Just perfect...

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

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

One of the worst ways to make a cult movie is to set out to make a cult movie.

I'm surprised at having never heard of this film because it's certainly part of the genre I enjoy. To see Charles Laughton and Boris Karloff as the stars, I thought it was worth a look. Of course, it is full of formulaic stuff, with the madman Laughton carrying decades of anger after being jilted, exacting his revenge at the daughter of his adversary. He lives in a hideous mansion, full of torture devices and secrets. He is surrounded by toadies whom he mistreats, but who are beholding to him. A young man is shanghaied because he is a scoundrel. Laughton wants him to become the groom to the young woman's bride. Karloff, for some reason, is able to lurk around the castle, peeking through doors and protecting a prisoner. Of course, love will out and that throws a monkey wrench into things. There is also the classic flaw of the villain just going a bit too far in his efforts to gain vengeance. Still, there is lots of suspense and a satisfactory plot line.

Not since the barn-storming days of Tod Slaughter (and his series of gruesome, cheap shockers) has there ever been such a creepy villain as Charles Laughton's Sire de Maletroit, a madman keeping his brother (Alan Napier) prisoner and arranging a sham marriage for his niece. This lacks the mustache twirling that made Slaughter's villains such a hoot and was part of Laughton's previous similar role in "Jamaica Inn". Toss in Boris Karloff as a servant, playing both ends against the middle, and you have a plethora of mediocre attempts at chills with a finale reminiscent of 1935's "The Raven".Laughton's "Snidely Whiplash" villain (who laughs like Mutley) seems to have no monetary motivation, just jealousy over the fact that he was in love with the woman his brother married. Karloff's character must be a cat, because he gets shot and stabbed, yet manages to make it through the climax. Then, there's the perennial hero and heroine (Michael Pate and Sally Forrest), thrust together, even though she's originally in love with somebody who is never seen, and he goes from a drunken playboy to noble savior in a flash. At least Universal's famous Gothic sets got some good use, if not their stock writers's imagination.

While the movie publicity foregrounds Boris Karloff as the "sell" for this picture, it's actually Charles Laughton's vehicle more than Boris's (Boris is relegated to a supporting role as a wily henchman ready to slit throats for his master who is imprisoned by Laughton's diabolical Sire de Maletroit). But there's plenty to chew on even for Boris purists, as he has some choice moments here and there and eventually saves the day (oops! should I not have told you?). The film is full of splendid atmosphere, but may seem like fluff to contemporary audiences who can't fathom the "issue" importance of pretty Sally Forest being married off to a rogue against her wishes (you see, in those days people were wed for life). And still, the film is really about mood over material and -- in my humble opinion -- it succeeds beautifully as a lesser-known thriller of court intrigue and swashbuckling derring-do. Laughton is superlative as a sleazy nobleman whose personal hatred of his imprisoned brother drives him to make every attempt to dash the happiness of the niece in his charge. Supporting players are fine also, with the always lurid Michael Pate on hand as well as William Cottrell as Laugton's sadistic servants. Nothing supernatural here, necessarily, as one might hope from a movie combining the talents of Laughton and Karloff, but the Robert Louis Stevenson based-story doesn't disappoint from a romantic or melodramatic standpoint. Even Richard Stapley's somewhat fey hero (who doesn't seem remotely like the rogue Laughton believes him to be) can't sink this one. Whoever said it was dull obviously doesn't have much to work with in terms of an imagination. Pop some popcorn, curl up on the sofa late at night, and enjoy this period-piece. How often do we get to see Laughton cackling away in a dungeon (where he goes "to relax" as he puts it)...or Karloff as the hero...?

Good Old Boris! He always said "I'll never retire...I want to go out with greasepaint on my face and my boots on" In 1952 he was 65 years old. Charles Laughton was 53 at the time, but looked considerably older. Together their performances in this film make it worth the watch. Laughton chews the scenery a bit in places but his over the top acting make it that much more fun.Based on a Robert Louis Stevenson short story this 80+ minute film has much going for it: fist fights, carriage chases, deception and trickery, murders, and a love story thrown in for good measure.And Good Old Boris, although shot and stabbed, manages to help save the day just in the nick of time.Boris was a trouper. Watching him crawl across the damp cobblestones I was reminded that in his remaining 17 years he continued to work in films, never complaining, and often performing in grueling weather conditions where he always seemed to end up caught in the rain, lying in a puddle, or dunked in a vat of water.Watch this film for the fun of it. The plot holds together just fine and it is an enjoyable glimpse of two veteran actors who make the most of their roles.