The Other

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This article is about the 1972 film. For the novel by Thomas Tryon which the film is based upon, see The Other (novel). For other uses, see Other (disambiguation).
The Other
Theatrical release poster
Directed by Robert Mulligan
Produced by Tom Tryon
Robert Mulligan
Written by Tom Tryon (also novel)
Starring Uta Hagen
Diana Muldaur
Chris Udvarnoky
Martin Udvarnoky
Music by Jerry Goldsmith
Cinematography Robert L. Surtees
Edited by Folmar Blangsted
O. Nicholas Brown
Distributed by 20th Century Fox
Release dates
May 26, 1972
Running time
108 minutes
Country USA
Language English
Budget $2,250,000[1]
Box office $3.5 million (US/ Canada)[2]

The Other is a 1972 psychological thriller film directed by Robert Mulligan, adapted for film by Tom Tryon, from his bestselling novel. It stars Uta Hagen, Diana Muldaur, and Chris and Martin Udvarnoky.


It's a seemingly idyllic summer in 1935, and identical twins Niles and Holland Perry play around the bucolic family farm. Holland is an amoral mischief maker, though sympathetic Niles is often caught in their shenanigans. Niles carries a Prince Albert tobacco tin with several secret trinkets, including the Perry family ring, which came down from their grandfather, and something mysteriously wrapped in wax paper. He asks Holland to "take them back," but Holland insists "I gave them to you, they're yours now." Their cousin Russell finds the boys in the forbidden apple cellar, and promises to snitch on them.

Their mother is a recluse in her upstairs bedroom, grieving over the recent death of the boys' father in the apple cellar. Grandmother Ada, a Russian emigrant, dotes on Niles, and has taught him a psychic ability to project himself outside of his body, for example in a bird; this ability she calls "the great game."

As the summer progresses, Holland appears to play some deadly practical jokes. A pitchfork left hidden in some straw in the floor of the hayloft takes the life of their sneering cousin Russell (he leaps from the upper loft onto it) before he can betray their secret hideaway in the apple cellar. A frightening magic trick for nearby spinster Mrs. Rowe causes her to have a fatal heart attack. After Russell's funeral, Niles' mother finds the ring, and the severed finger that is wrapped in wax paper. That night she demands Niles to tell her how he has taken possession of father's ring. "Holland gave it to me," he answers. She's shocked, and asks him when he gave it to Niles. "In the parlor, after our birthday," he answers. Holland appears, whispering, "Give it back!" After a struggle on the handing over the ring, she falls down the stairs and is rendered partially paralyzed.

Ada finds Holland's harmonica at Mrs. Rowe's house after her body is discovered. Finding Niles in church, transfixed by the image of "The Angel of a Better Day," she asks Niles about Mrs. Rowe, and he identifies Holland as the culprit. Ada drags Niles to the family graveyard and demands that Niles face the truth: Holland has been dead since their birthday in March, when he fell down the well. He was thought to have been buried with his father's ring, which, of course, is in Niles' possession. At home, Ada blames herself for teaching Niles "the game," but insists that he not play it anymore. But Niles continues to talk with Holland. Holland helps Niles to remember how he got his father's ring: Holland insisted that he cut his finger off while he lay in his casket in the parlor. In the stairway, Ada hears Niles whispering.

More tragedy strikes the family. During a storm, Rider and Torrie's newborn baby is kidnapped, a copycat of the recent Lindbergh tragedy. (News about the trial is seen in a newspaper, and Niles has a crayon portrait of Bruno Hauptmann in his bedroom.) As the adults mount a search for the baby, Niles sneaks off to the barn. Ada suspects that Niles knows more than he's letting on. When she discovers Niles in the barn, pleading for Holland to tell him where the baby is, she fears that Niles is beyond hope. She insists that he, Niles, has done all these things, but he refuses to believe her. The baby is found, drowned in one of Mr. Angelini's pickle barrels, and they apprehend the (innocent) handyman. Returning to the barn and shutting the door, Ada hears Niles in the apple cellar where the boys like to hide, whispering with Holland. She empties a can of gasoline into the apple cellar, and, clutching an oil lantern, dives into the cellar, starting a cataclysmic fire.

As autumn begins, the ruins of the barn are being cleared. The camera zooms in on a padlock that has been cut open with a bolt-cutter. We find that in spite of the fire, Niles is alive and well. His mother is a catatonic invalid, Ada has died in the barn fire, and no one knows Niles' terrible secret.


When the film aired on CBS in the 1970s, a voice-over at the end of the film has Niles speaking to Holland: "Holland, the game's over. We can't play the game anymore. But when the sheriff comes, I'll ask him if we can play it in our new home." The voice-over truncates a line by the maid, Winnie, who in the theatrical cut says, "Niles, wash up now — time for lunch," whereas in the voice-over version she is cut off after merely "Niles, wash up now." The voice-over is not on the home video releases nor has it appeared on any recent television airing.[citation needed]


The film was shot entirely on location in Murphys, California and Angels Camp, California. Director Robert Mulligan had hoped to shoot the film on location in Connecticut, where it takes place, but because it was autumn when the film entered production (and therefore the color of the leaves would not reflect the height of summer, when the story takes place) this idea was dropped.

Mulligan described his intentions with the film thusly: “I want to put the audience into the body of the boy with this shot and to make the experience of the film, from beginning to end, a totally subjective one.” Of the character of Niles, he commented, “If Niles could have life just the way he wanted it, his world would contain only Ada, Holland, and himself—preferably only Holland and himself." Of the character of Ada, he commented, “She was the heart of the house. She has a primitive sense of imagination and drama, which is the greatest thing an adult can give a child… Her only failing is that she has a maternal love so strong that it blinds her to what is happening. Though she enriches and turns on the child’s imagination, her gift is used in a destructive way by the child.”[3]

This would be the only movie appearance by the twins Chris and Martin Udvarnoky, the featured stars. Mulligan never shows the brothers in frame together. They are always separated by a camera pan, or an editing cut.

John Ritter would make one of his earliest appearances in the film, as the boys' brother-in-law, Rider Gannon. Rider's young wife and the twins' sister, Torrie, is played by Jenny Sullivan.

Goldsmith's compositions for the film can be heard in a 22 minute suite found on the soundtrack album of The Mephisto Waltz. This CD was released 25 years after the release of the film. According to the liner notes of the soundtrack, over half of Goldsmith's music was removed during the film's post production. It does not specify whether this was the result of deleted footage or a decision affecting the music only.[citation needed]

Chris Udvarnoky eventually became an emergency medical technician. He died in Elizabeth, New Jersey on October 25, 2010, at the age of 49. Coincidentally, this was also the same day that the film made its premiere showing on Turner Classic Movies. Martin Udvarnoky works as a massage therapist in Summit, New Jersey.

Differences between the book and the film[edit]

The movie's ending features some important changes. In the book, it is Mr. Angelini who learns that Niles killed the baby and who placed the pitchfork in the hay; Mr. Angelini is never charged and is a trusted employee. In the film Angelini is falsely assumed to be the murderer, and in her delirium Ada commits her suicidal act before revealing his innocence. The movie even adds animosity toward Angelini on the part of Aunt Vee, who clearly blames him for the death of her son, Russell. The book contains a frame narrative by an adult Niles in an asylum. The movie however ends with the disturbed Niles under no suspicion and thus being free to cause more tragedy.

The book also differs in that it clearly states that Niles has been pretending to be Holland since Holland's death at the well.


The film experienced a quiet theatrical run, but it had regular television airings in the late '70s. Among the film's admirers was Roger Ebert, who wrote in his review, "[The film] has been criticized in some quarters because Mulligan made it too beautiful, they say, and too nostalgic. Not at all. His colors are rich and deep and dark, chocolatey browns and bloody reds; they aren't beautiful but perverse and menacing. And the farm isn't seen with a warm nostalgia, but with a remembrance that it is haunted."[4] After Chris Udvarnoky's death on October 25, 2010,[5] Ebert paid tribute to Udvarnoky on his Twitter page.[6]

Tom Tryon, however, was disappointed with the film, despite having written the screenplay himself. When asked about the film in a 1977 interview, Tryon recalled, "Oh, no. That broke my heart. Jesus. That was very sad... That picture was ruined in the cutting and the casting. The boys were good; Uta was good; the other parts, I think, were carelessly cast in some instances--not all, but in some instances. And, God knows, it was badly cut and faultily directed. Perhaps the whole thing was the rotten screenplay, I don't know. But I think it was a good screenplay."

In the same interview, Tryon also hinted that he had been initially considered to direct the film before Mulligan was hired for the job: "It was all step-by-step up to the point of whether I was going to become a director or not. The picture got done mainly because the director who did it wanted to do that property, and he was a known director; he was a known commodity."[7]

For his part, director Mulligan admitted that in post-production, “I cut a lot in The Other from long, open shots to tight, constricting close-ups."[8]



  1. ^ Solomon, Aubrey. Twentieth Century Fox: A Corporate and Financial History (The Scarecrow Filmmakers Series). Lanham, Maryland: Scarecrow Press, 1989. ISBN 978-0-8108-4244-1. p256
  2. ^ Solomon p 232. Please note figures are rentals not total gross.
  3. ^
  4. ^ "The Other". Chicago Sun-Times. 
  5. ^ Obituaries & Guestbooks from The Star-Ledger
  6. ^ "Ebertchicago". Twitter. 
  7. ^ ^ a b c Dahlin 1977, p. 263
  8. ^


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