Norman Lee takes W. W. Jacobs' classic short story and transforms it into a second feature.
One of the strengths of the short story is that it is a short story; there is no fat on it, leaving the reader to put the real horror into the story: the failure of the first wish; the hint at what it is knocking, unseen, at the door; the tragic necessity of the third wish. It all takes place in the reader's imagination, the elaborations of what the reader thinks is terrifying. Instead, in order to bring this to an hour's length, there is effectively, a forty-minute prologue; first we are introduced to a seller of curios. Then we see various wares; then the monkey's paw, and finally, the story. Lee paces it very well, and adds a platitudinous epilogue, but the story, although still interesting, is weakened. With Milton Rosmer, Megs Jenkins, and a lot of art direction by Victor Hembrow and George Ward.
One of the strengths of the short story is that it is a short story; there is no fat on it, leaving the reader to put the real horror into the story: the failure of the first wish; the hint at what it is knocking, unseen, at the door; the tragic necessity of the third wish. It all takes place in the reader's imagination, the elaborations of what the reader thinks is terrifying. Instead, in order to bring this to an hour's length, there is effectively, a forty-minute prologue; first we are introduced to a seller of curios. Then we see various wares; then the monkey's paw, and finally, the story. Lee paces it very well, and adds a platitudinous epilogue, but the story, although still interesting, is weakened. With Milton Rosmer, Megs Jenkins, and a lot of art direction by Victor Hembrow and George Ward.