SAINT MAUD

 Horror movies come in all sorts of disguises that not everyone can recognise but then we all have our own horrors and our own definition of horror. Who can deny the horror of a lynching or being in a high-rise apartment as bombs fall on it from the sky but are movies about such things ever really thought of as 'horror' films. "Saint Maud" is a genuine horror movie and it's about the horror of not belonging, the horror of being so self-aware you actually go mad or insane and the horror of pain, both self-inflicted and inflicted on others; yes, there is a lot of horror in "Saint Maud".

Of course, there's a clue in the title; it's also about the horror of religion. 'Maud', (a truly terrific Morfydd Clark), is a young nurse and carer whose latest assignment is looking after Amanda, (an equally terrific Jennifer Ehle), a former dancer now confined to a wheelchair and close to death. Described early on in the film as being something of a Norma Desmond, Amanda is also something of a bitch who nevertheless finds herself somewhat sympathetically attracted to the waif-like Maud who is convinced God has put her on earth for a purpose and that purpose is to 'save' Amanda.

The opening shot is also something of a dead giveaway. You know from the moment you see her that Maud is no Saint Bernadette. She believes that to follow Christ you have to go the way of the cross; in other words you must take on board Christ's sufferings on earth and all the horrors they entailed, physically, if not quite in Maud's case at least, spiritually.

This extraordinary film is  brilliantly written and directed by Rose Glass and superbly shot by  Ben Fordesman and  unnervingly well scored by  Adam Janota Bzowski and its horrors work because they are fundamentally  real, (the more fantastical moments are clearly  figments of Maud's warped imagination). Maud sees the visitors to Amanda's sprawl of house on its hill as spawns of the devil that she must battle by whatever means she sees fit but unlike other 'possession' films this is totally grounded in a horrible reality; the house and its location, (the seaside resort of Scarborough in the North East of England), feel just like the kind of places where Maud's obsessiveness could fester and Maud herself is like an open wound. An astonishing debut for Glass and I can't wait to see what she does next.

PIERROT LE FOU

 Godard made "Pierrot Le Fou" in 1965 in widescreen and colour and he wanted it to look like a Hollywood film...except that he didn't really. From "Breathless" on, Godard made films that paid homage to the Hollywood of the Fifties but which subverted both the style and the content of what Hollywood was turning out. "Pierrot Le Fou" looks like it could have been made by Sirk or Minnelli on acid, visually as gorgeous as anything they had made but as crazy as a Samuel Fuller film and in case we miss that reference, who turns up at a boring party but Fuller himself.

Of course, being Godard, don't expect too much in the way of plot. Belmondo, now wearing a suit and living in a fancy bourgeoisie apartment, is Pierrot, (though he keeps insisting his name is Ferdinand), who walks out of that boring party and offers to drive the babysitter home, (she's Anna Karina, who else, and looking more stunning than ever), so they climb into his car and drive off together, (they had been lovers before), but there are guns involved, dead bodies and mysterious gangsters who seem to be after Karina.

None of this so-called plot matters, of course. This is a road-movie, (they drive from Paris to the South of France), that you might dream rather than experience or maybe it's just a parody of a road movie, an American thriller or a romance, (it's source is Lionel White's novel "Obsession"), and even if Belmondo and Karina weren't the lovers at the centre you'd still know you were watching a Godard film. Nobody, but nobody else, made movies like this in the Sixties and probably still don't and in its way this is just as influential as "Bonnie and Clyde", (come to think of it, this would make a great double-bill with Penn's masterpiece). A cineaste's movie to be sure and if it doesn't look quite as fresh today as it did back then, it's still essential.

RIO GRANDE

 A masterpiece. "Rio Grande" was the last in what became known as John Ford's Cavalry Trilogy and, of course, it's deeply sentimental in the very best Ford tradition. It's also one of the greatest westerns ever made. The plot may be flimsy but it's beautifully written by James Kevin McGuinness, superbly shot in black and white by the great Bert Glennon and has one of the best casts in the Ford canon. Wayne is still in charge as Lt. Col. Kirby Yorke, (it's a great performance), Maureen O'Hara is the long absent wife suddenly reunited with Wayne when their young son, (Claude Jarman Jr.), is posted to Wayne's command. Then there's the obligatory Ford stock company; Victor McLaglen, Ben Johnson, Harry Carey Jr., not to mention the Sons of the Pioneers bursting into song at every opportunity while the fairly broad comedy and the sentiment go beautifully hand-in-hand. There's also enough action to satisfy any western aficionado and the set pieces are splendid.

THE PAINTED BIRD

 Vaclav Marhoul's film of Jerzy Kosinski's novel "The Painted Bird" has already been described as one of the great films about the horrors of war and with a child at its centre has drawn comparisons with both "Ivan's Childhood" and "Come and See" but this terrible film, (terrible in its depiction of the terrors our young hero endures), surpasses them both in some ways though many will find it an almost unendurable watch. The setting is Eastern Europe, the period sometime during World War Two and The Boy, (nameless throughout and superbly played by young Petr Kotlar), is the child literally abandoned with nothing and forced to survive in the harshest of landscapes.

He's an infant Candide in the worst of all possible worlds and each encounter he makes is more terrible than the one before. Sometimes, and perhaps mercifully, these encounters are so extreme as to transcend reality. Surely nothing 'real' could be quite as awful as this and while we may be in the middle of the 20th century these people and this landscape is positively medieval. Shot in luminous black and white by Vladimir Smutny the film does indeed have a terrible beauty; this is one of the most visually arresting black and white films ever made and it is one of the most effective of horror films with a bleakness that is certainly overpowering.

A plethora of 'named' actors, (Udo Kier, Stellan Skarsgard, Harvey Keitel, Julian Sands, Barry Pepper), may be there to give the film international appeal but outside of a select art-house audience I can never seen this being 'popular'. There's only so much misery a person can take and, at close to three hours, the horrors of "The Painted Bird" seem never-ending.

WILLARD

 Ask almost anyone which animals or creatures they are most afraid of and they are more likely to say spiders or rats rather than tigers or bears and anyone with a real aversion to rats might best be advised to give "Willard" a miss. Daniel Mann's 1971 classic about a boy and his pet rats, a whole army of them, that he trains to take revenge on anyone who wrongs him, is a Grade-A horror comedy with a Grade-A cast headed by a young and brilliant Bruce Davison as Willard. Others in the cast include Sondra Locke as the girl he attempts to have a relationship with, Elsa Lanchester, (superb as ever), as his demanding mother and a brilliant Ernest Borgnine as his thoroughly nasty boss. It was successful enough for a sequel, "Ben", named after one of Willard's rats, but despite a title song sung by Michael Jackson, it never really lived up to its predecessor.

POINT BLANK

 "Point Blank" was one of the landmark films of the American New Wave that began in the late sixties and continued into the seventies. It was directed by Britain's John Boorman and looked at today is fundamentally more European art-house than conventional Hollywood but it had Lee Marvin as Walker, the eponymous hunter of Richard Stark's novel, out to get the man who shot him, left him for dead and stole his $93,000, was magnificently photographed in Panavision by the great Philip H. Lathrop and was suitably violent for the times. In other words, this tale of dishonor among thieves had everything going for it, one would have supposed, to please the punters.

Boorman, of course, had other ideas. This was an esoteric gangster flic, more akin to the French New Wave rather than the American and just as the French embraced the American gangster films of the fifties it seemed that now Boorman was repaying the compliment. Whether audiences quite 'got it' is hard to say but it was a hit, (Marvin drew the crowds), and its classic status is assured. Marvin aside it also had the perfect supporting cast. John Vernon, relatively unknown at the time, was the double-crossing shooter, Angie Dickinson was beautifully cast as the sister-in-law who tries to help Lee while Lloyd Bochner and especially Carroll O'Connor and Keenan Wynn, both never better, made for a splendid trio of bad guys. It was only Boorman's second feature and it's still one of his best.