alistairc_2000 This is part of the Pete Walker coffin box set. Also for some reason Media Blasters in the states have also released a stand alone copy recently. Perhaps they think that the customers in the US deeper pockets. The PlotA woman (Susan George) is hiding from a sinister character called the Judge. She is a go go girl as the sixties would have it or the the 21st century would say she is a tramp. Sleeping with the first bloke who comes along. This is a seedy look at early seventies London. Sue goes from the Portugal to London with the ugliest geezer ever. Apparantley she sleep with him for a bit then moves on to his pal and falls in love. The jilted rat boy goes back to Portuagal. He goes to see the judge and the judge wants Sue back as she has the number of a safety deposit box containing cash.If you have got this far you will realise that the this movie is not going to go down as my movie of the year. This movie has a limp plot which is really confusing. The characters are at no point do you believe in the characters. The only person I liked was the judge.This is not really a horror movie and as a thriller it is pretty limp. Easily the worst Walker film I have watched.

jfgibson73 Pretty much everything I want to say about this movie has already been stated in other reviews. I want to reiterate several points in the hopes of preventing others from making the same mistake as those of us who spent time on this one.I watched this right to the end, so I won't say that it is entirely boring--it had me wanting to know how it would resolve. However, every plot point was absolutely wasted--everything that happens to each character is anti-climactic. More than anything else, it is poorly written.Yes, Susan George is nice to watch, but that is about it. It is falsely marketed as horror, and I blame IMDb for allowing it to be categorized as such. It is almost entirely drama, although it aspires to be a thriller. I don't think it could have been less effective at building tension if it was a Disney Channel original. It's just not a good story. There are moments when they could have had the characters do something much more nasty, but I just thought their choices were lame.To give you an idea of where I'm coming from, I like a lot of low-budget, obscure, and independent productions. I enjoy bad movies when they are entertaining. I saw the low rating and thought that's what this movie is, but if you read through the comments, you'll see most of us thought it was just boring.

The_Void Pete Walker may have made the likes of House of Mortal Sin and House of Whipcord, but he also made some real rubbish in his interesting career; and Die Screaming Marianne is hands down the worst Pete Walker film that I've seen. This was actually Pete Walker's first attempt at a horror film, although it's more of a crime thriller than a horror movie. It's also very boring, and that's definitely the main flaw! The plot focuses on a divorce. The couple in question have two daughters; one in England, the other in Portugal. After the mother dies, the English daughter stands to inherit a lot of money and some documents incriminating her father. They other daughter wants the money, and the father wants the documents. The film stars the lovely Susan George in the central role as well as a few other familiar faces. The plot moves at snail pace and there really is very little of interest. The film is sometimes said to be an imitation of the Giallo style that was popular in Italy in the early seventies, and that may be true; although most Giallo's I've seen are much more interesting than this. Overall, it has to be said that Pete Walker can do a lot better than this and Die Screaming Marianne is a below par effort from the usually solid director. Nice title, though.

lost-in-limbo Go-go dancer Marianne is fleeing her father 'The Judge' and lethal step-sister from their Portugal seaside mansion, as when she turns 21 she'll inherited from her deceased mother a fortune in cash, and some discriminating evidence which could put away her father. Wanting this evidence he tracks her down, but her stepsister has her eyes on the money. After constantly being on the run, she decides to head back home.After reading all the middling things to below-par opinions about this Pete Walker film, I just couldn't help myself and that dazzling figure of the skilfully talented actress Susan George was the main reason for taking the dip. I didn't care. I'm new to Walker's work, and maybe this psycho-thriller wasn't a good choice for my second film (the first being "The Comeback"), but it was an okay time-waster. I use okay lightly though, because even with the lovely Susan George and her always wilful and compassionate portrayals. No she just wasn't a sexpot. Still there are gaping problems. She does look quite lost in the picture, but the support roles of the delightful Barry Evans and sly Christopher Sandford seemed even more dazed. Hell everyone should be! What got here was a salty, and for most part lifelessly talky lets chuck everything, but the kitchen sink psychological melodrama of greed and family betrayal. Walker's direction is quite forward, but rough around the edges. After letting the film really kick off, he seems to lose out to the film's sluggish and lounging pace where the characters really don't get up too much and take their sweet time to execute their obscure plans. The choppy, and flabby mid-section really spells out the screenplay's intentions, and elaborate twists. Gladly we have George to watch, because it does become a maze of incoherent sub-plots. Eventually the shifty air, is broken up at a last ditch attempt (and not terribly successful) of heart-racing, and random thrills. Nonetheless Walker gets across one or two effective, suspenseful set-pieces, despite not sustaining it for long periods. Cyril Ornadel's strikingly haunting, uncanny score swings with the era, and Norman Langley's finely featured cinematography stands out with its kinetic flourishes and beautiful scope of the Portugal locations. Lending to film's greatly hypnotic edge was Leo Genn's fascinatingly humid and perverted performance as 'The Judge' and Judy Huxtable's seductively titular psychotic half-sister Hildegarde. Kenneth Hendel's subtle, moody support part is well delivered.Walker shows pockets of promise and the cast complement with solid acting, but Murray Smith's confusingly messy and languid screenplay brings it down with a thud.