Watch The Wind For Free

I love this movie so much

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Sian Anderson (Foster) is a mystery novelist who leaves her posh L.A. home to write her next thriller in Greece. She goes alone and leaves her husband John (McCallum) to do what he seems to love to do most: swim in the pool. Once in Greece, she avoids any metropolitan areas and heads straight to a remote, ancient, seaside village. She rents her villa from one Elias Appleby (Morley), an eccentric and verbose older gentleman. He warns her about the violent and tempestuous "Wind" that can attack at night. Nevertheless, she begins work on her book. When the strangely unbalanced Phil (Wings), a fellow American, now expatriate and living next door, comes calling, the nightmare begins...And how can Kesner (Railsback) be of service? For all answers to your questions, just listen to The Wind...There's a lot to like about The Wind. First off, the cast: Meg Foster is a hugely underrated actress and she does a great job here. She's the ideal focal point for a creepy tale like this and she anchors the film well. Robert Morley was also a good get for the cast and you have to love his "wacky landlord" role. Steve Railsback is pretty restrained this time around and seems a bit confused, but maybe that was his character. McCallum doesn't do all that much. Last but not least is the one and only Wings Hauser, who with his mustache (a rarity for him) and his strange, menacing affect, plays the ideal antagonist.But that's the HUMAN cast. The Wind is a character unto itself in this film. It's at least as scary as Phil, it gets angry, it comes and goes, and accentuates things. You have to expect a movie called The Wind will have plenty of actual wind, and there's no shortage of it. The seaside village has a character of its own as well, as does the house Sian is renting. If it's one thing Mastorakis delivers this time around, it's atmosphere. Take the Greek locations and quality cinematography, and enrich it with a Hans Zimmer score, and you mostly have a winner.Mostly because there are some flaws, naturally, as well: In his mad quest to make a giallo-type movie and try to outdo Dario Argento at his own game, most of the motivations for the characters are unclear. And while that also may be true for many giallos, it doesn't matter quite as much because the Italians pack in so much weirdness and visual verve, it doesn't matter. Technically this isn't a giallo, so it does still matter, and because of the lack of polish on the characters, the movie starts to drag right before the climax. Still, for an "Old Dark House" thriller-horror, with Meg Foster home alone and Wings brandishing a scythe (!), The Wind is worth seeing.Interestingly, director Mastorakis directed Wings again the following year after this in Nightmare At Noon (1988), and at one point in The Wind, Meg Foster uses the phrase "nightmare at noon". Something about these three words must intrigue Mastorakis.Released on the fan-favorite VHS label Lightning Video, The Wind is at the very least a one-time watch.For more action insanity, please visit: www.comeuppancereviews.com

"Oh, and remember the wind…"Those eyes! I can never get over those Meg Foster eyes! Well, since I got that off my chest, onto the story. Foster stars as a novelist who travels to this centuries-old Greek island("When I first saw this place, I almost had an orgasm" proclaims her landlord, Elias Appleby, renting his "piece of the island" to her) to write her next book, not expecting to be hounded all night by a wacko (Wings Hauser). Those creaky, fluttering shutters! How ominous they sound! There's this subtle scene (I wonder if it was intended, if it wasn't then this little moment sure creeped me out and won me over with amazement) where Elias Appleby(Morley) asks Foster if she believed in ghosts and while he's talking about this, a wooden shutter on a window of her home flutters open by the wind, then starts to waft back and forth before finally slamming up against the wall—it really is quite an attention grabber, particularly how the director frames the shot from a distance as Morley and Foster are chatting. Robert Morley (the "puppies" victim in THEATER OF BLOOD) is wonderful as Foster's chatterbox landlord, full of experiences to share. I love how the wind is a character unto itself, the way it makes its presence know, not to mention, we see it and hear it—the wind is just as much a character as Foster and Hauser. And, the isolation theme always works for me. There's a danger not just from nature, but Hauser has Foster all alone, quite a scary thought if he were homicidal. As the handyman, Hauser (we see a brief, and eerie, glimpse of him from afar, leaning up against a wall, as Foster eyeballs him from her window, and a few moments later he's gone) has the village all to himself if he were so inclined to torment an innocent woman just wanting to write her novel in peace (for some reason, I thought about Camille Keaton in DAY OF THE WOMAN for a moment). Indeed, a second glimpse of Hauser, accompanied by a demented chuckle, Foster catches as he disappears into an alley as a curling dust-wind follows him. Scenes like this just rock my world, I credit the director, Nico Mastorakis (Island of Death) for how he shoots Hauser.. we know he is around in the village somewhere, understanding that Foster is all alone. Then, he just stumbles into her home, chewing his gum, rather brash, accepting his role as a "loser, degenerate, washout", casual conversation by him involving lots of gestures and poses. Hauser, as always, just dominates the screen, his charisma, even as an obvious creep, alone can probably carry a film. He just seems to be an incompetent jerk, someone who has gambled away his lot in life and has wound up in the employ of an old man who has become fed up with his goofing off. A verbal quarrel, leading to a head contusion from the use of a fireplace poker, showing how truly unstable Hauser is, provides the viewer with possible foreshadowing of things to come as Foster taps away at her typewriter unaware of the threat perhaps awaiting her. Then there's the classic *woman sees killer digging the grave to cover up his crime* scene which sets the stage for the rest of the film. Hauser looks up from the grave and sees that Foster has light in her home and might've seen him. Foster, as can be the case in thrillers like this, has to investigate, her inquisitive mind cannot help itself. This film was a wonderful surprise to me, mainly because there's not just one menace, but two. It has the standard *woman in peril* plot line, but because of the unique setting, absent the residents who are elsewhere due to the time of year, and atmosphere because of the wind and how it contributes to the overall theme, director Mastorakis is able to put a fresh spin on it. He employs a very European style to the film, the way the camera moves, the odd touches like exploding lightbulbs, the way light reflects the wind at night(..and shines through different areas of the village, particularly entrances to walkways and alleys), the Green village, cut from stone with all these narrow passages into alleys as we follow, often from a point-of-view perspective, Foster as she attempts to flee Hauser, injured from her handiwork—it's an impressive looking film, even if the movie feels familiar with Foster holed up in her home as Hauser goes into "complete psycho mode", spouting off nursery rhymes as a means to frighten the woman. Yep, Hauser calls her up, at one point even mimicking Bogie, just to tease and mock her, now just a lunatic with a sickle. But, if I'm to watch a movie featuring a psychopath hunting his female quarry, I would prefer it be as aesthetically pleasing/ visually stimulating as THE WIND. Steve Railsback has a small part as an American seaman who tries to help Foster and David McCallum is Meg's beau who attempts to contact the Greek authorities. "Do me a favor. Don't die quietly, okay. Talk to me."

One thing I really love about ex-rentals is the movie previews before the main feature, and that's how I came to know of this film. However it's only natural to have the best scenes in the trailer to wet your appetite… and by the way it bestows quite a cool video artwork.Director / writer Nico Mastorakis (who made the very infamous video nasty "Island of Death") was churning out numerously quickly produced low-budget / straight to video enterprises in the mid to late eighties and "The Wind" aka "Edge of Terror" would have to be the pick of the lot for its interesting setting and exemplary lead performances from Meg Foster and Wings Hauser.Mystery writer Sian Anderson travels to the Greek Isles for a couple of weeks to stay at an ancient villa in an isolated ghost town to storm up ideas for her next novel. The landlord warns her not to go out at night due to the killer winds that pass throughout the night, but another threat could be in the shape of the landlord's handyman Phil. Something about this man unnerves Sian, especially when one night she believes she saw him burying a corpse that just happens to be the landlord.The pulpy story holds up rather well, leading us down the path maybe all of this is happening in the imaginative mind of its protagonist, as this when Steve Railsback's sceptical character comes into the equation. Perhaps predictable and systematic, but making headway of the standard material is the scenic local flavour that's arrestingly atmospheric, especially the eerie night sequences when the howling wind kicks in. Mastorakis ideally creates an edgy vibe with his lighting composition of shadows and lighting around the ancient villa on an ocean cliff-top with it being backed up by the shivery, high-strung music score and terse photography. You're really thrown right into it. What starts off slow-boil in genuinely building up the suspenseful situation, soon transforms in to a tautly simple-minded cat and mouse formula knowing too well of the clichés to suitably play them up. Towards the end it begins to meander, as some stupidity occurs and the final shot (while beautifully projected) is quite a laughable chance of fate.Meg Foster makes for a strong, affable heroine who seems to have something constantly witty to say and a bug-eyed Hauser (in a fetching knitted white jumper) is simply made for these wack-job roles and he doesn't disappoint with his impulsively dangerous and rip-snorting villain. His exchanges with Foster early on is effectively engaging - "Death is a whole lot different on paper." Robert Morley and David McCallum also pop up.

I picked this one up because the music was done by Hans Zimmer, a customer of Metasonix modular synths (made by someone dear to me). The jacket art says "the 2003 version".I give it one point for a strong female, one point for cheezy dialog and one last point for meg foster's light blue eyes, of which there are plenty of shots of.It was fun seeing David MacCullum casually swimming (the pool has a plexiglass viewing window!), while his lady love was being chased by a psycho in Greece. The sets were marginally impressive-that is, rich people's houses in L.A. and Mendanassos (sp?), where the castle was. I found myself wondering how they were able to keep up the cleaning with all the dust blowing around. The wind wasn't fierce enough to be believable to me. I kept thinking that the animal pelts on the furniture must be nasty...etc. and realized that the film must be pretty boring if i am wondering these things when the supposed plot was unfolding. I stumbled over things like why did she light a fire, blow out the match, then throw the match into the fire?! Dumb stuff like that. It was clunky at best. Oh well. Robert Morely got to have a bit of fun with his kooky geezer character and a nice vacation out of it.