The very least you can say about "A Reflection of Fear" is that it is a moody and atmospheric thriller! The story might feel familiar (especially when you watch a lot of obscure cult/horror movies) and somewhat predictable, but the tone of the film remains unsettling throughout thanks to the slow pacing and extremely integer acting performances. However, what this movie clearly suffers from the most are all the oppressed controversial and unethical themes that were supposed to be processed into the script but then abruptly cut in order to obtain a PG rating. Always a shame when that happens… Marguerite Sterling is an isolated and quite eccentric teenage girl that lives with her mother and grandmother in a remote land house. She has long and embittered conversations with a doll named Aaron and gets ecstatic when she finds out that her estranged father Michael is coming to visit. Officially he's coming to ask his ex- wife for a divorce, so that he can marry with his new fiancée Anne that he brought along, but when he notices how socially incapable his daughter Marguerite is, he wants to stay. And then a mysterious killer dressed in black visits the premises… Like I said already, it's a shame about the (not-so-) subtly camouflaged taboo themes. The most disturbing yet simultaneously powerful sequences in "A Reflection of Fear" are those in which young Marguerite tenderly embraces and kisses her daddy while his new fiancée jealously observes. The film is kind of reminiscent in atmosphere and events to a handful of great classics, including "Psycho" and "Whatever Happened to Baby Jane", but director William A. Fraker nevertheless succeeds in giving it an own style and personality. Fraker primarily built his career as an eminent cinematographer and that he clearly demonstrates in several beautiful shots and camera compositions. With her rather odd facial structure and pale skin, Sondra Locke is ideally cast as the naturally uncanny Marguerite, but also Robert Shaw is exquisite as Michael. Shaw usually depicts robust and macho characters, like in "Jaws" for example, but here he impresses as the calm father figure. In fact, literally everyone in the cast – including supportive characters like the fiancée and even the investigating police detective – behaves like he/she is under the constant influence of Xanax or any other tranquilizing medicine! They all talk slowly and practically nothing seems to upset them, not even double murder. The integer performances give an extra dimension of creepy to already uncanny – but flawed – thriller.

I am going to have to try and balance out all these reviews that give this film more than a few stars. Although the other reviewers probably do like this film for various reasons, I found myself bored with it in the first 10 minutes. This is one of those typical 1970's thrillers which spend an hour and a half dragging through a story that could be told in a 10 minute short film. I immediately put this film in the "One Time Watch" category.I can't reveal too much of the film without giving away the plot, but much of the film involves an over bearing mother and her daughter (played by Sondra Locke) which, obviously, the crazy is leaking out. The director tried to intersperse mysterious happenings throughout the film which were blamed on local townsfolk, however, it was quite obvious who was responsible. (Once again I don't want to say too much for those that wish to watch this film.) The only "shocker," and I use that term loosely, was at the ending which I had pretty much guessed except for a minor detail.You can find a crisp clean copy of the transfer with very few flaws for a film from the 70's. There is a haze over part of the film, but that is the director's vision and not the film quality itself. The editing was a little choppy and I believe that a few more details for some of the scenes would have helped the flow of the story.Bottom line, for me this film was one of those films you would watch (back when we only had 12 channels) only because absolutely nothing else was on at the time. Don't get me wrong, I love the movies of the 70's, but this one made me tired.

Sondra Locke stars in this obscure gem as Marguerite, an odd, but very intellectual teenage girl who is kept isolated by her vindictive mother and grandmother. When her father comes to visit with his new fiancée, a perverted love triangle develops with Marguerite as the other woman.Directed by famed cinematographer William A. Fraker, this is a solid psychological horror film with an ending that took me by surprise and adds a whole new layer to everything seen prior. The relationship between Marguerite and her dad, played by Robert Shaw, is quite uncomfortable, especially when he does nothing to discourage her attempts to court him right in front of his fiancée. Marguerite, clearly unhinged from being raised by her man-hating mother, also has hateful conversations with one of her dolls, believing it to be a real person. This, along with Marguerite's fears of being left in her hell, of her father abandoning her again, eventually leads to a murder mystery.There's strong acting across the board, especially from Locke, who I just saw recently in a similarly off-kilter role in "The Shadow of Chikara". She definitely had a knack for playing creepy. As for the aforementioned ending, it's definitely a stunner. I can think of at least two later slashers that may have been inspired by it.The film was apparently edited by the studio for no apparent reason, and this shows in the latter half, as scenes seem to end before they've really even begun. It can be a little confusing, and one hopes that the cut bits will be restored some day.

Atmospheric but very slow mystery drama in which the obvious killer is Locke. What comes as a major (and unusual) twist is that she is a "he". No wonder they cast the skinny, pale, flat-chested, immensely unattractive Locke, I thought. The director "cheats" by using various tricks to detract from the real killer; in one scene we see a figure throwing the old woman's corpse into a pond, then leaving - the figure is that of a big man, like Shaw, not at all the figure of anybody remotely built like Locke. De Palma "cheats" like this in "Dressed to Kill" also. Locke is awfully ugly and it takes a while to get used to watching her. Kellerman, on the other hand, is still in her very pretty phase. David Bowie, had he been born female, would have looked like Sondra Locke.