User reviews

The manner in which the film was chronographed was somewhat unique. In real time the main character, Morlar, is comatized by severe head trauma. In fact the movie opens with his attempted murder. The unfolding of events in the ensuing investigation are presented with smooth transitions from flashback to present in order to create a sense of fatalistic inevitability. The director takes a very difficult path to achieve this but I think he pulled it off very effectively. Look for little tricks to smooth out the staccato chronological transitions. Small similarities between outgoing and incoming scenes create a more seamless effect.Also, the sounds of a former scene would linger for a couple of seconds after the transition, further uniting past & present to emphasize the inevitable hopelessness of the inspectors situation. It also serves to demonstrate Morlar's indomitable, fatalistic will.

All the characters are well (and cleverly)cast, particularly Richard Burton as Morlar. VonGreenway's book comments on the intensity of Morlar's character and his riveting gaze. Burton was obviously intimately familiar with the text as his rendition of Morlar is, to say the least, riveting.

The apocryphal elements added by the director, the cataclysmic disasters vastly improve the story's big-screen appeal, even if they were a bit of a departure from the text. The director simplifies the text by only indirectly referring to Morlar's political agenda. To follow the text in this would be setting up an entirely different story and would distract from the immediacy of the peril Morlar represents for the inspector and the psychiatrist.

The "tongue in cheek" manner in which these two meet serves to show a comprehensive understanding of the text, it gives clear notice (to those familiar with the book) the text cannot realistically be followed in every way. "I'm sorry I was expecting a man." the inspector explains his reaction to her. "That's alright, I was expecting an English Inspector." She responds. This, of course, was a reference to the characters as they appeared in the book.

This is a well directed film, making sense of a difficult text in an acceptable time frame. Richard Burton was an excellent choice as Morlar, he has a dominating presence that lends well to the character. These things along with an excellent rendition of a sensational, compelling story make the Medusa Touch one of the best suspense films ever.

Don't you just hate it when you think of a review title only to find that somebody has beaten you to it!!?? So "I have a gift for disaster" was to be my first choice. Anyway the late, great Richard Burton is sat at home watching the TV when a visitor calls by and bashes him over the head. The police are called for an apparent murder but turns out that he's not dead. Taken to hospital he remains in a comatose state apart from his brain which is driving the attached monitor nuts! Burton plays a writer with telekinetic powers, he discovers these when a boy and uses them to kill his nanny, then his parents. Much of the film has him telling his life story in a series of flash backs, I liked this part of the plot a lot. As a middle aged man he has now set his sights on the mass destruction of innocents. Can he be stopped? These type of movies were popular around this time, titles such as Carrie, Patrick, Psychic Killer and The Fury spring to mind, even The Omen, and The Medusa Touch is a good addition. I can remember watching this on TV at least twice when I was a kid and several decades later I came across a nice print being screened on a British TV channel that specialises in older movies. It was great to revisit it. Burton was without question one of the finest actors to come out of the UK and I really enjoyed his performance here, but I thought the rest of the cast that includes many familiar faces to be good also. The movie does build to a gripping finale, this film is horror, thriller and disaster all rolled into one.

And he isn't kidding! An unusually rigid, dark and hazy telekinetic crossed disaster driven supernatural-thriller, predictably told and methodically directed, but the spectacle starts out like a cerebral murder-mystery before the bleak, schlocky mayhem bursts from the seams. Once a weary-eyed Richard Burton starts staring into your soul... only means upcoming doom is near. About an hour away... give or take.

The story follows a French detective Brunel (Lino Ventura who's great here) on temporary assignment for Scotland yard, as he investigates the attempted murder of a writer, John Morlar, who now lays comatose in a hospital bed. However there's something strange about this case, and this man. He learns from Morlar's psychiatrist Dr Zonfeld (a really cold Lee Remick), and Morlar's journals, he believed he could predict the future, and eventually cause disasters, or even death.

This leads to a lot of red herrings, where motivations are unravelled through Brunel's consistent digging of the facts, although it's not hard to figure who was the attempted murderer. So when that's finally revealed, everything suddenly changes and the story comes into its own feeling like there's a lot more at stake. The script through flashbacks, interestingly gives an insight into Morlar's decaying mindset, as his psychic ability grows and bitter distain for life (especially for the establishment) festers. Therefore the morbid nature of its bubbling intentions builds and shocks begin to multiply, which always seem to end in tragedy, and once its starts... there's no going back. It's going to end, like it began... Morlar will see to that with an excellent, fitting ending.

Hmm. Some of the reviewers here have complained about the film's slow pacing. Well, yes...compared to the MTV style edited movies of the past 5 years, I'd have to agree. But, the pacing is also necessary in order to show the slow psychological breakdown of the lead character. It's a slow burn type of story, and the filmmakers were much more concerned with building a creepy atmosphere than bombarding us with CGI effects, blood and gore, and whatever else passes for supernatural horror these days.

Besides, Richard Burton on a bad day is better than most actors at their best.

If "Jason X" and other hollow, special effects driven films are your idea of horror...then this isn't the film for you. The Medusa Touch is a methodically paced thriller, aimed at genre fans who enjoy a more thoughtful kind of horror film. If you enjoyed "Don't Look Now," then this is the type of film for you.

If you have the rare opportunity to catch this obscure film, you should at least give it a fair shake. Then you can decide for yourself.

Though top billed in this, Richard Burton features but sparingly as a man with a tortured past. His recollections to his psychiatrist "Dr. Zonfeld" (Lee Remick) are relayed to police inspector "Brunel" (Lino Ventura) after he ("Morlar") is found savagely beaten at his London flat. As the investigation expands, it is clear that the normal rules do not apply here. "Morlar" shouldn't even be alive, yet his brain activity coupled with a spate of accidents and with the ever more revealing - but sensational - revelations about his disaster-prone past lead "Brunel" and the Assistant Commissioner (Harry Andrews) to a conclusion that, well, they just cannot believe. Ventura is good in this, as is the understated, but effective Remick. There are plenty of twists that keep the obvious from becoming too obvious, too soon, and when called upon, Burton contributes well in a sort of manic, epitome of evil, manner. It is a bit dialogue heavy at times, but the last twenty minutes are great drama well put together. A good bit of telekinetic terror!

This supernatural thriller deals with John Morlar (Richard Burton) , while he's watching a British television broadcast an anchorman explains that American astronauts are trapped in orbit around the moon. Suddenly someone in Morlar's room picks up a figurine and strikes him on the head repeatedly. His blood splatters the television screen. French Detective-Inspector Brunel (Lino Ventura) along with his helper (Michael Byrne) arrive at Morlar's flat to start the criminal investigation. At first he thinks Morlar is dead, but soon he hears him breathe. As the man was struck over the head and being admitted to a hospital . Meantime, weird disasters befall the surrounding city . At the hospital, Morlar is hooked up to life support systems, one machine in particular monitors the activity of his battered brain . It seems that despite his unconscious state, the man is using his telekinetic powers to will things to happen. As Morlar states : ¨I am the man with the power to create catastrophe¨, as he has the power to move objects , to cause the death of anyone who stands in his way . Richard Burton is the man with the medusa touch ... he has the power to create catastrophe! . As he possesses a powerful gift , Telekinesis : A mental force that enables this man to move objects and control events. Science cannot explain the awesome power of the mind. And nothing can control it ! .

This horror-style story contains intriguing events, thriller , chiller , suspense , tension and disaster images . Main and support cast are pretty good , as Richard Burton playing the telekinetic novelist who causes disasters simply by thinking about them , he's top-notch , especially when scathingly giving a vitriolic disection of his faithless wife , but the real starring is the French Lino Ventura who is terrific as the stubborn police inspector . Support cast is magnificent with plenty of notorious British secondaries , such as : Michael Hordern , Alan Badel , Gordon Jackson , Michael Byrne , Derek Jacobi , Robert Lang , Robert Flemyng, Philip Stone , Malcolm Tierney , Jeremy Brett and Harry Andrews .

It displays a thrilling and exciting musical score by Michael J. Lewis . As well as colorful and appropriate cinematography by Arthur Ibbetson . The motion picture was professionally directed by Jack Gold. Jack was born in London and being a prestigious director and producer , known for Bofors guns (1968) , The Reckoning (1970) , Man Friday (1975) , Aces high (1976) , The Medusa touch (1978), The Chain (1984) , Escape from Sobibor (1987), and Goodnight, Mister Tom (1998). ¨The Medusa Touch (1978) is a rehash of the catastrophe genre along with supernatural powers clichés in which the splendid casting stands out . Rating : 6.5/10, nice and entertaining . It's a fairly watchable and breathtaking film and it results to be a good treatment of telekinesis theme along with disaster movies. Enthusiasts of horrific hokum will enjoy themselves ehile cynics chuckle . Essential and indispensable watching for Lino Ventura, Lee Remick and Richard Burton fans.

Similar in pacing to 1976's The Omen, this film shares the same well choreographed set pieces and also boasts a cast based on US stars and British TV and Film favourites. The film itself is interesting and well acted, especially from Richard Burton ( it's in his eyes ) and Lee Remick . Possibly could be an 8/10, but for me it does look like a TV movie.

"The Medusa Touch" is a typical seventies "devil conspiracy" movie like the popular "The Exorcist" and "The Omen" series combined with the typical paranoia and disaster movies between "Earthquake" and "Airport". The late Richard Burton plays an obsessed psychic who tries to convince a psychiatrist (Lee Remick) of his demonic power to kill people and to cause disasters just by the strength of his thoughts. Being a victim of an assassination and a coma patient in a hospital, his mad thoughts are causing even worse attacks on buildings that are causing the death of hundreds of people. French cop Lino Ventura, working as a guest policeman in London, tries to find out the mystery of Burton's dark life.

Although there's not much action, this horror movie is thrilling and dominated by the convincing performances of the actors. There is a sinister atmosphere of terror and paranoia all around, and you expect the unexpected in every single moment. A fine psychological terror movie in typical seventies style that is worth being watched!

Is john morlar (burton) causing accidents, or is he just always in the wrong place at the wrong time? He seems to be connected to tragedies, somehow. Both public, and in his private life. Anyone who crosses him seems to come to a horrible end. Doctor zonfeld (remick) seems to know things about morlar that no one else does. So inspector brunel teams up with zonfeld to study morlar, who is still in a coma. This has a bit of an anti-nuclear message now and again. They keep referring to protesters, and discussion of the different classes. And the ability to change the future... if one could. Sure, there are some pretty silly special effects, but aside from that, it's actually pretty good! A cross between a psychic horror film and a 1970s thinker film. Is it just good versus evil? Directed by jack gold. His bafta award was for a television series. Novel by peter vangreenaway. Remick died at 55; burton died at 58.

The Medusa Touch is a film that i could just watch over and over again. The story, acting and directing (as well as the effects for the time) were truly brilliant. Richard Burton once again showed all the other Hollywood actors what he is worth (and i bet deep down inside they knew too). The film is basically about an odd, private man who has the evil power to inflict death just by looking at them. The build up to the film is superb as is the actual way the French investigator (Leo Ventura) goes about investigating Morlar's (Burton) death. The film was filmed entirely in England and has that very British feel to it but watching Burton in that film makes me feel sad that he is not alive today because only Anthony Hopkins can be compared to this true gem of an actor.

This is an engrossing crime investigation film with an unusual format that extensively utilises flashbacks. The flashbacks are seamlessly integrated into the story and soon the audience is almost unaware of the switching back and forth.

The main storyline, focusing on the investigation of detective Brunel, is intriguing with the feel of a European gangster film. This is contrasted with the flashbacks to Morlar, many of which have a different, more English tone. Especially interesting are the flashbacks to Morlar's earlier life: the vignettes involving his parents, his school days, his work as a barrister and a domestic argument between his neighbours in London are excellent. The flashbacks, especially some of those to Doctor Zonfeld and the publisher, Townley, are integrated into the main storyline in an ingenious manner.

The last part of the film moves away from police intrigue to telekinesis thriller. While the change from gritty police drama to supernatural fantasy is a little jarring the audience is soon gripped by the new threat and goes along for the ride.

The cast is excellent. Richard Burton seems chillingly restrained. Lino Ventura is the perfect choice as a world weary detective who essentially carries the main story - it is too bad they chose to overdub his voice with that of another actor as this seems quite distracting. Lee Remick as Doctor Zonfeld and Harry Andrews are also very effective in their roles. The cast is made up of many recognisable actors in cameos who are all extremely interesting and effective.

TMT is not an awful movie, but it isn't a very good one. Surfing the wave of telekinetic movies that were churned out after "Carrie" was a surprise hit in 1976, TMT puts a distinctively British spin on horror. There are some aspects of the movie that are admirable...the approach to storytelling through intermingling of past and present, the (relative) lack of violence, the supporting characters, and a sly sense of humor, for example. But the only really compelling reason to watch this movie is to hear Richard Burton. What acting he does is quite minimal, but the dialogue snaps to life when he delivers his lines. Lee Remick. on the other hand, is trying to handle a role she simply doesn't have the chops for.

Having watched the movie again just recently, I have come to believe that it would have been a much better movie if it had even less violence than it does. The opening scene is compulsory, but some disaster footage later in the movie would have been even more effective if it had been implied, rather than shown.

Overall, a fairly effective and relatively bloodless horror film.

I remember seeing this on TV many years ago, and I'm glad I caught it at such a young age. Back then it was really scary, but even today - when we're blessed (or cursed) with visual effects that are so convincing - it is still capable of sending a shiver up my spine.

The film's pace is methodical, but Richard Burton admirably conveys a sense of quiet menace as he loses his grip on sanity during a series of flashbacks. The acting by the other leads is solid enough, but the film is all about Burton's chilling psychic powers, and when they are let loose at the film's climax, the result is genuinely shocking.

The Medusa Touch is a fine and intelligent supernatural horror/thriller about a man with psychokinetic/telekenetic powers - best watch without reading too much of the story, just give it a try: a movie with Richard Burton and Lino Ventura in the cast can't be any bad.

This is a film based on an interesting novel. Burton has lovely lines to deliver and he delivers them with gusto. But this film belongs to Lino Ventura (though his voice is dubbed) and the enigmatic, lovely Lee Remick. The supporting British cast is very good as well.

At first blush this impresses as a little bit of a curiosity. It would seem to fit into the same loosely connected realm of horror and sci-fi as, say, Stephen King's 'Firestarter,' or Kiyoshi Kurosawa's 'Cure,' where the suggestion of death and destruction merely by force of will is the central conceit. What person hasn't had those intrusive thoughts, wishing they could enact something to happen just by thinking it? Still more curious is the narrative structure in which the character who bears the gift is meaningfully seen only in flashbacks, and we instead follow efforts to understand him secondhand; 'Citizen Kane' comes to mind to some degree. As if all this weren't enough, 'The Medusa touch' comes across as a very British production, as the chief figure in the story is a police inspector (from abroad, because of course), and a fair length of the picture is often filled with a certain wry humor like what one may expect of many similar programs on the BBC. In some measure, though, all these facets to first greet us are kind of red herrings, for as it goes on the movie becomes increasingly compelling, and rewarding as a viewer, and perhaps more so as it's decidedly quite unlike what one may commonly expect of genre fare. In fact, I've watched some breathtakingly great movies of late, and this is surely one of them.

Peculiar as the storytelling approach seems, it actually works incredibly well. One can easily imagine how telekinetic abilities might be portrayed in a more readily grabbing and visceral manner. Or rather, we don't need to imagine - 'Akira,' 'X-Men,' and a long list of action flicks have been made about people with extraordinary superpowers. Such bombast can be very fun and worthy of its own accord, but there's a big difference between the thrills provided by a highfalutin romp, and the thrills served up by a low-key, suspenseful mystery like this. The slow plotting of each story beat becomes all the more rich and absorbing; those flashes we see of violence, effects, or stunts are all the more impactful, especially at the jolting climax. The glimpses we get of John Morlar's psychology are all the more fascinating, adding a slight layer of psychological drama to the proceedings if not also psychological horror. And to that point: one could say the genre element is borne simply of the supernatural abilities denoted in the premise, and more so of the specific sparing events depicted for the camera, but one can't overlook the unfettered willingness to exercise such abilities (or perhaps the inability to control oneself?) that becomes distinctly disturbing. The result is a feature that takes its good time to warm up, but once it does, the effect is intensely, wonderfully searing.

And, why, all this is to say nothing of the excellence that 'The Medusa touch' represents in all other ways. Jack Gold's direction, Arthur Ibbetson's cinematography, Anne V. Coates and Ian Crafford's editing, and Michael J. Lewis' original music are all exceptional in and of themselves. Moreover, all lend tremendously to the vibrant, captivating suspense, and the earnestly horrifying airs about the course of events as they escalate. The production design and art direction are terrific, and the noted stunts and effects look fantastic. The cast all give solid performances, and every contribution from those working behind the scenes is splendid. Not least, it's worth spotlighting John Briley's outstanding (adapted) screenplay, for every aspect of the writing - narrative, scene writing, characters, dialogue - is vivid and engrossing, each very carefully considered and just as commendable as the next in making this feature the immensely satisfying experience that it is.

To be honest, when the movie first began I found myself wondering just what it was I had committed to. The early length of the picture carries itself in a way well removed from what I had anticipated, and the broad tone at first bears no resemblance to the stunning, gripping spectacle that all will become. That's just it, though: it almost feels like that contrast is intentional, lulling the audience into a false sense of comfort before twisting the proverbial knife. The steady, deliberate plot development takes us on a brilliant journey that starts very unremarkably (if not outright idiosyncratically) before ultimately turning into a fabulously striking, inescapably riveting, and genuinely chilling thrill ride. Whatever expectations I had before watching, and after I first pressed "play," were totally blown away. I can't believe that it was only by happenstance that I came upon this: 'The Medusa touch' is a superb, deeply underappreciated masterpiece of horror sci-fi, an underhanded slow-burn that deserves far, far more recognition. Wherever and however you're able to watch it, in my opinion this is simply a must-see, and earns my highest and most enthusiastic recommendation. Bravo!

Intriguing "horror" movie. Not exactly your average horror movie in that it involves the world of telekinesis. Also, it is as much a crime-mystery drama as a supernatural thriller.

Set up is very interesting. The subject matter is plausible, and the murder / attempted murder adds mystery. Also introduces a few interesting themes: use and abuse of special powers, vengeance / vigilantism, bitterness.

However, from a point it loses its intrigue and becomes reasonably mundane and predictable. The culprit was fairly obvious, so the whodunnit part gets drawn out too long. The movie becomes an action-thriller, a race-against-time. Ending is interesting but a pity the intrigue, mystery and menace could not be sustained throughout the movie.

Great performance by Richard Burton in the lead role. He has the perfect voice and gravitas for the role. Good support from Lino Ventura and Lee Remick.

Every once in awhile an actor slums into a part that he or she never would have touched with a ten foot pole in their heyday. Frequently, these roles amount to a lot of fallen grace and pity from those of us who once respected the matinee idols who have stooped to absurd and badly written roles in absurd and badly written films.

And yet, just once in awhile -- or else it would cease to be remarkable -- you wind up with an actor who takes the garbled trash he's been handed and he makes it ALMOST worth watching. I'll have you know I delayed a dinner date for an hour and a half just to watch the end of this film, and I was hungry! That is the power, the talent, the ham of The Medusa Touch, which smacks of The Pink Panther meets The French Connection -- it never knows how seriously it should take itself, it doesn't know if it's a drama or a parody, and the cheap thrills take so long to unfold that they end up costing quite a lot in terms of time and plot credibility. But the final unavoidable sequence, in which Richard Burton does what his career could never do after this and fights to stave off death, makes the film worth the cold chicken and warm beer I found waiting for me -- and if that isn't the mark of a gloriously average movie, what is?

The Medusa Touch is the fantastic story of a middle age English man tormented by the terrifying revelation, he is responsible for the the world's disasters. Richard Burton gives an impressive performance as writer John Morlar, who is brutally murdered and left for dead. Trouble is, his mind refuses to die. Convinced, from a young age, Morlar believes he has had the power to cause personal as well as world catastrophes. To prove his point, he snares a fully-loaded flying 747 jumbo jet and causes it to crash into a high rise apartment building, killing hundreds. The case is investigated by French Inspector Brunel (Supurbly played by Lino Ventura) who is convinced, Morlar's personal psychiatrist, Doctor Zonfeld (Lee Remick in one of her finest roles), is harboring a horrifying secret which eventually engulfs them both. The film is a masterpiece, combining the attributes of in your seat suspense and visual scenes which are further enhanced by a haunting musical score. With veteran actors like Harry Andrews, Alan Badel, Michael Hordern, and Derek Jacobi, the movie becomes a classic drama of unparalleled achievement. *****