When dealing with films from the early
1930s, even classics, what you get is a crap-shoot. It was a time
when the art of film making was still in its infancy, and it varied
from director to director just how well the process was actually
understood. Many films were shot in ways that just seemed slightly
off, and the editing was often sloppy. A great example of an
otherwise good film marred by this is The Black Cat, which was
little more than a filmed stage play.
On the flip side, there were films that
seemed well ahead of their time. Most of the classic Universal
Monster films fall into this category, with Dracula, Frankenstein,
and The Mummy showing visual skills equivalent to movies
that came out at least two decades later. These are probably the
films we’re most likely to see today.
The Old Dark House seems like a
strange hybrid of these, giving it a possibly unintentional surreal
feel that makes it truly terrifying to behold. I don’t want to
discount the possibility that the film itself may have deteriorated
with time. Either way, it’s the film I watched that I have to
review, and the poor sound quality and odd lighting, in a film that’s
otherwise competently shot and edited, works perfectly to create
fear.
The movie is set off when a couple,
Phillip and Margaret Waverton (Raymond Massey and Gloria Stuart), and
a veteran traveling with them named Penderel (Melvyn Douglas), are
forced by a storm to take shelter in a large house. I’m not
entirely sure why Mr. Penderel was with them, as he doesn’t seem
especially familiar with them. My best guess is he was supposed to
be a hitch-hiker. I’m not sure what to make of him
personality-wise either, as the opening scene makes him out to be
somewhat shell-shocked, using humor to cover it up, while the
remainder of the movie portrays him as quite suave.
The house is home to the Femm family,
and they’re “greeted” by elderly siblings Horace and Rebecca
(Ernest Thesiger and Eva Moore). Their interactions are truly
hilarious. Rebecca is an old nag with selective hearing who keeps
repeating the same things over and over again, while Horace is an
utter coward. They’re served by a hulking mute named Morgan,
(Boris Karloff, going through a period of his career when he was
briefly type-cast as hulking mutes).
During dinner, the guests are joined by
Sir William Porterhouse (Charles Laughton) and his “friend”
Gladys (Lillian Bond). Honestly, these characters deserve a film to
themselves. This was among the last of the pre-code films, and they
likely would have been presented as much more villainous if the movie
had been made a few years later.
Sir William comes from a humble
background, but his wife passed away after being jilted by members of
High Society. Sir William pledged to become rich solely to gain the
money and power needed to ruin the people he blamed for his wife’s
death, and for the most part has succeeded. We’re told quite
openly that Gladys is a showgirl, and the two have no shame about
their casual relationship. She, while fond of him, wants his money,
and he simply wants her for momentary affection. When she finds
herself falling in love with Penderel, he has no objection, although
he thinks she’s “mad” for falling in love with a penniless man.
During the storm, Morgan becomes drunk
and frees the third Femm sibling, Saul (Brember Wills), who had been
locked in the attic due to his pyromania. There’s a very strong
build-up to Saul, with appropriate tension as the characters scramble
around in utter fear. The character himself is quite affable. I’m
not entirely sure if it’s an act, or if his madness is compulsion
rather than malice. I prefer to think the latter, as it makes the
story far more tragic. He claims that Morgan beats him, and that his
siblings killed a fourth child, Rachael, and locked him away to
conceal the truth. I wouldn’t put any of this past them.
The movie ends, predictably enough,
with Saul setting fire to the house, but he’s stopped with
surprising efficiency. Morgan seems to sober up enough to sadly
cradle Saul’s body and carry it up the stairs. Whether Saul dies,
or is simply knocked unconscious, is left ambiguous. If he does die,
he’s the only casualty of the film, which either way has an
amazingly low body-count by modern standards. It’s awe-inspiring
just how much tension they can get without a single death.
This movie is tense, and definitely
worth the hour and twelve minutes. On a final note, seeing Melvyn
Douglas in this was awesome, since I had to review The Changeling
for my 100 Scariest Movie Moments reviews. Seeing the
actor still working 48 years later, just a year before his death,
creates a truly astounding contrast.
