Tormented (1960)

I like the storyline of this show,it attract me so much

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Exactly the movie you think it is, but not the movie you want it to be.

Uh-oh! Never cross a woman who's crazy enough to turn up days before you get married and flash those bunny boiling eyes at you. That's what happens to our protagonist here. Some jazz pianist on a small island, getting ready to marry his beau, tries to break off with his on the side lover, but she's having none of it. If she can't have him, no one can. At least that's what she keeps saying before she falls off the side of a lighthouse. That's not our hero's fault, is it? Fair enough, he could have saved her, but there you go.Guiltily trying to return to normal life, our hero finds himself almost immediately being stalked by a ghostly presence. Footprints appear in the sand. He sees her body floating in the sea, only to find out it's seaweed. Her watch appears. A record she sings on keeps appearing on his record player. Looks like his ex isn't even letting death from stopping her doing a bit of stalking.His girlfriend is flummoxed by his behaviour, as is her kid sister, who dotes on the guy. He's still determined to go through with the wedding when who turns up but Joe Turkel. He was the guy who brought the lover to the island, and quickly twigs that there's a doing a-transpiring. He also plays the character like a beatnik so expect loads of hip talk, dad.What I liked about this film (apart from the constant tormenting), was that instead of revealing about three quarters of the way through the film that it was all a hoax (as these films tend to do), it just goes for the straight ahead haunting and is all the better for it. There's loads of ghostly action here and it nips along with nary a dip in timing. I've not watched many of Bert I Gordon's films but I'll recommend this.

After his inactivity caused his mistress' death, a jazz pianist about to be married finds the dead woman's ghost haunting him wherever he goes and forcing him to resort to increasingly violent manners to keep his actions a secret.This was a pretty disappointing and really disjointed effort. One of the biggest issues present in the film is the rather banal efforts used in the haunting scenes that, while effective in continuing a present storyline, fail to really provide anything worth getting scared over. The scares are a never-ending series of floating voices only he can hear, disappearing appendages only he can see and whenever he goes to apprehend it finds it's not what he went after but something else entirely, and all the while this generates some lame scenes due to their repeating nature. As well, the lack of danger to the others around him makes it all pretty clear this might be simply a guilty conscience rather than a traditional ghost haunting, and the film does remarkably well at incorporating elements to make it seem that's the case here but that doesn't make for an exciting effort. The low-key nature of the material and middling pace don't help much either, and overall drag this one down enough to overcome the decent special effects to showcase the apparition which marks the film's only other bright spot.Today's Rating-PG: Violence.

I do not understand how people found this movie scary or even vaguely engaging. The script, acting and effects all compete for last place. If I had been young enough to be scared by this, I would have been put off by the mushy parts. What age group was this aimed at? Were we really that unsophisticated in 1960?Spoilers (coincidentally also known as my favorite parts): The screaming detached head. The crashed wedding where the spirit wilts the flowers. The guide dog which leads in random directions with respect to the blind woman. The cool talking ship captain. It just gets better as it progresses. Set the bar low and prepare to be entertained. Ed Woods would be proud!

From director Bert I Gordon, I was surprised to find in TORMENTED a rather competently made little thriller about a troubled jazz pianist whose lover falls to her death from the top of a lighthouse accidentally..hanging for dear life from the lantern room's Astral bars, Vi calls for Tom Stewart to help, and yet he allows her to fall, crashing to the rocks below. Tom's actions were out of fear that she'll do as she threatened, informing his fiancé of their affair. This act will be quite a burden as Vi returns as a tormenting spirit, haunting him(..could it be his guilty conscience or was Vi so determined to have him, her vengeful spirit would rise from the watery depths to stake her claim at owning him?). Tom's life grows even more complicated when a blackmailer, Nick(Joe Turkel, most know him as Lloyd, the bartender in Kubrick's THE SHINING), who boated Vi to his location, wants compensation due to her never paying him for his services. When Tom makes a decision regarding Nick, his fiancé Meg's(Lugene Sanders) little sister, Sandy(Susan Gordon)catches him in the act only adding to an already difficult situation. The planned wedding could be in danger as Tom's pressures at concealing a secret slowly lead him down a dark path to no return..You know director Gordon is known as a schlock filmmaker, but I think this is one of those times where the story is told in a rather effective way, although his special effects featuring Vi, the ghost, might induce chuckles, such as when her disembodied head and hand appear to him, when her ghostly apparition often pops up unannounced at inopportune times, or a photo taken featuring her face along with Tom and Meg. Unlike other films, though, they aren't as corny(..or, at least I didn't think so, but you be the judge) and the story regarding a man's sins returning to him over and over, never letting go, due to his own mistakes, isn't a bad one. Bottom line..this kind of film has a concept that could work if the filmmakers had the kind of effects which exist today. But, Gordon didn't, so many will have a bit of fun at his expense. I actually liked the movie if just for the finale when a wedding service is actually interrupted by the slamming opening of the church doors accompanied by withering roses, leading up to a disturbing close as Tom contemplates murdering young Sandy because of seeing too much. The final image is a dandy, probably one of Gordon's most compelling closings to any film he's made..a wedding ring lost, and found, with a proclamation actually coming true. Understandably, movies like FOOD OF THE GODS & EARTH VS THE SPIDER would almost make any film look like a masterpiece, but still those didn't feature a story with some merit to it and Carlson is the anchor holding the dramatic elements together. Plus, Carlson's character is quite a noirish archetype..the kind of flawed victim of circumstances, most his own making, who, instead of coming clean to the woman he loves, continues to create a worsening situation for himself. By the end, he's quite scary, especially if you take into count his willingness to possibly throw Sandy from the top of the lighthouse..also his end is quite tragic, but Gordon allows the character to suffer for his bad decisions.