i must have seen a different film!!

Good movie, but best of all time? Hardly . . .

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Released in 1961, "Night Tide" stars Dennis Hopper as a sailor in Venice, California, who falls for a mysterious raven-haired beauty who poses as a mermaid at the local carnival (Linda Lawson). Gavin Muir plays the old sea salt guardian of the young woman, Marjorie Cameron a shadowy older woman and Luana Anders the daughter of the carousel owner (Tom Dillon). Marjorie Eaton is also on hand as a fortune teller.This is an atmospheric mystery tale in the manner of 1962's "Carnival of Souls" and not conventional horror. It's interesting to see Hopper so young, normal and courteous in his pre-hippie days (as opposed to his later weirdo roles in movies like "Blue Velvet" and "River's Edge," both from 1986). The movie's slow, haunting and entertaining as a period piece where you get to see beatniks partying on the beach and other intriguing things. If you like carnival-oriented movies you should definitely check this out. Just be aware that the ending leaves everything open to interpretation (explored below).Shot in B&W, the movie runs 86 minutes and was shot in Venice, Santa Monica and Malibu, California.GRADE: B COMMENTARY ***SPOILER ALERT*** (Don't read further unless you've seen the movie) According to the literal interpretation, the mysterious old woman was likely hired by the captain to pester Mora to convince her she is a 'sea-person' so she will stay with him; the reason Mora tries to Kill Hopper's character at the end is that she THINKS she's a killer. She didn't kill her other two suitors, but became convinced she did via the captain's brainwashing. It was the jealous captain who killed them.In the figurative interpretation Hopper is a lonely sailor who meets an older sailor, also lonely. The young sailor is looking at his future self. Mora is the savage beauty of nature, symbolic of the sea itself. Like the oceans, she is unforgiving, but both sailors love her. When she kills she is above judgment, like the ocean itself, and you can't judge her.Then there's the question of how Mora died. The captain only confesses to the murders of Mora's suitors because he was in love with Mora and his jealousy drove him to kill the young rivals for her affection. So how did Mora die? Since the young sailor (Hopper) took the only boat and left her in the open sea she must've drowned. However, it's left open how the captain retrieved Mora's body. Either her body washed ashore and he found her or he was tailing the couple when they went diving and he went to find Mora after Hopper's character left the scene and found her dead body. The other possibility is that the captain killed her when he found her alive, but why would he do that if he loved her? Unless it was because he felt she was cheating on him.The other literal interpretation, of course, is that Mora really was a mermaid and the old woman was a sea person as well but, if this is true, how did Mora die in the water when the young sailor left her in the ocean since a sea person wouldn't drown? Unless the captain thought he was going to lose Mora forever to the sea people and so he killed her after the sailor left.

This is a real unheralded minor gem. It has a similar tone and atmosphere to Carnival of Souls (1962) yet is much less well known than that cult classic. Both films stories are based around carnivals, in Carnival of Souls it was an abandoned one whereas Night Tide is set in an off-season seaside resort. The melancholic, lonely ambiance given off by this setting is one of the chief strengths of the film. A sailor falls in love with a carnival girl who believes herself to be a mermaid, an underwater race who kill by the full moon. She says she has been responsible for the deaths of her previous two lovers.In keeping with the haunting and dreamy atmosphere, the mermaid is portrayed as a doomed creature who takes no joy in her situation. The film displays the influence of the Val Lewton/Jacques Tourneur films of the 40's and 50's in the way that it presents its chilling story in a highly subtle, sophisticated manner. I was especially brought to mind of Cat People (1942) with is cursed central female character. It also shares another detail from that film, with its mysterious woman in the periphery of events who interacts occasionally and appears to also be one of the mythical race. This latter aspect is very well integrated into the story and adds a nice bit of ambiguity to events. The haunting jazz score also perfectly captures the right ambiance of the events. Lastly, there is Dennis Hopper who has one of his early starring roles here, unusually he plays a gentle soul and he does it very convincingly; although, in fairness, the cast in general all put in fine performances. This low budget flick is one that remains very emotive and interesting. It takes a less obvious approach to its material and this pays off with a haunting, tragic tale that makes quite an impact.

On leave in a shore side town, Johnny becomes interested in a young dark haired woman. They meet and he learns that she plays a mermaid in the local carnival. After strange occurrences, Johnny begins to believe that she may actually be a real mermaid that habitually kills during the cycle of the full moon.Low budget Roger Corman-ish budget.Very 60s.Almost filmed like an extended Twilight Zone episode.Man meets girl. Girl eats men. It's an interesting period place positioned right smack in the beat generation.It's worth a watch, but don't expect to be moved all that much. It's really a short story expanded to 90 minutes.

No need to repeat the plot or dwell on consensus points. A few remarks about the movie's significance might be helpful, however. Harrington's quirky little film was part of a larger independent effort in the early 1960's to break away from studio domination and commercial conformity. The movement came along in the wake of John Cassavetes' groundbreaking Shadows (1960), and also at a time when European films from Fellini, Bergman and the French New Wave, et al, were expanding audience perceptions. Shadows proved that audiences were ready for a more daring product than what Hollywood of the 50's was producing. Perhaps more importantly, Shadows showed that a quality feature-length film could be done on a small budget ($40,000), with a non-union crew, get commercially distributed, and be reviewed in major publications (Night Tide, I recall, managed a good review in mainstream Newsweek). One or more of these factors had long prevented emergence of an independent film movement outside studio bounds. But by the early 60's, times had changed. Night Tide remains an oddity, sort of a blending of Shadows and Roger Corman with the ghost of Val Lewton hovering in the background. The ending is unfortunate, something of a loss of nerve given Harrington's overall imaginative approach. What impressed me then, and still does, is the director's visual style. Most every frame amounts to a well-composed visual treat, even when taking in the flat side of Santa Monica's ocean front. It's a measured, near- lyrical style, well suited at capturing the poetical side of horror a la Lewton—a dimension sorely missing from today's bloodfests. Anyway, the movie shows considerable promise; I'm just sorry Harrington slipped into obscurity, never developing into the career I think his talent deserved. Meanwhile, the movie furnishes a look-see into what was then a fresh movement in film-making.