One of my favourite television shows without a doubt is The Night Stalker, starring a ragged and believable Darren McGavin as the investigative journalist Carl Kolchak, thrust into the supernatural backstreets where evil is afoot. More than that, it is a T.V memory, presenting a concept of strange goings on that really stood out from the norm of good cop/bad punk American crime shows that still dominate the horizon today. The two movies that spawned this groundbreaking show, ridiculously axed after one legendary series, are now available on DVD in a 2 disc box set.

Both The Night Stalker and The Night Strangler were made for television horror, low on gore yet true to an uncomplicated plot of wisecracking old journo’ reluctantly begins to accept the idea that a vampire is terrorising the streets of Las Vegas. All the while he struggles against the cranky editor, the police chief, and of course, the mayor: the stereotypical power structure of the 70’s crime show. It is the supernatural element that helps distinguish these films and the series that followed. That the films lack intricacy gives them a unique kind of a twist, as the surreal killer is essentially regarded no differently to any other murderous evil-doer. Alright, so guns do not kill him and crosses have an exaggerated effect but the bad guy is still just a no-good killer with an appetite for blood – literally (obvious pun I know but who could resist)? Our hero, sceptical at first, slowly accepts that the facts before him cannot be denied. Kolchak buys himself a crucifix and a stake and follows a trail that the authorities refuse to acknowledge. He is a scruffy old crank, a little down on his luck with a reputation for making trouble and so the audience are encouraged to like him. He is a natural anti-hero to face off against a hidden and fanged sociopath.

The Night Stalker was at the time of release, the highest rated made for television movie of all time, a testament as much to its groundbreaking appeal as it’s undemanding entertainment value. Suspense and intrigue build at a steady pace but the flow is inevitably interrupted by the raised pitch of incidental music fading to the black silence of what was the ad break. It is an annoying break in the momentum but the overall atmosphere manages to prevail thanks to an accomplished and experienced crew. The camerawork and editing are key to the suspense and McGavin’s performance fits perfectly amongst moments of tension and a less serious edge.

Production values remain higher than the budget in the second popular instalment which sees Kolchak reprised on the streets of Seattle, a man hardened by the macabre and hunting down another vampire in The Night Strangler. It seems bad sorts are never far from the drifting journo’, still wisecracking his way into the nasty and supernatural world of bloodsucking loners. The slanging matches between Kolchak and his editor (Simon Oakland) are a little louder than the first movie, just as hackneyed but a well acted and dynamic example of the rogue/boss antagonist genre.

The two films play like extended episodes of the television show itself. A little outdated in some of the hip modern ways but a tidy script and quick direction such as this is harder to put out of date. The pair are good made for television fare; of their era but by no means are they classic motion pictures. Put into context, they are movie length episodes of what was a fantastic sci-fi weekly. When I first saw the X-Files I was reminded of the eccentric tales of The Nightstalker, the show the X-Files could have been if it did not lose itself in the same alien conspiracy theory every week until boredom drove the Martians home. But maybe The Nightstalker may have also achieved longevity if it too had turned its back on the theatre of the supernatural that launched it. It chose however to remain pure, and lasted a solitary season. Maybe it was too far ahead of its time and disturbed the audience it needed to retain? Without any special effects to help it, The Nightstalker gives the appearance of the everyday, which is where its fear factor stems from, compared to outlandish and unbelievable fantasy to which we cannot relate.

Time has been taken to ensure the 4:3 T.V format is given an excellent transfer. Some minor graining and lines forming on background colours is slight but overall the picture is very good. Dolby Digital stereo beefs up the show and gives clear sound; ideal for wisecracking and the incidental music that comprises the soundtrack. We can only hope that if and when the series itself is released onto DVD, equal care is taken to ensure the original look and feel of an iconic seventies creepy.

There are no extras but the 16 page booklet is an interesting little read, touching briefly on the evolution of the movie and series. It is an excellent substitute for a filmography of all the main contributors, and a brief history of early seventies T.V horror. The brief synopses of the shows certainly creates an appetite for the release of the whole series on DVD. If the distributors are reading - where is it guys? There are no on-disc extras.

It was real excitement when I got the chance to review these movies. Once I had overcome the trip down memory lane routine, I settled in and really enjoyed these films. Yes they are a little dated, there are no special effects to fill in the holes and the T.V movie feel is largely inescapable but the two films are honest and uncomplicated entertainment. There is a little bit of supernatural background but mostly this is the story of a man who defies his own beliefs to get to the truth and is then hardened by it. The use of ‘don’t go in there’ moments is the main driver of suspense and though not quite riddled with twists and outright horror, they work as quirky little tales that are interesting and well constructed. A good cast gets maximum value out of the script and it is put together very well. A little scary, a little funny and little effort required to enjoy. Sit back and relax with this box set because it has a little bit of everything.