There, she finds a confidant in Joyce, a newly hired beautician. The event frightens Irene enough that she decides to move out of the house, and return to the back-room apartment of the beauty shop she owns, which she operated prior to marrying Howard. Irene subsequently has a nightmare in which a disfigured Howard stalks her through the house. The laboratory itself, a charred wreck, is secured from the rest of the house by a padlock so that no one may enter it. However, Barry informs Irene that the estate must first go through a lengthy probate process. But suddenly, everything changes: Howard is killed by an explosion in the laboratory, and Irene is set to inherit the house along with Howard's entire fortune. As tensions mount, Irene feels trapped in a loveless, lonely relationship. Howard spends most of his time working in his upstairs laboratory on a variety of projects, the nature of which he refuses to divulge to anyone. Yet despite Howard's continual accusations of infidelity, Irene remains faithful to Howard, albeit with nightly recurrent dreams of a fantasy lover and an attraction to Howard's attorney, Barry Morland. Irene lives in a constant state of dread due to Howard's jealousy. Howard and Irene's palatial mansion is packed with an endless assortment of cuckoo clocks, all in perfect synchronization, and Howard tape records all conversations in the house for later reference, hoping to catch Irene plotting an illicit liaison. Irene Trent is unhappily married to a blind, pathologically possessive millionaire inventor, Howard. It was the final black and white film made by Universal Pictures. It follows the wife of a wealthy inventor who is plagued by increasingly disturbing nightmares, which escalate after her husband's death. The Night Walker is a 1964 American psychological horror film directed and produced by William Castle, written by Robert Bloch, and starring Robert Taylor, Judith Meredith, Lloyd Bochner and Barbara Stanwyck in her final film role.
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