Review of Schizo (1976) by Shawn W — 01 Sep 2008

Forget any notions that the film is a serious look at schizophrenia, premier British 70s exploitation filmmaker Pete Walker's Schizo is a belated entry in the rash of British rip-offs of Psycho which appeared in the wake of Hitchcock's own medically dubious masterpiece (compare Berserk, Paranoiac etc.). Walker's film has a pretty young celebrity supposedly being stalked and members of her close circle bumped off by the sad-sack killer of her mother, released a couple of years ago from prison. But things are not all that they seem...

The small genius of Walker's film is that it reverses the idea of who is the villain in contemporary Western society. Usually, the role is played by a lonely, middle-aged psychotic man who puts the beautiful young things at risk; in Schizo, he has been framed by the beautiful young celebrity herself, who suffers from a split personality - one moment she's all sweetness and light, the nation's favourite skating star and tabloid fodder; but beneath she's a murderous Ice Queen, jealous and capable of the utmost acts of brutality when faced with anything which upsets her equilibrium. There's a certain barmy truth in Walker's vision of with whom the danger really lies in our bleak post-industrial society. An intriguing sub-plot shows how religion or spiritual belief has been denigrated into a brotherhood of superstitious women, who haven't the foggiest idea of what is actually going on.

Lynne Frederick - a celebrity who herself went supremely off-the-rails when left a cool £4.5 million as Peter Sellers' widow - is prophetically cast as the Ice Queen; and there's a wonderful supporting turn by the great Queenie Watts as the psychic-mongering help.

Schizo is not one of Walker's best films - it doesn't reach the heights of lunacy of House of Whipcord or Frightmare, nor does it match the near-contemporary Italian giallos which is seeks at times to mimic; yet it has some games to play with notions of villainy in tabloid cultures.