"The Attic" follows Louise, a depressed, suicidal spinster librarian in Wichita who has lived under the thumb of her infirm, abusive father ever since her fiancé disappeared before her wedding day nineteen years prior. After a mental breakdown in which she nearly caught the library on fire, Louise resigns from her position and begins training Emily, her younger replacement. The two find companionship in one another, but the relationship between Louise and her father begins to reach violent peaks.
Though released in 1980, "The Attic" has the feel of a number of downbeat, somber psychological "horror" films from the 1970s. Though there are moments of horror, the film plays like a psychological chamber drama. In some ways, it very much recalls the little-seen 1976 effort "Haunts," in which May Britt portrays a similarly stifled character. What is curious about "The Attic" is that, though a low-budget regional production, it features two major actors (Carrie Snodgress and Ray Milland): Snodgress is the heart of the film, masterfully portraying Louise's desperation, sadness, and fury. There is a pathos to the character that comes close to camp, but never quite reaches the tipping point; in the end, it is difficult not to feel bad for Louise and her misspent youth.
Milland and Snodgress play off one another nicely here, and there is even a pet chimpanzee who comes to figure in the film in a significant manner as another of Louise's metaphorical wounds. Louise's yearning to "save" Emily from a stifled life is a bit overwrought, but more than anything, it's just sad. The film ramps up in the last twenty minutes, ending with a shocking (albeit not entirely unexpected) conclusion in the attic.
While "The Attic" does not deliver in grand guignol shocks per se, it is a solid example of the late-'70s/early-'80s psychological chamber dramas that were disguised (or at least marketed) as straightforward horror films. I either case, horror or not, "The Attic" harbors an undeniable darkness. 8/10.
Though released in 1980, "The Attic" has the feel of a number of downbeat, somber psychological "horror" films from the 1970s. Though there are moments of horror, the film plays like a psychological chamber drama. In some ways, it very much recalls the little-seen 1976 effort "Haunts," in which May Britt portrays a similarly stifled character. What is curious about "The Attic" is that, though a low-budget regional production, it features two major actors (Carrie Snodgress and Ray Milland): Snodgress is the heart of the film, masterfully portraying Louise's desperation, sadness, and fury. There is a pathos to the character that comes close to camp, but never quite reaches the tipping point; in the end, it is difficult not to feel bad for Louise and her misspent youth.
Milland and Snodgress play off one another nicely here, and there is even a pet chimpanzee who comes to figure in the film in a significant manner as another of Louise's metaphorical wounds. Louise's yearning to "save" Emily from a stifled life is a bit overwrought, but more than anything, it's just sad. The film ramps up in the last twenty minutes, ending with a shocking (albeit not entirely unexpected) conclusion in the attic.
While "The Attic" does not deliver in grand guignol shocks per se, it is a solid example of the late-'70s/early-'80s psychological chamber dramas that were disguised (or at least marketed) as straightforward horror films. I either case, horror or not, "The Attic" harbors an undeniable darkness. 8/10.