Have you seen the 1960 Hitchcock "classic" (so-called) "Psycho" ? So have I. I saw it when I was maybe 14, and thought it was rubbish then. I still do. Like it took me until a little after the first murder to realise what was happening. And at the very end, Hitchcock tries to turn it into a retrospective documentary. That doesn't work either. I realise this is a minority opinion, but for me the film fails. Right down to the "slasher" music. The only good thing about "Psycho" is that it inspired a generation of films, most of which were somewhat better, although that is not saying much.One film that was almost certainly so inspired a decade and a half later and infinitely better to boot is the 1976 British classic "Schizo". Made on a low budget, even the gratuitous nudity including of the gorgeous but tragic (dead at 39) Lynne Frederick couldn't save it. The film sank without trace. I saw "Schizo" at the cinema when I was not much older than the time I saw "Psycho", and I was utterly fooled.I watched it again last night – March 15 – and although I remembered the ending, it lost little of its charm. "Schizo" is an eerie psychological thriller. True, it does require a little poetic licence to work, but work it does.I didn't recall the séance, but it is clear from this cameo that the scriptwriter is not a true believer!Only more than an hour and a half into the film by which time there have been three murders, does the viewer get even a hint of the twist in the tale that is to come, on account of the damsel's detached attitude. And what a twist it is!

Samantha and Alan are getting married, but William Haskins is not pleased. He grabs a train south to London and begins shadowing Samantha as she tries to get on with married life. Haskins' attempts to frighten her drive Samantha to desperation, but she's having trouble convincing anyone that she's being stalked...While I think this film is slightly less good than Walker's "Comeback", this is still a solid story with a good plot and strong characters. If there is any doubt of this film's greatness, just look at the awesome possession scene -- this not only matches but exceeds anything done in "Evil Dead". I would even go so far as to say it might pass "Exorcist".Pete Walker is a master of horror who often gets overlooked. This is a shame. He is every bit as good as Freddie Francis, for example, and possibly even Jess Franco (though Franco is hard to categorize -- he has at least as much rubbish as gold).

Schizo is set in England & starts in the North East as a man named William Haskin (Jack Watson) reads a national newspaper, Haskin notices a story about ice skating champion Samantha Gray (Lynne Frederick) & her fiancé Alan Falconer (John Leyton) who are about to get married in London. Haskin takes a great interest in the story & heads off to London where he books into a hotel & starts making enquiries as to where Samantha lives, Haskin manages to discover where Samantha & Alan are holding their reception & posing as a waiter manages to leave a bloody knife next to the wedding cake which Samantha finds. Samantha then starts to get mysterious phone-calls & sees Haskin hanging around. Samantha starts to panic & confides in her friend & psychiatrist Leornard Hawthorne (John Fraser), soon after Leonard is murdered & he is just the first as other's around Samantha are also found dead but who is responsible & why?This British production was produced & directed by Pete Walker & to me felt quite similar to his next film The Comeback (1977) in which both the main character's start seeing & hearing things as those around them are killed off by a mystery killer who seems to have some sort of connection to the lead, I gave The Comeback four stars out of ten & I see no reason not to award Schizo exactly the same as it's not really any better but at the same time no worse. Schizo takes a while to get going, the first murder doesn't happen until about the hour mark so there's a lot of talk to get through which doesn't really amount to much. Sure, some may say it's necessary build-up but I'd rather describe it as padding & at an hour & fifty minutes long Schizo really didn't need any padding. The central mystery isn't that good or engaging, in fact the title of the film gives the entire twist away & I will say that I guessed the twist quite easily due to the script trying far too hard to single one character out as the killer & it's fairly obvious that they haven't killed anyone. The script takes itself very seriously & seems to think it's the cleverest thing around, while the majority of Schizo is set in the real world & tries to paint the mysterious goings-on with scientific credibility there is one totally out of place scene set at a séance which verges into the supernatural for no apparent reason. Schizo feels like a Pete Walker film, the middle class English setting & the inadequacies of authority & justice are constant themes throughout his films & they are very much evident here. I can't say I hated Schizo as it has it's moments but I found the mystery aspect weak & too predictable while there's not quite enough gore here to satisfy the exploitation crowd as Schizo falls somewhere between exploitation & psychological thriller. The ambiguous ending doesn't help end things on a positive note either, while Schizo tries to be clever & deep in it's depiction of schizophrenia it ends up looking silly so don't base any psychological studies on it.With a very middle class mid 70's British setting Schizo is one of those films that could be used in history lessons as it show's lots of fashions (I'd like to see someone wear that red bobble hat in public today that Haskins does in the opening), cars & locations as they would have been in reality back then without any fancy production design or window dressing. There's a bit of gore, someone gets a knitting needle through their head & out their eye, someones head is bashed in with a hammer & someones throat is slit although none of these scenes are that gory. The bloodiest bit is during a flashback where a naked woman is brutally stabbed several times. Schizo isn't that scary & doe shave it's daft moments like the end as a shocked panting Samantha just stands there as a demented Haskins walks up behind her pulling some very silly faces & just how did that meat cleaver get into her super market shopping trolley?Filmed entirely on locations the production values are good & it looks alright, the acting is OK with Frederick the ex-wife of Peter Sellers quite good as the lead. Stephanie Beacham has yet another minor role in a British horror film but sports a very ugly hair style.Schizo is an OK horror thriller that thinks it's smarter than it is, there's a touch of gore & a real world look & while it's not terrible I doubt I would ever want to see it again. A passable time waster that Pete Walker fans might get more out of than the average viewer.

This British-made "imitation Giallo" was the only one of director Walker's 8 horror outings that I had yet to catch up with; in fact, I had also watched his 3-D sexploitationer FOUR DIMENSIONS OF GRETA (1972) and own the as-yet-unseen and equally non-horror titles THE BIG SWITCH (1969), MAN OF VIOLENCE (1971) and HOME BEFORE MIDNIGHT (1979)…not bad for a film-maker who has got only 16 movies under his belt and whose work I was completely unfamiliar with (apart from what little reading material I had at my disposal) before Anchor Bay UK unveiled their 5-Disc Set in 2005! Obviously, the film under review was not included in that collection but has received comparatively muted DVD editions on both regions. Although the film reunited Walker with the screenwriter, David MacGillivray, of his two best films – FRIGHTMARE (1974) and HOUSE OF MORTAL SIN aka THE CONFESSIONAL (1975) – not to mention his most notorious one – HOUSE OF WHIPCORD (1974) – the mixture fails to rise to the expected heights this time around.Indeed, the film tries too hard to be the English version of DEEP RED (1975) but, in spite of the best intentions on display and some decent murder sequences of its own, cannot hope to approximate the visceral impact of Dario Argento's classic slasher. The simple enough plot belies the close similarity between the two films that ultimately undermines SCHIZO: lovely Lynn Frederick is a famous ice-skating star about to wed carpet-producing businessman John Leyton who starts to be hounded by brutish ex-con relative Jack Watson as best friends Stephanie Beacham and psychiatrist lover John Fraser investigate. However, Frederick (just like musician Gabriele Lavia in DEEP RED) is a professional concealing a skeleton in her closet and is not quite the victim as she would have us believe; the spunky character played by Beacham is also very similar to that of intrepid reporter Daria Nicolodi in the earlier Italian film and her uninhibited relationship to first Fraser and then Leyton brings forth memories of the one enjoyed between Nicolodi and David Hemmings; just like DEEP RED's psychiatrist, Fraser too gets to expire via a violent death here; most prominently, there is even a séance with a murderous outcome (with the victim here bowing out the very same way that Lavia did!) and a traumatic childhood event that unbalances the beholder and turns her (or him, in Lavia's case) into a serial killer as an adult. However, Walker remains true to his exploitation roots by making the latter not a marital squabble ended by the knife-wielding youngster but a seedy, foul-mouthed and incestuous coupling between her mother and uncle!!Needless to say, Stanley Myers' serviceable score is also no consolation for missing out on Goblin's tremendous music but the film has other faults besides that smack of carelessness: although Watson is played up to be the red herring from the outset, he is too much of a character actor to be believable as a potential protagonist and, when the twist of the killer's identity is eventually revealed in the film's latter stages, it comes as no surprise at all (although it was clever to have Frederick misremember her childhood recollections to Fraser to avert any suspicions); for being a celebrated skater, there are precious few people present at Frederick's wedding ceremony and, bafflingly, no photographers at all!; similarly, why would a star spend so much time alone at home (thus making her such an easy target) and, when she gets to go out, she only does so at the instigation of her maid – who, of all places, takes Frederick to her psychic daughter…with all the potential for embarrassing disclosures that such a public visit entails?! Although Frederick is not bad in the lead (and, thankfully, gets to be naked a few times, too!), the major trouble with her characterization is that the inherent schizophrenia is not quite believable because she never acts all that rationally when in a 'sane' frame of mind anyway! Although, as intimated earlier, the murders of Fraser (complete with an extra red herring in the shape of an uncredited bit by John McEnery – Beacham's then-husband – as a threatening suicidal patient!), Watson (in Leyton's plant), the maid (a most irreverent reversal of Christ's "eye of the needle" speech) and her daughter deliver the goods, they most certainly do not make up for the lamely unresolved "will she/won't she (revert back to her evil side)?" ending at the airport!! Some final comments should go to the actors since they are the film's ultimate mainstay: after a not insignificant contribution to the horror genre – VAMPIRE CIRCUS (1972), THE AMAZING MR. BLUNDEN (1972) and PHASE IV (1974) – Frederick went on to marry (and, eventually, inherit) Peter Sellers but also, sadly, to an early grave from alcoholism at just 39!; the partially-deaf Beacham herself did her own stint in British horror courtesy of THE BALLAD OF TAM LIN (1970; which I just watched the other day), THE NIGHTCOMERS (1972), Dracula A.D. 1972 (1972), …AND NOW THE SCREAMING STARTS! (1973) HOUSE OF MORTAL SIN itself and INSEMINOID (1981). John Leyton is here a flabbier version of the one we remember from THE GREAT ESCAPE (1963) and, in fact, this was his first appearance in a theatrical film in 10 years and of which there would be just 3 more in the next 35 years!; likewise, SCHIZO proved to be John Fraser's first appearance in a theatrical feature (which had previously included 1965's REPULSION) in 8 years and his last…even though he is still alive today! Watson's film career was much more varied and prolific than that of his younger male co-stars but also included its fair share of horror outings: PEEPING TOM (1960), KONGA (1961), THE GORGON (1964), THE NIGHT CALLER (1965), TOWER OF EVIL (1972; the only one I am not familiar with) and FROM BEYOND THE GRAVE (1973).