This film sparked some controversy upon release in '68 because of some psychobabble during the last third of the film where a doctor suggests that there may be a hereditary link between what was then known as mongolism (Down's Syndrome) and psychotic/criminal behavior. However, outside of this little red herring, a fairly good story and performances can be found underneath.
The story revolves around a troubled rich young man named Martin Durnley (Bennett). Martin has an infantilizing mother and a mentally abusive father. For the duration of his life, Enid (his mum, played by Phyllis Calvert) has checked him for signs that he might not be "normal," like her institutionalized, mentally challenged son, whom she didn't bother giving a name to.
What we soon learn about Martin is that he is autistic (which is suggested later in the film) or that he is schizophrenic. He obviously has a split personality; of that, the viewer can be sure. This personality's name is Georgie Clifford, a soft-spoken six-year-old who befriends Susan Harper (Mills), a student/librarian. He befriends her after she bails him out of having charges pressed against him. You see, "Georgie" stole a rubber duck from a toy store. At the time, he says its for himself, but later, as Martin, he tells his mother that he wants to take it to his brother.
Martin's stepfather comes to the realization that this behavior has gone on far enough, and he offers to send Martin away (all expenses paid) to an around-the-world trip; he can either do that, or be thrown onto the street. Martin plays along with this for awhile, but then winds up at a boardinghouse, run by Susan and her mother, Joan (Billie Whitelaw, who won a British Academy Award for Best Supporting Actress). A couple of nights later, he returns to his old home and murders his stepfather with a pair of scissors. His presence there causes problems, and pretty soon Susan suggests that he should find another place to live. But wouldn't you know it, "Mr. Clifford" (Martin) calls the boardinghouse, saying that he wants to come and take Georgie on holiday.
While Susan travels to London to find out more about this mysterious stranger, her mother tries to seduce Georgie, which causes him to go mad and bury a hatchet in her head. Luckily, her lover, Gerry (Barry Foster) finds her corpse and calls the police, but not before George and Susan have a climactic fight, which culminates in him attempting to rape her, following by his "killing" Martin (he shoots his own reflection in the mirror).
After the police nab him, all that's left is Georgie. As he leaves a very traumatized Susan, we hear him in his cell (apparently at an asylum) singing her name in a singsong voice. The film ends, and Bernard Herrmann's "Psycho-esque" score plays in the background.
"Twisted Nerve" is a very good psychological drama, but because it is not politically correct (none of the characters ever use the term "mentally challenged" or even "Down's Syndrome." They simply opt for words like "mongol" and "mentally backward" to describe these people), it may not be liked by some audiences. Also, it doesn't help that it tries to link mental retardation with psychopathology. However, these obstacles aside, what the viewer has is a fairly good drama, with especially excellent performances by Hywel Bennett and Billie Whitelaw.
The film was doomed upon its release, because, controversy aside, it was marketed as an axe-killer slasher flick. There are only two killings, and one occurs with a hatchet, not an axe. Oh, well, so much for reviving the then-sagging career of ex-Disney starlet Mills...
"Twisted Nerve" is not rated, but contains violence, some sexual overtones, mature thematic elements, and some brief nudity and language.
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