The Harrington Kind

Don’t you love discovering entire filmographies of good directors you never knew anything about? A few weeks ago, I enjoyed a double feature of Whoever Slew Auntie Roo? and What’s the Matter With Helen?, two “Grand Dame Guignol” flicks by Curtis Harrington. Both were fairly fabulous, and not JUST because both featured Shelley Winters. Hence, it made perfect sense to continue the Harrington path.

Quick Plot: Gang rape!

What? Don’t look at me like that. It’s how the movie starts!

Terry (John Savage) is a somewhat unwilling participant who ends up in jail anyway. Two years later, the young musician returns home to his overbearing mother Thelma (Lady In a Cage’s Anne Sothern) and her boarding house filled with old women and a trouble-in-the-making wannabe model named Lori (a young Cindy Williams). Next door lives Louise (The Manipulator’s Luana Anders), a lush of a librarian harboring a crush on the able-bodied Terry.

What does a young man do after a few years in the joint? In 1973, the answer was ‘clean pools and dodge the advances of middle aged women.’ 

See, Terry is an attractive but confused kid with the kind of childhood Freud would throw an ice cream social to discuss. His unusual upbringing by the single and daffy Thelma (whom he never refers to as Mom) has left him with more than a few issues regarding the opposite sex, particularly those with a few decades over him. 

When Mom--er, Thelma--tosses out a comment about how Terry’s rape(ish) victim should be run off the road, he takes it upon himself to do just that. After all, a boy’s best friend is his mother so far as movies have thus far taught me.

The Killing Kind is a strange film, one more designed as a sort of character study than plot-heavy horror. Though the mood is much darker than the other Harrington films I’ve seen, it’s clearly right in step with his oeuvre. Once again, we have the frays of a mother/son relationship leading to violence (a la Helen), oddly toned humor (a la Roo), and a bevy of middle aged women with plenty of juice left. There’s almost something vaguely Pedro Almovodar-esque in Harrington’s fascination with certain themes of sexuality, repression, and mismanaged parenting. Nowhere is this more evident than in The Killing Kind’s ending (no spoilers, chill out) where we finally see just how devastating an unchecked inappropriate mother/son relationship can be.

High Points

Sothern’s complicated blousiness and Savage’s understated awkwardness go a long way to crafting the complicated, sad, and more than unhealthy bond between mother and son

Holy ‘70s home design! Busy wallpaper! Shag carpeting! Shag couches! Shag haircuts! The Killing Kind is kind of a visual feast!

Low Points

Look, we get that Terry’s sexual nature is all messed up due to Thelma’s overmothering, but a dream sequence where he’s dressed like a baby while lying next to a naked Lori as a batch of older women point their fingers and cry “Shame!” is a bit obvious, no?

Lessons Learned

If someone tells you that you have an interesting face, it really just means that you’re not pretty

When peeping, leave the pets at home

Everybody spends time behind bars these days

Too Close To Home Alert

It’s a tad discomforting to watch a film about a crazy cat lady while one of your own felines sleeps on your knees and the other has wrapped herself around the back of your neck in the adorable boa style she so enjoys

Rent/Bury/Buy

The Killing Kind is something different, a ‘70s study in sexual dysfunction with some gutsy performances and black humor. It has its flaws, but much like the similarly underseen and underdiscussed Visiting Hours, it also makes for a fairly fascinating character study of a psychologically damaged killer. The DVD includes an informative interview with Curtis Harrington who has some old school stories of Paramount backlots and how his friendship with the likes of Kenneth Anger helped to get him recognized as someone worth bankrolling. I don’t know that The Killing Kind is worth a blind buy, but it’s certainly something different and fit for a thoughtful rental. 

Just not when you’re feeling overly sensitive about being a cat lady.

Ms. Winters, May I Have Some More?

You know how some actors like Steve Martin and Alec Baldwin have an open invitation to host Saturday Night Live whenever they want, simply because they do it so well? The same kind of rule applies here at the Doll House for select talent. So if Dame Shelley Winters made a movie about cooking orphans, you can betcher bottom dollar that it has a place right here.

Quick Plot: Auntie Roo is a wealthy American widow who holds nightly seances in the hopes of contacting her long-lost daughter Katherine. Sometimes they’re successful, although that’s probably more due to Roo’s sadistic butler paying off the medium and maid to fiddle some voices and such. Seemingly, the only real enjoyment Roo finds in life is throwing an annual Christmas party extravaganza with presents and oversized candy canes for the town's ten best-behaved orphans.

On one hand, this is awesome. Wouldn’t you love to have that one night of gluttony in a mansion before returning to the dank depression of your Oliver-ish home, especially if it included a weird cabaret performance by Shelley Winters? Of course, the other 35 orphans get to stay in and eat slightly sweeter gruel for the holidays, something that the bratty young Christopher and his awful little sister Katy are mad as hell about and won’t take anymore. 

The pair stow away in the orphanage trunk and sneak into the party, much to the annoyance of their guardians but cheerful acceptance of the wonderfully wonderful Roo.  

What a dame. Here she is opening her massive home to a batch of poor and grimy orphans. She’s even kind to the party crashers and goes so far to develop a motherly bond with the Awful Katy, due in part to the Awful Katy’s resemblance to Roo’s dead--I mean, disappeared--daughter.

Did I mention Katy is Awful? For as much as I despised the little blond orphan in Santa With Muscles, Kathy makes her look like more appealing than a Li’l Love Carvel cake. 

That’s saying something.

Why is this kid so Awful, you ask? Pretend for a moment that you are a poor orphan struggling to find some kindness in a cold British facility. There’s this great party going on that you weren’t invited to, but your equally Awful older brother has convinced you to sneak in anyway. By the grace of good fortune, the wealthy widow in charge welcomes you, going so far as to give you special alone time and—get this—a brand new oversized (admittedly creepy) teddy bear. How do you repay her? With a polite thank you or a hug, maybe even an elementary art level but well-intentioned crayon portrait, right?

Nope. This little brat sees fit to snub her parentless nose at the generous gift and instead complain about how she really just wants the old oversized teddy bear Auntie Roo already had, you know, the one that belonged to her DEAD DAUGHTER. The adjective ‘ungrateful’ doesn’t begin to capture the utter Awfulness--yes, that capital A is necessary-- of this character.

And yet, I think that’s in part the point. Whoever Slew Auntie Roo? is a strange film, one that doesn’t want to give us any easy good guys. You would imagine a plucky pair of orphaned siblings would be prime and center to be the underdog heroes of this kind of story, but Christopher and Katy are actively horrid, going so far as to devise a fairly genius Night of the Hunter-like burglary. Auntie Roo herself is a bizarre nut to crack. We like her because a) she’s played by Shelley Winters b) she throws kickass parties c) she’s genuinely sad and more than a tad crazed over the untimely death of her daughter and d) she’s taken advantage of by virtually any child or adult that smells her bank account. There’s something fascinating in how she begins as a figure of sympathy, becomes one more for pity, then falls into the role of witch through the prodding of Christopher and Katy’s self-proclaimed Hansel & Gretel status.

Directed by Curtis Harrington, Whoever Slew Auntie Roo? holds a membership card in the Grand Dame Guignol subgenre popularized by one of my personal favorites, What Ever Happened to Baby Jane? Harrington had previously worked with Winters on What’s the Matter With Helen?, a straighter (except not at all, if you catch my drift) middle-aged movie star thriller along the lines of Baby Jane with Winters playing house with Debbie Reynolds. In an age where so many film critics lament the lack of good roles for actresses over 45, it’s interesting to look at this period of cinema. The memory of it may feel as though these still beautiful, able-bodied 50somethings were being exploited, but Harrington’s films don’t fit that at all. Shelley Winters plays Roo as a woman a few steps over crazy, but her age never seems to add any laughs or be played as grotesque. The same can easily be said for Helen (which is on the flip side of this DVD release). I will defend Baby Jane until the day I feed my own elderly sister her pet bird, but there is something to the argument that it’s best remembered for its shock factor of seeing Bette Davis and Joan Crawford at their worst.

But I tell ya, even the sight of a cake-faced Bette Davis wearing a babydoll dress and killing her way through I've Written a Letter to Daddy is more appealing than the sight of the Awful Katy. Did I mention that I didn't like that kid? 

High Points

I love when a film is smart enough to build itself with interesting minor characters. Roo’s hateful butler Albie is a wonderfully villainous touch that doesn’t NEED to be in the film, but his presence and characterization simply makes everything a tad more sinister 

As The Woman In Black reminded us, there is simply no such thing as too many creepy dolls

Low Points

I don't know if the flashback to the REAL Katherine's fate was supposed to be funny or sad, but I found it hysterically sad to the point of being funny. Maybe that was a low point considering its intentions, but hey, it was certainly entertaining

Lessons Learned

You mustn’t disturb the cook when she’s making something delicious

If there wasn’t a séance, then it wasn’t a 1970s genre film

Never trust a British stair bannister

Rent/Bury/Buy

Whoever Slew Auntie Roo? is an easy recommendation because it’s just so strange. I can't think of another movie that includes Shelley Winters singing in black lace, orphans plotting a heist, mummified children, blackmail, fairy tale overtones, and oh yeah, creepy dolls, just 'cause. When paired with Harrington's What’s the Matter With Helen?, this two-sided disc makes a fine addition to any collection, even if the special features are sadly limited to (an admittedly awesome) trailer.