At the same time, Billy and Myra write down a ransom note asking for huge sum of money. The Savages dress up as doctor and nurse, and tell the kid that she has come down with German measles. The precocious child named Amanda is placed in Arthur’s room, which is made to look like a hospital room. Despite few glitches, the kidnapping act succeeds. Related to Seance on a Wet Afternoon: A Fugitive from the Past Review – Probing the Postwar Devastation of Japan through Thriller Frameworkīilly proceeds to kidnap the child (Judith Donner) of the Claytons, a wealthy industrialist family. Yet he capitulates and takes his motorcycle (with an enclosed sidecar) to do the necessary. But one of Myra’s recent demands spooks the mild-mannered Billy.
She evidently dominates the household as Billy succumbs to her demands.
Myra’s ‘spirit guide’ is her dead son, Arthur. When the narrative opens, a small group of people move out of Savages’ intimidating Victorian household (probably inherited) after the weekly Wednesday afternoon séance session.īilly can’t work due to his asthmatic condition, but Myra’s work as medium keeps them away from financial troubles. Based on a novel by Mark McShane and adapted to screen by Bryan Forbes, the film revolves around a middle-aged couple, Myra Savage (Kim Stanley) and Henry ‘Bill’ Savage (Richard Attenborough). The biggest strength of Séance on a Wet Afternoon is the way it slowly builds the psychological portrait of Myra, the protagonist, while on the other hand Forbes briskly handles the kidnapping plot. His best work, Séance on a Wet Afternoon (1964), although considered as a kidnap thriller, is actually a fascinating character study of a delusional, grief-ridden woman. Bryan Forbes is one of the British screenwriters and directors to depart from social realism and concentrate more on the psychological realism of his emotionally disturbed (or neurotic) characters. For instance, Anderson’s renowned movie, This Sporting Life (1963) carefully examined its young central character’s inner conflicts (or fractured psyche) alongside the social pressures. English film-makers like Lindsay Anderson, however, focused on both social realism and the psychological realism of an individual. This form of social realist pictures, nicknamed ‘kitchen-sink drama’ and often set in the grimy tenements, presented its unvarnished, disillusioned characters with a vital air of authenticity. You can’t have one without the other.īritish film-makers of the late 1950s and early 1960s brilliantly captured the sociological situation of the people, who were still experiencing the transformative impact of World War II. Now you agree with the end, don’t you? Well then you must agree with the means.
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