I was going to start this review with a comment about the notoriety and fame of director Michael J. Murphy, but then I realised I would be lying to myself, and to many others who might see this. Although he had a small fanbase throughout his career, I think many people would have gone through their lives having not heard of, or remembered, his name if it hadn’t been for a frankly bewilderingly brilliant boxset of his work released by Indicator. That is when he came to my attention, and I even did a small amount of research to help me decide on the first film to watch in the set (as a number of people warned against simply watching them in order). I encourage anyone else out there who bought the boxset without knowing much, or anything, about Murphy to do the same.
The plot is quite simple. Debbi Stevens plays a famous singer, Anna Bell, who is struggling through a difficult time in her personal life. Her manager (played by Phil Lyndon) wants to keep the money rolling in, but Anna might mess things up by sinking into a drunken and drug-fuelled haze. It doesn’t help that there’s someone who seems to have a vendetta against her, but at least she gains some pleasant company when a handyman named Matt (Rob Bartlett) comes calling. Of course, Matt is very dodgy, and this is obvious from very early on, but will something genuine develop between our two lead characters, or are they going to use one another for a short period of time?
Sometimes standard psycho-thriller stuff and sometimes meandering and dull drama, Torment is saved by good intentions and a genuinely impressive finale that allows the film to earn its title. While it’s no surprise to find out that this is the only script written by Leo Golding, there are a couple of really good ideas mixed in that surpass the clumsy dialogue.
It’s hard not to have at least some admiration and respect for Murphy, who never lets the limitations of his resources and skillset get in the way of delivering a movie with some genuine ambition. Yes, you can see a microphone or two. Yes, you can see his reflection in scenes that make use of mirrors. But he works in locations where he has to try harder to record the sound. He composes shots that make use of mirrors. Other film-makers would have gone for easier options, but not Murphy. He does everything possible to make something that feels like a film that isn’t restricted by everything working against him.
As for the cast, it would be rude to harshly criticise people who seemed to be cast more for their availability than talent, but it’s a mixed bag. Stevens and Bartlett do at least have some screen presence, and it’s possible to imagine them faring better in a film that had more time to coax better performances from them. Lyndon is enjoyably slippery and scheming, playing his part very well, and other cast members are overshadowed by the appearance of Patrick Olliver, playing a toupee-wearing, gay, dance choreographer who seems to have been sent from The Frankie Howerd School Of Subtle Camp Acting. Love or hate him, Olliver is unforgettable, and certainly helps to liven up what might have otherwise been a dull and arduous first half.
Would I recommend people rush off to watch Torment ASAP? No, of course not. Especially if you have no idea about the intriguing filmography of Murphy. I would, however, encourage people to do what I did, to learn a bit more about the director and consider this as a starting point for exploring his work. Far from the worst thing I have ever seen, and full of an admirable ambition from start to finish, I would definitely rewatch this ahead of many other, more polished, movies that are much better-known. And I am looking forward to exploring more of my Michael J. Murphy boxset when I make the time for it.
6/10
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