A Scotsman abruptly breaks off his engagement to pretty Kitty and moves to his uncle's castle in the Scottish highlands. Kitty and her aunt follow Gerald a few weeks later, and discover he ... See full summary »
Yet another version of Curt Siodmak's novel about an honest scientist who keeps the brain of a ruthless dead millionaire (Donovan) alive in a tank. Donovan manages to impose his powerful ... See full summary »
After a drunken binge on the San Pablo waterfront, longshoreman Bobo fears he may have killed a man. In his uncertainty, he takes a job on an isolated bait barge. That night, he rescues ... See full summary »
Julia Ross secures employment, through a rather-noisy employment agency, with a wealthy widow, Mrs. Hughes, and goes to live at her house. Two days later, she awakens in a different house ... See full summary »
Joseph H. Lewis
Dame May Whitty,
A Scotsman abruptly breaks off his engagement to pretty Kitty and moves to his uncle's castle in the Scottish highlands. Kitty and her aunt follow Gerald a few weeks later, and discover he has suddenly aged. Some mysterious things happen in a maze made from the hedges adjoining the castle. Written by
Marty McKee <email@example.com>
This was to be the second 3-D film designed and directed by William Cameron Menzies. Contrary to some opinion, there is no evidence to substantiate that his previous film, Invaders from Mars (1953), was designed nor planned for for 3-D, and certainly was not shot in this process. Menzies, who was known as a director with a very "dimensional" style (eg. many shots are focused in layers), only directed one other 3-D film previous to this: "Fun in the Sun," a short that was shot for the aborted Sol Lesser production, "The 3-D Follies". This would be his final film as production designer and director. See more »
Kitty and Edith's rooms in the castle have their windows blocked with stone. That is shown in a shot of Kitty's room the night they arrived. The only light sources are candles and the fireplaces. Yet, in the morning, both bedrooms are bathed in light as if the sun were streaming in through these blocked windows. See more »
The next-in-line to a Scottish heirloom, which is shrouded in mystery, suddenly breaks off his engagement to an American girl; inevitably, but against the baronet's better judgment, she turns up at the forbidding estate to investigate. Distinguished production designer-turned-director William Cameron Menzies (much like his later British counterpart Robert Fuest)'s most notable efforts in the latter capacity were in the Fantasy genre: this is the fourth and least of them and would also prove to be the last theatrical feature he ever helmed. Actually, it is not that hard to see why, since what we have here is more folly than fable even if the film's overpowering atmosphere (filmed in 3-D) somehow renders the undeniably ludicrous plot compulsive. The cast (including Richard Carlson, Michael Pate and an unrecognizable Lillian Bond from 1932's THE OLD DARK HOUSE) is not insignificant, but they have fairly little of interest to do or say: the intruding castle visitors do nothing except prowl its sinister corridors aimlessly at night and feign illness the morning after to extend their stay there! There are a couple of intriguing incidents to be sure: the women finding troubled Carlson has gone grey-haired in a matter of months since they had last seen him and once chancing upon a mysterious nightly procession but, clearly, the film-makers believe that the unique revelation at the end is enough of an ace up their sleeve to bother making anything of them when these occur!
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