By the late 1960s, television horror was beginning to dip its toes into more psychological and supernatural territory, often embracing the occult with varying degrees of success. Fear No Evil (1969), directed by Paul Wendkos, fits squarely into this mold, offering a made-for-TV horror experience that flirts with interesting ideas but ultimately feels constrained by its small-screen limitations.

The story follows Dr. David Sorell (Louis Jourdan), a psychiatrist with a particular interest in the supernatural, as he becomes entangled in a case involving an antique mirror with a sinister history. The mirror’s influence extends beyond the realm of the living, allowing a grieving fiancée to reconnect with her deceased former lover. What begins as a promising supernatural mystery soon devolves into a predictable exercise in TV-movie theatrics, relying more on melodrama than genuine chills.

Jourdan, ever the consummate professional, carries the film with an air of refined authority. His performance elevates the material slightly, making even the more overwrought moments watchable. He leans into the gothic atmosphere with conviction, though the film itself doesn’t always support his efforts. The occult elements, while intriguing, never reach their full potential, often feeling more like window dressing than integral components of the plot.

Visually, Fear No Evil does what it can within its limited budget, employing shadowy lighting and moody cinematography to create an eerie ambiance. However, the production values betray its television origins, making it difficult to shake the feeling that this could have been an episode of an anthology series rather than a standalone feature. The film lacks the polish and cinematic depth of its theatrical contemporaries, and its pacing suffers as a result—dragging when it should build tension.

Despite its shortcomings, Fear No Evil was notable enough to warrant a spiritual follow-up, Ritual of Evil (1970), which continued Dr. Sorell’s supernatural investigations. This suggests that there was an audience for this type of made-for-TV horror, even if it never quite managed to transcend its format.

The Prognosis:

In the end, Fear No Evil is a passable, albeit forgettable, occult thriller that never fully commits to the weight of its premise. While Louis Jourdan gives it his all, the film struggles to break free from its “cheesy TV movie” trappings, leaving it as little more than a curiosity for genre enthusiasts rather than a must-see classic.

• Saul Muerte