This movie actually was the first to use the "Friday the 13th" title and the makers of the Jason version had to reach a settlement in order to use that name in their movies. The fact that those movies are remembered and this one isn't ought to tell you which one was better. The story itself deals with an orphan who's gone to live with his aunt after the death of his parents. There's contention between the two. The young man feels that something inside him is making him kill. She doesn't let him be a teenager. And then at the end there's toast. It actually plays a part in the whole movie. I can see what the filmmakers were trying for but it just wasn't good enough. The quality of the camerawork was good and it's obvious they were going for psychological horror. But in the end, it just wasn't good or interesting enough.

The best compliment I can possibly give to "Friday the 13th: The Orphan" is that it's somewhat the grim and zero-budgeted exploitation version of the timeless genre classic "The Innocents". Surely it's a lot less stylish and atmospheric (what did you expect?), but the themes and general creepiness of both films are definitely similar. The problem, however, was that I totally didn't expect this to be such a film! With the two typically horrific terms "Friday 13th" and "The Orphan" in one title, the last thing I was preparing for was a slow-moving 1930's drama with coming-of-age influences and lectures on African culture. Still I wouldn't hesitate to recommend this film to explorers of obscure horror/cult cinema, just because it's so odd and unusual. There's very moody music during the opening credits, depicting a collage of pictures of a happy and seemingly unworried family. Of course, knowing the title this is only intended to increase the drama-effect. And yes, straight after the opening credits, the young boy from the photographs – David – is forced to kiss his dead father on the day of his funeral, while the obnoxious cousin yells: "ha ha, now you're an orphan!". After the funeral of his parents, David's aunt Martha invites herself to take custody over the boy. The relationship with Martha does't go too well, but David at least becomes close with her servants and turns more and more to the sinister African relics that his father brought back from his many trips. As said already, "Friday the 13th: The Orphan" is a very slow-paced and overly talkative cult effort. The drama sequences are quite intense, like the funeral sequence and David's flashbacks about his father (for example, the scene where he learns that his father – and indirectly also his mother – died in a stupidly banal accident), but it takes ages before something significantly unsettling happens. The first authentic exploitation movie murder only occurs at about 68 minutes into the film! More than one hour wait for a gritty murder moment is just unacceptable and dull. And, sadly, that's exactly how I'll always remember this film: dull.

This is one of those films that kind of fall into the unfortunate "no man's land" between art and exploitation. I can't really claim that I found it either wildly entertaining or artistically brilliant, but it is more interesting than some of the other reviews make it sound. There aren't. for instance, too many other American horror movies based on a short story by a renowned British-Indian author or that feature a title song by 70's folk singer Janis "Seventeen" Ian (the alternate choice I guess was Leonard Cohen which REALLY would have been interesting). There are only three, not especially bloody, murders, which makes the "Friday the 13th" retitling kind of unfortunate (even though this came out a year or so before the slasher series). It is bound to disappoint somewhat as a horror movie, let alone if you're expecting a "Friday the 13th" style gorefest.This is a movie about a young boy whose frequently absent father, an African explorer, has been killed in an unfortunate accident which also indirectly claimed his mother. His stern, disapproving aunt comes to take care of him and tries to bend him to her will. She chases away an African associate of his father's who is staying at the house (and is apparently the lonely boy's only friend), she intentionally kills his pet chicken, and accidentally kills his dog. The boy also has a complicated and (at least on his end) somewhat sexual relationship with the family maid, but their relationship curdles after he hides in a closet and listens to her having sex with her boyfriend. He eventually goes crazy and ends up reverting into a kind of "Lord of the Flies" mode, worshipping a stuffed gorilla called "Charlie" as a kind of pagan god and waging war against his well-intentioned but wrongheaded aunt. Needless to say, things do not end well.This movie was apparently made over a ten year period(!) and it shows in some of the uneven direction and seemingly random plot twists. Some of the acting, especially that of the main child actor, is pretty weak. Still it is one of these movies that is interesting simply because it so far out of the generally accepted cinematic universe that it would never get made today. It's not very good perhaps, but it still might be worth checking out, especially if you like offbeat 70's films like I do.

THE ORPHAN is a professionally wielded film with a few decent performances(the youngster in the title role most notably), and it certainly doesn't merit a critical belting in response to its basic efficiencies. What I personally found off-putting was its bland self-possession...this is actually less a horror film than a vague, drawn-out mystery with a lot of red herring "coming of age" infusion. It has something to do with a pubescent boy being put in the hands of his difficile, prohibitive aunt following the demise of his parents, and the gradual expedition of his potentially lethal hostilities. The proceedings are dusted with moments of fever-dreamy surrealism, and take place in a time around the Great Depression(stylistic details to that effect are surprisingly impressive). I wanted to like this film, and I did appreciate its inveigling directorial uniqueness, but it's so dull it couldn't saw through sand...there's a scant minutiae of bloodletting and scares, and frankly, it's not nearly as cleverly devised as it thinks it is. There's not much about THE ORPHAN which would classify as "marketable"...it's basically just a purposefully packaged and atmospheric dearth of what most people want in a horror film.4.5/10