Audrey Rose
Master filmmaker Robert Wise began his career with horror classics The Curse of the Cat People and The Body Snatcher for producer Val Lewton. His career would go on to include westerns, thrillers, science fiction and musicals, earning him two academy awards for Best Director. In 1963 he returned to his Lewtonian roots with the classic ghost story The Haunting. In 1977 he returned once more with the supernatural thriller Audrey Rose.
All Bill and Jane Templeton wish for is a quiet, peaceful life with their 11-year-old daughter Ivy. But their dreams turn to nightmares as Ivy is besieged first by terrifying ‘memories’ of events that never occurred... and then by a mysterious stranger who stalks her every move, and claims that Ivy was in fact his daughter in another life.
Released in the wake of The Exorcist and The Omen, Audrey Rose is an intelligent, heartfelt drama that approaches its subject with an open mind and seriousness of intent that caught many off guard but typifies Wise’s previous genre forays. Sensitively played by a sterling cast at the top of their game, this underseen gem deserves a place on the shelf of any fan of classic horror.
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Supplements
- Brand new audio commentary by film critic Jon Towlson
- Faith and Fraud, a brand new interview with magician Adam Cardone about reincarnation and belief in Audrey Rose
- Then and Now, a brand new featurette looking at the New York locations used in the film
- I’ve Been Here Before, archive visual essay by Lee Gambin looking at reincarnation in cinema
- Investigator: The Paranormal World of Frank De Felitta, an archive interview with the author and scriptwriter of Audrey Rose
- The Role of a Mother, an archive Interview with Marsha Mason
- Hypnotist: Inside the score for Audrey Rose, an archive interview with film music historian Daniel Schweiger
- Theatrical trailer
- Image gallery
- Reversible sleeve featuring original and newly commissioned artwork by Christopher Shy
- FIRST PRESSING ONLY: fully illustrated collectors booklet featuring new writing by critics Kimberly Lindbergs and Johnny Mains