The gamecock. (Columbia, S.C.) 1908-2006, October 03, 1979, Page Page 9, Image 9
'The Legac
Bv David Baker r
Gamecock FMm Critic JLocal
theatre screens have been t
inundated with horror pictures this
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Legacy is the first attempt to blend i
horror with romance. <
In several scenes, it is apparant <
that Marquand wants to make the i
picture into an American version ]
of Nicholas Roeg's underrated |
Don't Look Now. He fails, ;
however, to draw the romantic j
aspects of the film into kelter with
the frightening aspect of it, so the
film seems to De two amereni
movies ? one a love story and the
other a scare show ? with the
Katharine Ross
same cast, edited together in &n
almost random manner.
The cast of the two films is
headed by Katherine Ross as
Maggie Walsh and Sam Elliot as
Pete Danner. She's a designer and
hp's an ?rrhit#H?t Tfiev've been
living and working together for an
unspecified length of time when
they get what could turn out to be
their big break: a millionaire
wants them to come to London and
work for him.
When the couple arrives in
England, they set out on a
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;y' frighter
notorcycle for the millionaire's ;
lome, hoping to get a snort tour ot ]
he countryside along the way. i
On a winding road, they collide I
vun an antique kous uoyce ana i
nust stay at the estate of its
>wner, Jason Mountolive, while
he cycle is being repaired. Maggie
ind Pete soon discover that
Mountolive is the man who brought
:hem to England in the first place
and that he has flown in five other
guests to be with them.
Since the repairs on the cycle are
taking so long, Maggie and Pete
agree to stay with Mountolive for a
few days, but they quickly change
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begin to die, one by one and each
one in a way more gruesome than
the last.
The two steal Mountolive's car,
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Mountolive's black magic keeps
leading them back to the estate.
Maggie eventually realizes that
she is the catalyst of all the deaths
and the film ends 10 minutes after
her discovery.
The romantic scenes in The
Legacy invariably work better
than the scarey scenes, thanks to
Elliot. Just as he did in Lifeguard a
few years ago, Elliot exhibits an
almost uncanny knack for making
a potentially one-dimensional
stereotype into a fully rounded
character. He also lias the ability
to make the viewer like him the
minute he walks on screen.If Elliot
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ever gets uie eiutuce iu nictn.e a
high quality film, he could become
a boxoffice sensation.
Ross, on the other hand, seems to
have exhausted the potential she
once displayed in films like The
Graduate and Butch Cassidy and
the Sundance Kid. Since The
Stepford Wives in 1974, her performances
have gone downhill to
the point where every character
she portrays is nothing more than
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tingly bad i
a catatonic female drone. She's
pretty all right, but even beauty
such as hers is not enough to hold
the viewer's interest for 100
minutes.
Not that what goes on earlier is
very good, it's the 10 minute
denouement that really destroys
The Legacy. After the script
spends 90 minutes getting Maggie
and Pete into a seemingly
inescapable jam, it merely lifts
them out of it by removing
everything it has spent so much
time creating. Little explanation is
given for Maggie's and Pete s
salvation and none of the finale is
even remotely believable.
The concluding scenes of The
Legacy are what the word
ridiculous has been waiting all its
life to describe.
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