Two young women fall victim to a stranger in a
strange land as they cycle through rural France for a little rest and
relaxation. Director Robert Fuest deftly captures the crowded isolation of the
protagonists who are separated by language and protocol from the local
population, unaware of the danger until it is too late. Though set amid the
fertile fields and archaic villages of France (refreshingly eschewing
traditional locations!), this could be any small town on Earth where tourists
intrude upon the privacy of the locals. Jane and Cathy both sense a veneer of
contempt shellacked over every encounter: just because you’re paranoid doesn’t
mean they’re not out to get you!
Pamela Franklin as Jane steals the movie with a
bravura performance as the strong willed and independent survivor who makes
believable decisions and reacts with proactive violence when confronted by the killer.
Fuest doesn’t allow for too many genre conventions to distract from Franklin’s
solid characterization. Michele Dotrice portrays Michelle, the best friend, but
she isn't around long enough for much character development. However, the
contentiously petty interaction between the two women lends veracity to the
story by introducing a complex human relationship instead of mere avatars that
are nothing more than fodder for fear. Fuest also imbues the audience with the
same ambiguous fears by purposely redacting subtitles so we feel a constant
separation between characters.
The plot itself is fairly straightforward but Fuest
is concerned with creating narrative momentum with suspense by insinuation and
elision and not superficial sadism. The murder scene itself relies on moments
of suspended observation or tricks of the imagination by Michelle, allowing the
viewer to experience the tense scene from her perspective (of course, we have
the foreknowledge that she will be killed; after all, we’re watching a horror
film). So when she reaches for her panties drying on a branch and they’re
missing but her bra and other undergarments are still there, we know some
unidentified person took them but Michelle is just beginning to get suspicious.
She looks on the ground as a close-up reveals her expression: maybe the panties
are still in her saddlebag. A few branches scrape together and she hesitates
alone, Jane miles down the road after an argument, and we feel her sudden
recognition of isolation. Fuest doesn’t show the viewer a dark shadow or evil
eyes peering from the bushes: he wants us to feel what the character feels. Her
bicycle suddenly falls over and she jumps but again, it could just be the wind.
She sighs in relief until she picks up her bike…and sees the mangled spokes.
Now she knows absolutely that someone is lurking nearby and her dread is
palpable, a fight or flight reaction that becomes overwhelming. Fuest shoots from
a low–angle framing her reaction-shot through the broken spokes and twisted rim.
This is a powerful scene that is the crux of the story as the killer’s identity
is kept hidden. The remaining story becomes Jane’s fear for her missing friend
and discovering who is responsible.
AND SOON THE DARKNESS is a nice little thriller that
I understand was remade in 2010 utilizing the same title but to seemingly
different results. Relying on allusion over contusion, Fuest’s film exploits
that undiscovered country between our perceptions and our paranoias.
Final Cut: (B-)
