away), the circus freak show..... Most of all, director Robert Mulligan and company make the most benign setting (rural 1930s America) a scary place.

I just watched this again on AMC last night, and it holds up pretty well. Most people should see the twist coming, and the feel is distinctly early 70's California (in geography and look). However, this is miles above all those Exorcist ripoffs and 80's slasher films. See it!

Backlogged grief leads to insanity.

[mark.waltz · 7/10 · 28 October 2020]

This is the strange story of twin brothers, Martin and Chris Udvarnoky, tragically separated whenone of them is killed in a freak accident on their farm. They are presented as rambunctious, typical kids, getting into all sorts of mischief, yet involved in strange games, and the sudden tragedy leaves the surviving brother in denial Jackie has been left behind.

The brother's death is presented in a very strange way to where you're not even sure that it was an actual death scene, but a fantasy by the brother who would that point was fantasizing about flying across the farm like a crow, and all of a sudden feeling the pains of a pitchfork in his chest. at that point, the accident happens and a casket is seeing being loaded into a hearse. Then, the brother is discovered in their room, and the audience must begin to play guessing games as to what is fantasy and what is reality. The surviving brother when he realizes the truth begins to show more bizarre behavior, leading to some horrific twists.

The film marks one of the rare big-screen appearances of stage legend and acting teacher Uta Hagen as the boy's grandmother, with Diana Muldaur as their mother. It's hard to categorize whether or not this is a horror film, a psychological drama or a supernatural thriller. still, the film keeps your attention especially with Hagen commanding her limited number of scenes.

Portia Nelson is amusing in a smaller role as a neighbor who was often a victim of the boys pranks. You have to look sharp for "General Hospital's" Aunt Ruby (Norma Connolly) as a family relative, but John Ritter in one of his early appearances is instantly recognizable as is Victor French from "Little House on the Prairie". Chilling photography, a beautiful musical score and quiet editing are other places in a film that I could see watching again to pick up on details I may have missed the first time. It's a unique entryin the film credits of director Robert Mulligan, best known for "To Kill a Mockingbird".

A disturbing psychological horror film with a twist ending

[tommyrockt · 13 September 2001]

I first saw this film as a child but its images haunted me for many years. This terrifying film has rarely been broadcast since, but was recently shown on American Movie Classics and I found it as frightening as I remembered. It is notable for the performance of the legendary acting teacher, Uta Hagen, whose film and TV appearances are limited but whose teachings are highly regarded in the acting world. Her role as Ada, the Russian grandmother of mysterious twin boys with a terrible secret, is perhaps not one of the great roles in film history, but her performance lends the film a tragic depth which makes the events seem all the more horrible. TV's John Ritter also has a small but important role as another member of the family beset by crises and dire events. And the late Portia Nelson, one of the nuns from THE SOUND OF MUSIC, also makes an appearance. Like many horror films of the 70's, this film sets a child's innocence against a malevolent force but, unlike The Exorcist or The Omen, doesn't involve supernatural elements. The horror is almost entirely psychological and involves the twins' relationship and a grief-stricken family. It would be foolish to give away too many details because the plot twists and shocking ending are so effective, but this film, without explicit violence or gore manages, to make an impact and is a must-see for horror fans.

The Other

[henry8-3 · 6/10 · 18 December 2022]

In 1935 Connecticut, twin boys Niles and Holland live with an extended family including their widowed and deeply troubled mother. The younger twin Niles has also befriended a neighbour and Russian emigrant Ada who has taught Niles astral projection so he can experience many new things first hand. Tragedy strikes when a series of unpleasant but seemingly unrelated accidents occur.

Whilst a considerable chunk of the mystery is perhaps not difficult to spot almost from the outset, this in no way spoils the story which starts like an episode of The Waltons and slowly gets darker and darker leading to a truly shocking and chilling climax. The atmosphere of life in 1935 Connecticut is nicely portrayed with the wider family and community dreamily and happily co-existing with each other whilst a sinister story plays out. The acting is tremendous, particularly from acting teacher guru / legend Uta Hagen as Ada and especially the Udvarnoky twins, who are on the screen for most of the time and easily convince and hold your attention throughout. One you won't forget in a hurry.

Disturbing rural tale of family horrors

[whitsbrain · 7/10 · 6 September 2021]

I was caught off guard by the many moments of uneasy terror that "The Other" conjured up. It's a story centered on a 1930s family farm and for the first 45 minutes, it seemed like an episode of the Waltons with a couple of unfortunate accidents thrown into the plot. But with the advent of a twist that some may not see coming, it launches into a suspenseful final hour.

Even though there is little to no gore to be found, there are a number of deaths that are unsettling There is one particular shock that is very disturbing and is even more impacting due to the extreme reactions of the family members. It's very realistically portrayed and it hits hard.

The Jerry Goldsmith score was very good (as usual) and it accompanied the film nicely. I did find the farm to be a pretty generic environment. It wasn't appealing but was appropriately bland. This is a film that will likely stay with you for a long time.

Underrated Chiller From A Great Director

[cchase · 9/10 · 20 September 2008]

I remember very clearly that parts of the Thomas Tryon novel just about had me wetting myself, it was that scary, and I wondered if the movie version would do it justice. In many ways, it nearly surpasses the book...which is something that rarely ever happens. Some people don't care for the performances by Chris and Martin Udvarnoky as the twins, Niles and Holland, but the fact that they weren't typical "Hollywoodized" child stars enabled them to give more naturalistic performances, thereby making them more believable...and creepy.

And what can you say about one of theater's Grande Dames, Uta Hagen? I think this was the only film I've ever seen her in, and she's spectacular. Well before "bad kids" became a genre cliché, this one beats all the other like-minded thrillers by a mile, even THE OMEN. (Well, maybe not THE BAD SEED, though.)

And as the cherry-on-top, Jerry Goldsmith turned in one of his best scores on this one. And DP Robert Surtees' work is so beautiful in contrast to the sheer horror it has us bear witness to...

Director Mulligan deserved all the praise he got for THE OTHER, and more acclaim than he did get because of the fact that it was considered a "low-class horror movie." When you watch it, though, you may not think so by the chilling ending. See if this doesn't stay with you for weeks afterward, the way it did for me...

Those Evil Twins

[lornastone · 7/10 · 14 September 2021]

Strange, horrible accidents keep happening in a small town and a young boy believes his twin brother is responsible, but who can he tell?

While not a bloodbath by any stretch of the imagination, The Other is an altogether different kind of horror film of the bleakest kind. It gets under your skin in a more psychological way than most and has some great performances and a truly hair raising ending.

A great, great horror film

[preppy-3 · 9/10 · 6 July 2000]

As someone has already mentioned, this is the kind of film no one talks about but never forgets. A VERY creepy tale of two twins--one good, the other evil--and what happens one summer.

The setting is beautiful (1920s Midwest), the acting is superb (especially those creepy twins) and there is a real shocking twist halfway through. Also there are a few death scenes in the movie all done with no blood or gore, but they're among the scariest I've ever seen. I'll NEVER forget the shot of someone falling down a well or the father falling down a ladder and landing headfirst on a cement floor. It also ends on a very ambiguous note--the book is clearer.

This is not a horror film that leaps out at you--the scares in it are quiet ones. An unique and excellent psychological horror film--DO NOT MISS IT!!!

Too much whispering but it's entertaining anyway

[bregund · 7/10 · 19 October 2020]

I've enjoyed watching this film every once in a awhile since I first saw it on TV in the early 70s. I guess none of the townspeople are the slightest bit curious about all the accidents that seem to happen, kids falling on pitchforks, women falling down stairs, kids falling down wells, patricide, and so on. It's a violent little town, all because of some weird little ghost kid who whispers a lot. Uta Hagen might have been a darling of the stage but her overacting in this film is cloying and irritating. The film is a slow burn until the end, weaving in elements of the Lindbergh kidnaping, a creepy old fairy tale about a changeling, and the circus fetus in the jar, leading to the inevitable conclusion. I just read in the trivia section that the author hated the film, but to me it's pretty effective.

Me and My Shadow...

[BaronBl00d · 5/10 · 29 December 2004]

Thomas Tryon's bestselling book is brought to screen by Tryon's own screenplay and the direction of Robert Mulligan. With a solid cast and a very rare performance by acting coach/teacher Uta Hagen, The Other would seem to have all the necessary components to be a great film. It isn't. It is good; however, and, for the most part, entertaining if not suspenseful. The film is competently yet uninventively directed and Hagen is exceptional in her role and Diana Muldaur does a fine job as well, yet some of the performers give very stilted performances. The problems with the film stem mostly from Tryon's script with gives far too much away far too early. I knew where the film was going fifteen minutes into it. There goes the suspense factor to a large degree. Another problem is the actors playing the twins. I just didn't buy them as very good actors. I found them really more annoying than anything else. This also lessened the credibility of what was going on in the film for me. There are some bright spots though in the film. Hagen is a real treasure to watch as she shines in every one of her scenes. The rustic settings were well-shot. John Ritter and Victor French have small roles. Tryon does have a good story to tell that has some powerful moments. As far as detailing what a film is about, The Other presents lots of problems if one goes into too much detail one gives too much away. Not that any reasonably bright person can't figure everything out rather quickly anyway.

There is no other like "The Other." A masterpiece of stark, deliberate madness.

[gbrumburgh · 10/10 · 7 February 2001]

Seldom does a movie capture the pure essence of the novel from which it is derived. This is especially true with classic tales of terror. "The Shining" and "The Exorcist" are two blatant examples of mega-movies that "sold out" with inane dialogue, cheap scare tactics and over-baked performances. Sometimes it takes a little guy to show the big guys how to do it right.

Wisely, author (and former actor) Tom Tryon took no chances at having someone else toy with his fragile, exquisitely crafted tale of the supernatural and adapted the screenplay himself from his own novel. And we are all the better for it because "The Other" is arguably one of the most subtle, hauntingly elegant tales to grace the big screen. Might I be so bold as to say Tryon actually improves on his complex, often exasperating book in terms of continuity and clarity. An exercise in restraint, the screenplay is simple yet rich, carefully constructed, and motivated by strong, three-dimensional characters. The film itself is muscular in concept, tone, and visual image.

Identical twin boys living on a lonely, remote country homestead are left to their own imaginary devices for fun-and-games on the farm...with tragic results.

To say anything more would be unconscionable. Just don't let the languid pace of the film fool you. It's intentional. The movie slowly builds, giving in to one of the most shattering climaxes I've ever experienced, with plenty of plot twists to play with your mind. And, like Hitchcock at his best, its done with intelligence, not with buckets of blood.

The performances are stellar. Newcomers Chris and Martin Udvarnoky as the twins came out of nowhere to star in this modest little feature and disappeared just as quickly. Which is eerie in itself since these two youngsters are absolute naturals and could have easily been the Haley Joel Osments of the 70s. Diana Muldaur is quite moving here, possessing the right mixture of anguish and dread as the twins' invalid mother. This role is a far cry from the feisty cut-throat attorney she played years later on "L.A. Law." Other familiar faces include Victor "Highway to Heaven" French as a menacing hired hand and a pre-"Three's Company" John Ritter as the buoyant father-to-be. Best of all, however, is the chance to see legendary acting coach Uta Hagen in a rare, heart-wrenching turn as the boys' altruistic grandmother. Her last scenes will not soon be forgotten.

This moody little thriller deserved a bigger and better release. Don't miss it. And don't forget "the game"!!!

Creepy Evil Kid Movie

[ericritter-01765 · 7/10 · 3 November 2020]

Two twins cause mayhem in their small community after their father's passing, but only one of them is truly evil.

The Other has that great slow burn pacing that was so popular at the time. It's also darker and bleaker than just about any other horror film I can think of from that era. Children, elderly people, and even infants are put into harm's way more than the usual teenagers or twenty-somethings in these kinds of movies. Chris and Martin Udvarnoky are both excellent child actors who make each of their characters unique and well defined. It's also nice to see stage legend Uta Hagen in a rare and very powerful film role. It's a shame she never did more on film, because she's wonderful here and the heart of the film.

Overrated

[slayrrr666 · 3/10 · 23 May 2007]

"The Other" is a painfully slow and boring, though occasionally interesting film.

**SPOILERS**

Living together in Connecticut, twins Niles, (Chris Udvarnoky) and Holland Perry, (Martin Udvarnoky) along with their mother Alexandra, (Diana Muldaur) and Ada, (Uta Hagen) their grandmother. As they bicker with each other and their relatives like brothers, Ada helps Niles hone his psychic skills, like her. After visiting a circus, he becomes infatuated with magic, and begins practicing on family. As several deaths mysteriously plague the family, the neighbors start to get a little curious as to what's happening. When they expose a long-held secret involving the brothers to the light of day, it threatens to tear the family apart. Gathering up their last ounce of courage, they struggle to make it out of a nightmare of horror that is unleashed upon the members of the family.

The Good News: There's really only a few items in here that is any good. The main amount of interest is the final twenty minutes of the film. This gives it the closest it gets to providing any horror, where the discovery of the twins and their relationship through the family is finally exposed. From the opening thunderstorm and foreshadowing done with the baby, it creates an impressive atmosphere that's hard to ignore. The panic and chaos that erupts afterwords is quite surreal and realistically and it makes for some really great moments. The chilling revelation with the discovery of the baby is the film's biggest shock and is a really frightening idea in itself. The confrontation in barn at the end is another really big plus, where a second twist is brought up and a culmination with several big action scenes really helping to sell the event. The only other thing is the film's opening kill, where a previously-unseen pitchfork is used to impale an unsuspecting victim who is falling into bales of hay. That it shows up in the middle of the scene is the best part, as it comes out of nowhere and delivers a great shock This here are the extent of the film's positives.

The Bad News: There's not a whole lot wrong with this one, but what's here is pretty major. The most important one is that the film's first half is just ungodly boring. The first half is mainly filled up with endless scenes of children wandering around doing child-like behavior with the two brothers, and it's just endlessly boring. They do act like how young brothers of that age should be, which is nice, but it just translates to minutes of hearing them talk to each other or playing like children at a young age, including getting into mischief with each other, the neighbors and family members. It's realistic, but provides no scares at all, and results in the beginning really feeling stretched out. There's a sense of being lulled into a false-state of security, but the actions chosen really don't inspire fear of them. This approach would've worked had it been a series of events that were a little off for normal children, thereby implying that they weren't right. That would play up their unusualness a little more effectively and mount up a big area of tension. Another pretty big flaw is the introduction of a twist that is incredibly easy to spot and doesn't come as another other than a desperation maneuver to liven up the film. It is incredibly easy to spot, yet is played off as a major secret to be revealed in the film. This is easy to spot, which makes it hard for it to be the real shock it's supposed to be. The last other flaw is that the film is simply way too confusing with it's set-pieces. There's so many items brought up that it's impossible to keep track of why they're significant. That there's a ring, a falcon, several secrets and more involved in this, and it's almost impossible to make out any connection in this. These all move the film down somewhat.

The Final Verdict: Largely overrated due to it's deathly pacing and unsurprising shock, this is a hard one to really get into. Fans of this particular style of film probably might this, though those that are more into the blood-and-guts style are advised to keep an open mind with this one.

Rated PG: Violence and mild Language

The First Coming of Stephen King?

[JVSanders · 6 February 2002]

Many horror fans, and those who try to write such stories, understand that Stephen King has taken inspiration from the work of others. And there can be little doubt King was greatly influenced by Thomas Tryon's outstanding novels Harvest Home and The Other.

The TV movie version of The Other enjoyed good-ratings and critical acclaim when it was first broadcast on CBS in 1972. Although Stephen King was actively writing horror at the time, I suspect he took subtle cues from The Other. Among other things, little Danny Torrance's psychic manifestation of "the shining" is curiously similar to a phenomena called "playing the game" in Tryon's story.

Thomas Tryon wrote with an elegant style somewhat reminiscent of H.P. Lovecraft's. His plots were engaging, his characters interesting and well developed, and his New England settings evoked the gloom and obscure anxiety traditionally associated with that region. So why has his work faded into near-obscurity while King's is heralded as the greatest in the history of horror?

Regrettably, Tryon, who was one of the most highly regarded young actors in Hollywood, started writing rather late in life and died while his creative powers were waning. He also chose to explore genres other than the Gothic (with generally good results.) There is also a more staid, pre-World War II air about his work that might not appeal King's core audience. Nevertheless, Tryon's Gothic efforts translated wonderfully onto the small screen, and he deserves a well-deserved place in the pantheon of American Gothic writers.

Thankfully, American Movie Classics has begun airing The Other again, and a new generation of fans now has the opportunity to enjoy this seminal work of cinematic horror.

A Carefully Directed Psychological Thriller

[jzappa · 7/10 · 21 November 2010]

Robert Mulligan's The Other is a movie that's perhaps about the unexplained, perhaps not. It all relies on the sanity of one 11-year-old farm-dwelling twin, and the guilt of the other. One is evidently the unscrupulous malefactor, while his pleasant brother is frequently seized in the mischief, but Mulligan plays a wary game with his camera, invariably lying by omission through what he allows us and his characters to see or to not see.

Mulligan, who gave us a differently wistful study of yesteryear in To Kill a Mockingbird, sets his film in the rustic 1930s. It's an era of dreamy summers and for a boy when everything is grandiose, and creepier. Mulligan also has given the movie an unusual Gothic texture and occupied it with bizarre-looking peripheral characters.

Doted on by his Russian grandmother, who seems to know more than us, the pleasant twin goes into town to the circus, for instance, and creeps into the freak show. All of the people inside appear revolting and threatening and alluringly unwell. The "good" twin---who by the way seems to have mastered a extrasensory capacity to propel himself beyond his body, much like a controlled astral projection---chooses to stage his own little magic show. At the actual attraction, the conjurer's assistant snuck out of the trunk via trapdoor, right before the performer stuck the swords into it. That can put thoughts in a youngster's head. There's that trapdoor in the barn, for instance, the one that killed Father. And while there's no assistant accessible to vanish, there's always the infant.

This carefully directed psychological thriller, based on a novel by ex-actor Tom Tryon, could be argued as too picturesque, too homesick, for a horror film. But Mulligan's colors are lush, intense and gloomy, cocoa browns and bloody crimsons. They're actually wicked and ominous. And the farm isn't viewed with a restful melancholy, but a ghostly recollection. Indeed, one of the most effective aspects is that notwithstanding the bizarre temperament of the story, Jerry Goldsmith chose to give the film a generally buoyant score, and it echoes the childlike naivete of its central character. Seemingly as a rule, the film's darker scenes include no music at all. The movie isn't chilling in the customary genre manner, but in the sense that the nicer twin, or the more sinister one, or one of them, or both, is the sort of boy who'd cease at nothing.

Lost to history

[BandSAboutMovies · 7/10 · 3 July 2019]

Robert Mulligan is a strange choice to direct a horror movie. He was more well-known for dramas like Summer of '42; Same Time, Next Year and To Kill A Mockingbird. This adaption of the Tom Tryon book was also scripted by the author, who was once an actor before suffering the abuse of Otto Preminger.

This is a movie that I've been wanting to see since reading about it in Paperbacks From Hell (writer Grady Hendrix - who created that book with Will Errickson - also wrote this great article all about Tryon), as Tryon is really the forgotten horror writer of the 1970's.

In the summer of 1935, identical twins Holland and Niles Perry live on their family farm, but all is not well. Their father died in an accident in the apple cellar last year and their mother remains so sad that she rarely leaves her room. While the rest of the family goes about their daily lives, Niles grows closer to Ada (Uta Hagen, who may have only appeared in five films, but was an incredibly influential acting teacher and Broadway star), his Russian grandmother, who has introduced him to the great game, the Perry family's secret gift of being able to project their mind into other beings.

The twins are pretty mischievous, as they still play in the apple cellar where their father died. One day, they're caught there by their cousin Rusell, who also sees that Niles is wearing the ring that was to be buried with his father. Holland, the older of the two twins, says that the ring passes on to the oldest son, who can do whatever he wants with it. He wants his brother to have it.

Their father's brother George locks up the cellar, but Holland knows how to sneak in. And to get revenge for Russell's snitching, he hides a pitchfork inside a haystack. The young boy jumps into it and is killed to the horror of Niles, who must now keep his brother's secret. This behavior only gets worse when Holland causes a neighbor (Portia Nelson, one of Tryon's lifelong friends) to have a heart attack after he menaces her with a rat.

The twins' mother finally learns what is happening and finds the ring inside a tobacco tin, along with a human finger. She demands that Niles tell her how he got it. He says that Holland gave it to him and the evil brother charhes his mother, knocking her down the stairs, rendering her paralyzed.

After the neighbor's body is found, Ada finds Holland's harmonica and asks Niles what happened. He lets her know that his brother has been evil all summer. Here's where the twist comes in - Holland has been dead since he fell down a well on their birthday last March. Right before he died, Niles used the great game to talk to his dead brother, who commanded him to open his coffin, cut off his finger and take the ring.

The old woman now realizes that Niles has kept his brother alive in his mind and has been responsible for everything bad that has happened. Yet she is unable to turn on him and keeps his secret, as long as he never plays the game again.

The only problem is that Niles can't be stopped. When his sister gives birth to a baby girl (look for a young John Ritter as their father) the Holland side of his personality steals the baby as he is fascinated by the Lindbergh kidnapping. The child is discovered drowned and a mentally challenged farmhand is arrested for the murder. But Ada knows better. She demands that Niles - alone in the apple cellar - screaming for Holland to tell him where the baby - who he loved - went. Ada pours kerosene into the cellar to kill the boy and throws herself into the fire.

Months later, we learn that Niles escaped, as Holland had cut the padlock to the door. With his beloved grandmother dead and his mother basically a vegetable, no one will ever know his secret. Niles is called down to lunch and life goes on.

This is how the theatrical cut ends, but the CBS 1970's TV version, perhaps wanting the child to pay for his crimes, ends with Niles saying, "Holland, the game's over. We can't play the game anymore. But when the sheriff comes, I'll ask him if we can play it in our new home." The voiceover is dubbed by a different actor. However, every broadcast and release of the film cut out this voiceover in favor of the original theatrical ending.

Tryon hated this adaption, blaming everyone, incuding himself. "Oh, no. That broke my heart. Jesus. That was very sad," he said of the finished film. "That picture was ruined in the cutting and the casting...God knows, it was badly cut and faultily directed. Perhaps the whole thing was the rotten screenplay, I don't know."

Despite a mild performance at the box office, the film ran on TV throughout the 1970's. Roger Ebert was a major fan, saying that the film "has been criticized in some quarters because Mulligan made it too beautiful, they say, and too nostalgic. Not at all. His colors are rich and deep and dark, chocolatey browns and bloody reds; they aren't beautiful but perverse and menacing. And the farm isn't seen with a warm nostalgia, but with a remembrance that it is haunted."

I looked for this film for nearly a year until Shudder played it last month, but it's already gone from the service, back into the mists from whence it came.

The Standard

[keithanderson1 · 10/10 · 19 August 2005]

The subtle manner with which Tyron presented this simple tale is adhered to masterly by Mulligan in this great film. Of course, the subtlety itself lends a stark contrast and thereby, much muscle to the chilling aspects of the story. A simple formula, yet so well done that it has haunted me for about 28 years now. I was 13 or 14 when I happened to catch it in its original theatrical run in 1972. For me, it's become one of those rare discoveries that truly feels like something of my own, an artist or particular piece of work that I feel a strong attachment to. Chiefly because they're/it's really good, but also largely due to his/her/their/it's seemingly preposterous and sometimes perplexingly enduring relative anonymity in such a vast sea of mediocrity. Bill Hicks (THE bastion of truth and best comedian EVER) and countless bands you've never heard of come to mind. "The Other" became so obscure that I didn't see it again for about 25 years. I finally got a copy of the pan and scan (P/S) tape (released in 1989) on ebay 5 or 6 years ago, but not before begging AMC to run it. They eventually began running it, years later. It's still the P/S version and all I can currently find on ebay is a homemade DVR of the same (FMC has the P/S version scheduled for 8/31/05). It's a paradox, but we want everyone to know about our secret discoveries. We want due acceptance, success and relevance for them. And we want verification for our fragile selves.

Deep, huh? That's my IMDb review. It's my first one and may well be the only 10 stars I EVER afford any film. I can't think of a more deserving film to bear the burden of a standard.

PS to the POWERS THAT BE: Please release a widescreen deluxe edition DVD of this title while the principles are still available for commentary.

Keith KA0001-081905

Great Older Movie

[Criti-Size · 7/10 · 15 July 2003]

I saw this film as a child and it got me started as a life long Horror/Thriller fan. It's one of those movies that NEEDS to be released on DVD.

Although I haven't seen it in years, the plot and characters are still fresh in my mind. This is a scary movie that doesn't rely on blood and gore to satisfy. I would rate it a 7 out of 10.

Where's the baby HOLLIS???

[yoncenator · 10/10 · 22 October 2003]

OH MY GOD,

This movie is so creepy. I have to see if the DVD is available for this. I remember this from childhood and just get chills from the sound echoing in my head of a finger being cut off w/ garden shears, 'Shining' like feeling of 'the game' and evil twin brother killing anyone that gets in his path. Great direction, acting, and writing. I see here on imdb that this same director did many great films 'To Kill a Mockingbird', 'Up the Down Staircase', 'Same Time Next Year' You can really tell that an experienced director made this film. John Ritter's first serious movie part ever. Up there with some of the best Stephen King stories. The Other will stay in your head whether you want it to or not.

This is a GREAT OLD SCHOOL Horror Movie!

[midnitepantera · 7/10 · 10 December 2020]

I remember watching this with my family when I was 7 years old and being really creeped out by the Twins! :O YIKES... This movie is a slow burn psychological horror story with a young John Ritter. I have re watched it a few times as an adult and it still holds up pretty nicely. It's moody, uncomfortable feeling of impending doom, still feels like something invisible is standing behind me breathing down my neck. :o I think this is one of the better 1970's horror movies that isn't a cheap Gore Fest, but is super creepy and decently acted. If you like your horror served by creepy kids, then you need to check this one out! ;D

A very dull drama posing as a horror movie!

[manchester_england2004 · 2/10 · 17 February 2010]

THE OTHER is a supposed "horror" movie made during the 1970s. It is not to be confused with the similarly titled THE OTHERS, which starred Nicole Kidman.

The plot is as follows - a woman with strange supernatural powers teaches her twin grandsons something referred to simply as "the game". One of these twin boys - Niles - is supposed to be "good". The other one - Holland - is supposed to be evil.

The idea sounds interesting enough as an abstract concept and the movie was adapted from a novel. I can only hope the novel was interesting as the movie was incredibly boring from beginning to end.

The execution of this movie is very much like a TV movie of the kind UK residents might see on Channel 5. In fact, this movie looks like it was made to be the daytime afternoon movie for this TV channel. A slight trimming to one or two scenes and this would be a U-rated movie of the kind Disney produce. But even the youngest of children are more likely to be bored than scared by THE OTHER.

You don't need to check out the director's CV to realise horror is not his forte.

Mr. Mulligan relies heavily upon the characters to drive the story. This is obvious from the get-go. I haven't seen any of his other movies but TO KILL A MOCKINGBIRD is a highly regarded crime movie on this site. Unfortunately in THE OTHER, the characters are given too little to do and the plodding script ensures the movie never really takes off in the way one might expect.

The direction is as bland as you could possibly find. Almost every single scene takes place in the daytime! Think about this - a scene shot in the open landscape in rural America during daytime with the camera focusing on vast area. Does it sound scary or atmospheric? Believe me, it isn't. It comes across as something more akin to an episode of LITTLE HOUSE ON THE PRAIRIE than a horror movie. And yes, both the aforementioned TV series and THE OTHER were shot in California.

There is a noticeable absence of danger or malice that makes the whole exercise seem rather pointless.

The ending was clearly meant to be highly disturbing and perhaps influenced that of another movie from this time period. I won't reveal which movie but I'll give 2 clues - a young boy was a main character and the movie is well-known. And I'll add that the concept was used to much greater effect in the latter movie.

The acting is actually quite good and is the only reason why I have awarded 2 stars. The actors playing the twin boys, along with the actress playing the grandmother, all try hard with the poor material they are given.

Diana Muldaur is completely wasted in a thankless role as the mother of the twin boys. Do not be fooled by her high billing on the cast list. She gets very little screen time and her presence just comes across as a ploy to cash-in on her long established TV career in order to help attract TV viewers.

I paid careful attention to the blurb on the back of the DVD cover (of the Region 2 version in the UK). Comparisons were made to THE EXORCIST, which I thought was a complete insult to that movie. There is no comparison. THE EXORCIST had everything this movie should contain but does not - suspense, tension, tongue-in-cheek humour, highly disturbing content, great acting, superb characterisation and viewer involvement. Ironically, THE EXORCIST was made only a year later but in terms of style and execution seems like decades ahead of the bland drama known as THE OTHER. THE OTHER comes across as a work that would have seemed tame in the 1950s let alone the 1970s!

The 1970s was a great era for horror movies with classics such as THE EXORCIST, THE OMEN, THE Texas CHAINSAW MASSACRE, THE LEGEND OF HELL HOUSE, SALEM'S LOT to name just a few being produced. For this reason, THE OTHER proves an even greater disappointment.

If anyone finds the synopsis of THE OTHER interesting, they might want to read the book or do a little more research on what the book was about. I would advice everyone to skip the movie.

Great Film!

[sfjburk1591 · 10/10 · 11 July 2002]

This is my favorite movie of all time. Full of suspense, horror, and innocence - all at the same time. The acting, writing, and directing are all top-notch. There is a feeling of "doom" throughout the movie that makes the viewer hold their breath. Beautifully filmed in the countryside adding to the innocence of the main characters and the severity of the horror that they go through.

Great Film classic worthy of a rewatch...

[bobducktrek · 7/10 · 19 October 2023]

Director Mulligan's purpose in making the film was to provide a subjective experience for the spectators from the point of view of a child, in this case Niles, which the film does quite well.

The movie does a good job in keeping it primarily in Nile's point of view both narrative and cinematically. There is a sort of stubborn innocence about him that carries through out, an intriguing refusal to move out of the imagination of the young protagonist for the most part, and the story does a brilliant job expressing the more dangerous qualities inherent in imagination.

There is of course a bit of choppiness here and there between scenes. Other than Ada, Niles, and Holland, the other characters didn't bring anything much to the film. This could be in part because there were scenes cut out of the film post-production.

Despite that, the beautiful summer atmosphere reflected Nile's perspective of the golden moments while people dropped like flies all around him, and the Udvarnoky brothers and Hagen did a good job with their characterizations within this environment.

In the end, it's mostly a film that uses the environment to reflect the theme of dangerous imagination combined with the folly of the matriarchal desire to preserve the child from grief. It certainly does a decent job of that, though the film can be a bit plodding her and there for those who are looking for a more brisk paced plot and visuals.

I expected so much more from this..................

[davendes · 4/10 · 17 September 2006]

Thomas Tryon's "The Other" has been long been championed by cult film fans as a neglected/forgotten gem of subtle 70's horror. Yes, there is a definite feel of craftsmanship and creepiness to the movie, but these virtues are easily eclipsed by the films large weaknesses.

This 1935-based tale of 12 year-old twin boys(1 good/1 bad-supposedly),their evil, mysterious secrets and the effects of such on their family does have a good foundation. The 30's New England country is really brought to life visually. You can almost feel the smothering summer heat and cool crispness of the local swimming hole. Add to that an excellent supporting cast and a stunner of a musical score from Jerry Goldsmith and things should turn out pretty satisfying.

But- They don't. There are an abundance of problems that crush the movie's basic setting.

First off, we have to deal with the Perry twins, played by real twins Martin & Chris Udvarnoky. It's easy to see why neither of them made another appearance. Since the plot completely revolves around them, their performances need to be strong. They're just not up for the task, and their puffy-lipped, hyper "acting" proves not only quite irritating, but also serves to actually push the viewer away from wanting to invest emotions into the story.

Next up is the pacing. The whole thing moves along like a turtle with weights on its legs trying to climb a molasses covered hill. It's a dialogue laden trudge that seems to happen onto moving forward rather than seeking it.

Finally, there is the story itself. It's simply weak. It tries to bolster itself through loads of red herrings and unanswered questions, but when the key "secret" is apparent almost immediately, these mysteries prove to be nothing more than poor attempts to hide underdeveloped storytelling. Even the conclusion of the flick disappoints; it's grim, uneasy nature and lack of a much-needed sense of justice ends the proceedings on a sour note.

Like many others, I was a pre-teen in the 70's who loved the late-night horror films/shows that dominated the era. In fact, I probably enjoy them now more than ever, pursuing and adding them to my collection at every possible opportunity. So, when I say "The Other" is a misfire not worth watching, it's with disappointment, not malice.