The Black Torment
Tags: revenge, gothic, murder

Plot synopsis:
The film opens with an obviously terrified young woman Lucy Judd (Edina Ronay) running in panic through a nocturnal wood as the opening credits roll. She is finally tracked down and cornered by a figure in black who puts his hands around her throat.
The scene then switches to daytime and a horse-drawn carriage containing Sir Richard Fordyke (Turner) and his new bride Elizabeth (Sears), who is being brought from London to meet her new father-in-law (Joseph Tomelty) for the first time. Elizabeth is nervous and anxious, hoping to make a good impression but worried that she will not pass muster. Sir Richard assures her that his father will love her just as he does, but warns her that his father is "a shadow of the man he once was", having been crippled by a stroke and now able only to communicate by sign language. A complicating factor is that the only person who can interpret his signing is the devoted Diane (Lynn), sister to Sir Richard's first wife Anne who died by her own hand four years previously after becoming deranged over her inability to bear a child.
On arrival in his home village, Sir Richard is bewildered by his reception from his tenants. Having expected a warm welcome after his absence and marriage, instead he finds himself treated with rudeness and barely disguised suspicion. His coachman Tom (Derek Newark) asks a villager the reason for the sudden hostility towards his previously well-liked master and is told that shocking events have been taking place, culminating in the rape and murder of Lucy who, before she died, screamed out Sir Richard's name. Sir Richard and Elizabeth come to Fordyke Hall and receive an oddly stiff and formal welcome from the staff and Diane. When challenged, steward Seymour (Peter Arne) tells Sir Richard of wild rumours circulating in the village about Lucy's last words. Sir Richard points out that he was provably in London when the attack happened, but Seymour states that logic cannot assuage the primitive suspicions of the villagers, particularly as enquiries have established that there were no strangers in the vicinity at the time.
Events quickly take a sinister turn as a copy of Anne's suicide note is anonymously delivered to Elizabeth, the window from which Anne jumped becomes mysteriously unbolted at night and Sir Richard sees what he believes to be the ghost of his dead wife in the garden. Meanwhile, Mary, a maid in the house, after enjoying an illicit nocturnal frolic in a barn, is murdered in the same way as Lucy. A stablehand tells Sir Richard that one of his horses is being taken out and ridden at night by an unknown woman, and a saddle inscribed with Anne's name is delivered. The saddler insists that Sir Richard ordered it in person, despite Sir Richard's insistence that he has been nowhere near the village for three months. Colonel Wentworth (Raymond Huntley) informs Sir Richard that there are numerous reports of his having been seen riding around the neighbourhood at night during his supposed absence in London, pursued by Anne who keeps shouting the word "murderer". Those who have seen the spectacle are speaking of witchcraft and devilry.
Unable to explain the strange goings-on, Sir Richard starts to doubt his own sanity and his marriage comes under strain as Elizabeth too struggles to make sense of events. When he sees the ghost in the garden again at night, he mounts his horse and gives chase, only to find himself being pursued instead by Anne in exactly the manner previously alleged by his tenants. He is apprehended by the local militia and returned to Fordyke Hall, where Elizabeth is insistent that he left her only moments before. Believing that she too has turned against him and is now somehow involved in the plot to incriminate him or drive him mad, he attempts to strangle her, managing to stop himself from killing her just in time. Ultimately he manages to uncover the real plot culprits and their motives, but cannot prevent another murder being committed, and has to take part in a vicious sword fight before he can reveal the truth.

Review: "The Black Torment" might not be a genuine horror masterpiece  it does has its flaws and shortcomings  but this film is so drastically overlooked and underrated that I wish to praise it a little extra, hoping that fans of classic Gothic horror will go through more efforts to track it down!
This film really deserves a wider audience and it's not because Hammer or Amicus studios didn't produce a certain horror film that it's automatically inferior.
"The Black Torment" is a hugely atmospheric and beautifully photographed horror/costume drama directed by Robert Hartford-Davis.
Noticing the director's name alone is a surprise already, since Harford-Davis' other horror films ("Incense of the Damned" and "The Fiend") were both irredeemably bad and quite ugly to look at.
Sir Richard Fordycke returns to his wealthy father's estate with a new bride because his first wife sadly committed suicide for not being able to bear children.
Shortly after his return, Richard himself starts to have visions of his deceased wife walking through the garden.
The whole explanation to the "mystery" is rather rational and unsurprising, but it's the sinister atmosphere that sticks to you.
The scene in which the veiled 'ghost' rides through the woods screaming out the word "MURDERER" truly sent cold shivers down my spine!
That definitely is the most wonderful effect a horror movie can give you!
An atmospheric British horror!.
Robert Hartford-Davis("Corruption","The Fiend")directed this little gem of horror in 1964.Admittedly the action is pretty slow,but still the film has some eerie moments-especially the beginning is very creepy.The ghostly bits are well-done and the ending is a bit confusing.The acting is acceptable and the film has one or two unsettling moments.So if you like British horror movies "The Black Torment" is worth checking out!
THE BLACK TORMENT (Robert Hartford-Davies, 1964) ***.
Though owing a bit to the Gothic tradition of Hammer Horror, this British ghost story is actually more attuned to the cycle made in this vein and running parallel to it emanating from Italy.
Apart from the color scheme (courtesy of cinematographer Peter Newbrook, later director of the literate horror film THE ASPHYX {1972}) and languid pace, obvious links include the haunted protagonist (with many a skeleton in his family closet), the innocent heroine, the killing spree, the apparitions (which are usually revealed to be far closer to home and reality than one could have foreseen), etc.Leading lady Heather Sears had just appeared in Hammer's underrated version of THE PHANTOM OF THE OPERA (1962).
Her male counterpart, John Turner (and resembling John Payne quite a bit actually), was new to me but he certainly left an impression – making for one of the most irascible heroes in any film, constantly blowing his top at everyone and everything, sometimes without provocation!; indeed, the whole unfolds at a somewhat hysterical pitch which seems to be an idiosyncrasy of the director.
As it happens, this is one of a handful of interesting genre efforts from him: the others are CORRUPTION (1968), THE FIEND aka BEWARE, MY BRETHREN (1972) – both of which I am familiar with – and the as-yet-unwatched BLOODSUCKERS aka INCENSE FOR THE DAMNED (1972); for the record, I also own and still need to check out his star-studded comedy THE SANDWICH MAN (1966).
Anyway, also on hand here are Peter Arne (seemingly devoted to the estate's invalid master and his son but unsurprisingly proving to be villainous), Patrick Troughton (as Turner's stable-master), Raymond Huntley (as a seasoned Colonel also serving as Magistrate in the community) and Francis de Wolff (as a stout blacksmith who acts gruffly and confrontationally towards Turner upon the latter's return from abroad with a second wife over a series of apparent hauntings/murders).The hero's father is cared for by the sister (Ann Lynn) of Turner's first bride – who, it seems committed suicide by leaping from a window because she could not produce a male heir (again, this alone should immediately alert one to her role in the elaborate revenge scheme!).
Another party who comes into play towards the end is a man who is the spitting image of the hero, a twin whom the old man kept institutionalized (he is repeatedly described as an "imbecile") and a secret to everybody, but who was 'reclaimed' for their own devious ends once Arne and Lynn take control of the household following their master's debilitating condition; with this in mind, the family tree (called "Bible"!?) and motto (which pretty much conditioned the extreme actions of Turner's late spouse) have much to do with the proceedings.
Good Gothic sixties horror.
The only film I'd seen from director Robert Hartford-Davis prior to seeing this sixties flick was the lamentable 'Incense for the Damned', so as you can imagine; I didn't go into The Black Torment with the highest of hopes.
While this film is hardly a great horror masterpiece, or even one of the best British horrors of the sixties; it's certainly a good film, and a million times better than Incense for the Damned.
The film focuses more on its atmosphere, and Hartford-Davis ensures that the themes of murder and insanity are always bubbling on the surface of the movie.
The film gets off to a very slow start, and I wasn't too impressed with it once the first half hour had elapsed.
Luckily, things improve later on, and the first half of the movie merely sets up the basics of the story.
We follow Sir Richard Fordyce upon his return home to his eerie mansion along with his new wife, Lady Elizabeth.
His first wife killed herself at her home, and the memory still haunts the lord of the manor.
Furthermore, his servants believe that he has been present at the mansion prior to his return...Huge mansion houses are a tried and tested location for horror, and the one in this film works well considering the story.
The film is all about atmosphere, and the director does a good job of racking up the tension in an effort to ensure that the endings works as it should.
The characters are nothing to write home about, and the script doesn't do a very good job of balancing them with the plot.
The film benefits from several well worked set pieces, many of which involve the ghost of Sir Richard's first wife.
The Gothic themes provide the film with a dark horror atmosphere and are sure to appeal to fans of gloomy horror.
The acting is, like the characters, rather drab; and the unknown British cast don't do much to grab your attention.
It's clear that Hartford-Davis wanted the film to be more like Roger Corman's The Fall of the House of Usher, as it features ideas such as a long line of family members, and also sees a scene set in a portrait gallery, much like the Vincent Price classic.
Overall, it has to be said that The Black Torment is slightly disappointing; but fans of sixties Gothic are likely to find something to like here..
Typical sixties Horror.
Sir Richard Fordyce returns to his home after staying in London with his newly married wife.
As it turns out while Fordyce has been away people have sworn that they have seen him at his home, there have also been several young women who have been killed.
Fordyce also sees ghostly figures on the grounds of his estate.
Is Fordyce slowly going mad or is there something more sinister at play..
"One of Britain's most striking horror films.".
A 17th-century aristocrat called Sir Richard Fordyke (JOHN TURNER) returns to his country estate in Devon with his new bride Elizabeth (HEATHER SEARS).
But all is not well because people including his horseman Black John (FRANCIS DE WOLFE) are shunning him.
Fordyke soon discovers from his accountant Seymour (PETER ARNE) that a farm girl called Lucy Judd (EDINA RONAY) was raped and murdered in the woods and that just before she died she named Fordyke as the culprit.
This is impossible because Fordyke had been in London for the past three months and the superstitious locals are inevitably spreading rumours of witchcraft and devilry.
Three years ago, Fordyke's first wife Anne committed suicide by throwing herself out of a top floor window and the locals claim that they have seen him on horseback at night (while he was supposedly away) being chased by a ghostly woman dressed in white uttering cries of "murderer".
For instance, a new horse saddle arrives for Sir Richard with Anne's name engraved on it and the maker insists that Fordyke came into his shop and ordered it personally.
Meanwhile, Fordyke begins to see the alleged ghost of his late wife prowling the grounds at night.
Two more murders follow and Elizabeth and Fordyke must find out the truth behind the sinister goings-on before disastrous consequences could ruin their lives...THE BLACK TORMENT is one of the most striking British horror films ever made.
Robert-Hartford-Davies (in my opinion) is an unfairly maligned director.
It is true that he was often lumbered with inferior films, but this is quite a literate little film and he recreates the 17th-century period with great delicacy.
Another work of note from this director is INCENCE FOR THE DAMNED (1972: aka BLOODSUCKERS), this was a promising adaptation of a vampire novel by Simon Raven.
When you watch that film you can see some of the scars from those troubles, but there really was an intelligent movie itching to get out there.
In THE BLACK TORMENT, the setting of the story by Donald and Derek Ford (they penned the spirited Holmes vs the Ripper yarn A STUDY IN TERROR) beautifully suits the Gothic overtones of the picture and the costumes and set-work are exemplary, while the music of Robert Richards is also sympathetic to the proceedings.
The film may be set back by some occasionally laughably over-the-top acting that you'd like to laugh, but it contains some of the most striking Gothic visuals that rival producers Hammer and Amicus could never quite recreate and this is more than enough compensation for any flaws it might suffer from.
There is another splendidly Gothic sequence which stands out in the memory when Fordyke is pursued through the moonlit forest by the ghostly Anne (who looks truly supernatural in a shiny white dress) crying "murderer".
Hartford-Davies's choice of gaudy camera-work and fuzzy echoing sound ensured that the audience of 1965 was well and truly kept on the edge of their seats..
A few excellent set-pieces, but little else to recommend.
After a three-month absence, Sir Richard Fordyce and his new bride return to his estate under a black cloud.
A young woman who lived on his lands was brutally raped and murdered just two days prior to his return.
Her last words seemed to accuse Sir Richard of being the culprit.
In addition, several of the locals report seeing Sir Richard's dead first wife chasing him through the village on horseback yelling "Murderer!" Sir Richard is at a loss to explain these strange events.
As the dead bodies begin to pile-up, Sir Richard must discover the truth to keep his tenants from revolting and losing his new wife.What Works: The Opening.
The movie begins with a woman we know nothing about running through the forest frantically trying to escape an unseen assailant.
This scene provides a wonderful opening and a lot of promise for The Black Torment.
There is some real tension and atmosphere in this scene.
It's a shame the rest of the movie couldn't be as good as the first five minutes..Other Set-Pieces.
Other than the opening, there are a couple of other set-pieces that work reasonably well.
But the best set-pieces are the ones featuring the dead first wife.
The sight of the shrouded woman either lurking through the garden or riding a horse through the forest was a treat to a fan of Gothic horror like me.What Doesn't Work: The Cast.
The worst are the two leads - Heather Sears as the new wife and John Turner as Sir Richard.
In between the bits of horror, The Black Torment turns into an incredibly inane melodrama.
Now it's not that I mind melodrama as long as it's done well, but much of this is painful to watch.The Stupidity of Sir Richard.
The character of Sir Richard has to be one of the dumber characters put on film.
A little rational thinking on the part of Sir Richard could have cut the runtime of The Black Torment in half.To say that I was disappointed in The Black Torment would be an understatement.
The plot description I had read across the internet made the movie sound like an undiscovered Gothic gem.
And while a few bits of the horror were fun to watch watch, these moments seem to be enjoyable almost by accident when compared with the bulk of the movie.
The ideas for a good movie are here, but, unfortunately, neither the script nor the actors were able to turn The Black Torment into one..
To brag about the film: the sets, costuming, the overall look and feel to the film everything is beautiful.
Lots of eye candy for those that enjoy Gothic atmosphere.
***************Spoiler***************** The disappointment: In the end of the film Sir Richard was not shocked at all to find out he had a murderous look-alike brother that was kept secret from him all these years.
I agree with another reviewer that Sir Richard was ill-tempered almost all the time and could have solved this mystery early on in the movie if he was calm and used his thinking skills.
Apparently Sir Richard had the same uneven temperament his grandfather had -- while his twin(?) brother had the same anger problem plus the mental derangement of his grandfather.
************************************This movie had the potential to be an excellent film - I think it needed a bit more work on the script and character development.
The movie is still worth watching if you like Gothic "ghost" stories and mysteries.6.5/10.
Though made at Shepperton Studios, this film follows the Hammer style rather closely, down to casting two Hammer film alumni, Heather Sears and Patrick Troughton from Phantom of the Opera.The period details are nicely rendered with lots of attention to small details like candle snuffing and moving a carriage up a rather steep incline.
The costumes also look nice as does the beautiful estate where the action takes place.
Unfortunately, that's the best this movie has going for it.Spoilers Ahead!!!
Opening with a scene straight out of numerous Hammer horror films, a buxom young lady is chased through the woods at night by a shadowy killer.
The rest of the film slows down considerably with a rather tedious plot about someone trying to discredit and possibly drive Sir Richard mad.
I've seen a few of these types of films before, and it quickly became apparent who was behind the plot.
The ending picks up a bit with not one but two late in the movie plot twists and a sword fight.Lead actor John Turner tends to over emote in his later scenes as he receives shock after shock in the (overly) elaborate plot to drive him mad.
He starts chewing scenery and pretty much blows poor Heather Sears, in a nicely understated performance, off the screen, and I don't mean that in a good way.
The supporting actors all do nicely, I just wish they had been given more to do.If you're looking for a Gothic style murder mystery with supernatural overtones, you could do much worse, but you could stick with a Hammer film like Hound of the Baskervilles and do much better..
Sir Richard Fordyke (John Turner) is a nobleman who returns to the family manor with his new bride, Elizabeth (Heather Sears), after some time in London.
He soon hears disquieting reports about the locals seeing him running around, pursued by a female figure that resembles his late first wife.
Sir Richard must ponder the idea that there could be some sort of conspiracy to drive him mad.As produced & directed by Robert Hartford-Davis, "The Black Torment" is a very handsome film, with meticulous set design, and gorgeous cinematography by Peter Newbrook.
It's at least good enough to compare favourably with the kind of thing that Hammer Studios always did so well.
That is a shame considering how much atmosphere and tension that Hartford-Davis is able to generate.The acting is superb right down the line.
Ms. Sears is a very beautiful and appealing leading lady, while Turner delivers a performance of incredible intensity (this guy sure does a lot of shouting).
Ann Lynn, Peter Arne, Norman Bird, Raymond Huntley, Francis De Wolff, Joseph Tomelty, and Patrick Troughton offer very fine support.
Tomelty has a particularly interesting role as the crippled patriarch who is now obliged to communicate through the use of sign language.The film does manage to be consistently entertaining, with a fairly rousing sword fight at the end.Seven out of 10..
A fine horror mystery..
This film is set in the 18th century.
Sir Richard Fordyke has just returned home from a long visit to London and he's brought with him a new bride.
However, soon strange reports are brought to Sir Richard's attention--reports of him rampaging about the countryside committing various atrocities!
There are also reports about his dead wife also riding about at night shouting 'murderer!'.
And, after his return, more and more weird incidents happen.
Soon, the locals are clamoring for justice--that the wicked Sir Richard be brought to trial for his sins.The audience is never sure about what's happening until the end--and that makes this a very, very good story.
It makes for a very tense and very involving story--a fine Gothic horror film that you won't soon forget.
Nice acting, a nice creepy mood and wonderful locales all help to make this a very nice film overall.By the way, how is it that at the end, one of the characters was stabbed with a sword and there was no blood...none.