The Ghost of Sierra de Cobre (1964, TV Movie), 80 mins, Talking Pictures TV
A film cobbled together from a rejected TV pilot for a horror anthology series, The Ghost of Sierra de Cobre is a genuinely creepy, spooky horror that on the one hand is much better than its origins suggest, but on the other horribly undermined by underwritten characters and a quite nonsensical plot. Oddly enough, in that respect it feels quite modern- its all about the mood and chills and not at all about any drama or characters. Its really quite frustrating, in that it does most of the horror stuff very well – I’d imagine even kids of today could be traumatised by some of its spooky moments- but the rest doesn’t really hold up at all, and the pacing seems all over the place (as I’ll come back to later, I suspect that in its original edit it was intended to run under an hour -even with commercials- but had to be padded out in order to function as a TV movie).
The film was the brainchild of Joseph Stefano (at the time coming off both The Outer Limits tv series and having written the screenplay of Hitchcock’s Psycho) who was originally intending to launch a horror anthology series (The Outer Limits being mostly a science fiction show). I wasn’t aware of its origins when I watched it -I just thought it was one of those indie low-budget 1960s horrors, like Roger Corman’s stuff- but when watching it I felt like something weird was going on with some of the characters, definitely like it was setting up some TV show starring Martin Landau as an architect with a hobby of investigating ghostly goings on, a kind of Kolchak meets Scooby Doo kind of thing. Its funny how we can be tuned to such TV series conventions, and it seems I wasn’t too far off- maybe Landau’s architect wasn’t a series regular, maybe it was intended to be completely seperate stories like The Twilight Zone and The Outer Limits, but it certainly felt like Landau was being set up as a regular.
There was also a distinctly David Lynch, Twin Peaks-vibe to many of the shots, that kind of orchestrated, long-take weirdness that Lynch does, hanging onto shots longer than usual, leaving the viewer feeling uncomfortable just from the editing, and some of it coming out of leftfield like Lynch is so fond of doing. For instance, there’s an early scene when Viva (Diane Baker) has returned to her blind husband Henry Madore (Tom Simcox). He tells her they have a new housekeeper, Paulina (Dame Judith Anderson) who then enters the room, upon which Viva totally freaks out without warning or reason, backing away in utter, unexplained terror. The film uses Paulina, who in black-draped garb looks totally not normal, for a few tonally unsettling, Twin Peaks-style visuals that linger far too long and serve no story function, such as when she’s standing on a beach looking up at Landau’s home up on the clifftop above. Upon later learning of the film’s genesis, much of this is clearly padding-out the length rather than anything particularly calculated, but it certainly works to the film’s advantage establishing its unsettling mood.
As a horror film it is certainly rewarding viewing and one can forgive its eventual silliness because of just how successful it is evoking its creepy mood of, dare I say it, distinctly ‘old-fashioned’ horror. There’s a delicious sense of Hammer-era fun early on when we are told that blind Henry living in his lonely big gothic mansion thinks he is being haunted by his dead mother who rings him and sobs down the phone at him. We are told that his mother was terrified of being buried alive so when she died she was placed in the family crypt with a phone placed next to her coffin with a direct line to his mansion. I suppose that’s Edgar Allen Poe updated for the 20th Century. Landau’s architect, Nelson Orion -weren’t names brilliant in these old TV shows?- is hired by Henry’s wife to investigate the possible haunting, as the call can only becoming from the crypt, so its either genuinely his mother or its someone orchestrating some elaborate prank to make Henry seem insane. Eventually it transpires that Henry’s mother isn’t the only tyrannical mother with damaged kids, and if there is a ghost its of someone else entirely (hint: Henry’s dear departed mother has no connection with Sierra de Cobre), but by the time we get to that point the plot has collapsed under the weight of its own contrivances and we don’t really care anymore. Which is a shame, because early on its really good indeed. The cast, certainly, is better than one would expect; I thought Diane Baker, later a frequent face in imported American 1960s/1970s television shows I watched growing up, was excellent, swinging from calm to wild hysterics in a heartbeat. Martin Landau, bless him, is, well, Martin Landau. Actually I think it was because I noticed it was him in the cast that prompted me to watch this at all. I’ve always had an interest in Landau’s work, ever since he starred in Gerry Anderson’s Space:1999 show which was second only to Star Trek in my childhood as far as formative addictions go. I was just the same with Star Trek and watching with due reverence anything starring William Shatner -hey, its Captain Kirk!- and its something I never really grew out of, bless my foolish loyalties to childhood heroes.
In any case, this is well worth a watch. Its just a pity the original, shorter edit doesn’t exist anymore because that would be an interesting alternate and might have proved more effective without the padding- although I have the suspicion its that padding with its longer shots that hang on just too long that make the film as successfully unsettling as it is.