Amongst the Laemmle Era Universal horror films perhaps the most polarizing is The Old Dark House released in 1932. Unseen for decades and once believed lost it has since been remastered and available for viewing in pristine form. It is significant because it marks the first time Boris Karloff received top billing in a motion picture and represents James Whale's brand of irreverent humor and social criticism run amok. The film is unquestionably an acquired taste and lacks the mass appeal of the director's other three "horror" movies.
The Old Dark House contains no discernible plot and basically revolves around a group of travelers forced to seek shelter from a violent storm in the creepy house of the Femms. The outsiders include Philip and Margaret Waverton (Raymond Massey and Gloria Stuart), Roger Penderel (Melvyn Douglas), Sir William Porterhouse (Charles Laughton) and Gladys DuCane (Lilian Bond). The Femm household initially consists of siblings Horace and Rebecca (Ernest Thesiger and Eva Moore) and their massive, mute manservant Morgan (Karloff) but hidden away is their bedridden 102 year old father Roderick (Elspeth Dudgeon) and psychotic brother Saul (Brember Wells). As the night progresses the refuge becomes a more and more dangerous place to be . . .
Folks who are familiar with the life of James Whale will best understand what a personal work this picture is. He loved to mock the wealthy, was scathing in his disdain for class prejudice, and thumbed his nose at the hypocrisy of conventional society by providing a subtext of homosexuality. Furthermore much of the subtle satire and deadpan humor contained within this narrative is distinctly British and will likely be lost on American audiences. However, if one is fully in tune with this conception they will likely enjoy the film's 72 minutes.
Technically The Old Dark House is a wonderful cinematic experience with fluid camerawork, interestingly framed shots, exceptional use of ambient sound, and a pervading sense of decay within the title abode. Furthermore Whale makes fantastic use of shadows, clutching hands coming in from the corners of the frame, and billowing curtains. As with Frankenstein he eschews a musical score for howling winds, pounding rain, and Universal thunder claps which add so much to the eeriness of the piece.
Whale stocks his cast with mostly British players (Gloria Stuart and Melvyn Douglas are the only Americans); many of whom contribute offbeat performances. They're not all necessarily good but they will stick in your memory. Melvyn Douglas is the lead character out of the ensemble and delivers a competent, solid performance. Philip Waverton is comparatively bland and Raymond Massey gets lost in the shuffle amongst his more flamboyant costars. Gloria Stuart, while most fetching in her skimpy evening dress, is equally most tiresome with her frequent whining, screaming, and hysteria. Charles Laughton makes his American film debut by blowing through the front door blustering more than the storm that forces him to seek shelter. Fortunately after his obnoxious entrance he settles down to deliver a heartfelt rendition of a man who, despite the outward appearance of success, reveals himself to be so much more. Accompanying him is the vivacious Lillian Bond who is a gale of fresh air combating the mustiness surrounding her and one of the joys of the film.
The true dramatic weight and enduring bizarro legacy of The Old Dark House comes from the enactors of the Femm household. Whale favorite Ernest Thesiger has a ball with the prissy Horace, a campy neurotic who is skeletal in appearance and yet somehow the most normal of the family. As his fanatically religious sister Eva Moore contributes plenty of guffaws and a few chills as a woman who is "quite deaf" and has no filter from her brain to her mouth. The third sibling, the mysterious Saul, is memorably portrayed by Brember Wells and the one most likely to give nightmares. He first appears as a cowering, mousy old man who slowly morphs into a fearsome, cackling lunatic bent on destruction.
Which brings me to Karloff as Morgan. Despite top billing and a ferocious publicity buildup this is the runt of his character litter from the Laemmle Era. Boris is certainly physically menacing and his drunken, unholy lust for Miss Stuart contributes to a particularly horrific attempted rape scene. The issue is the role exists as a one-dimensional thug who contributes minimally to the story. Morgan does have one moment of pathos wherein he tearfully cradles the broken body of Saul at the climax but since there is no explanation given for this attachment between the characters we are left wondering "What was that all about?" Further compromising Karloff's portrayal is having his grunts unnecessarily dubbed by another performer.
Personally, The Old Dark House is not among my favorites. Perhaps it is the lingering disappointment I initially felt after finally watching it following decades of anticipation; repeated viewings over the years has not enhanced my opinion. I thoroughly enjoy James Whale's other three "horror" classics and derive great pleasure from his brand of gallows humor but for me this film remains one of the few misfires from that golden era. However, there is much to recommend for fans: a great cast, a director at the top of his game, and the original "creepy house" story whose tropes spawned so many imitators.
The Old Dark House contains no discernible plot and basically revolves around a group of travelers forced to seek shelter from a violent storm in the creepy house of the Femms. The outsiders include Philip and Margaret Waverton (Raymond Massey and Gloria Stuart), Roger Penderel (Melvyn Douglas), Sir William Porterhouse (Charles Laughton) and Gladys DuCane (Lilian Bond). The Femm household initially consists of siblings Horace and Rebecca (Ernest Thesiger and Eva Moore) and their massive, mute manservant Morgan (Karloff) but hidden away is their bedridden 102 year old father Roderick (Elspeth Dudgeon) and psychotic brother Saul (Brember Wells). As the night progresses the refuge becomes a more and more dangerous place to be . . .
Folks who are familiar with the life of James Whale will best understand what a personal work this picture is. He loved to mock the wealthy, was scathing in his disdain for class prejudice, and thumbed his nose at the hypocrisy of conventional society by providing a subtext of homosexuality. Furthermore much of the subtle satire and deadpan humor contained within this narrative is distinctly British and will likely be lost on American audiences. However, if one is fully in tune with this conception they will likely enjoy the film's 72 minutes.
Technically The Old Dark House is a wonderful cinematic experience with fluid camerawork, interestingly framed shots, exceptional use of ambient sound, and a pervading sense of decay within the title abode. Furthermore Whale makes fantastic use of shadows, clutching hands coming in from the corners of the frame, and billowing curtains. As with Frankenstein he eschews a musical score for howling winds, pounding rain, and Universal thunder claps which add so much to the eeriness of the piece.
Whale stocks his cast with mostly British players (Gloria Stuart and Melvyn Douglas are the only Americans); many of whom contribute offbeat performances. They're not all necessarily good but they will stick in your memory. Melvyn Douglas is the lead character out of the ensemble and delivers a competent, solid performance. Philip Waverton is comparatively bland and Raymond Massey gets lost in the shuffle amongst his more flamboyant costars. Gloria Stuart, while most fetching in her skimpy evening dress, is equally most tiresome with her frequent whining, screaming, and hysteria. Charles Laughton makes his American film debut by blowing through the front door blustering more than the storm that forces him to seek shelter. Fortunately after his obnoxious entrance he settles down to deliver a heartfelt rendition of a man who, despite the outward appearance of success, reveals himself to be so much more. Accompanying him is the vivacious Lillian Bond who is a gale of fresh air combating the mustiness surrounding her and one of the joys of the film.
The true dramatic weight and enduring bizarro legacy of The Old Dark House comes from the enactors of the Femm household. Whale favorite Ernest Thesiger has a ball with the prissy Horace, a campy neurotic who is skeletal in appearance and yet somehow the most normal of the family. As his fanatically religious sister Eva Moore contributes plenty of guffaws and a few chills as a woman who is "quite deaf" and has no filter from her brain to her mouth. The third sibling, the mysterious Saul, is memorably portrayed by Brember Wells and the one most likely to give nightmares. He first appears as a cowering, mousy old man who slowly morphs into a fearsome, cackling lunatic bent on destruction.
Which brings me to Karloff as Morgan. Despite top billing and a ferocious publicity buildup this is the runt of his character litter from the Laemmle Era. Boris is certainly physically menacing and his drunken, unholy lust for Miss Stuart contributes to a particularly horrific attempted rape scene. The issue is the role exists as a one-dimensional thug who contributes minimally to the story. Morgan does have one moment of pathos wherein he tearfully cradles the broken body of Saul at the climax but since there is no explanation given for this attachment between the characters we are left wondering "What was that all about?" Further compromising Karloff's portrayal is having his grunts unnecessarily dubbed by another performer.
Personally, The Old Dark House is not among my favorites. Perhaps it is the lingering disappointment I initially felt after finally watching it following decades of anticipation; repeated viewings over the years has not enhanced my opinion. I thoroughly enjoy James Whale's other three "horror" classics and derive great pleasure from his brand of gallows humor but for me this film remains one of the few misfires from that golden era. However, there is much to recommend for fans: a great cast, a director at the top of his game, and the original "creepy house" story whose tropes spawned so many imitators.