The Old Dark House | |
---|---|
Directed by | James Whale |
Written by |
|
Based on | Benighted 1928 novel by J. B. Priestley |
Produced by | Carl Laemmle Jr. |
Starring | |
Cinematography | Arthur Edeson |
Edited by | Clarence Kolster |
Music by | David Broekman |
Production company | Universal Pictures |
Distributed by | Universal Pictures |
Release date |
|
Running time | 72 minutes |
Country | United States |
Language | English |
Budget | $250,000 (est) |
The Old Dark House is a 1932 American pre-Code comedy horror film directed by James Whale. Based on the 1927 novel Benighted by J.B. Priestley, the film features an ensemble cast that includes Boris Karloff, Melvyn Douglas, Gloria Stuart, Charles Laughton, Lilian Bond, Ernest Thesiger, Raymond Massey and Eva Moore. [2] [3] Set in interwar Wales, the film follows five travellers who seek shelter from a violent storm in the decaying country house home of the eccentric Femm family.
The adaptation rights to Priestley's novel, a social commentary on contemporary British class structures, were acquired by Universal Pictures at Whale's insistence following the completion of Frankenstein (1931) and during development on The Invisible Man (1933). The screenplay was written by Benn W. Levy, who had previously scripted Waterloo Bridge (1931) for Whale and Universal, with uncredited contributions by The Invisible Man's R. C. Sheriff, and serves as a largely faithful adaptation of the story. Whale was entrusted with selecting the film's largely British cast, several of whose members were theatre colleagues of his with minimal film experience, and would appear in several of his later films. [4]
The Old Dark House failed to match the contemporary critical and commercial success of Whale's other films, and was withdrawn from circulation after Universal lost the rights to Priestley's novel, which was adapted for film again in 1963 by William Castle for Columbia Pictures and Hammer Film Productions. Initially deemed a lost film, Whale's colleague Curtis Harrington eventually succeeded in recovering most of its original elements, which were restored by the George Eastman House. [4] With the re-evaluation of Whale's filmography, The Old Dark House has garnered widespread critical acclaim, and is recognized as both a cult classic and one of the director's most significant works. It was placed at number 71 on a Time Out poll of the best horror films.
Philip Waverton, his wife Margaret and their friend Roger Penderel are lost while driving at night in a heavy storm. They come upon an old house in the Welsh countryside where they receive shelter from Horace Femm and his sister Rebecca. Horace fears that the storm will trap the guests inside. He also warns them that their mute butler Morgan is a dangerous, heavy drinker. As Rebecca escorts Margaret to a bedroom to change clothes, she tells her about the Femm family, which Rebecca says was sinful and godless. She accuses Margaret of being sinful as well. Rebecca reveals that her 102-year-old father, Sir Roderick Femm, still lives in the house.
During dinner, the group are joined by Sir William Porterhouse and a chorus girl with the stage name Gladys DuCane, who also seek refuge from the storm. As the group chats by the fireplace, Gladys reveals her real last name is Perkins. Roger and Gladys go to retrieve some whiskey from his car. The electric lights go out and Rebecca tells Horace to get a lamp from an upstairs landing. Horace is afraid to go upstairs, so Philip goes instead. As he fetches the lamp, he notices a locked room and hears a voice coming from another room. William goes to help Rebecca close a window, leaving Margaret alone. Morgan, now drunk, attacks her and chases her up the stairs to Philip, who is coming down with the lamp. Philip throws the lamp at Morgan, knocking him down the stairs.
Roger and Gladys begin flirting while they drink and smoke. Gladys says her relationship with William is platonic, and suggests she should live with Roger instead. They go back to the house, where they wake up William and tell him about their new romance. Meanwhile, Philip and Margaret go into the room where he heard the voice; they find Roderick Femm there. He warns them about his eldest son, Saul, a crazed pyromaniac kept in the locked room. Philip and Margaret discover that Morgan has let Saul out; they go downstairs to warn the other guests. Morgan comes downstairs and charges at Margaret. Philip and William drag Morgan into the kitchen while Rebecca flees to her bedroom. Roger tells Margaret and Gladys to hide in a closet. Saul comes downstairs and knocks Roger out. Saul steals a burning branch from the fireplace and sets fire to a curtain before Roger awakes. They fight and fall off a landing; Saul is killed and Roger injured. Morgan breaks out of the kitchen and returns to the main room. He frees Margaret and Gladys from the closet before taking Saul's body upstairs.
By morning, the storm has subsided. Saul's attempt at burning the house has caused little damage. Philip and Margaret leave to get an ambulance, while Gladys and William stay behind to tend to Roger's injuries. Upon awakening, Roger asks Gladys to marry him, and she happily kisses him in response.
Universal Studios producer Carl Laemmle Jr. invited screenwriter Benn Levy from England to Universal City after being impressed with Levy's screenplay for Waterloo Bridge (1931), which was also directed by James Whale. Levy was loaned to Paramount Pictures, where he worked on the screenplay for Devil and the Deep . When Levy finished work on the film, he returned to Universal to start work on The Old Dark House. [5] The film is based on the novel Benighted (1927) by J. B. Priestley, about post-World War I disillusionment. [6] It was published in the United States under the same title as the film. [7] Adapted for the screen by R. C. Sherriff and Benn Levy, the motion picture follows the original plot of the book, while adding levels of comedy to the story. [6]
The Old Dark House was previewed in early July 1932. [5] In the United States, Variety and The Hollywood Filmograph gave the film negative reviews, with Variety calling it a "somewhat inane picture". [8] All nine of the New York City dailies gave the film positive reviews. [5]
The New York Times praised the film, stating, "there is a wealth of talent in this production...like Frankenstein, [it] had the advantage of being directed by James Whale, who again proves his ability." [8] [9] The film did good business at the box-office in the first week of release, but later suffered through negative word of mouth. [5] It was booked for three weeks at the Rialto Theatre in New York City, but the audience turn-out dropped to less than half in its second week and the film was pulled after ten days. The film performed better in the United Kingdom, where it broke house records at the Capitol Theatre in London. [5] [10] It was re-issued into theaters in 1939. [5]
In 1957, Universal Studios lost the rights to the original story, [5] and a remake was released in 1963, directed by William Castle and co-produced with Hammer Film Productions. For many years, the original version was considered a lost film and gained a tremendous reputation as one of the pre-eminent gothic horror films. Director Curtis Harrington, a friend of Whale, helped to rediscover The Old Dark House, having repeatedly asked Universal Studios to locate the film negative. Harrington eventually discovered a print of the film in the vaults of Universal in 1968. [7] He persuaded the George Eastman House film archive to finance a new duplicate negative of the poorly kept first reel, [11] and restore the rest of the film.
Modern reception has been more generally favorable than reviews in 1932, with the film-ranking website Rotten Tomatoes reporting that 96% of its listed critics have given the film positive reviews, based upon 26 reviews with an average rating of 8.37 out of 10. [12] Ali Catterall of Channel 4 referred to the film as "Impressively atmospheric and hilariously grim," [13] and Time Out London praised the film; "Whale manages to parody the conventions of the dark house horror genre as he creates them, in which respect the film remains entirely modern." [14] Karl Williams of the film database Allmovie wrote, "by the 1960s [the film had] attained a grail-like status among fans of director James Whale...The Old Dark House came to be reconsidered a cult gem, part of the renewal of interest in Whale's talents many years after his creative peak." [11]
In the early 2010s, Time Out conducted a poll of several authors, directors, actors and critics who had worked within the horror genre to determine their top horror films. [15] The Old Dark House placed at number 71 on their top 100 list. [16]
The film also served as an inspiration for The Rocky Horror Picture Show [17] [18] and Thundercrack! . [19]
James Whale was an English film director, theatre director and actor, who spent the greater part of his career in Hollywood. He is best remembered for several horror films: Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933) and Bride of Frankenstein (1935), all considered classics. Whale also directed films in other genres, including the 1936 film version of the musical Show Boat.
William Henry Pratt, known professionally as Boris Karloff and occasionally billed as Karloff the Uncanny, was an English actor. His portrayal of Frankenstein's monster in the horror film Frankenstein (1931), his 82nd film, established him as a horror icon, and he reprised the role for the sequels Bride of Frankenstein (1935) and Son of Frankenstein (1939). He also appeared as Imhotep in The Mummy (1932), and voiced the Grinch in, as well as narrating, the animated television special of Dr. Seuss' How the Grinch Stole Christmas! (1966), which won him a Grammy Award.
Bride of Frankenstein is a 1935 American Gothic science fiction horror film, and the first sequel to Universal Pictures' 1931 film Frankenstein. As with the first film, Bride of Frankenstein was directed by James Whale starring Boris Karloff as the Monster and Colin Clive as Dr. Frankenstein. The sequel features Elsa Lanchester in the dual role of Mary Shelley and the bride. Colin Clive reprises his role as Henry Frankenstein, and Ernest Thesiger plays the role of Doctor Septimus Pretorius. Oliver Peters Heggie plays the role of the old blind hermit.
Frankenstein is a 1931 American gothic pre-Code science fiction horror film directed by James Whale, produced by Carl Laemmle Jr., and adapted from a 1927 play by Peggy Webling, which in turn was based on Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus. The Webling play was adapted by John L. Balderston and the screenplay written by Francis Edward Faragoh and Garrett Fort, with uncredited contributions from Robert Florey and John Russell.
The Mummy is a 1932 American pre-Code supernatural horror film directed by Karl Freund. The screenplay by John L. Balderston was adapted from a treatment written by Nina Wilcox Putnam and Richard Schayer. Released by Universal Studios as a part of the Universal Monsters franchise, the film stars Boris Karloff, Zita Johann, David Manners, Edward Van Sloan and Arthur Byron.
Jack Pierce was a Hollywood make-up artist best remembered for creating the iconic makeup worn by Boris Karloff in Frankenstein (1931), along with various other classic monster make-ups for Universal Studios.
The Invisible Man is a 1933 pre-Code American science fiction horror film directed by James Whale loosely based on H. G. Wells's 1897 novel, The Invisible Man, produced by Universal Pictures, and starring Gloria Stuart, Claude Rains and William Harrigan. The film involves a stranger named Dr. Jack Griffin (Rains) who is covered in bandages and has his eyes obscured by dark glasses, the result of a secret experiment that makes him invisible, taking lodging in the village of Iping. Never leaving his quarters, the stranger demands that the staff leave him completely alone until his landlady and the villagers discover he is invisible. Griffin goes to the house of his colleague, Dr. Kemp and tells him of his plans to create a reign of terror. His fiancée Flora Cranley, the daughter of his employer Dr. Cranley, soon learn that Griffin's discovery has driven him insane, leading him to prove his superiority over other people by performing harmless pranks at first and eventually turning to murder.
Ernest Frederic Graham Thesiger, CBE was an English stage and film actor. He is noted for his performance as Doctor Septimus Pretorius in James Whale's film Bride of Frankenstein (1935).
The Black Cat is a 1934 American pre-Code horror film directed by Edgar G. Ulmer and starring Boris Karloff and Béla Lugosi. It was Universal Pictures' biggest box office hit of the year, and was the first of eight films to feature both Karloff and Lugosi. In 1941, Lugosi appeared in a comedy horror mystery film with the same title, which was also named after and ostensibly "suggested by" Edgar Allan Poe's short story.
Son of Frankenstein is a 1939 American horror film directed by Rowland V. Lee and starring Basil Rathbone, Boris Karloff and Bela Lugosi. The film is the third in Universal Pictures' Frankenstein series and is the follow-up to the 1935 film Bride of Frankenstein. Son of Frankenstein stars Rathbone as Baron Wolf von Frankenstein who, with his wife Elsa and son Peter, returns to his late father's estate. Near the castle lives Ygor, a crazed blacksmith whose neck was broken in an unsuccessful hanging attempt. Among the castle's remains, Frankenstein discovers the remains of the Monster and decides to try to save his family name by resurrecting the creature to prove his father was correct. He finds, however, the Monster only responds to Ygor's commands.
Boris Karloff (1887–1969) was an English actor. He became known for his role as Frankenstein's monster in the 1931 Frankenstein, leading to a long career in film, radio, and television.
House of Frankenstein is a 1944 American horror film starring Boris Karloff, Lon Chaney Jr. and John Carradine. It was directed by Erle C. Kenton and produced by Universal Pictures. Based on Curt Siodmak's story "The Devil's Brood", the film is about Dr. Gustav Niemann, who escapes from prison and promises to create a new body for his assistant Daniel. Over the course of the film, they encounter Count Dracula, the Wolf Man and Frankenstein's monster. The film is a sequel to Frankenstein Meets the Wolf Man (1943).
The Raven is a 1935 American horror film directed by Louis Friedlander and starring Boris Karloff and Béla Lugosi. Billed as having been "suggested by" Edgar Allan Poe's 1845 poem of the same title, excerpts of which are quoted at a few points in the film, it was adapted from an original screenplay by David Boehm. Lugosi stars as a neurosurgeon obsessed with Poe who has a torture chamber in his basement, and Karloff plays an escaped murderer on the run from the police who Lugosi manipulates into doing his dirty work.
Benn Wolfe Levy was a Labour Party Member of Parliament in the House of Commons (1945–1950), and a successful playwright. He was educated at Repton School and University College, Oxford and served in uniform in both World Wars.
Lilian Bond was an English-American actress based in the United States.
The Old Dark House is a 1963 comedy horror film directed by William Castle. A remake of Universal's 1932 film of the same name directed by James Whale, the film is based on the 1927 novel by J. B. Priestley originally published under the name Benighted, and the new screenplay was written by Robert Dillon. The opening title art was drawn by legendary macabre cartoonist Charles Addams, whose signature is painted by a hairy hand.
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Curse of the Crimson Altar is a 1968 British horror film directed by Vernon Sewell and starring Christopher Lee, Boris Karloff, Barbara Steele and Mark Eden. The film was produced by Louis M. Heyward for Tigon British Film Productions. The screenplay, by Doctor Who writers Mervyn Haisman and Henry Lincoln, was based (uncredited) on the short story "The Dreams in the Witch House" by H. P. Lovecraft. This film also featured the final British film appearance of Karloff.
Brember Wills (1883–1948) was an early 20th Century English theatre and film actor.
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