The Cat and the Canary (1927)

Review #1914: The Cat and the Canary.

Cast: 

Laura La Plante (Annabelle West), Creighton Hale (Paul Jones), Forrest Stanley (Charles Wilder), Tully Marshall (Roger Crosby), Gertrude Astor (Cecily), Flora Finch (Susan), Arthur Edmund Carewe (Harry), Martha Mattox (Mammy Pleasant, housekeeper), George Siegmann (the Guard), and Lucien Littlefield (Dr. Ira Lazar) Directed by Paul Leni (#863 - Waxworks and #999 - The Man Who Laughs)

Review: 

When it comes to the haunted house movie, you can't go wrong with The Cat and the Canary, even if it wasn't the first to really come out. There were quite a few films with a killer going around a house, such as Cecil B. Demille & Oscar Apfel's The Ghost Breaker (1914), its 1922 remake by Alfred E. Green, D. W. Griffith's One Exciting Night (1922), along with Roland West's The Monster (1925) and The Bat (1926), for example. It would continue in further years, with West remaking his film in 1930 as The Bat Whispers, and James Whale directed The Old Dark House (1932). But some films last longer in the public consciousness than others, as is the case with a film like this. The movie was adapted from the 1922 play of the same name that had been written by John Willard to noted success on Broadway. The screenplay was written by Alfred A. Cohn and Walter Anthony, while the story was done by Alfred A. Cohn and Robert F. Hill. This was the first of five adaptations: Universal did both an English and Spanish version in 1930 (The Cat Creeps and La Voluntad del muerto, respectively), which are both lost. A 1939 film was done with more comedy involving Bob Hope and Paulette Goddard, while the next (and last) adaptation was done in 1979 for British audiences. It was the first of four American films directed by German director Paul Leni, the German Expressionist director that went from avant-garde painting to set designer to work in film by the 1910s. He moved to America at the invitation of Carl Laemmle at Universal Studios, as part of a wave of people from Europe coming to America for films (like Fritz Lang, for example). The Last Warning (1928), his final film, was presented as a companion film to The Cat and the Canary, as it also stars La Plante (it was released in both part-sound and silent, but the latter survives), albeit more as a mystery than comedy-horror. Leni would not live long to direct many films in America, dying of a sepsis from a tooth infection in 1929 at the age of 44.

So yes, we have a story about a creepy house filled with folks hearing about a will from a man 20 years dead. The only thing standing in the way of riches for one is to just not be declared insane but sliding panels and a fiend called "The Cat" threaten the whole affair. So yes, the suspense is balanced with comic relief, because this was the time for that kind of movie where horror can't be given to you full throttle, and the final twist is about what you might expect. However, it is the presentation that matters most, and that is where Leni shines. He utilized all of the tricks one would hope for in terms of establishing quality atmosphere, whether that involves shadows, superimpositions, gliding camera shots, or its lively title cards. The scene with a person walking in the hallway with a candle in hard while curtains blow is certainly a highlight when it comes to striking effect, alongside the opening sequence when it comes to saying "a man is trapped like a canary". So yes, the movie is a causal ride of spooky terror that fits far better than a movie without as much subtlety, because, well, things in 1927 can still play well in 2022. La Plante was a key presence for a number of Universal Pictures in the pre-sound era, and she does pretty well for not having too much to really do besides having things happen to them rather than with them. So yes, it's not too hard to be on her side when it comes the towering threat of spooked either by weirdo eccentrics or visitors. The other castmates are mostly there for relief without pandering to bad jokes, which works in favor for Hale in goofy charm that compliments La Plante pretty well or with the familiar face in Marshall. The others bumble in all the right ways without leaving an obvious clue to what could happen next. Yes, you have a good idea where things could go in its 82-minute runtime by about the halfway point, but it still is weird and engaging enough regardless of that fact. As a whole, it is a solidly dignified bit of horror worth a look for its era, being unsettling while having a solid atmosphere that makes everything work out just right.

Overall, I give it 8 out of 10 stars.

Well, we have had a quality month of horror. But you know the turn to November means it ain't over yet. As with the case with 2019, 2020, and 2021...it is time for Halloween: The Week After 4.0. That is correct, a number of horror reviews from November 1 to November 7, basically comprised of movies that deserved to be covered in October but are now present in November for all to enjoy. This time, I will be generous and tell you what is coming next because I like you very much.

Next film up is Exorcist II: The Heretic. Shit.

The Man Who Laughs (1928).

Review #999: The Man Who Laughs.

Cast: 
Mary Philbin (Dea), Conrad Veidt (Gwynplaine / Lord Clancharlie), Brandon Hurst (Barkilphedro), Olga Baclanova (Duchess Josiana), Cesare Gravina (Ursus), Stuart Holmes (Lord Dirry-Moir), Samuel de Grasse (King James II Stuart), George Siegmann (Dr. Hardquanonne), and Josephine Crowell (Queen Anne Stuart) Directed by Paul Leni (#863 - Waxworks)

Review: 
I figured that it would be fitting to do a silent film for the 999th review, with this being the 62nd of its type covered on Movie Night. You may notice that the square right next to the title card is in a few colors like pink, grey and black. These colors were utilized for the 99th review (Mutiny on the Bounty), albeit with a bit more stylizing this time around. Enjoy this review.

This was adapted from Victor Hugo's 1869 novel of the same name. The novel had one previous adaptation in 1921 named The Grinning Face, made in Austria. Universal had previously adapted Hugo's The Hunchback of Notre Dame (#850) back in 1923, and the intent was to have Chaney star in the title role after the success of that film, although issues to the rights of the novel meant that Chaney would be released from doing this film in favor of The Phantom of the Opera (#774). After that film's release, producer Carl Laemmle decided to try and make this as his next attempt at Gothic success, with Veidt picked to play the title role. Leni, who had recently moved to Hollywood after having been invited by Laemmele, was selected as director. Both choices prove to be fairly crucial in why this film works as well as it does; Leni uses his lighting and sets to fine effect, as one might expect from a German Expressionist such as him. Veidt wears a makeup device that made his mouth swollen while being supplied disturbing teeth, which contributes to the look of his character. While it is a great effect, it takes a good actor to help convey numerous emotions with only his eyes, and Veidt stands up to the challenge quite well. The appearance of Veidt proved to be the visual inspiration for the comic book villain the Joker, appearing in comics over a decade later. Philbin, playing a role not too different from her role from Phantom of the Opera (in which she played opposite Chaney), does a decent job, given that she is playing a blind person.

This film is sometimes counted as one of the films of the Universal Monsters series, and while it isn't much of a horror film, there is a fair amount of gloom within its tone to make a case for it, although it also has elements of romance and swashbuckling action. Yes, it has a climax with excitement, but the scenes that precede it also can be sad, such as when Veidt's character is shown in a freak show, or when he is being propositioned by Baklanova's character. The scene at the House of Lords proves to a moving and effective scene in part because of Vedit and his mannerisms towards the others. Though this is a silent movie, it was (on re-release) shown with sound effects, a synchronized score, and even a theme song (named "When Love Comes Stealing"). The sounds we get to hear are of laughter during the freak show, which is certainly a startling (and satisfying) effect, and the theme is fairly passable as well. As a whole, this is an efficient movie that satisfies on numerous levels while being fairly paced well at 110 minutes. It might not be the horror film that you might expect from seeing Veidt's appearance on screen, but it is a satisfying romance drama (with a bit of horror) with enough competence and style to make a top-notch effort.

Well. Here we are at end of review nine hundred ninty-nine. 
You are likely wondering what is next for the one thousandth review, so I'll tell you...

...tomorrow night, when the review is actually up. I'm not trying to hype the review, but I figure it makes sense to let you all wonder a bit and enjoy. 

Overall, I give it 9 out of 10 stars.

Waxworks.

Review #863: Waxworks.

Cast:
Emil Jannings (Harun al-Rashid), Conrad Veidt (Ivan the Terrible), Werner Krauss (Jack the Ripper / Spring-Heeled Jack), William Dieterle (The Poet / Assad the Baker / A Russian Prince), John Gottowt (Inhaber der Panoptikums), Olga Belajeff (Eva-Maimune-Eine Bojarin) Directed by Paul Leni and Leo Birinsky.

Review:
Waxworks (known as Das Wachsfigurenkabinett in Germany) is an anthology film, with some fantasy and horror elements (yes, this another German "world cinema" film on Movie Night. Do not worry, other countries will get their due all in good time). Two main stories (Harun al-Rashid, Ivan the Terrible) and a closing one (Jack the Ripper/Spring-heeled Jack) are conveyed to us (with the framing piece being that the Poet must come up with backstories for the two wax figures), with Dieterle being in all three parts. The sets and costumes for the two main stories are spectacular, with fine cinematography work by Helmar Lerski. There is also a bit of neat color tinting as well. The first segment is pretty good, with a nice performance from Jannings that brings out some nice humor. It's the longer segment (by a few minutes), but it doesn't overstay its welcome too much. The second segment is also pretty interesting, with Veidt playing this villainous kind of role with a bit of lunacy that later turns into desperation, with the scene of him trying to reverse the hourglass being quite frantic, with his fate at the end being quite poetic. The final piece to close out the film is brief (around six minutes), but it is serviceable, even if it ends a bit like you'd expect (who could've dreamed that one up, I wonder), for the 20's anyway. Obviously it isn't likely realistic with world history facts, but there is a curiosity that the movie inspires within itself. Krauss does fairly well as the last villainous character. On the whole, this is a fine piece of work, weaving some enjoyable stories together with a good sense of style and flair for the time.

Overall, I give it 8 out of 10 stars.