The Sentinel. 1977. Directed & Written by Michael Winner; based on the novel by Jeffrey Konvitz.
Starring Chris Sarandon, Cristina Raines, Martin Balsam, John Carradine, José Ferrer, Ava Gardner, Arthur Kennedy, Burgess Meredith, Sylvia Miles, Eli Wallach, Christopher Walken, Jerry Orbach, and Beverly D’Angelo.
Universal Pictures/Jeffrey Konvitz Productions.
Rated R. 92 minutes.
When I really started to become a horror hound years ago, The Sentinel is a haunted house horror movie I’d heard about yet could never get the chance to see. Years later, finally, I was able to and it blew me away. Personally, it’s my favourite haunted house-style film. There’s an intimacy to its depiction of haunting that really gets to me and lingers; sort of how I feel about Robert Wise’s The Haunting, another haunted house movie I feel is built on an intimate feel of perspective. Even more than that, Michael Winner’s movie is such a creepy, slow burn style horror, as well as the fact it draws on religious elements to achieve its supernatural thrill.
Haunted house movies are incredibly common. It’s hard to set a movie aside from the pack and say “This is the best.” So many are actually good, too. In my mind. You’ve got the aforementioned Wise film, The Legend of Hell House, The Shining (even if it’s not as good as King’s book), The Changeling, and the list goes on. What makes The Sentinel special for me is its pacing, the interesting and slow building screenplay Winner adapted from the Jeffrey Konvitz novel is tight. Then there’s all the imagery.
Trust me, this is a hellish ride.
Model Alison Parker (Cristina Raines) and boyfriend Michael Lerman (Chris Sarandon) are on the verge of marriage. However, Alison would rather be independent and have a place of her own instead of moving in with Michael. Just in case. So she rents an apartment in a seemingly ancient New York brownstone, where the landlady gives her a nice price and all the eccentric neighbours come out for a visit. Though, after a little time in her new home, Alison starts to feel strangely. First, her own motor skills start to cease functioning correctly causing bedlam all over the place from home to work on photo shoots. Then she begins to witness eerie happenings throughout the apartment, the apparition of dead people from her past, and it only begins to get worse.
Eventually after some investigation Michael starts figuring out what’s been going on at the apartment building. By the time Alison clues in it may or may not be too late for her to do anything about it.
The brownstone may have its new Sentinel yet.
Immediately the score from Gil Mellé is noticeable. Such a lush sounding composition from the start, as we’re introduced to Alison (Raines). Then suddenly Mellé spins everything down in this strangely appropriate dark twist. You’re almost jarred out of place by the music, explicitly made aware there’ll be spookiness to follow. A required element for any proper haunted house horror is a chilling score. I mean, okay, it’s not required, but I think they benefit greatly from having a refined sound behind it.
The score works so well at other times because it isn’t just a bunch of single pieces linked together. Mellé incorporates his compositions into the sound design – shrill strings whittle away at your nerves in certain moments of suspense, other scenes have an ambient swell surrounding them and an electronic feel, then he also brings out the church bells and other ominous sounds to mix their presence with everything else into magic. This is one horror score I could easily sit and listen to, completely out of context; not many of those out there aside from John Carpenter’s scores and maybe a handful of others. The music here becomes its own entity, and without it the tension and suspense of many scenes wouldn’t be as effective.
When Alison first comes across the ghost, or zombified ghost, of her father it’s full-on terror. Some impressively executed practical effects here, as she hacks at his face with a knife, slicing him and cutting off a chunk of his nose; it’s vicious stuff! You don’t expect it to happen, really. Nice surprise. These macabre aspects continue throughout, though, that’s probably the most outwardly violent thing to happen.
Except for later, once things get worse and worse for Alison, her mental state deteriorating almost exponentially day to day. At one point we get a glimpse of the two strange lesbian women apparently feasting off the dead corpse of a man, bloody leaking out, some on their faces and mouths. So, I suppose the cannibalism would be even more violent. Still, I think probably the best moment is the previous one between Alison and her dead father. Just such a visual jolt I’d not been expecting; always the best kind. And the way her father sort of shambles out of the shadows at her, his face revealing in the bit of light, it’s a subtly effective horror technique instead of going for a ridiculously nervous jump scare.
Overall, Winner does such a nice job crafting the screenplay with intense visuals, from the look of how its shot to the actual horrific elements. I love the beautiful, vibrant colour in this movie; particularly I find the scenes in the church stick out, with the heavy burgundies, the wood tones of the pews, and so on. Cinematographer and director of photography Dick Kratina does the film justice by capturing it so well. Not is there just nice looking visuals on a surface level, some of those spooky bits throughout are all due to the way Kratina manages to frame the scenes – his use of shadow at various points, from Alison’s first walk around the apartment at night to when Michael (Sarandon) explores the entire building alone, is very good and casts everything in an unsettling light.
Once the final ten minutes begin, especially after Charles Chazen (Burgess Meredith) calls out to the other ghosts, The Sentinel evolves into pure terror. There are deformities, burn victims, rotting dead corpses, the lesbians cannibalizing Michael’s body, and more. It’s an intensely visceral sequence, which again pits Alison against her dead father; his makeup is scary, he creeps the hell out of me whenever I see him. Just the whole finale, it works on you and it does my head in every single time I watch this movie. Winner paces this scene so perfectly, too. He could have had a very frantic set of shots, typical modern styled horror we see too often nowadays. Rather, instead of going for the adrenaline he makes your pulse pound, he makes the suspense ramp up in your gut and the tension tickle your veins, and by the time we hit the finish Winner has the audience in the palm of his hand. Again, Mellé’s ominous sounding score comes out in an amazing wave that builds up to a crash, really putting the cherry on top. Couldn’t ask for a better finale. It’s weird, it has a bit of blood and unnerving shocks, there’s pure emotional terror at work, and the plot’s conclusion kept me wanting more in the right sort of sense.
5 stars for Michael Winner and The Sentinel. This one has all the greatness of the best haunted house horror, as well as the fact it’s got plenty of unique charm. We get a heavy dose of classic horror, plus Winner brings innovation to his adaptation of the source material and gives us an odd, quirky piece of terrifying cinema. There are lots of practical effects to gorge on – something of which I’m a massive fan – and then the spooky moments will genuinely make you uncomfortable and scare you proper. You’ve got to see this soon because it’s an underrated and lesser known gem from 1977, before some of the best known haunted house pictures.