Alfred Sole's 1976 horror thriller Alice, Sweet Alice is that rare horror flick that contains several twists and turns, yet holds onto its ability to shock and disturb even after the surprises are known. Be warned, in talking about this fantastic film and its creepy, multilayered pleasures, I will reveal the identity of the killer.Catherine Spages (Linda Miller) is divorced from her ex-husband, Dom (Niles McMaster). She lives in a tenement apartment building with their two daughters, Alice (Paula Shepard) and Karen (Brooke Shields). Aside from the pressure of raising the girls without her husband, Catherine is challenged by the rivalry between them; twelve-year-old Alice seems resentful of the attention that her younger sister gets. She terrorizes Karen in a number of ways, including frightening her with a Halloween mask, stealing the girl's favorite doll, and manhandling the veil Karen is to wear on her first Holy Communion. The parish's handsome young priest, Father Tom (Rudolph Willrich) also gives Karen a lovely family heirloom rosary as a gift, furthering Alice's motivations for antagonizing her sister.The family and the parish are shaken when Karen is murdered on the day of her first communion. She is attacked by a small figure wearing a child's yellow raincoat and a mask, the same Halloween mask that Alice possesses; after strangling the child to death, the killer hides her body inside a chest and sets it on fire. Devastated by the loss of her daughter, Catherine's emotional state begins to unravel, leaving Alice even more unstable than before. Could she be responsible?Of course the movie toys with this idea, and Alice herself is a fascinating character, memorably played by actress Paula Sheppard. Sheppard only appeared in one other film, the 1984 cult classic Liquid Sky, before turning her back on acting and leading a private life. Here, she is the dark core of the film, an ambiguous character who veers between a glowering menace and a frightened child. The story captures her during a moment of passage into young adulthood, ultimately demonstrating the ways that adult conflicts can affect the course of a child's development. Older than her sister, Alice is affected more deeply by the separation of her parents. Often silent and sullen, she is possibly even dangerous, as evidenced by a scene where she seems to kill a kitten with her bare hands when her lecherous landlord tries to molest her. Most likely, the story establishes these characteristics in Alice so that we believe she could indeed be responsible for the murder of her sister, as well as a violent stabbing attack that is carried out on her manipulative, overbearing aunt Annie (wonderfully characterized by actress Jane Lowry with all the exaggerated shock tactics of a drag queen).Alice, however, is not the film's killer. In a twist that predates the sudden arrival of Mrs. Voorhees at the conclusion of Friday the 13th, Mildred Clinton emerges as the mad slasher who carries out her violent revenge on those around her that she deems wicked. She plays Mrs. Tredoni, the rectory's housekeeper, who we learn had a young daughter who died on the day of her First Holy Communion (shades of Friday the 13th again). Further defying expectations is the fact that the reveal isn't made at the end, but with the final third still ahead. She pulls off the mask for a reveal just as she murders Dominic, a character we may have thought would be the hero of the movie. Mrs. Tredoni's motivations for carrying out this bizarre form of revenge stem from many places; in retrospect, we can see that she targeted Catherine because she considers her a 'whore' due to her divorce. Also, she feels a desire to see her own loss of a child inflicted on another woman. She dresses like Alice during the attacks in order to throw suspicion on her, perhaps recognizing that Alice is also a 'bad' girl. But also, Mrs. Tredoni harbors a love for the handsome Father Tom that may go beyond her devotion to the church. After murdering Karen, she reclaims the rosary that Father Tom gave her, a clue that Dominic takes to his death by using his teeth to pull it off the crazed woman and swallowing it.Mrs. Tredoni is one distorted character, but yet another is Catherine's obese landlord, portrayed by Alphonso DeNoble. With ghoulish circles under his eyes, pale white skin, and a tendency to talk to his cats in a high falsetto voice, DeNoble nearly steals the show. Jane Lowry, as Aunt Annie, also makes a meal out of the scenery, playing a shrewish woman who serves as yet another bad role model for Alice Spages. Annie addresses everyone in the film as if she's a schoolteacher talking to a petulant student, and orders her weakling husband around like a drill instructor. Linda Miller as Catherine possesses few of these overblown qualities, herself being the 'normal' woman surrounded by horrible people-one of whom wants to destroy her life.One intense moment in the film is a good indicator of the film's haunting tone; Catherine comes to the rectory to wait for her ex-husband, who has been helping her cope with the loss of their daughter. She's welcomed by Mrs. Tredoni, who we know has just murdered the man, but she has trouble keeping up a pleasant facade with Catherine, and grows increasingly agitated. While revealing her own tragic past, she suddenly picks up a large knife and casually aims it directly at Catherine. Moments later, news arrives of Dominic's murder, and Mrs. Tredoni relishes Catherine's screams of anguish.The film's horrifying climax furthers the contrast between Alice and Mrs. Tredoni, positioning them as similar personalities at different stages in their development as monsters. Having been spotted and identified by police at the scene of her latest crime, Mrs. Tredoni is pursued to the church, where Father Tom is saying mass and just about to give communion. At his own request, the detectives allow Father Tom to try to convince Mrs. Tredoni to go quietly with them. Unfortunately, he makes the mistake of refusing her communion after giving it to Catherine. Mrs. Tredoni, now furious beyond reason, pulls the large butcher knife out of her shopping bag and plunges it into Tom's throat. Tom dies in Mrs. Tredoni's arms as the police close in, and in the ensuing horror and panic, Alice slips away with Mrs. Tredoni's shopping bag containing the murder weapon. These events have almost certainly shaped Alice for the worse, perhaps beginning a new cycle of trauma, anguish and revenge.The movie was conceived and originally released as Communion, which is the title of the tie-in novelization. It returned in a limited release as The Mask Murders in 1977, and then was released more widely as Alice, Sweet Alice in 1978. It returned in 1981 with yet another title, Holy Terror, featuring an ad campaign that played up Brooke Shields' brief appearance in the film, despite the fact that she was about 10 when she made it (and the image of Shields in the ad was current!). Shot in New Jersey, the strange editing, sound design and overall look of the film is that of a European giallo. The fact that it's a period piece set in the early 1960s may also have something to do with the fact that it appears to be a European production, as if the film is a foreign storyteller's take on American angst and terror. It also draws a few themes from Nicolas Roeg's 1973 Don't Look Now, namely the use of yellow raincoats, a diminutive adult female killer who disguises herself as a little girl, and the climactic throat slashing with rivers of blood.The movie is not European, however, and director Sole actually grew up in New Jersey, although he did study architecture in Italy. Like the best horror directors, Sole takes familiar elements (working class families and the culture of Catholicism) and distorts them into grotesque caricatures to disturb and unnerve the audience. This slightly askew viewpoint, along with the performances Sole gets from his able cast, goes a long way in achieving that elusive goal of turning a seemingly ordinary world into a nightmare landscape. It's a shame he didn't keep going as a director; frustrated by industry politics, he abandoned directing in 1982, choosing instead to make a long career for himself as a production designer. I'd have loved to have seen him continue making films with modest budgets and the generous imagination he displays in Alice, Sweet Alice.

I'm certainly not one of the people who are convinced that movies in the past were generally better but "Alice sweet Alice" freezes the spirit of a time you can't imitate nowadays. It revolves around a dead girl at a communion and whether or not her strange sister could be responsible for her murder.What I like most about this film is that it constantly lays out wrong hints and manages to surprise you anytime you think to have the case settled. The characters aren't one-dimensional and interesting enough to carry the plot, that sometimes may be a bit forced.And that is the one point of critique that I have. While some of the action depicted is perfectly plausible, other aspects don't seem to make much sense. Why would the murder want to attempt the murder in the end? There's no obvious connection, let go need for that and it doesn't fit into the line of motivation.Apart from that I had a lot of fun watching this movie. It is not perfect, it is not changing the game but it is certainly above average for me.

Although numerous influences are recognisable (the most obvious being Hitchcock and Nicholas Roeg's DON'T LOOK NOW), this is still an enthralling, top-notch horror-cum-thriller which endlessly parades a group of lovable eccentrics as they become caught up in the slashings of a masked murderer. As well as being influenced, it's also an influential film - as seen in the wealth of masked weirdos filling the screens in the '80s, from the repeated stabbings of Michael Myers to that owl guy in STAGE FRIGHT. The strangest thing about this film is that two of the brilliant performers in it (one the director, Sole, the other Paula Sheppard, an actress) never achieved the fame that they deserved judging by their work here. Sole's direction is assured and stylish, and his work combined with the art direction and the photography make this one of the most colourful (think Argento) and visually interesting movies of the seventies.Although it's not a gratuitously gory film in the style of Argento, the violence when it comes is brutal and includes stabbings in the neck, stomach, foot and leg - all unusual and painful parts of the body to be injured in. The blood flows quite freely in these scenes, making them particularly horrific to watch. The interesting plot is a cross between an exploration of religious themes and imagery and the effect it has on people, and a standard murder mystery, with an unknown assailant bumping off members of an apartment block one by one.The acting is excellent throughout, with every actor or actress putting conviction into their characters. Particularly good are Linda Miller as the harassed mother, Tom Signorelli as the determined father and the actor playing the obese slob of a neighbour who meets a sticky end - his grotesque character is definitely one for the memory. Although the limelight was stolen by the later-famous Brooke Shields, most overlooked is the acting of Paula Sheppard, who is this film's lead star. She invests her role with innocence and corruption in turn, and her obtuse character is the most interesting in the film. By turns seductive, cruel, childish and mature, Sheppard's Alice is a superb character and the final shot is a hauntingly memorable one.While modern fans of the horror film may be put off by the slow pacing and the literate script, this is a brilliant film whichever way you look at it and easily stands against the best work of Italian maestro Dario Argento - indeed the influence of the Italian giallo is very strong in this film, which can be seen as an American giallo in itself. Completed by an eerie score and an unexpected villain, ALICE SWEET ALICE is a film well worth hunting down and watching.

The 70s, more than any other decade produced many what I would call "socially conscious horror movies" or message films. Alice Sweet Alice is no exception.Karen (Brooke Shields in an early role) plays Karen, a young girl who is about to receive her first communion.She is the darling, apple of her mother's eye and can do no wrong. Karen has an older sister, Alice (Paula Sheppard), who likes to go around in her yellow rain slicker scaring people,cursing, and giving them the evil eye. During Karen's communion, someone kills her and all suspicion falls on the outcast, Alice. Someone wearing a yellow rain slicker and plastic doll mask begins killing people in the town. Some suspect Alice, but is it really her?The remainder of the film focuses on Alice. Many people may have very mixed emotions about her. Are we supposed to like and care about her? She does come across as a bit bratty, foul mouthed and "off" but we can cut her some slack because she also has to deal with her emotionally detached mother (Linda Miller)not to mention the obese landlord, Mr. Alphonso. I,personally really like the Alice character.Paula Sheppard, who plays the role, does an excellent job. She looks like a normal 12 year old girl one moment, and a deranged psychopath the next. Her eyes and facial expressions speak volumes about what she is thinking. Sheppard was actually 19 at the time of filming and sadly would only appear in one other movie, the ultra weird Liquid Sky. A word or two must be said about Mr. Alphonso. He is quite unlike any other character you will see in a movie,horror or otherwise. He is bald,always wears a stained white tank top, weighs close to 400 pounds and eats cat food. There are also a few not so subtle hints that he dabbles in pedophilia. Alice has a few run ins with Mr. Alphonse.He is, in my opinion,one of the most disturbing characters ever in a movie.Alice Sweet Alice was directed by Alfred Sole who would later direct one of my favorite horror spoofs, Pandemonium. I do not know much about Sole or his upbringing but one senses that there is a bit of self referencing in this movie.It seems to be a very personal film for Sole and the fact that he grew up in the same state (New Jersey)where the film is set adds to this feeling.Catholicism plays an important role in movie. Many of the characters attend the same church that Karen was killed in. Every character in Alice Sweet Alice has emotional baggage and are often unhappy with their lives. Guilt combined with a dreary late season setting make the movie very pessimistic in its atmosphere. If you're looking for a fun, lighthearted horror movie, this is not the one to watch.The killer's identity and motive may become obvious to some as the movie progresses but it takes nothing away from the overall effectiveness of the film. Although filmed and set in the United States, it looks and feels more like a giallo, which at the time was more prevalent than the slasher movie.Overall I would give Alice Sweet Alice 8/10 plastic doll masks. It is available on DVD and comes well recommended from this reviewer. Just don't let Mr. Alphonso catch you sneaking around his apartment door.