“THERE MUST FOREVER BE A GUARDIAN AT THE GATE FROM HELL”

THE SENTINEL 1977

I’ve written enough here at The Last Drive In, to sort of feel more relaxed about letting it rip sometimes. I’m hoping you’ll indulge me a bit while I go off on a tiny rant. I hope that’s alright.

Michael Winner’s film was a failure at the box office. So what!

You will undoubtedly read 9 out of 10 reviewers who will make too convenient a statement about The Sentinel being a Rosemary’s Baby rip-off. In terms of how I experience this film, there’s more to it than just a pat dismissal and a flip accusation of being derivative. I had first read Jeffrey Konvitz’s book when it was published in 1974, and then went to the movies to see his adapted screenplay The Sentinel during its theatrical release– I was a ripe 15-year-old who was captivated by the grotesque and eerie imagery. I also saw Rosemary’s Baby as a double feature with The Mephisto Waltz in 1971.

Perhaps there is a conscious connection or homage made by director Winner between the devilish residents of the infamous Bramford Arms with its history of murderers and deviants –the facade filmed of New York Cities Dakota with a birds’ eye view of Central Park as Rosemary and Guy Woodhouse move into their house of Hades in Rosemary’s Baby 1968, my favorite film that transcends any genre.

Alison Parker (Christina Raines) comes in contact with a similar Gothic building filled with oddball characters who wind up being the ghosts of murderers who once lived in the impressive Brownstone. I imagine the gateway to Hell would attract an evil ensemble of nasties. And to counterbalance Alison as the woman-in-peril who must fight off the paranoia and heady mind games of the devil and his minions, who toy with Alison in order to drive her mad enough to try once again to commit suicide. Rosemary Woodhouse has the perseverance to keep her devils at bay and hold onto her precious baby even if he were to carry on his father’s legacy. Either way, it’s both buildings filled with eccentrics and the fog of paranoia that tie the two films together for me, but that’s where it ends.

As an amateur film buff and classic horror film aficionado, I think I have some authority when weighing in on whether director Michael Winner’s The Sentinel is just derivative dreck and/or dribble. And I discovered that it’s not just the average chimer-in nudnik on IMDb who feels the need to review this film in such a simplistic way that making the comparison to Rosemary’s Baby feels like just a cop-out to me.

It is even referred to as such in writer John Kenneth Muir’s entirely comprehensive book Horror Films of the 1970s– citing two film reviews during the time of The Sentinel’s theatrical release.

Look, as far back as its theatrical release, the critique was to lump all “devil in the city” and “good vs. evil” tropes with the 1968 seminal film by Roman Polanski, based on Ira Levin’s novel Rosemary’s Baby.

“a crude and obvious imitation of Rosemary’s Baby, but much creepier and more bizarre. The unnerving ending obliterates the memory of the rest of the film makes good use of several past-their prime actors in small roles but attempts at psychological insight, subtlety or believability fall flat. The great special effects at the end justify the film’s faults however.” Darrell Moore. The Best, Worst and Most Unusual: Horror films, Crowne publishing 1983.

I say that we leave believability outside our unconscious abject fear chamber that is our most hidden dread-drenched mind when partaking in a little collective anxiety-ridden purge, right, Dr. Jung?

And if critic Darrell Moore is talking about Ava Gardner–a gorgeous 55-year-old woman who is NOT past her prime, I hate when sexism and agism rear their ugly head! I’m heading toward the number, which continually amazes people. I read these kinds of misdirected comments all the time, some critic or person saying “˜she looks so good for her age-40ish!, Does that imply that Ava and I should be embalmed already? Geesh, but in the words of Sophia Petrillo, I digress…

February 12, 1977 from The New York Times written by Richard Eder -“The confrontations are supposed to be terrifying but the most they offer is some mild creepiness. Mr. Winner has sweetened the mess with some nudity, a little masturbation and a dash of lesbianism.”

Interesting that the one bit of titillation Richard Eder manages to pluck out is lesbianism. In fact, that seems to be of most interest to many reviewers. Well, it’s 2016, and if a lesbian pops up in a film, it’s now about as outmoded and the shock obsolete as the landline and mullets… well, I have seen people still sporting mullets.

And I’d like to say there’s more than mild creepiness; there are absolute moments of mind-jolting terror. The exquisite color palette and the eye for detail support the sense of mystery, such as the fabulous Houdini poster in Michael’s apartment, a centerpiece in plain sight that one might miss. However, it is there to instruct us on our journey through the dark maze of the storyline.

If anything, the film lies closer in relationship to Roman Polanski’s The Tenant (1976) where another protagonist Trelkovsky portrayed by Polanski himself, is being gaslighted and mentally tortured by a group of people (Shelley Winters, Lila Kedrova, and Jo Van Fleet) in his building that may or may not exist ultimately driving him to attempt suicide. The fact that our heroine Alison is driven to madness and suicide by her seemingly harmless yet strange and quirky neighbors, who are actually unholy denizens of hell, definitely evokes comparisons in my mind with Roman Polanski’s equally disturbing The Tenant (1976).

I’d even go as far as to compare director Michael Winner and writer Jeffrey Konvitz’s film to have something of an Alejandro Jodorowsky flavor to it, with the grotesque imagery and surreal procession. Or might have influenced the very hallucinatory Jacob’s Ladder (1990), which deals with a soul’s nightmarish journey through unfathomable realms of consciousness while he navigates a hellish limbo, that conjures demons and angels alike.

With The Sentinel some people are fascinated, some are repulsed and some just think The Sentinel is truly a retread of Polanski/Castle’s superior masterpiece.

Alejandro Jodorowsky’s Santa Sangre (1989)

First off, my impression of classical 70s horror is that it’s hard for that decade to be derivative when it started an entire trend of moody, pseudo-violent social commentary that had limitless freedom to go down an adventurous road. If 70s horror took its cue from older decades and genres, perhaps a nod to Tod Browning, Val Lewton, French New Wave cinema, and the surrealists like Jean Renoir, René Clément, Alejandro Jodorowsky, and Federico Fellini.

Now it’s even been compared to The Omen (1976) and The Exorcist (1973) as well. I suppose wherever the devil lurks, it’s automatically a Rosemary’s Baby, The Exorcist, or an Omen rip-off. Well, the element of paranoia exists in the film as Alison Parker goes through a nightmarish journey through a maze of surreal events, while she devolves toward her ultimate fate. There are elements of minions from Hell that lurk and groups of diabolical characters that come in and out of Alison’s orbit. And like The Omen and The Exorcist, the film opens in Italy with a sense of ancient religious underpinnings hinting at the inner workings of the church. It then brings us to a church in New York City where Monsignor Franchino and a colorful group of acolytes convene in a ceremony, with a quick cut to Alison posing in a post-modern sheer black flowing cape as if moving Martha Graham style, a dark looming allegorical winged bird or augury swathed in black, like the angel of death.

The juxtaposition of the old and the modern is a nice touch.

The Sentinel is perhaps one of the most engrossing, nightmarish, surreal horror films of any of the 1970s with its origin based on the story of the Garden of Eden and the angel Uriel, who was entrusted to guard the entrance from the Devil. Alison Parker (Christina Raines) has been chosen by providence and by lot for her past transgressions, her two suicide attempts–now to be groomed by the secret order of the Catholic church to redeem her damned soul, taking the place of the blind priest Father Halliran and become the new Sentinel, Sister Theresa to guard over the gates of Hell in — Brooklyn Heights.

Dante Alighieri wrote his allegorical epic poem between 1306 and 1321. Virgil is the guide who takes the reader through the author’s examination of the afterlife, which travels through the Inferno (Hell), the Purgatorio (Purgatory), and the Paradiso (Heaven).-source wikipedia

The Sentinel 1977 is another extraordinary occult film whose ambiance benefits from being shot on location in Brooklyn Heights and Manhattan—10 Montague Terrace in Brooklyn Heights, as a matter of fact, with the Promenade off Remsen Street. The building is still there.

As writer Jack Hunter describes in his chapter Flesh Inferno from Inside Teradome: The Illustrated History of Freak Film he talked about Federico Fellini’s Sartyicon 1969 and immediately The Sentinel floods my mind- “His vision of Petronius’ ancient Rome, Fellini willfully fills the screen with a succession of grotesqueries, images both beautiful and bestial, ghastly and gorgeous.”

Aesthetically, the scattered surrealism works because it supports the religious mythology and dark fantasy of the oddball characters and the story. The moody camerawork by Richard C. Kratina and the sense of realism within the disorienting story offered by the set design by Ed Stewart work to create a surreal atmosphere of anxiety and ambivalence. No one will believe that Allison isn’t just having another emotional crisis. The building reveals its dark origins, the entire film is decorated with dread and kitschy late-seventies embellishments filled with hallucinogenic moments of abject agony (a la Alejandro Jodorowsky and Federico Fellini Satyricon 1969, Juliet of the Spirits 1965) including; soul tormenting, ominous and sinister visions and flashbacks, profanity, debauchery, cannibalistic malevolent, Milton’s Inferno and Dante’s Divine Comedy as archetypes and the ‘fallen woman’ as fetish.

Dante’s Inferno is a weary journey emblazoned with fire and perdition… a landscape occupied by devils, lost souls, and shades.

Divine Comedy opening verse-the plaque in the basement of the brownstone that Michael uncovers reads as follows

“THROUGH ME YOU GO INTO THE CITY OF GRIEF. THROUGH ME YOU GO INTO THE PAIN THAT IS ETERNAL. THROUGH ME YOU GO AMONG PEOPLE LOST… ABANDON HOPE, ALL YE WHO ENTER HERE.

This hints that the brownstone is the gateway to Hell. Allison has been chosen as the next Sentinel to guard over it, as a way of redemption for her past suicide attempt, cutting her wrists in a graphically bloody flashback while she’s wearing her Catholic girl short plaid skirt, white blouse, and penny loafers, Mary Janes, or black and white saddle shoes. She is chosen by a secretive and distant association of Catholic priests to be the next “Sentinel” to the gateway to Hell. The idea of blinding these Sentinels is to prevent their eyes from falling upon evil horrors that might induce fear and influence them away from guardianship.  Like Allison, all Sentinels have tried to kill themselves and have now become priests or nuns, who are part of the sect’s secret files with their new identities.

The film shows Allison’s father as a nasty piece of work in flashback and then later in her Brownstone as a spectral boogeyman, a gnarled, bony old man, shown so scrawny as to be suffering from pernicious anemia and putrid, malevolent, soulless bile, his cadaveric screeching mannerisms like a vicious, desiccated old buzzard.

Both the operatives of good and the minions of evil, work to try and get her to either take up the mantle of a guardian or try to kill herself and become another soul won over by the devil, thwarting the secretive sect of the Vatican to protect the gates of Hell from re-opening, watching over her to keep her from being terrorized into another suicide attempt.

Writer Jeffrey Konvitz produced the film for the Winner’s (The Nightcomers 1971, The Mechanic 1972, Death Wish 1974) film was also scripted by Konvitz (Silent Night, Bloody Night 1972,–The Stone Killer 1973)) based on his 1974 novel; the film does an excellent job of paying tribute to that novel.

The story unfolds beautifully with twists and turns and an extremely creepy, campy, and bizarre ambiance.

Composer Gil Melle created the resplendent orchestral vibe, majestic horn section, haunting woodwinds, and resonant strings that cry out. Les Lazarowitz is credited as the sound recordist who creates a sonic landscape of terrifying wails, metallic splashes, and waves of dark, moody textures.

And Richard C. Kratina (camera work on Midnight Cowboy 1969) worked on interesting camera angles and cinematography. Costumes and wardrobe by Peggy Farrell, Set Design –Ed Stewart. Film editors Bernard Gibble (The Man in the White Suit 1951) and Terence Rawlings (Our Mother’s House 1967, The Devils 1971, The Great Gatsby 1974, Alien 1979).

Someone on IMDb pointed out that Michael Winner’s audio commentary for the UK DVD spotlights the director regaling you with the tale of how Universal head honcho Ned Tanen rejected Martin Sheen and insisted on Chris Sarandon for the lead, only to wonder who was “that awful Greek waiter?”

Director Michael Winner, Chris Sarandon, and Christina Raines on the set of The Sentinel 1977 image courtesy of Horrorpedia.

Director Michael Winner caught a lot of flak when it was realized that he had used actual disfigured people who were born with physical disabilities instead of special effects to represent the demons rising up from the bowels of hell. Something that Tod Browning experienced when he released his film Freaks in 1932. Or consider director Erle C. Kenton’s characters adapted from the H.G. Wells story of Island of Lost Souls (1932). Why Tod Browning’s film Freaks was banned for over 30 years, when in retrospect Browning portrayed his freaks as sympathetic heroes that we not only saw as very human but empathized with, the accusation that the film was exploitative seems unwarranted.

Director Winner told interviewer Rex Redd, “Audiences are fairly unshockable today. If you’re following in the footsteps of The Exorcist.” He also admitted to casting for the climactic ending where the demons from Hell rise up at Meredith’s summoning, real ‘freaks’ from hospitals, shows, and circuses. “The remarkable thing is that the creatures we used turned out to be the happiest, most professional group of people I’ve ever worked with in 20 years of making films. This was their moment in the sun. They photographed each other got autographs from the stars, they were flown in from everywhere, and it really enriched their lives… We put them up in hotels during the weekend of the Tall Ships, and the tourists were a bit mortified I think. Then we gave them chauffeured Cadillacs and the crowds on the set would come around when the cars pulled up hoping to see Ava Garnder, and out would pop these freaks!” Even Carradine himself later siam, “The freaks weren’t a bit self-conscious. They were grateful for the job.”

Dick Smith did the makeup, which interspersed the real-life  ‘freaks’ with the makeup-costumed damned souls from Hell. There’s a man who has testicles for a beard.  One of the sideshow ‘devils’ also appeared in the Thomas Tryon-adapted film directed by Robert Mulligan, the incredibly atmospheric The Other (1972).

With special makeup designed by legendary Dick Smith, who also worked on The Exorcist 1973), and special effects by Albert Whitlock (The Birds 1963, Earthquake 1974, a few episodes of Star Trek, The Thing 1982)

Robert Laden designed additional makeup, and although people with facial deformities were also cast, Winner felt it was a powerful transgressive aphrodisiac to populate his film with people born with congenital disabilities as extras for the denizens of Hell. Some of these extras are said to have also been featured in Jack Cardiff’s THE MUTATIONS [1974].

Without giving away a few secrets, I can say that the climax is riveting as the devils and damned start to pour out of Hell, unleashed by Chazen at their side.

As John Kenneth Muir aptly puts it, about the controversial use of real-life people with actual deformities to plays Hellish monstrosities it is no doubt the strongest in the film, “The idea of physical deformity (i.e.” evil”) is one of The Sentinel’s more powerful conceits.”

The Sentinel is one of the most definitive horror films of the 1970s. The cast of characters, the storyline, the imagery, and the intensity play out like a grim yet colorful nightmare, without shock value for the sake of just being graphically violent.

There’s a scene when Alison first moves into the brownstone, where Beverly D’Angelo as Sandra, pleasures herself while Sylvia Miles goes to get the tea, in order to shock and upset Alison. Winner aims to disturb. The vulgarity of Sandra’s exhibitionism is the director’s way to express how profane these characters are. How uncomfortable Allison becomes, she shares with us, because it is not merely moments,  it seems to last forever until the look of ecstasy and climax washes over the beautiful actress’s face. This is an extremely awkward moment for Alison and a very unusual welcome to the building to watch the couple fondle each other in their leotards and both with wild, teased-out, coiffed hair.

Charles Chazen matter-of-factly tells Alison as he points with his own flamboyant style, “This is where the lesbians live,” and exchanges like Alison asking Gerde, “What do you do for a living?” She answers, “We fondle each other.”

I suppose in 1977, even the allusion to the idea that lured and sexually explosive lesbians existed on screen was in itself a titillating and provocative notion; today, the use of them as a “˜fetish taboo symbol” has lost its luster to shock and tantalize.

Then there’s José Ferrer as a “Priest of the Brotherhood” Arthur Kennedy as Monseigneur Franchino, the magnificent Ava Gardner in a short cameo is sophisticated and outré Vogue as Realtor Miss Logan who I believe to be literally an ‘outside’ agent in the true sense of the word, working for the secret Catholic society trying to strategically ensure that Alison will be in place and ready to take over as the Sentinel because on the appointed date Father Halliran (John Carradine) who is now fading, psychically too weak to uphold his task as Guardian over the Gates of Hell will need a successor. John Carradine looks decrepit and spooky with his fixed gaze and staring off into limbo-white eyeballs, and although he has a distinctive voice we all love, he has no dialogue in the film, which works.

Witness Mr. Burgess Meredith, a charter member in the fraternity of dreamers.

Burgess Meredith is ebullient, mischievous, and intellectually charming. He is also a little impish and has a dash of irresolute cynicism wavering between lyrical sentimentalism. Meredith has this way of reaching in and grabbing the thinking person’s heart by the head and spinning it around in dazzling circles with his marvelously characteristic voice. A mellifluous tone was often used to narrate throughout his career. Meredith has a solicitous tone and a whimsical, mirthful manner.

And his puckish demeanor hasn’t been missed considering he’s actually played Old Nick at least three times as I have counted. In The Sentinel 1977, The Twilight Zone episode Printers Devil and Torture Garden 1967. He also played a malevolent character alongside Eileen Heckert as Arnold and Roz Allardyce in Dan Curtis’ equally creepy Burnt Offerings (1976).

While in Freddie Francis’ production, he is the more carnivalesque Dr. Diabolo, a facsimile of the devil given the severely theatrical make-up, goatee, and surrounding flames, he is far more menacing in Michael Winner’s 70s nonhumorous gem, he’s splendid as the spiffy little eccentric, cultivated Charles Chazen.

There’s veteran supportive actor Martin Balsam the scatterbrained scholar, Professor Ruzinsky, who translates the Latin passages into English for Michael Lerman, Beverly D’Angelo plays Gerde’s girlfriend Sandra a mute pixie, the guttural Sylvia Miles (Murder Inc 1960, Naked City 1961-1963, Midnight Cowboy 1969) plays Gerde the guttural pythoness who adds that bit of titillation everyone seems to like to point out, as they are vulgarian lesbian ballerinas lazing in their leotards.

And of course, the uncomfortable scene where Beverly D’Angelo delightedly pleasures herself in front of Alison while Gerde is getting the tea. When she comes back with the tray and finds Alison getting up to scram -Gerde replies like a Diva “It’s very rude to drink and run” I particularly loved this description of the classic actress- “featuring predatory Teutonic lesbian Sylvia Miles.” 

Fred Stuthman, who has appeared on more television and in theatrical features than you can imagine, plays Alison’s horrible, skeletal, degenerate father and an even more repulsive-looking damned soul, blueish-toned, white-eyeballed phantasmagorical corpse.

Eli Wallach plays the sarcastic, cynical New York City homicide Detective Gatz, who believes in the guilt of Michael Lerman (Chris Sarandon), who has some secrets and sins in his life, meaning he might have killed his first wife. Jerry Orbach plays a director of commercials that Alison is working on. Jeff Goldblum plays Jack, a fashion photographer. You’ll see, Tom Berenger, and the wonderful William Hickey who plays the professional safe cracker Perry whom Michael (knowing his share of shady characters and criminals as he’s a defense lawyer) hires to break into the church and grab the files on Father Halliran, and Christopher Walken as Rizzo, Detective Gatz’s partner, who utters this telling line “She went to a party with eight dead murderers” and Deborah Raffin plays Alison’s best friend Jennifer. Hank Garrett plays Brenner, the private investigator Michael hires to dig into the back story about Father Halliran and his involvement with the Catholic church.

Kate Harrington plays Mrs. Clark, who was at Jezabel the cat’s birthday party and appears in the mug shot that Gatz and Rizzo look at. She murdered her boyfriend violently. Then there’s the Clotkin sisters, Lillian and Emma, played by Jane Hoffman and Elaine Shore, murderous cannibals and hedonists. All the neighbors become menacing, and nothing is as it appears on the surface. The decorated apartments that only Alison can see, wind up being revealed as vacant shells in disrepair.

Our heroine, Christina Raines (The Duelist 1977, Nashville 1975), plays the afflicted soul–Alison Parker, a high fashion model in New York City who also does shampoo commercials, who lives with but can’t make a commitment to her boyfriend, lawyer Michael Lerman. She craves her independence and holds Michael’s proposals of marriage at bay. Soon after an argument with Michael about moving out on her own, Alison gets word that her father has passed away at her family home in Baltimore, which triggers memories of her childhood trauma, leading to her first suicide attempt. After the funeral, she returns to the city and finds an advertisement for a lovely Brownstone in Brooklyn Heights.

Chris Sarandon portrays Alison’s boyfriend Michael as the smarmy mustachioed sketchy lawyer who was marvelous as Leon – Sonny’s (Al Pacino) lover who wants a sex change so bad, Sonny’s willing to rob a bank for the money–it’s a true story also set in NYC, of course, I’m talking director Sidney Lumet’s Dog Day Afternoon (1975). Sarandon apparently was not happy with the film’s post-production.

So, she goes to meet with the chic realtor Miss Logan (Hollywood icon Ava Gardner), unaware that a priest is following her. She finds that the apartment is unbelievably reasonable for a New York rental, which is owned by the Catholic church. She agrees to take the place from Miss Logan, who obviously wants Alison to move in right away, she drops the price from $500 to $400 as if Alison had heard it wrong the first time she complained that it was out of her price range: “I can’t afford $500.” Alison says, with which Miss Logan misses no time in saying, “$400 is not excessive.”

The beautiful layout is in Brooklyn Heights, right across the water from Manhattan, decorated with gorgeous Gothic furniture, high ceilings, and ivy growing up the sides of the building, and a blind priest, Father Francis Matthew Halliran (John Carradine), who just sits and appears to be looking out the window on the top floor. Although the Brownstone was a steal and furnished as well, somehow it managed to be lensed by Dick Kratina with a sense of eerie and dangerous foreboding.

Alison responds to learning that Father Halliran, a blind priest, occupies the top floor. “Blind? Then what does he look at?”

Once she moves in, she meets very odd and mysterious tenants who begin to give her the pip and the whim whams. First, she meets the droll little character in 4B Charles Chazen.

Alison’s sense of independence starts to deteriorate after a series of disturbing events. Charles Chazen — or the little dapper ‘devil’) is played to the hilt by Meredith, who runs rampant with his nifty asides and axioms, and has a sovereign reign over his legion of “devils.”

The doorbell rings. The little animated puck-like old man, which a yellow parakeet on his shoulder and a tuxedo cat in his arms flash his delightful smile at Alison…

“Chazen is the name Charles Chazen. I’m your neighbor in 4B and this is Mortimer. Um he’s from Brazil. And this on the other hand so to speak, this is Jezebel. Say hello to that nice lady Jezebel. (Meowww) That’s it darling. She’s got indigestion.” Alison introduces herself, “Well hi I’m Alison.” Charles Chazen-“Really, may we uh, (he enters her apartment) oh! what a lovely apartment. Absolutely lovely.” Alison-“I was wondering when I was going to meet my new neighbors.” Charles Chazin-“My, you’re so pretty. Haven’t I seen you before, on television? Now don’t tell me I know you’re in a “ Alison answers – “I’ve done some tv commercials.” Charles Chazen responds unenthusiastic-“Oh… really, I thought you were an actress [  ] Oh my dear your taste is impeccable. I wish you’d help me redecorate my poor place someday would you, hum?…Were you waiting to go out?” Alison- “I’m waiting for a friend.” Charles Chazen-“Ahh well, friendships often blossom into bliss as they say, and speaking of bliss Mortimer loves his belly rubbed would you..” Alison-“Do you know any of our neighbors” Charles Chazen-“Yes I know all of our neighbors and they’re very nice, except that priest who lives above me, he’s a (waving his hands dismissively) well however he’s quiet most of the time.”

Charles Chazen leaves a picture in a gold frame on her fireplace mantle, leaving her some mirthful advice, “Remember you eat and drink in moderation, my dear.”

Alison also meets the lesbians Gerde and Sandra…

As soon as she moves into the building, her sleep is disturbed by loud footsteps and clanging sounds that make the chandelier swing back and forth. Alison meets the realtor to find out more about the neighbors in her building, particularly the person occupying the floor above her, as their heavy footsteps and loud banging kept her up all night.

Alison inquires about the brownstone’s other tenants and the person who occupies the apartment above her, telling Miss Logan about the noises that kept her up all night. Logan is shocked to hear about this, as the only tenants in the building are supposed to be Alison and the blind priest, the only tenants who have inhabited the building for years. Alison is disturbed by this news and returns home to find that Mr.Chazen’s apartment is truly vacant, and the dust tells the story that it’s been sorely neglected by time.

“My dear Miss Parker, aside from the priest and now, of course, you, nobody has lived in that building for three years.”

Miss Logan and Alison take a cab back after having the conversation in the cafe about being kept up all night by someone making so much of a ruckus on the floor above her. Monsignor Franchino stands behind the blind priest, his hand grasping a cobweb-covered statue bearing an insignia ring belonging to their secret sect. He tells Father Halliran, “I am here, holy father. I have come so that you may shed your burden in peace.” Alison takes Miss Logan through the apartment building, showing her vacant furnished rooms that looked cob-webbed and dust-covered as if it has been neglected for years. Alison informs Miss Logan –“This is where the lesbians live.”- Miss Logan hands Alison the keys, dropping them into her hands with a gesture of skepticism before she opens the door.- Miss Logan hands Alison the keys- “Be my guest.”

Shot with the mind-bending, paradoxical perspective of an Escher staircase. A Möbius strip—endless, spiraling, and inescapably surreal

The continual shot of the stairs leading upward seems symbolic of spiritual ascension and the death journey of the soul, as in the story of Jacob’s Ladder.

As Alison and Miss Logan begin to walk around the room, Miss Logan tells Alison that the furniture was different in there before. “Oh, come now, Miss Parker, these pieces have not been touched in years.” Miss insists that she has to get back to the office, but Alison takes her to 4B, where Charles Chazin lives. Staring out the window, she sings to herself, “Happy Birthday, dear Jezebel… believe it or not, I attended a birthday party here last night… for a cat.” Miss Logan smiles with a superior air, “Sorry, I missed it.”

Then Alison urges Miss Logan to let her into Father Halliran’s apartment as she wants to see the old priest, but she tells Alison that it would be highly improper. The priest is taken care of by The Diocesan Council of New York sees to his needs. Monsignor Franchino breathed a sigh of relief that Miss Logan hasn’t let Alison into the priest’s apartment.

We then see Alison on a commercial shoot where she has her first fainting spell, begins to suffer from severe migraines, and begins looking pale as death.

Charles Chazen throws a sort of welcoming party for Alison and introduces her to the rest of the odd tenants in the odd old building.

This is the party that Chazen invites Alison to. The birthday party he is throwing for his black and white cat, Jezebel. Before he takes her inside to meet the guests, he blindfolds her with a red scarf. Jezebel is a perfectly delicious name for a devil’s cat. “Black and White cat,  black and white cake…” – quoted by the murderess, Mrs. Clark -Jezebel the tuxedo cat wears a pointed birthday hat with streamers at the top, a very slick element to the quirkiness of the ghostly damned tenants filmed with a blue gel.

Later on that night, Alison hears more clamorous noises from the floor above her apartment, which is supposed to be vacant. Alison starts to experience weird happenings in the apartment, as well as her health starts to deteriorate as she begins getting striking headaches, looking paler, anemic, and practically deathly.

Michael is becoming concerned for Alison’s safety and hires a private investigator James Brenner (Hank Garrett) to keep an eye on her.

We experience her past by way of flashbacks. Alison has a history of emotional distress, and two suicide attempts, once as a teenager, after she saw her father’s sexual antics,  a bacchanalian orgy, an explicitly ménage à trois sequence with assumed ladies of ill repute. And then, sometime after Michael’s wife apparently committed suicide, though detective Gatz (Eli Wallach) has been dogging him since it happened, believing Michael had something to do with her untimely death. It might turn out to be murder!

Alison’s strained relationship with her creepy philandering father, who used to bring prostitutes home and gallivant around the house with them, when Alison returns from catholic school and finds them cavorting with cake and wine, in protest of her religious schooling, Alison’s father rips her silver crucifix from her neck and tosses it on the floor. She quickly runs to the bathroom and slices her wrists. Since her past childhood trauma, her connection with religion, and failed suicide attempts, she leaves her faith and the Catholic church behind.

Alison chases phantoms all through the building like Alice in Wonderland. It is more than mildly creepy, as has been written about; it is all-out frightening as hell, and still is.

That night begins the first of horrifying visions that assault Alison’s world. Visions of her decrepit father, who lurks and lunges in the shadows. Armed with a butcher knife and a flashlight, she decides to go investigate the vacant apartment above her when she sees him!

She’s suddenly smack in the middle of a nightmarish sequence as she encounters the specter of her father, a ghoulish corpse, lensed with quick cuts to project an eerie type of movement by the bluish gray phantom who spurts from behind the bedroom door of the apartment upstairs first hidden in shadow then walking quickly without an awareness of her presence, then he appears to come after her prompting her to slash at him with her knife, the blood sputtering out of the grotesque corpse.

Slashing at her father’s ghost, she runs screaming out into the night, blood splashed across her white slip, as people gather around her. Detective Gatz questions Michael the next day. Michael puffs on his Italian cigarette, “This isn’t police business.” Detective Gatz, “A girl running through the street at 4 am, saying she’s knifed her father, blood on her, that’s police business.” he shrugs, staring out the window. He gives Michael Lerman a dig, making an inappropriate hand gesture about his wife’s supposed suicide, plunging off the Brooklyn Bridge. “The mistress of the bereaved husband took an overdose… but lived.”

Alison is resting at the hospital, unable to respond as she’s been drugged to keep her calm. Back at the police station, Det. Gatz is discussing the case with Rizzo: “She’s in the hospital, blurbing about neighbors that don’t exist… except one, a priest, and he wouldn’t know if the building burnt down.”

Yet another theme has been developing that of paranoia, and our heroine is also experiencing alienation and disbelief from everyone surrounding her. Yet another portrayal of the ‘hysterical woman’ trope, silenced and marginalized without agency or voice.

An uncredited Joe Hamer plays the detective who recognizes Anna Clark’s name. “It’s funny, I know that name from somewhere,” Gatz tells him it’s one of the invisible neighbors. Cut to a book with a crime history filled with murderers and a photograph headlining the infamous Anna Clark. Michael shows Alison the photo and asks if she’s seen that face before. “That’s Anna Clark; she was at Charles Chazen’s birthday party.”  Michael reads, “Mrs. Anna Clark, convicted murderess, sent to the electric chair at Sing Sing March 27, 1949, for the murder of her lover and his wife.” Jennifer takes the book from Michael and continues reading, “When he refused to leave his wife, she chopped them up in bed with an axe… charming.”

Perhaps the most startling vision in the film aside from the climactic ending which as said I won’t reveal here is the moment her cadaveric father lurks behind her bedroom door hidden at first by shadow, in an almost paused moment in time, as if appearing from another realm, his movements otherworldly and alien, as she recognizes this ghoulish apparition as her recently deceased bastard of a father. I know it still rattles me to this day. It’s a gruesome scene as she stabs at his face, glazed over whitened fish-like eyeballs and deathly comatose stare, she thrusts away, slashing at him.

After the night she sees the ghost of her father, she also has this lucid vision of killing her recently deceased father by slicing into his face, cutting an eyeball (like the surrealist short Un Chien Andalou, 1929), and cutting his ghoulish blue nose off with a large butcher knife, they find Brenner’s body dumped in a landfill, with the exact wounds described by Alison claiming she inflicted on her father. They also discover Alison’s file and Michael’s name in Brenner’s office, connecting them to his murder.

She goes to Church and seeks counsel from the priest, who has been secretly following her the entire time. Alison lights a candle and prays. Monsignor Franchino comes to her side. He tells her that it’s time to ’embrace Christ’: “You came to be heard.” He has a purpose for her.

What winds up being revealed is that Alison really killed Brenner and not the apparition of her father; it was the private detective Brenner hired by Michael. Detective Gatz and Rizzo. (Wallach and Walken) make connections between Michael Lerman, his hysterical girlfriend, and the two murders, which seem to link them all together somehow. During her waking nightmare, running out into the dark streets, collapsing in her scant white nightie, drenched in her own blood, holding the knife, she is now suspected of murder along with her boyfriend, the sleazy attorney Michael Lerman.

Drawing attention to herself by screaming out in the streets, all blood-soaked, leads police detective Gatz (Eli Wallach) and partner Rizzo (Christopher Walken) to investigate both Michael and Alison with certainty that it all somehow leads back to Michael Lerman’s first wife, who supposedly killed herself. Detective Gatz has an eternal hate for this hot-shot lawyer who once showed him up in court regarding his wife’s suicide. That case is really a motivating factor in Detective Gatz’s dogged approach to finding out whose blood was really on Christina and if Michael Lerman has anything to do with it. Alison is taken to the hospital that night.

While the police do some investigating based on the descriptions and names of the party guests that Alison gives them. The cops uncover that one of her “˜imagined’ party guests and supposed neighbor is Anna Clark, the murderess who went to the electric chair for chopping up her boyfriend and his wife with an axe.

Michael starts to believe that Alison is experiencing some kind of uncanny paranormal phenomena. When she returns home, he begins to quiz her, randomly pulling out books from the shelf of the vacant apartment 4B. As he shows her pages, she begins to read Latin phrases fluently, though it appears to her as if they were written in English. Of course, Michael is suspicious of Father Halliran’s mysterious blind priest on the top floor. When he tries to question him, there is no answer, and the door is locked.

Back at the brownstone, she shows Michael the vacant apartment, pulling select books off the bookcase, “The Charterhouse of Parma by Stendahl, Techniques of Torture by Illard. You’ll like this one for variety, all the pages are the same.” Michael, “Alison, there’s nothing strange about this book.” “What do you mean?” “All the pages are different.” “All the pages are the same… all of them!” “Alison either one of us is lying or one of us is seeing something that isn’t there now, tell me what do you see in this book” She slams the book closed… and insists “Latin, I see nothing but Latin, everything in there is Latin” Michael takes a pen out of his pocket and tells Alison to write down exactly what she sees. Michael points with his finger, words like “Though the Church and superstitious,” Alison begins to write down what she sees-“TIBI SORTU…” etc.“Jesus, Alison, you really are seeing Latin.”

They try to get inside Father Halliran’s apartment, but the lock has been changed.

Michael then takes the translation to the dotty absent-minded Professor Ruzinsky (Martin Balsam), “You know, when you phoned, I thought you had a serious problem, something challenging. A few words more and I’ll have it, Eldridge.” Michael corrects him, “It’s Lerman, Michael Lerman.” Ruzinsky agrees, “Yes, Eldridge Lerman… there we are, well, to thee thy course by lot is given charge and strict watch that to this happy place no evil thing approach or enter it.”

“It’s been a long time Mr. Lawyer you take a high chance.”

So he hires offbeat character actor William Hickey as Perry the safe cracker and ace lock picker to break into the Diocese and lift the files on the quiet Father Halliran. Before becoming a priest, he too had tried to commit suicide, just like Alison. Michael also finds a file on Alison Parker, who is next in line to become Sister Theresa, who is due to take over– tomorrow!

“William O’Roarke, Father Halliran William O’Roarke disappeared July 12, 1952, after an attempted suicide. “Perry-(Hickey) says, “They’re the same man. William O’Roarke became a priest named Halliran.”“Yes, but why?” Perry shrugs-“I just open doors.” Michael digs through each file expounding-“Before Halliran, there was Father David Spinetti, who started life as Andrew Carter, declared missing, Carter reappeared as Spinetti and died the day that Halliran started life as a priest. Before him, Mary Thorne becomes Sister Mary Angelica. All of these people, going back for years, lived ordinary lives and then became priests or nuns. All of them, sometime or another, attempted suicide.” [ ] if these files are right, Father Matthew Halliran dies the same day that Alison Parker disappears and becomes Sister Theresa.” (insert sweeping Gil Melle style strings)

This, as writer John Kenneth Muir brings out, begs the question about redemption: Does Alison have free will? Was she chosen by God to be a servant, or did her fall from grace, her suicide attempt, cause her to owe her life to Christ?

Detective Gatz –“Rebecca and Malcolm Stinnet, Sandra (Narcotics Addict) Gerde Ingstrom, Emma and Lillian Clotkin, Anna Clark, all people the Parker girl said she met.” Rizzo-“All killers, all dead. She went to a party with eight dead murderers.” Gatz heartily replies- “Doesn’t everybody?”

Michael goes on to investigate further, rummaging around the old brownstone, he finds a boarded-up plaque in the basement that tells the opening saga of Dante’s Divine Comedy, revealing that the building has been built over the portal to Hell and the lost souls who wander there. Michael finally goes up the stairs to confront Father Halliran, strangling him to death, then he himself is struck down by an unseen figure in the shadows who cracks him over the head with a religious statue.

When Alison returns home, she finds Michael there, who proceeds to explain that she has been daunted by ‘devils’ and that she is to be the next Sentinel.

And this is where I will leave off”

The ending is a grotesque morality pageant that might terrify or even offend certain people, but if you’re willing to investigate a rare 70s horror story with a dark atmosphere and a visual journey into darker realms… dare enter!

John Kenneth Muir Horror Films of the 1970s
“Seventies films such as Frenzy (1972), The Last House on the Left (1972) The Texas Chainsaw Massacre (1973), The Hills Have Eyes (1977) were also more explicit, and far more intense, than previous horror productions had been. This was a result of the “new freedom” in cinema to freely depict graphic violence and bloodletting and a shift to the paradigm of existential “˜realism’ over the romantic “˜supernatural.'” continuing Muir writes “Seizing on this spiritual doubt and vulnerability was another blockbuster movie trend of the 1970s, the religious horror film. The Exorcist (1973), Beyond the Door (1975), The Omen (1976), and The Sentinel (1977) and many more that found stark terror in the concept of that the Devil was real, and that mankind’s eternal would was in jeopardy from demonic possession and the Antichrist, among other iconic boogeyman”

The climax unfolds with spiraling, unsettling imagery that diverges sharply from the profound surreal curiosities of Jodorowsky’s El Topo (1970) or Santa Sangre (1989), and the nightmarish, visceral carnage typical of Lucio Fulci’s hellish visions. It still delivers a uniquely otherworldly impact—a raw, profound, and hauntingly memorable wallop.

Once again from Muir’s book he at least insightfully makes the connection between The Exorcist 1973 and The Omen 1976 by endowing the type of good vs evil films coming out of the 70s as they “set forth a conspiracy in the Church, a kind of possession by evil, the corruption of the innocent,and other common elements of 1970s Hollywood supernatural flicks. The Sentinel is not as powerful a film as either The Omen or The Exorcist, but it does feature some startling moments and is a solid horror film despite an overload of clichés. The film’s greatest power comes in its jolting, surprising revelations.”

This is your EverLovin’ Joey saying I’ll be standing watch all night long at the gateway to Halloween, wishing you and yours a happy and healthy candy binge!

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