What an oddity this is: Ingmar Bergman’s regular troupe – Max von Sydow, Liv Ullman, Per Oscarsson – in the middle of an ax-murdering spree investigated by Trevor Howard in Sweden’s snowy wastes. You know you’re in for something different when you don’t recognise Henry Mancini as the composer – no easy cinematic grace notes, here, just an off-key harpsichord, organ, woodwind and synths which have the predictably unsettling effect that producer Mel Ferrer and director Laslo Benedek sought. Max escapes a lunatic asylum and starts killing the family members who framed him for a crime that saw him put away for life. But he goes back at night – curling his lanky and unwieldy frame into unlikely shapes and climbing vast edifices and running through the snow fields leaving a ghastly trail of bodies in his wake. He succeeds in persuading police inspector Howard that something is indeed amiss about the circumstances of his imprisonment but gets out again and, well, he’s now a serial killing ax murderer. There will be blood. Striking in all sorts of ways, but the parrot really takes the cake! Written by Guy Elmes.