A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
Architect Walter Craig, seeking the possibility of some work at a country farmhouse, soon finds himself once again stuck in his recurring nightmare. Dreading the end of the dream that he knows is coming, he must first listen to all the assembled guests' own bizarre tales. Written by
Doug Sederberg <firstname.lastname@example.org>
According to Stephen Bourne's 2005 book "Elisabeth Welch: Soft Lights and Sweet Music," the depiction of Elisabeth Welch's character Beulah was "a breakthrough in the portrayal of black women in films... for the first time in a film, a black woman is portrayed as independent, successful and resourceful. [Welch] played an important part in the development of the plot, and was featured in the film's billing with such eminent players as Michael Redgrave, Googie Withers, Mervyn Johns and Frederick Valk."
[Source: Elisabeth Welch: Soft Lights and Sweet Music, Stephen Bourne, Scarecrow Press, 2005] See more »
As Peter Cortland stands looking into the mirror his wife-to-be has bought him, the stripes on his tie run from his left side, down to his right. A reverse shot shows the stripes on his tie running in the same direction; obviously not a mirror image. See more »
Ah! Walter Craig?
How do you do? You're Eliot Foley.
That's right. So glad you were able to come, let's have your bag.
[takes Craig's bag]
We'll put the car away afterwards. You know it struck me after I'd telephoned you, rather a cheek on my part asking a busy architect like yourself to come down and spend the weekend with a set of complete strangers.
Not a bit.
You see we're pretty cramped for space here, we need at least two more bedrooms.
And with only one living room.
[...] See more »
I watched Dead of Night for the first and (unfortunately) for the last time on TV when I was 10 or 11 years old but I still remember it like one of most fearful experience of my life. Later, like a mature person I realized that my fear was nothing but the mirror image of geniality of this movie. The best horror ever made. Without effects, without computers, without trivial editing. Just with immense psychological sophistication. Something what good horror should always be: a kind of social and psychological criticism, story about dark side of our lives and souls. I just cannot find the words to express my respect to this monument. Dead of Night should never be forgotten. Never.
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