Fragment of Fear Reviews

  • Apr 23, 2016

    I watched this film recently and was left wondering 'What was all that about then?' While it is not an easy film to watch, it will certainly leave you with endless questions at the end. A sequel would have been worthy to resolve the puzzles laid down.

    I watched this film recently and was left wondering 'What was all that about then?' While it is not an easy film to watch, it will certainly leave you with endless questions at the end. A sequel would have been worthy to resolve the puzzles laid down.

  • Aug 07, 2015

    No one says swinging London in the 60's to me quite like Hemmings, and he's in fine form in this odd flick. This one kept going in different directions than I anticipated and I don't want to spoil it for anybody. The music is suitably funky with some great overblown flute work.

    No one says swinging London in the 60's to me quite like Hemmings, and he's in fine form in this odd flick. This one kept going in different directions than I anticipated and I don't want to spoil it for anybody. The music is suitably funky with some great overblown flute work.

  • Oct 10, 2011

    Quite good psychological thriller.

    Quite good psychological thriller.

  • Jan 20, 2011

    Could have used more Celi and greater time in Pompeii establishing the relationship that drives the drama, but otherwise this is a somewhat under-rated psych thriller that seems to garner unfair comparison to the earlier and better Blow-Up and later Profondo Rosso. Although it bears a somewhat similar emphasis on a style, and is not strictly focused on the logical resolution of a central mystery - this is more about the shifting psychological state of the protagonist. Thus, we get multiple takes on supporting characters of varying creepiness and a nicely sinister and voyeuristic edge to Morris' cinematography. Sarafian uses a fairly intrusive jazz score by Johnny Harris to appropriate effect. If anything it seems less bold than even the least discordant and experimental scores of Morricone in the decades before and after. Still, it works and the sardonic laugh and repeatedly threatening telephone calls help to build the tension as much as repeated sounds such as the buzz of flies. This is available through Sony/Columbia's dvd on demand service.

    Could have used more Celi and greater time in Pompeii establishing the relationship that drives the drama, but otherwise this is a somewhat under-rated psych thriller that seems to garner unfair comparison to the earlier and better Blow-Up and later Profondo Rosso. Although it bears a somewhat similar emphasis on a style, and is not strictly focused on the logical resolution of a central mystery - this is more about the shifting psychological state of the protagonist. Thus, we get multiple takes on supporting characters of varying creepiness and a nicely sinister and voyeuristic edge to Morris' cinematography. Sarafian uses a fairly intrusive jazz score by Johnny Harris to appropriate effect. If anything it seems less bold than even the least discordant and experimental scores of Morricone in the decades before and after. Still, it works and the sardonic laugh and repeatedly threatening telephone calls help to build the tension as much as repeated sounds such as the buzz of flies. This is available through Sony/Columbia's dvd on demand service.