During filming, Richard Attenborough developed kidney stones and was unable to work for an entire day. Since filming was on such a tight schedule, director Bryan Forbes got into costume played his role for some shots.
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Goofs:
Revealing mistakes: As Myra looks outwards through the rain spattered window of a child's nursery, the rain falls unnaturally onto the panes - in two bursts - as though it were sprays from a hose or watering can.
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Quotes:
Myra Savage:
So bright after a séance. Brightness just seems to fall from the air.
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An unsuccessful psychic and spiritualist has grown frustrated with her
lack of celebrity--and so devises a plan to bring herself the fame she
craves. She and her husband will kidnap a child. When the police are
baffled and press coverage has reached a fevered pitch, she will have a
"vision" that will lead to the child's recovery and the reap the
rewards of publicity. But no sooner is the plan underway than there are
complications--and in this instance the complications are the
characters themselves.
Everything about Brian Forbes' SEANCE ON A WET AFTERNOON is understated
yet oddly moody. The story, although unusual, is told in a direct sort
of way; although it offers an occasional twist, the plot avoids tricky
devices. The script is very natural sounding, the black and white
cinematography avoids undue cleverness, and the background music is
discreet. This throws all attention on the characters--and Kim Stanley
and Richard Attenborough offer amazing performances, with Stanley the
very personification of rising madness and Attenborough painfully
accurate as her emotionally dependent husband.
The interplay between Stanley and Attenborough is justly famous, and
the two stars are well supported, most particularly by Judith Donner as
the kidnapped child and Nanette Newman as her distracted mother. The
film has a dreamy, claustrophobic quality that many will find
fascinating; some, however, may consider it a bit talky and its
conclusion an anticlimax. But if you are in the mood for a
psychological thriller that really is psychological, you couldn't pick
a better choice for rainy day viewing. Recommended.
An unsuccessful psychic and spiritualist has grown frustrated with her lack of celebrity--and so devises a plan to bring herself the fame she craves. She and her husband will kidnap a child. When the police are baffled and press coverage has reached a fevered pitch, she will have a "vision" that will lead to the child's recovery and the reap the rewards of publicity. But no sooner is the plan underway than there are complications--and in this instance the complications are the characters themselves.
Everything about Brian Forbes' SEANCE ON A WET AFTERNOON is understated yet oddly moody. The story, although unusual, is told in a direct sort of way; although it offers an occasional twist, the plot avoids tricky devices. The script is very natural sounding, the black and white cinematography avoids undue cleverness, and the background music is discreet. This throws all attention on the characters--and Kim Stanley and Richard Attenborough offer amazing performances, with Stanley the very personification of rising madness and Attenborough painfully accurate as her emotionally dependent husband.
The interplay between Stanley and Attenborough is justly famous, and the two stars are well supported, most particularly by Judith Donner as the kidnapped child and Nanette Newman as her distracted mother. The film has a dreamy, claustrophobic quality that many will find fascinating; some, however, may consider it a bit talky and its conclusion an anticlimax. But if you are in the mood for a psychological thriller that really is psychological, you couldn't pick a better choice for rainy day viewing. Recommended.
Gary F. Taylor, aka GFT, Amazon Reviewer