Paul Wendkos' 1969 made-for-television film "Fear No Evil" offers viewers a chilling exploration of the supernatural that, while not groundbreaking, manages to deliver an engaging and atmospheric experience. This gothic horror tale follows the story of a psychiatrist who becomes embroiled in a battle against dark forces when he attempts to help a young woman plagued by a malevolent entity.

The film's strength lies in its ability to create a palpable sense of unease and tension throughout its runtime. Wendkos skillfully utilizes the limitations of the television format to his advantage, relying on suggestive imagery and psychological horror rather than explicit scares. This approach proves effective in maintaining a creepy ambiance that keeps viewers on edge.

Louis Jourdan delivers a solid performance as the skeptical psychiatrist Dr. David Sorell, bringing a sense of gravitas and believability to his role. His journey from doubt to acceptance of the supernatural elements forms the backbone of the narrative, allowing the audience to gradually immerse themselves in the increasingly bizarre events unfolding on screen.

Lynda Day George, portraying the tormented Barbara Anholt, manages to convey a convincing sense of vulnerability and fear, although at times her performance teeters on the edge of melodrama. The supporting cast, including Bradford Dillman as Barbara's concerned husband and Carroll O'Connor in a small but memorable role, contribute to the overall effectiveness of the ensemble.

One particularly stand-out scene occurs during a séance sequence, where Wendkos masterfully builds tension through a combination of eerie sound design, shadowy cinematography, and well-timed reveals. This scene encapsulates the film's ability to create genuinely unsettling moments without relying on excessive special effects or gore.

The screenplay, penned by Richard Alan Simmons, weaves together elements of traditional ghost stories with more modern psychological thriller tropes. While not always seamlessly integrated, this blend of old and new horror conventions helps to keep the narrative fresh and unpredictable.

However, "Fear No Evil" is not without its flaws. The pacing occasionally lags, particularly in the middle section, and some of the dialogue feels stilted by today's standards. Additionally, the limited budget and constraints of television production are evident in certain scenes, which may detract from the overall immersion for some viewers.

Despite these shortcomings, the film manages to overcome many of its limitations through sheer atmosphere and committed performances. The use of location shooting adds a layer of authenticity to the proceedings, while the moody score by Billy Goldenberg enhances the supernatural elements without overpowering the on-screen action.

As a product of its time, "Fear No Evil" serves as an interesting snapshot of late 1960s horror cinema, bridging the gap between classic gothic tales and the more visceral horror that would come to dominate the genre in subsequent decades. While it may not reach the heights of cinematic horror classics, it offers a solid and entertaining entry in the supernatural thriller subgenre.

"Fear No Evil," a made-for-television movie that first haunted screens in 1969, is a supernatural thriller that blends horror and sexuality in a way that was ahead of its time. With a story centered on the seductive and destructive nature of satanic evil, this Paul Wendkos-directed film has a lasting impression, leaving viewers with a chilling sense of unease long after the credits roll.

The film's story, written by Richard Alan Simmons, delves into the dark and sinister underbelly of the intelligentsia, a unique setting for a supernatural tale. The plot unfolds with a sense of creeping dread, drawing viewers into its eerie world. While some may find the pace slow by today's standards, it adds to the building tension and creates a sense of foreboding that keeps you watching.

One of the standout aspects of "Fear No Evil" is its surprising sexual content, which was uncommon for television in the late 1960s. The film tastefully weaves sensuality into its horror narrative, creating a heady and provocative mix that adds depth to the story and character motivations. It's a bold choice that pays off, making the film feel more adult and nuanced.

The acting in this television movie is generally solid. While some performances may feel a tad dated, they are sincere. Carroll O'Connor, in particular, delivers a memorable performance, and his final scene with a mirror is one that stays with you long after viewing. The film's score, composed by William Goldenberg, is also worth mentioning. It enhances the atmosphere, providing a subtle yet unsettling backdrop to the on-screen terror.

However, "Fear No Evil" is not without its shortcomings. Some viewers may find the movie's pace sluggish at times, and certain aspects may feel hokey and old-fashioned. The special effects, while likely impressive for its time, don't hold up to modern standards, and the film's style may not appeal to those who prefer their horror more explicit and fast-paced.

That being said, "Fear No Evil" is a fascinating snapshot of television horror from a bygone era. It's a film that, despite some dated elements, still manages to captivate and intrigue. It's a testament to its impact that viewers are still discussing and analyzing it decades later.

In conclusion, "Fear No Evil" is a spooky, sexy, and thought-provoking trip down memory lane. It might not be perfect, but it's a must-watch for fans of classic horror and a fascinating look at how the genre has evolved.

So, if you're in the mood for a chilling blast from the past, let "Fear No Evil" cast its spell on you. Just be prepared for a few goosebumps and a lingering sense of unease! ???

Like most of the other reviewers, I saw FEAR NO EVIL when it was first broadcast on NBC back in 1969. I must have been impressed at the time but all I could remember was Carroll O'Connor's final scene with the mirror. So when I watched the movie again after 50 years it was like seeing it for the first time until the very end. Now that I have seen FNE again, I must say that the film holds up rather well. It was the first regular made-for-TV movie and was supposed to be the pilot for a potential series featuring Louis Jourdan as occult psychologist David Sorrell. The ratings were good enough to warrant a sequel, RITUAL OF EVIL, but then it was dropped by Universal in favor of Rod Serling's NIGHT GALLERY.

The story deals with Jourdan investigating a group of Satanists who attempt to bring forth a major demon by means of an antique mirror. In order to do this they need an unknowing victim to be the "host". Unfortunately this person dies before the demon can be released and so they seek a replacement in the victim's fiance' who is then bewitched by his image in the mirror. It is then up to Dr Sorrell to prevent her from committing suicide to fulfill the Satanists' pact. Bradford Dillman and Lynda Day (later George) co-star as the unfortunate couple with Carroll O' Connor, in one of his best pre-Archie Bunker roles, as the leader of the Satanists. Wilfrid Hyde-White plays Jourdan's mentor who tells him to tread carefully.

RITUAL OF EVIL, the followup movie, is not as good. This time around instead of Satanists, Dr Sorell must deal with a group of bored rich people who are celebrating a black mass without realizing the consequences of what it means. Unbeknownst to them, one of their members is a real witch who has the power to destroy people by burning the photographs she has taken of them. As members of their circle dwindle, Dr Sorell discovers who the witch is but falls under her spell. She, however, is interested in the young daughter of a faded film actress. Can he persevere? Anne Baxter stars as the actress with a wonderful performance from Diana Hyland who would tragically die a few years later from cancer.

This DVD / Blu-Ray combo is just one of a number of Universal made-for-TV movies from the late 1960s-mid 1970s that are being released by Kino Lorber as part of their Studio Classics series. Both movies have undergone a 2K restoration and look as good as they ever have or probably ever will. Remember these are TV movies not big budget Hollywood offerings which is why it's good to see someone taking the trouble to make them available for a new generation. The discs come with a number of extras including commentary, trailers for both films, image galleries, and much appreciated subtitles for those of us who saw these movies when they were first broadcast over half a century ago...For more reviews visit The Capsule Critic.