I don't have all the words right now but this film is a work of art.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

We were stuck for something to watch last night and we chose this 'hilarious comedy' to pass a couple of hours. We usually delight in watching bad films, but this one took us to our limits really. Frankie Howerd can be very funny left to his own devices, but here he is stuck with a script with weak jokes and a very thin story. Ray Milland has never been our cup of tea, but here he puts on a good show, seemingly resigned to the fact that his career was over anyway. Several notches less entertaining than 'Up Pompei!', it ground its way through our evening and we were quite relieved when it finished.

How much you enjoy this film depends on how much you like Frankie Howerd, the silly comedian famous for his roles in UP POMPEII and the CARRY ON series. If you hate him, then deduct a star from the rating. If you're a great fan of his, then add on a star. Although most of the film largely hinges around Howerd's character, there is also much more to savour. The plot is essentially that of a haunted house mystery, and digs up all the old clichés of moving statues of armour and the like. The bickering family, murderous over a will, is also an old chestnut and it's safe to say that there aren't many chills (apart from the mad old woman at the end taking her veil off) or surprises to be had when watching this contrived film.However the costumes and scenery, including the authentic Victorian house, are very nice to look at, and there is also a good ensemble cast, the acting honours going to Hugh Burden as Reginald, whose trademark catchphrase "swine" manages to be repeatedly funny, and Ray Milland as a seemingly polite but inherently psychotic host. With a good, spooky score to keep things moving along, a lively screenplay by Terry Nation (DR WHO) and above-average direction by Peter Sykes (TO THE DEVIL A DAUGHTER), THE HOUSE IN NIGHTMARE PARK is an atmospheric piece which sufficiently retains the viewer's interest to the very end. However, comedy also plays a main part in the film, and while being variable at times (including some sniggering humour about breasts), it's rather good, but I may be biased in saying this.There are two scenes which stand out in sheer hilarity terms, the first being the dinner table scene where Howerd is unable to get any breakfast, and the second being the 'dance of the dolls', where three respected actors dress up in white makeup and pretend to be mannequins. It's certainly something you won't see anywhere else. Frankie Howerd is immensely likable in the central role, but whether you find his jokes funny or not, well that's up to you. Let's just say they're of the usual variety and he essentially plays himself. I found that while there weren't many laugh-out-loud moments there were certainly lots of smiling, knowing humour, including a blatant reference to PSYCHO. THE HOUSE IN NIGHTMARE PARK, hampered by a clichéd, average plot, nevertheless turns out to be a fairly enjoyable hour and a half of thrills and chills.

Frankie Howerd had a successful but oddly variable career. A big name comedian/comedic actor from the '50's to the '70s then a decline. His career though ended on a triumphal high as a national treasure in the 1990s when a new and discerning audience showed their appreciation for his unique comic talents, the last in a line which extended back to the high traditions of the Victorian Music Hall. For those who appreciate Frankie Howard, this film was never equalled. Somehow the script, the direction and the other players combined to give him the best of platforms for his talents. And even the respected supporting players, playing their typical roles, were at their very best: Hugh Burden the blustering ex-soldier, Rosalie Crutchley of the dark, forbidding look (I received a warmer version once) even John Bennett. All were at the top of their games and allowed space to individually shine.The presence of a real Hollywood star is often a bolt-on affair, done to get entry into the American market, the rest of the cast crushingly obligated to flatter the star's ego. Here though the great Ray Milland positions himself almost as a supporting player, amused, tongue-in-cheek, observing others fully blossom. The final blessing was a script which had Frankie Howerd as a rather hammy actor who made a living out of Dickens readings. It gave him the perfect platform for his considerable talents.I had never seen the film before, seemingly its only airing on the most obscure of British satellite channels. But these channels have become the only place where excellent British films that would otherwise disappear without trace, their very existence unsuspected, can be seen. Our self-regarding public service broadcasters for some reason serve up a mixture of 30% Westerns, 20% war films, 20% endlessly repeated famous old British classics and modern British clone violent heist films - all in continuous loop. Wit, charm and talent are rare. The best of British post '60s even to as recent as 2011 meanwhile is reduced to appearing on obscure channels looking to fill their schedules as cheaply but as interestingly as possible. It is as if the best of British film have been condemned only to be found in the manner of remaindered books in a high street bargain book shop. By an odd coincidence where some of the best books are to found.

I have seen this film, or movie if you prefer, on a couple of occasions and found it very entertaining.Critics of the film have over the years said it would have been so much better with Bob Hope in the lead role, but this is surely the kind of role that Hope, albeit very effectively, played to excess through his career? so its nice to see another actor have a stab at a 'Hope-esque' role.Howerd breezes through the film delivering his lines with a 'poker' face, as only he could, and seems to be rather enjoying the experience. I would say that this is one of his more engaging performances.Some scenes are superbly weird, especially the family's 'living marionette' act, at the end of which Howerd asks in his memorable diction "I wonder what they do for an encore?" Watching this film is a very passable way of spending a couple of hours!