Exposé (1976) Full Movie Review | Udo Kier, Linda Hayden, Fiona Richmond | Classic 70s Horror Drama - video Dailymotion

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Step into the dark and disturbing world of Exposé (1976), also known as House on Straw Hill, a psychological horror drama directed by James Kenelm Clarke. Starring Udo Kier, Linda Hayden, and Fiona Richmond, this cult classic from the 1970s shocked audiences with its graphic violence, erotic undertones, and chilling suspense.  In this video, we explore: 🔹 Full plot breakdown of Exposé (1976) 🔹 Analysis of Udo Kier’s intense performance 🔹 Linda Hayden’s haunting role in psychological manipulation 🔹 Why this movie was banned and labeled a “Video Nasty” in the UK 🔹 The cultural impact of 1970s horror & exploitation cinema  If you love classic horror movies, banned films, psychological thrillers, or cult cinema history, this is a must-watch.  📌 Keywords Covered: Exposé 1976 movie explained, House on Straw Hill review, 70s horror drama, Udo Kier movies, Linda Hayden films, Fiona Richmond roles, banned UK horror films, psychological thriller analysis.  👉 Don’t forget to Like, Comment, and Subscribe for more rare cult horror reviews and 70s exploitation classics!  📌 50 Hashtags (Copy & Paste):  #Expose1976 #HouseOnStrawHill #UdoKier #LindaHayden #FionaRichmond #ClassicHorror #70sHorror #HorrorDrama #CultCinema #VideoNasty #BannedMovies #PsychologicalThriller #CultHorror #VintageHorror #ExploitationCinema #RareMovies #HorrorCommunity #RetroMovies #CultsAndClassics #ScaryMovies #ObscureHorror #MovieExplained #FilmAnalysis #HorrorAddict #UndergroundCinema #ClassicFilmReview #CultsCinema #HorrorClassics #HorrorReview #RetroCinema #ThrillerDrama #CultsAndHorror #ExplainedInDetail #VintageThriller #BannedFilms #HorrorObsessed #ObscureFilms #CultClassicHorror #RareHorrorFilms #DarkCinema #SuspenseThriller #ClassicMovieReview #RareCultMovies #PsychologicalHorror #CultMovieReview #70sCultHorror #ExplainedMovie #ObscureMovieReview #HorrorCinema #70sClassicHorror  🎯 50 SEO Video Tags (Copy & Paste):  Expose 1976 full movie, Expose 1976 review, Expose 1976 explained, House on Straw Hill full movie, House on Straw Hill review, Udo Kier Expose 1976, Linda Hayden Expose 1976, Fiona Richmond Expose 1976, 70s horror drama movies, banned horror movies UK, video nasty movies, psychological thriller 1976, classic horror films 70s, exploitation cinema explained, obscure horror movie reviews, vintage horror movies 1970s, cult horror movie review, horror drama 1976, rare horror movies explained, banned UK films review, Expose 1976 movie breakdown, House on Straw Hill explained, 1970s exploitation films, Udo Kier movies review, Linda Hayden horror roles, Fiona Richmond movies explained, rare cult horror films, horror movie censorship UK, obscure 70s horror explained, disturbing horror movies review, thriller drama cult movies, retro horror films review, Expose banned film explained, shocking horror movies 1970s, cult exploitation classics, underground cinema reviews, 70s psychological thrillers, banned movies explained, rare exploitation films review,

Transcript

00:00:00The End

00:00:30Southern Secreteaux, can I help you?

00:00:32Yes. You were advertising a temporary typist for an author.

00:00:35Yes, the author. You do know where this is, don't you?

00:00:38As a matter of fact, I do.

00:00:40It's right out in the sticks. I know.

00:00:42Ah. Have you any experience?

00:00:44Yes. I've worked with a novelist before.

00:00:47You'd better come and see it.

00:00:48Okay, bye. Bye.

00:01:00Bye.

00:01:30Bye.

00:02:00Bye.

00:02:30The centre of the plot, i.e., when the main characters come together,

00:02:42basically, it's about human chemistry.

00:02:45Well, Martin, Deadly Silence was the most successful novel

00:02:48that was written or published last year,

00:02:50and I was wondering how long it would take me to write.

00:02:53Well, I started the book in Paris, then I moved into New York,

00:02:57and it took me about six months.

00:03:00Six months? I thought it took you three, is what my notes say.

00:03:04Well, it must be wrong information.

00:03:06When I get inspired, the writing tempo inevitably accelerates.

00:03:11In fact, I know, normally, writers take about nine months,

00:03:15some two, three years.

00:03:16Tell me, why particularly a story about diplomats?

00:03:20Because when I was, oh, about 19,

00:03:22I used to travel a lot to southern France and to Rome, you know,

00:03:25and Paris also, and I actually got to know a lot of people,

00:03:30and it always interested me very much,

00:03:33so that's why I wrote my first book all about it.

00:03:36The Champagne Life.

00:03:39Well, not The Champagne Life.

00:03:41Shall we say The Rolls-Royce Life, then?

00:03:43No, other people drinking champagne and driving Rolls-Royces.

00:03:47You seem to have an obsession with lifestyle.

00:03:49No, no, no, I don't have an obsession.

00:03:51I simply feel that it's part of my job to write about people that I meet,

00:03:55and people who qualify for the pages of my book.

00:03:59Now, this talk of the catharsis of human development,

00:04:01that you concentrate on so basically in your writing,

00:04:03it's obviously a favorite theme of yours, isn't it?

00:04:05Yes, yes, yes, it is.

00:04:07I'm very strong on this subject,

00:04:08and it's always crept into what I write about, always will.

00:04:19I'm very strong on this subject.

00:04:38Perfect evening.

00:04:39I'm very strong on this subject.

00:04:48Oh!

00:04:50It's only up there.

00:05:09Good morning.

00:05:28Come on.

00:05:39Oh, we don't usually have tenants, you know.

00:05:41Oh, no, no, no, I tell a lie.

00:05:43We had them last year, now.

00:05:45I come to think of it.

00:05:47The dentist, two of them.

00:05:49Oh, very strange they were.

00:05:51Oh, Commander and Mrs. Percival

00:05:53always go to the south of France for five weeks,

00:05:55you know, Commander and Mrs. Percival.

00:05:57Oh, very strange they were.

00:05:59Oh, Commander and Mrs. Percival

00:06:01always go to the south of France

00:06:03for five weeks, you know,

00:06:05Commander and Mrs. Percival.

00:06:07Where no one can get at them

00:06:09out of harm's way.

00:06:11Oh, it's so chesty, the Commander.

00:06:15So chesty.

00:06:17Now,

00:06:19what shall I do about lunch?

00:06:21I could do a nice steak and kidney.

00:06:23No, I haven't decided yet.

00:06:25I don't know anything.

00:06:27Well, when will you know?

00:06:29Later.

00:06:31When will you know?

00:06:33Later.

00:07:01Later.

00:07:02Later.

00:07:03Later.

00:07:07.

00:07:08Later.

00:07:09Later.

00:07:11Later.

00:07:12Later.

00:07:13Later.

00:07:14Tracy.

00:07:15Let's go.

00:07:45More coffee, please.

00:08:15More coffee, please.

00:08:45Wait.

00:08:47What are you doing?

00:08:51Hold it, call me.

00:08:53Hold it, dear.

00:08:57Where are you?

00:08:58How are you, dear?

00:09:02How are you, darling?

00:09:08How are you?

00:09:11Are you all right?

00:09:12Yes, why not?

00:09:13I was worried.

00:09:15Worried?

00:09:15Yes.

00:09:16Well, don't be.

00:09:18You realize, I suppose, that this is a period of intense concentration for me.

00:09:23Intense concentration.

00:09:25You see?

00:09:26If you say so.

00:09:29Suzanne?

00:09:29What?

00:09:30A small point.

00:09:31I'd be grateful if you'd keep my whereabouts a secret for the time being, yes?

00:10:01Good morning.

00:10:05Good morning, Vicks International. Can I help you?

00:10:08Leo Schumann, please.

00:10:35Hello.

00:10:37Paul Martin, Leo.

00:10:39Paul, thank goodness you rang.

00:10:41How's it going? You were gonna ring me yesterday.

00:10:43Look, is that in two weeks left?

00:10:45Yes, I know.

00:10:47Yeah.

00:10:48Do your best for me, darling, will you?

00:10:50All right.

00:10:58Leo, where is the typist?

00:11:01I feel if I can dictate, pace up and down.

00:11:04Look, I'll call you right there. I'll put a rocket up that bloody agency.

00:11:10Thanks, Leo.

00:11:24To harass.

00:11:26To worry.

00:11:28To importune.

00:11:30To pursue.

00:11:31To persecute.

00:11:33Decay.

00:11:34Crumble.

00:11:35Rot.

00:11:36Die.

00:11:37No.

00:11:38No.

00:11:39Die.

00:11:40No.

00:11:41No.

00:11:42No.

00:11:43No.

00:11:44No.

00:11:46No.

00:11:47Oh, my God.

00:12:17Oh, my God.

00:12:47Oh, my God.

00:13:17Oh, Leo here.

00:13:20Look, the agency got the thing.

00:13:21She's on her way down here now.

00:13:23Who?

00:13:23The girl, Linda.

00:13:25The type is.

00:13:26Thanks, Leo.

00:13:27The train is still at 11.30.

00:13:29Have to be in February.

00:13:30Fine.

00:13:31The official should look after you, okay?

00:13:33Everything else, all right?

00:13:34Thanks, Leo.

00:13:35Don't thank me.

00:13:36Just complete the book.

00:13:37Remember, if it's a good one, we're in line for a critic's prize.

00:13:39And don't you forget it.

00:13:40The official should look after you.

00:13:47The official should look after you.

00:13:52The official should look after you.

00:13:58The official should look after you.

00:14:07THE END

00:14:37THE END

00:15:07THE END

00:15:09THE END

00:15:11THE END

00:15:13THE END

00:15:15Come on, Boris. Are you all right?

00:15:20How about jumping on the back of my Jaguar? How about that, eh?

00:15:24Just a long cow.

00:15:32Mr. Martin?

00:15:33Come on.

00:15:43As a rule, I don't like people about.

00:15:46I don't trust them.

00:15:48But we have a lot of hard work to get through.

00:15:50Fine.

00:15:51Haven't I met you before?

00:15:52No.

00:16:03No, for a moment I thought you looked familiar.

00:16:04Did you?

00:16:05Yes.

00:16:06Have you ever worked for a writer before?

00:16:07No, not really.

00:16:08Just a general freelance work.

00:16:10I once used to work for a cookery expert for a time.

00:16:12A cookery expert?

00:16:13Yes.

00:16:14She ran a weekly column in Home Lover magazine,

00:16:16all about cannolini and calf brains, things like that.

00:16:18Calf brains?

00:16:19Yes.

00:16:20Calf brains?

00:16:21Yes.

00:16:22That sort of thing.

00:16:23Issues.

00:16:24Really?

00:16:25But you've never worked on a novel before.

00:16:26No, I haven't.

00:16:27But you're quite used to a strict routine, of course.

00:16:28Of course.

00:16:29Of course.

00:16:30Of course.

00:17:00There she is.

00:17:01Your bird.

00:17:02Yeah.

00:17:03Let's go and see how her body is.

00:17:05Buy us in one day.

00:17:06Yeah.

00:17:07Well, she loves me, doesn't she?

00:17:23Go on.

00:17:24It's him.

00:17:25I've got him.

00:17:26You always find that dirty.

00:17:41They were after me.

00:17:43Going for me.

00:17:52I suppose you live on your own, do you?

00:17:54At the house?

00:17:55Whenever I can help it, yes.

00:17:56Don't you have a housekeeper or someone who does?

00:17:58Does what?

00:17:59Does.

00:18:00Tidies up for you.

00:18:01Cooks.

00:18:02Oh, yes, yes.

00:18:03There's one of those.

00:18:04Why all these questions?

00:18:05Sorry.

00:18:06But I will give you my routine, so you know.

00:18:08It never alters while I'm writing.

00:18:09I get up at eight.

00:18:10My first cup of coffee I always have in the dining room.

00:18:11The blue channel.

00:18:12The second cup I take in the study.

00:18:13I would like you to bring me that.

00:18:14Then dictation starts for the rest of the morning.

00:18:15Lunch I like to keep simple.

00:18:16Then we work through until six.

00:18:17It is then when I have my first drink.

00:18:19Always a glass of well chilled teo pepper.

00:18:21Dinner?

00:18:22Always light.

00:18:23some fish or quiche.

00:18:24And my first cup of coffee and my first cup of coffee I always have in the dining room.

00:18:27The blue channel.

00:18:28The second cup I take in the study.

00:18:30The second cup I take in the study.

00:18:31It is then when I take in the study.

00:18:32I would like you to bring me that.

00:18:34Then dictation starts for the rest of the morning.

00:18:36Lunch I like to keep simple.

00:18:38Then we work through until six.

00:18:41It is then when I have my first drink.

00:18:44Always a glass of well-chilled teo-pepe.

00:18:49Dinner, always light.

00:18:51Some fish or a quiche.

00:18:54I drink burgundy, not parrot.

00:18:57After dinner, I relax.

00:19:01It's quite a simple routine which works.

00:19:14I love you.

00:19:24I love you.

00:19:30Woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo, woo-hoo

00:20:00Come on.

00:20:30Come on.

00:20:43Your bedroom is upstairs, at the end of the corridor.

00:21:00Come on.

00:21:15How far is this place from anywhere?

00:21:18Far enough.

00:21:22They turned in at the end of the drive,

00:21:24and Angus stopped the car, quietly.

00:21:26Stop. New paragraph.

00:21:28Their kiss was neither tender nor affectionate.

00:21:33Point.

00:21:34It was carnal point.

00:21:37It was lustful point.

00:21:39Wet and greedy point.

00:21:43Lingering.

00:21:45Passionate.

00:21:46But with warmth.

00:21:48Semicolon.

00:21:49Possessive.

00:21:51But with calm.

00:21:53Quotes.

00:21:54I love you.

00:21:56End quotes.

00:21:58Angus's voice soft in the interior.

00:22:00Sorry, Angus's voice soft in the what?

00:22:02Angus's voice soft in the interior.

00:22:04Yes.

00:22:06Full stop.

00:22:08Ice crystals forming on the windscreen and the russet sky.

00:22:12Point.

00:22:14An ironical setting after all there had been.

00:22:18Point.

00:22:19End paragraph.

00:22:21Good.

00:22:24Do you mind if I unpack?

00:22:25What?

00:22:26I said I'd make some coffee.

00:22:27Tea.

00:22:28Up Jane?

00:22:29From.

00:22:30Speaker's voice soft over there.

00:22:31Trim.

00:22:32Go.

00:22:33Time for tea.

00:22:35أ

00:52:26Linda.

00:53:56Suzanne.

00:59:56Try.

01:01:56Don't.

Exposé (1976) Full Movie Review | Udo Kier, Linda Hayden, Fiona Richmond | Classic 70s Horror Drama

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