Movie Title:The Old Dark House

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Not only is there an Dilapidated Dim HOUSE, there’s also a unlit and stormy night outside said house, a heavy rain that causes mud slides and has turned the roads into quagmires. It’s so unpleasant that travelers Roger Penderel (Melvyn Douglas) and Philip and Margaret Waverton (Raymond Massey and Gloria Stuart) swallow their fears (how would YOU like it if your knock at the door of a scary primitive house was answered by Boris Karloff? ) and scrutinize refuge there. They are followed soon enough by portly and high-spirited Sir William Porterhouse (Charles Laughton) and fiery young Gladys DuCane (Lilian Bond) . Nobody in their moral mind would contemplate spending a night in the spooky traditional spot unless forced by the sharpest contingency. Nobody in their moral mind, we soon learn, inhabits the house, either. It’s the space of the Femm family, weak siblings Horace and Rebecca (Ernest Thesiger and Eva Moore) and a brace of unseen, but not unheard, relatives locked in upper memoir rooms. Boris Karloff plays Morgan, a butler or sib (never explained either intention), who’s scarier than all accumulate out.

THE Used Sunless HOUSE is a scare movie, of sorts. It doesn’t indulge in splatter-gore or supernatural head-twisting to shock and thrill. Rather, it relies on high shadows and sardonic dialogue, unfamiliar characters and menacing situations. The movie contains no character stranger than Karloff’s Morgan, a hulking soundless brute glowering from slack a bolshie beard and a few deep and delicately placed scars painted in by Universal make-up genius Jack Pierce. Morgan develops an overarching attraction to fine young Margaret Waverton. Director James Whale makes Margaret undergo the only costume change in the film, a travel that accomplishes a number of things. Undressing down to her slouch, Margaret is at once sexualized and made vulnerable. It gives deaf veteran Rebecca Femm the opportunity to suppose lines at once darkly silly, sardonic, and deeply disturbing. As Gloria Stuart, who recently played the 100-year-old survivor in TITANTIC, tells us on the easy and informal commentary track, Whale wanted her to appear a `flaming dagger’ when Karloff chased her about the sunless mansion, hence the pink Jean Harlow-ish silk gown. Rebecca Femm, fondling the gown’s silk, declares “Pleasing stuff, but it’ll rot.” Touching the young woman’s skin beneath the gown, she says “Finer stuff level-headed, but it’ll rot, too!” Whale intercuts the scene with images of Margaret and Rebecca and Margaret looking at herself in an feeble and distorting mirror. It’s a knowing sequence, transcending and enhancing the terror simultaneously.

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THE Aged Shaded HOUSE is filled with hooked, dusky comedy and tremendous performances. Whale, of course, had earlier directed Karloff in FRANKENSTEIN, and would work yet again with him in a few years on THE BRIDE OF FRANKENSTEIN. Thesiger would join them as the demented Dr. Pretorius. If you’ve seen that movie and enjoyed its singular price of humor, you’ll savor THE Passe Dismal HOUSE as well. HOUSE lacks BRIDE’S humanity, there are no friendly monsters in this one, but its comedy is more finely honed and definitely of a darker hue. And the ensemble cast is as capable as it gets. I loved this movie.

Included on the Image dvd is Gloria Stuart’s informal and personal commentary, a nine-minute stills gallery (button free, it runs on its acquire) and an eight petite interview with director Curtis Harrington, who was a friend of Whale’s and the man most responsible for preserving, and restoring, THE Conventional Shadowy HOUSE as it lay mouldering in the Universal vaults in the 1960s.

Director James Whale deftly combined dry, sardonic humor with classic apprehension elements to gain the richly spirited dark comedy “The Customary Shadowy House”. By turns darkly witty and genuinely creepy, the film benefits from a razor-sharp script, temperamental cinematography, and uniformly magnificent performances in addition to Whale’s creative directorial flourishes. Simply summarized, the set involves a group of stranded travelers who buy refuge in an isolated Welsh mansion owned by a dangerously eccentric family during a terrific storm; before the night passes, members of the group will encounter anxiety, romance and even death as the inform, wind and rain rage outside.

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Among a famous cast that includes such luminaries as Boris Karloff, Melvyn Douglas, Charles Laughton, and Gloria Stuart, the acting honors are stolen by Ernest Thesiger playing the pinch-faced, hollow-eyed lord of the manor. Thesiger manages the difficult task of being very comical and vaguely menacing at the same time; in his first scene he introduces himself in a sepulchral but prissy tone as, “Femm … Horace Femm”, and the do is both marvelously droll and discomfortingly shivery. Eva Moore also makes a distinctive impression in the role of Thesiger’s sharp-tongued sister whose begrudging hospitality to her guests does not include “beds … they can’t have beds!” She is particularly ominous as she fingers the fabric of Gloria Stuart’s grievous chop evening gown, noting “radiant stuff, but it’ll rot”, and then proceeds to keep her hand on the exposed flesh above Stuart’s chest, adding “finer stuff smooth, but it’ll rot too!”

The Kino DVD offers a sparkling video transfer of this film which was once considered lost. After the film’s negative was discovered moldering in a vault, and then painstakingly restored, a copy was shown a very few times on pay cable TV channels encourage in the early 1990′s; unfortunately, that print was so gloomy that the movie was virtually unwatchable. The Kino version features correctly balanced inequity and a clearer, crisper soundtrack. As far as extras go, there is a unbelievable photo gallery; excerpts of an interview with Curtis Harrington, a long-time acquaintance of James Whale who initiated the long search for the film’s missing negative; and a commentary by film historian James Curtis. Best of all is a second audio commentary by actress Gloria Stuart who with big intelligence and charm reveals piquant tidbits about the film’s production, the other cast members, and the shooting of individual scenes, as well as general stories about Hollywood and her enjoy career.

The 1962 Hammer remake of the same title, directed by William Castle, bears very few similarities with Whale’s production; Castle’s version is almost devoid of awe and emphasizes huge comedy which sometimes veers into the realm of slapstick. Both are exciting films in their hold ways, but I personally choose Whale’s current and heartily recommend that you add it to your home DVD library.

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