This little known film disappeared into obscurity and without much comment after its release in 1947. It has resurfaced on British TV in recent years where it has been given several matinee showings. BBC readapted the Sheridan Le Fanu novel as "The Dark Angel" for its classic novel Christmas offering in 1987. In Peter O'Toole they found a much more striking eponymous villain than Derrick de Marney but in every other sense it is the monochrome 'forties version that gives me the stronger pleasure. How could if fail with a heroine as touchingly vulnerable as Jeans Simmons at her most enchanting. The pair that later directed her in "So Long at the Fair" must have known of "Uncle Silas" when they opened their film with a similar wondrous closeup to our first encounter with her here. I know nothing of the director Charles Frank apart from "Uncle Silas" but the hands of a talented craftsman are clearly at the helm of this atmospheric adaptation of the Victorian Gothic melodrama about a dastardly uncle's attempt to wrest an inheritance from his trusting young niece. It is a pity that Derrick de Marney's hammy performance does not resonate with a greater sense of evil, but there is compensation in his confidante, Madame de la Rougierre who, in the hands of Katrina Paxinau, is one of cinema's most sinister female monsters. I was not disappointed when the sequence that had so fascinated me as an impressionable adolescent, where the evil governess embarks with her young charge on a journey of deception, emerged as powerfully as ever after a gap of so many years. The clock chimes of Bartram Manor that conclude this episode, like the huntsman's cry of "Gone to Earth" in the Powell and Pressburger masterpiece are among my most haunting cinematic memories. I often wonder if young audiences of today find similar marvels in the films made for them.
33 Reviews
aka "The Inheritance"
blanche-24 November 2009
I saw this film years ago as "The Inheritance," and I never forgot it. When I read the description of "Uncle Silas," I thought it sounded suspiciously like "The Inheritance" - after all, did Jean Simmons go around playing one young heir after another? After seeing it again, I'm not surprised I remembered it.
"Uncle Silas" is a Gothic thriller, based on a novel by Sheridan Le Fanu, and directed by Charles Frank, who also directed "So Long at the Fair," another wonderful film. "Uncle Silas" is the story of a young heiress, Caroline Ruthyn (Simmons) who is sent to live with her uncle (Derrick De Marney) in a dark, eerie mansion after her father's death. Her father adored his brother, who was once accused of murder, and has made Carolina a ward of Silas. However, as he's dying, he tries to change this provision, but dies before he can do it. Silas, with the help of Caroline's ex-governess (Katina Paxinou) plan to get rid of Caroline, since the inheritance then passes to him.
The acting of especially DeMarney and Paxinou is fairly over the top, but I believe this was intentional on the part of the director to give it that good old scary Gothic feel. Sinister characters often aren't very subtle in Gothic books. Jean Simmons is lovely as Catherine - vulnerable, sweet, and naive, making her a perfect target of danger.
This story was remade as "The Dark Angel" back in the '80s - I remember the sets being completely overdone, a kind of Gothic version of Liberace's house. I don't remember much else, but I'm sure O'Toole was marvelous as Silas.
As others have pointed out, the British version is recommended.
"Uncle Silas" is a Gothic thriller, based on a novel by Sheridan Le Fanu, and directed by Charles Frank, who also directed "So Long at the Fair," another wonderful film. "Uncle Silas" is the story of a young heiress, Caroline Ruthyn (Simmons) who is sent to live with her uncle (Derrick De Marney) in a dark, eerie mansion after her father's death. Her father adored his brother, who was once accused of murder, and has made Carolina a ward of Silas. However, as he's dying, he tries to change this provision, but dies before he can do it. Silas, with the help of Caroline's ex-governess (Katina Paxinou) plan to get rid of Caroline, since the inheritance then passes to him.
The acting of especially DeMarney and Paxinou is fairly over the top, but I believe this was intentional on the part of the director to give it that good old scary Gothic feel. Sinister characters often aren't very subtle in Gothic books. Jean Simmons is lovely as Catherine - vulnerable, sweet, and naive, making her a perfect target of danger.
This story was remade as "The Dark Angel" back in the '80s - I remember the sets being completely overdone, a kind of Gothic version of Liberace's house. I don't remember much else, but I'm sure O'Toole was marvelous as Silas.
As others have pointed out, the British version is recommended.
A good potboiler, but a little short of greatness
MissSimonetta22 July 2020
UNCLE SILAS (called THE INHERITANCE upon initial release in the United States) fits well into the 1940s cycle of British adaptations of classic Victorian literature. Think David Lean's Dickens movies or the Alaistair Sims A CHRISTMAS CAROL, films which use gorgeous black and white photography and a blend of realism and melodrama to bring these gothic worlds to life.
Of course, UNCLE SILAS hasn't the literary pedigree of a Dickens' work: it is quite a sensational narrative, as close to the first-wave of gothic novels from the 18th century as Victorian gothic literature gets. For the trouble of being pretty and expecting a fortune when she comes of age, the heroine Caroline is threatened by a series of sinister forces connected with her Uncle Silas, a former rake and current drug addict who needs money badly to pay off his debts. He initially tries to get her to marry his lecherous son, but when Caroline makes it loud and clear that she won't do so, his methods turn ever more cruel and murderous.
UNCLE SILAS nails the gothic mood perfectly, showing the decay of Caroline's sunny adolescence as she loses her father and falls into the hands of evil. There is a wonderful symmetry in this progression-- the film begins with a close-up of the wide-eyed Caroline and ends with a similar close-up, now emphasizing her lost innocence after barely surviving the events of the film. Jean Simmons makes the perfect gothic heroine: beautiful, spunky, and virtuous, all without coming off as cloying or too dumb to live, a rare feat for this sort of story. The music is dramatic and spooky.
So why isn't the film the equal of, say, Lean's GREAT EXPECTATIONS or OLIVER TWIST? Mainly, it has to do with two things: pacing and the villains. I love a good slow burn, especially in creepy fare, but some of the middle section of UNCLE SILAS is too slow for its own good, probably because a few of these scenes lack the sinister presence of the forces pursuing Caroline and her money.
Secondly, the villains of the story are an uneven bunch. The sexually aggressive son and the ghastly governess are both slightly comical in presentation, but manage some level of menace when terrorizing Caroline. The son makes it clear he could physically overpower Caroline without a problem and what his intentions are for her, and the governess has a garish, harsh appearance and witch-like personality which would not feel out of place in a child's nightmare. Unfortunately, Uncle Silas himself is not scary at all. He is at times enjoyably camp and I'll never say no to a good ham-fest, but he's never truly frightening, often acting more like a whiny cartoon villain than the decadent, ruthless beast he is supposed to be.
I think the inconsistent sense of dread and menace is what brings UNCLE SILAS down a few pegs. It's still a good movie and one I would recommend to other classic film fans though, as its virtues outweigh its shortcomings.
Of course, UNCLE SILAS hasn't the literary pedigree of a Dickens' work: it is quite a sensational narrative, as close to the first-wave of gothic novels from the 18th century as Victorian gothic literature gets. For the trouble of being pretty and expecting a fortune when she comes of age, the heroine Caroline is threatened by a series of sinister forces connected with her Uncle Silas, a former rake and current drug addict who needs money badly to pay off his debts. He initially tries to get her to marry his lecherous son, but when Caroline makes it loud and clear that she won't do so, his methods turn ever more cruel and murderous.
UNCLE SILAS nails the gothic mood perfectly, showing the decay of Caroline's sunny adolescence as she loses her father and falls into the hands of evil. There is a wonderful symmetry in this progression-- the film begins with a close-up of the wide-eyed Caroline and ends with a similar close-up, now emphasizing her lost innocence after barely surviving the events of the film. Jean Simmons makes the perfect gothic heroine: beautiful, spunky, and virtuous, all without coming off as cloying or too dumb to live, a rare feat for this sort of story. The music is dramatic and spooky.
So why isn't the film the equal of, say, Lean's GREAT EXPECTATIONS or OLIVER TWIST? Mainly, it has to do with two things: pacing and the villains. I love a good slow burn, especially in creepy fare, but some of the middle section of UNCLE SILAS is too slow for its own good, probably because a few of these scenes lack the sinister presence of the forces pursuing Caroline and her money.
Secondly, the villains of the story are an uneven bunch. The sexually aggressive son and the ghastly governess are both slightly comical in presentation, but manage some level of menace when terrorizing Caroline. The son makes it clear he could physically overpower Caroline without a problem and what his intentions are for her, and the governess has a garish, harsh appearance and witch-like personality which would not feel out of place in a child's nightmare. Unfortunately, Uncle Silas himself is not scary at all. He is at times enjoyably camp and I'll never say no to a good ham-fest, but he's never truly frightening, often acting more like a whiny cartoon villain than the decadent, ruthless beast he is supposed to be.
I think the inconsistent sense of dread and menace is what brings UNCLE SILAS down a few pegs. It's still a good movie and one I would recommend to other classic film fans though, as its virtues outweigh its shortcomings.
Three villains for the price of one!
ulicknormanowen14 September 2020
Sir Hitchcock used to say : the more successful the villain ,the more successful the film .
And "Uncle Silas " got three memorable villains for the price of one. Katina Paxinou appears first as a French teacher ,but her lessons are so terrifying ( you 've got to pronounce "u " properly !say it again " uuuu"!) that her pupil gets nightmares at night ;she sings bizarre songs in French and she takes the ingenue for a promenade .....in the cemetery ...
.......where she meets the second villain(Manning Whiley ) who is none other than her first cousin ,son of sweet uncle Silas ....
.......who is the third baddie (Derrick De Marnay) and lives in a gloomy dark castle , par excellence the Gothic place ,with a roof which can give you the jitters ;uncle Silas is suave ,sly and ,little by little,reveals his true colors :he's the ogre of the fairy tales flash on the bone;
The three actors overplay ,in an outrageous way (mainly Paxinou), turns this Gothic tale into enjoyable grand guignol and combine their efforts to bump off pitiful Jean Simmons and to latch onto her valuable inheritance (hence the alternate title).Jean Simmons ,then at the beginning of a brilliant career ,and who had already a masterpiece under her belt ("black narcissus")
And "Uncle Silas " got three memorable villains for the price of one. Katina Paxinou appears first as a French teacher ,but her lessons are so terrifying ( you 've got to pronounce "u " properly !say it again " uuuu"!) that her pupil gets nightmares at night ;she sings bizarre songs in French and she takes the ingenue for a promenade .....in the cemetery ...
.......where she meets the second villain(Manning Whiley ) who is none other than her first cousin ,son of sweet uncle Silas ....
.......who is the third baddie (Derrick De Marnay) and lives in a gloomy dark castle , par excellence the Gothic place ,with a roof which can give you the jitters ;uncle Silas is suave ,sly and ,little by little,reveals his true colors :he's the ogre of the fairy tales flash on the bone;
The three actors overplay ,in an outrageous way (mainly Paxinou), turns this Gothic tale into enjoyable grand guignol and combine their efforts to bump off pitiful Jean Simmons and to latch onto her valuable inheritance (hence the alternate title).Jean Simmons ,then at the beginning of a brilliant career ,and who had already a masterpiece under her belt ("black narcissus")
Fine example of a once-fashionable style of film-making.
JamesHitchcock17 June 2021
Historical melodrama ("The Man in Grey", "The Wicked Lady", "Jassy", "Blanche Fury") was a popular genre in the British cinema of the forties, and "Uncle Silas", based upon a novel by Sheridan Le Fanu, is another example. (These films had their equivalents in the American cinema, such as "Dragonwyck"). The action takes place in the mid 19th century. The heroine, Caroline Ruthyn is a sixteen-year-old heiress. When her widowed father dies, his will appoints his younger brother Silas as her guardian. In his youth Silas had a reputation as a rake, but now everyone believes him to be a reformed character. The truth, however, is that he has only abandoned his debauched lifestyle because of failing health and dwindling finances, not because of a genuine change of heart. He greets Caroline warmly, but his affection for her is only feigned, and he is secretly plotting to get his hands on her fortune.
Some melodramas from this period, such as "Jassy" and "Blanche Fury", were made in colour, and can be seen as predecessors of the more recent "heritage cinema" movement. "Uncle Silas", however, was made in black-and-white, possibly to emphasise the Gothic elements of the story. It mostly lacks the element of bodice-ripping sexual passion which is strongly implied, if not always made explicit, in films like "The Man in Grey" or "The Wicked Lady". The only character who is chiefly motivated by sexual desire is Silas's dissolute son Dudley and his passion, for his cousin Caroline, is not returned. (Far from it. Caroline loathes Dudley and has no illusions about his true nature, even though she is still under an illusion about the true nature of his father Silas).
There are certain similarities between this film and the American-made "Dragonwyck", made the previous year. Both were set at around the same period in history and both feature a beautiful, innocent brunette heroine (Jean Simmons here, Gene Tierney in "Dragonwyck") who goes to live with a sinister relative in a gloomy Gothic mansion. There is an obvious contrast between the spacious, airy Georgian stately home which Caroline inherits from her father and Silas's ramshackle, tumbledown mediaeval or Tudor manor house. (As an impoverished younger son, he presumably cannot afford anything more commodious). At first the girl is deceived as to her relative's character- in "Dragonwyck" the heroine, Miranda, even goes so far as to marry her distant cousin Nicholas- but his true nature eventually emerges and she finds herself in danger.
The difference between this film and "Dragonwyck" lies in the way it is acted. As another reviewer has pointed out the good characters- Caroline, her father and her admirer Lord Richard Ilbury- are all played straight, whereas the evil ones- Silas, Dudley and their sidekick, Caroline's former governess, Madame de la Rougierre- are all to some extent melodramatic caricatures. The main villain in "Dragonwyck", Nicholas, is not caricatured in this way. Katina Paxinou as Madame de la Rougierre perhaps goes too far over the top, and Dudley, whose role is not a large one, is a sort of bargain-basement Squire Jasper. Derrick De Marney, however, makes a splendid villain as Silas. He was only in his early forties in 1947, but looks much older, and it is difficult to believe that he is the same man who had played the handsome young male lead in Hitchcock's "Young and Innocent" only a decade earlier. On the virtuous side, Simmons makes a luminously lovely heroine, and there is a good performance from Reginald Tate as Caroline's father Austin. The devoutly Christian Austin Ruthyn is a good man, but suffers from a character defect common among good people- he is so noble and upright that he cannot understand, or even conceive of the existence of, anyone who is less noble and upright than himself.
Today, melodramas like this one can come across as dated, with their exaggerated emotion and exaggeratedly black-and-white view of the world, represented here by the contrast between the good and the evil characters. Barbara and the saintly Caroline. Yet to anyone prepared to make allowances for the differences between contemporary tastes and those of seventy years ago, a film like "Uncle Silas" can be seen as a fine example of a once-fashionable style of film-making. 7/10.
Some melodramas from this period, such as "Jassy" and "Blanche Fury", were made in colour, and can be seen as predecessors of the more recent "heritage cinema" movement. "Uncle Silas", however, was made in black-and-white, possibly to emphasise the Gothic elements of the story. It mostly lacks the element of bodice-ripping sexual passion which is strongly implied, if not always made explicit, in films like "The Man in Grey" or "The Wicked Lady". The only character who is chiefly motivated by sexual desire is Silas's dissolute son Dudley and his passion, for his cousin Caroline, is not returned. (Far from it. Caroline loathes Dudley and has no illusions about his true nature, even though she is still under an illusion about the true nature of his father Silas).
There are certain similarities between this film and the American-made "Dragonwyck", made the previous year. Both were set at around the same period in history and both feature a beautiful, innocent brunette heroine (Jean Simmons here, Gene Tierney in "Dragonwyck") who goes to live with a sinister relative in a gloomy Gothic mansion. There is an obvious contrast between the spacious, airy Georgian stately home which Caroline inherits from her father and Silas's ramshackle, tumbledown mediaeval or Tudor manor house. (As an impoverished younger son, he presumably cannot afford anything more commodious). At first the girl is deceived as to her relative's character- in "Dragonwyck" the heroine, Miranda, even goes so far as to marry her distant cousin Nicholas- but his true nature eventually emerges and she finds herself in danger.
The difference between this film and "Dragonwyck" lies in the way it is acted. As another reviewer has pointed out the good characters- Caroline, her father and her admirer Lord Richard Ilbury- are all played straight, whereas the evil ones- Silas, Dudley and their sidekick, Caroline's former governess, Madame de la Rougierre- are all to some extent melodramatic caricatures. The main villain in "Dragonwyck", Nicholas, is not caricatured in this way. Katina Paxinou as Madame de la Rougierre perhaps goes too far over the top, and Dudley, whose role is not a large one, is a sort of bargain-basement Squire Jasper. Derrick De Marney, however, makes a splendid villain as Silas. He was only in his early forties in 1947, but looks much older, and it is difficult to believe that he is the same man who had played the handsome young male lead in Hitchcock's "Young and Innocent" only a decade earlier. On the virtuous side, Simmons makes a luminously lovely heroine, and there is a good performance from Reginald Tate as Caroline's father Austin. The devoutly Christian Austin Ruthyn is a good man, but suffers from a character defect common among good people- he is so noble and upright that he cannot understand, or even conceive of the existence of, anyone who is less noble and upright than himself.
Today, melodramas like this one can come across as dated, with their exaggerated emotion and exaggeratedly black-and-white view of the world, represented here by the contrast between the good and the evil characters. Barbara and the saintly Caroline. Yet to anyone prepared to make allowances for the differences between contemporary tastes and those of seventy years ago, a film like "Uncle Silas" can be seen as a fine example of a once-fashionable style of film-making. 7/10.
Help for U.S. Viewers
howardmorley29 January 2015
I read in other user comments above that several U.S. viewers have only been able to see "Uncle Silas"(1947) in the inferior and censored title of "The Inheritance".Like the original "The Wicked Lady" 1945 which had to be re-shot minus décolletage, this was released at a time in America of great prudery.I am happy to report to my said U.S.brethren that the original U.K. version is available from www.myrarefilms.co.uk for which I paid £5 or about $7 + postage in your currency.In this more liberal climate I hate films being censored, after all, I am 69,so purchase a copy of the original rather than watch an inferior copy.
Jean Simmons was born in 1929 so when asked her age (16) in "Uncle Silas" she is nearly telling her real age of 18 and very young fresh & lovely she looks.Full marks to the set & dress designers to show clothes worn by ladies in 1845.Derek de Marney for once plays a villain as Uncle Silas compared to say "Young & Innocent" (1937) directed by Hitchcock, when he played the hero wrongly accused of murdering a lady associate found strangled on a beach.Other reviewers have adequately explained the plot above but do make an effort to see this film if you like Gothic horror.
Jean Simmons was born in 1929 so when asked her age (16) in "Uncle Silas" she is nearly telling her real age of 18 and very young fresh & lovely she looks.Full marks to the set & dress designers to show clothes worn by ladies in 1845.Derek de Marney for once plays a villain as Uncle Silas compared to say "Young & Innocent" (1937) directed by Hitchcock, when he played the hero wrongly accused of murdering a lady associate found strangled on a beach.Other reviewers have adequately explained the plot above but do make an effort to see this film if you like Gothic horror.
Good-looking, but awesomely extended Gothic costumer...
moonspinner5531 July 2011
British film-adaptation of Sheridan Le Fanu's novel "Uncle Silas" stars Jean Simmons as a 16-year-old orphan in 1845 England who is menaced by her nefarious uncle and his scheming partner, the girl's former governess, over the fortune her late father willed to her. Exceptionally handsome Two Cities Films production is full of cobwebs, castles and dark corridors, however the hysterical damsel-in-distress plot doesn't really hold together. Simmons nearly makes for a dandy target, but too often she moves lethargically (with her hands covering her face). Far better are Derrick De Marney and Katina Paxinou as the villains of the piece, with Paxinou taking her wicked witch role to its zenith (the film nearly dies for a spell when she is off the screen). More obvious now than it must have been in 1947, the story exposition at the beginning is clumsy and Charles Frank's direction is occasionally stilted or unsure. Still, there are pleasures to be had for those in the requisite silly spirit, and Robert Krasker's gorgeous cinematography is a feast for the eyes. **1/2 from ****
Uncle Silas's inheritance.
morrison-dylan-fan17 July 2014
Warning: Spoilers
With somehow having always gotten the title mixed up for a George Saunder's Film Noir called The Strange Affair of Uncle Harry,I was happily caught completely by surprise,when a very kind IMDb'er gave me a chance to finally meet uncle Silas.
View on the film:
Surrounding the movie with towering mansion's,director Charles Frank builds a haunting atmosphere which combines icy Gothic Horror with a mean-spirited Film Noir mood,as Frank and Robert Krasker gradually allow the candle lights to burn out,and to be replaced by eerie shadows which wrap around every dark corner of the mansions.
Along with the excellent Gothic Noir atmosphere,Frank and Krasker also show an extraordinary eye in displaying the full content of their mansion,with Frank's superb wide-shots creating an unexpected claustrophobic chill,as Caroline Ruthyn demons start to suffocate her.
Whilst Frank shows a real skill in boiling a Gothic brew, Ben Travers adaptation of Sheridan Le Fanu's is sadly never able to fully matching the visual appearance,thanks to Travers taking a rather stilted approach to the screenplay,which leads to the film receiving sudden bursts of horror,instead of a slow-burning sense of menace,which Charles Frank appears to be setting his sights on.
Entering the film with a real elegance, Jean Simmons gives an excellent performance as Caroline Ruthyn,with Simmons showing Ruthyn to psychologically crumble into bits,as she starts to realize what sweet uncle Silas's plans are.
Sending a shiver down Ruthyn, John Laurie gives a great rustic performance as loyal butler Giles,whilst Derrick De Marney gives an extremely flamboyant performance as uncle Silas,with Marney slowly tearing up the flamboyance of Silas,to reveal the secret hidden inside.
View on the film:
Surrounding the movie with towering mansion's,director Charles Frank builds a haunting atmosphere which combines icy Gothic Horror with a mean-spirited Film Noir mood,as Frank and Robert Krasker gradually allow the candle lights to burn out,and to be replaced by eerie shadows which wrap around every dark corner of the mansions.
Along with the excellent Gothic Noir atmosphere,Frank and Krasker also show an extraordinary eye in displaying the full content of their mansion,with Frank's superb wide-shots creating an unexpected claustrophobic chill,as Caroline Ruthyn demons start to suffocate her.
Whilst Frank shows a real skill in boiling a Gothic brew, Ben Travers adaptation of Sheridan Le Fanu's is sadly never able to fully matching the visual appearance,thanks to Travers taking a rather stilted approach to the screenplay,which leads to the film receiving sudden bursts of horror,instead of a slow-burning sense of menace,which Charles Frank appears to be setting his sights on.
Entering the film with a real elegance, Jean Simmons gives an excellent performance as Caroline Ruthyn,with Simmons showing Ruthyn to psychologically crumble into bits,as she starts to realize what sweet uncle Silas's plans are.
Sending a shiver down Ruthyn, John Laurie gives a great rustic performance as loyal butler Giles,whilst Derrick De Marney gives an extremely flamboyant performance as uncle Silas,with Marney slowly tearing up the flamboyance of Silas,to reveal the secret hidden inside.
A feast for Le Fanu fans--avoid the butchered American print.
BrentCarleton10 June 2006
This moody version of Joseph Sheridan Le Fanu's classic Gothic novel is quite simply one of the most accomplished British films of the 1940's.
With cinematography reminiscent of (and rivaling)that seen in David Lean's "Great Expectations," it is a pity that this picture is not better known.
This may accrue from the fact that an American, heavily edited, and re-titled version ("The Inheritance") is the only print in U.S. circulation.
At all costs avoid this butcher job, as the 6 minutes of missing footage are very germane to the story's narrative, mood and imagery.
Jean Simmons is a reminder of yet another lost dramatic staple--a decorous, demure heroine, who speaks in complete sentences with flawless diction. Her lady like deportment combined with her unquestioned loveliness makes her a very sympathetic Lady Caroline. Mr. De Marney is similarly impressive as the sinister, titular character.
But the film belongs to Katina Paxinou as the redoubtable Madame De La Rougierre. I believe Mr. Le Fanu would approve of her performance. In any case, her first appearance, as depicted with her malignant face peering through a rain lashed window pane, is as startling an entrance as one could hope for.
Laurence Irving's art direction is superb, (and some of his sketches for this film are included in Edward Carrick's "Art and Design in the British Film," Dennis Dobson, London) fully realizing, as it does, the stories' atmospheric requirements, and amply demonstrating how superior sound stages are to location shooting.
All told, this picture stands favorably alongside Thorold Dickinson's "Queen of Spades," Terence Young's "Corridor of Mirrors," Anthony Pelissier's "Rocking Horse Winner," Leslie Arliss' "Night Has Eyes," Jacques Tourneur's "Experiment Perilous," and Martin Gabel's "The Lost Moment," as one of a small group of visually distinguished Gothic melodramas of the 1940's, and far superior to the more recent television version, which despite the welcome presence of Peter O'Toole and Barbara Shelley lacks both flavor and mood.
With cinematography reminiscent of (and rivaling)that seen in David Lean's "Great Expectations," it is a pity that this picture is not better known.
This may accrue from the fact that an American, heavily edited, and re-titled version ("The Inheritance") is the only print in U.S. circulation.
At all costs avoid this butcher job, as the 6 minutes of missing footage are very germane to the story's narrative, mood and imagery.
Jean Simmons is a reminder of yet another lost dramatic staple--a decorous, demure heroine, who speaks in complete sentences with flawless diction. Her lady like deportment combined with her unquestioned loveliness makes her a very sympathetic Lady Caroline. Mr. De Marney is similarly impressive as the sinister, titular character.
But the film belongs to Katina Paxinou as the redoubtable Madame De La Rougierre. I believe Mr. Le Fanu would approve of her performance. In any case, her first appearance, as depicted with her malignant face peering through a rain lashed window pane, is as startling an entrance as one could hope for.
Laurence Irving's art direction is superb, (and some of his sketches for this film are included in Edward Carrick's "Art and Design in the British Film," Dennis Dobson, London) fully realizing, as it does, the stories' atmospheric requirements, and amply demonstrating how superior sound stages are to location shooting.
All told, this picture stands favorably alongside Thorold Dickinson's "Queen of Spades," Terence Young's "Corridor of Mirrors," Anthony Pelissier's "Rocking Horse Winner," Leslie Arliss' "Night Has Eyes," Jacques Tourneur's "Experiment Perilous," and Martin Gabel's "The Lost Moment," as one of a small group of visually distinguished Gothic melodramas of the 1940's, and far superior to the more recent television version, which despite the welcome presence of Peter O'Toole and Barbara Shelley lacks both flavor and mood.
Uncle Silas
CinemaSerf1 January 2023
Now who doesn't like a well executed bit of Gothic mystery? Jean Simmons ("Caroline") inherits a great deal of money from her father, but until she becomes of age she must move into the ramshackle stately pile of her kindly uncle "Silas" (Derrick De Marney). Well, at least he sounded kindly - but once she is safely ensconced in his home, it soon becomes clear that he hasn't two brass farthings to rub together and so has his beady eyes on her fortune. The house also entertains his peculiar son "Austin" (Reginald Tate) and her conspiratorial governess - the nasty piece of work that is "Madama de la Rougierre" (Katina Paxinou). Aside from a slightly foppish De Marnay, this is a well cast drama with plenty of well photographed, darkly lit, scenarios to keep the mystery bubbling along - helped significantly by Simmons' wonderfully butter-wouldn't-melt characterisation of the initially gullible, but not entirely foolish "Caroline", particularly when contrasted with the juicily menacing governess. Rarely seen, but I can't think why - it has all the ingredients and although the ending is a shade on the disappointing side, is still at the top end of this light horror genre.
Gloomy Gothic melodrama is wildly overacted bundle of clichés...
Doylenf7 September 2009
Lovely JEAN SIMMONS and the bland but handsome DEREK BOND are the only actors in the cast of UNCLE SILAS not given to wild overacting. Simmons plays a Victorian waif who has an idealized portrait of her UNCLE SILAS, who turns out to be a villain rather than a saint.
He is played in ham acting mode by DERRICK DeMARNEY, looking more foolish than sinister as the overwrought uncle with the nasty son, both in cahoots with an evil woman posing as the girl's new governess (KATINA PAXINOU). Paxinou too plays her role in a style so overly melodramatic that she makes Mrs. Danvers (of REBECCA) look like Little Red Riding Hood.
Every close-up of Paxinou and every camera angle hammers home the point that she's an unscrupulous mad woman after Simmons' inheritance, just as Uncle Silas and son are. She relishes every opportunity to chew every piece of scenery in sight, easily becoming the focal point of the story whenever she makes an entrance.
To Jean Simmons' credit, she never joins the others in their freak show performances. Just a careful lift of her arched brow and a bewildered expression are all she's willing to do when up against all the scene stealing going on between Derrick and Katina.
The clichés are in such abundance throughout that this becomes almost laughable at times. It takes Simmons almost the whole length of the movie to develop enough backbone to see that she's being hoodwinked by her guardian and others in the gloomy Victorian mansion.
Summing up: So overdone, that it gives gaslight melodramas a bad name for being outlandishly over the top from beginning to end.
He is played in ham acting mode by DERRICK DeMARNEY, looking more foolish than sinister as the overwrought uncle with the nasty son, both in cahoots with an evil woman posing as the girl's new governess (KATINA PAXINOU). Paxinou too plays her role in a style so overly melodramatic that she makes Mrs. Danvers (of REBECCA) look like Little Red Riding Hood.
Every close-up of Paxinou and every camera angle hammers home the point that she's an unscrupulous mad woman after Simmons' inheritance, just as Uncle Silas and son are. She relishes every opportunity to chew every piece of scenery in sight, easily becoming the focal point of the story whenever she makes an entrance.
To Jean Simmons' credit, she never joins the others in their freak show performances. Just a careful lift of her arched brow and a bewildered expression are all she's willing to do when up against all the scene stealing going on between Derrick and Katina.
The clichés are in such abundance throughout that this becomes almost laughable at times. It takes Simmons almost the whole length of the movie to develop enough backbone to see that she's being hoodwinked by her guardian and others in the gloomy Victorian mansion.
Summing up: So overdone, that it gives gaslight melodramas a bad name for being outlandishly over the top from beginning to end.
Full-bodied Gothic Thriller!
MarcoAntonio15 August 2005
I really enjoyed "Uncle Silas", although it's called "The Inheritance" on the VHS copy that I own and there are seemingly five minutes of footage missing. It's a wonderful, creepy little film about a young woman, Caroline (lovely Jean Simmons), who goes to live with her scheming old Uncle Silas in his big, gloomy mansion after her father dies. Uncle Silas (perfectly played by Derrick De Marney) and his accomplices; a French governess, Madame de la Rougierre (marvelously played by Katina Paxinou), and his son, Dudley (well played by Manning Whiley) are planning to do away with the heroine to gain her fortune. Thankfully, there are intervals where the young woman visits with her sympathetic cousin Monica (nicely played by Sophie Stewart). Brilliant music score by Alan Rawsthorne is available on CD through Amazon.com on a collection called Rawsthorne:Film Music. Nice cinematography and sets add the finishing touches to this atmospheric film. I got my VHS copy from Movies Unlimited.com.
Good gothic
Leofwine_draca6 June 2021
Warning: Spoilers
UNCLE SILAS (1947) is the big-screen adaptation of the gothic novel by J. Sheridan Le Fanu and it's an atmospheric and engaging little gothic thriller, typical of the era which saw a number of similarly gloomy, madness-obsessed movies coming out. Not supernatural, but very much in the mould of Hitchcock's REBECCA, with dark and sinister characters scheming their way through a plot involving the usual murder and gaslighting. Jean Simmons is the fresh-faced Caroline who's packed off to stay with creepy old Uncle Silas after a bereavement, and even worse than him are his sinister associates including a French governess. Of course, an inheritance is crucial to the story. It's a good example of the gothic film from the late 1940s, slow and stately at times, but with the kind of evocative and cobwebby set-dressing that would go on to propel the genre in later decades, and building up a good head of steam as it develops.
Mystery/Thriller with a touch of romance
ctn-21 January 2007
Jean Simmons plays the heroine, beautiful, kind and with some backbone. The reason for the title change in the USA is because it was her inheritance that attracted trouble, through no fault of her own. Some lovely costumes to enjoy, particularly the New Years Eve ball, as well as an insight into the disappearing English tradition of "mummers" performing a folk tale at Christmas. Frankly the movie is on the melodramatic side, but what is interesting is the lighting, camera work and POV (points of view) of the camera. It is an enjoyable film to watch, but the bad characters are all very bad, and the good all ever so good. Still, Jean makes a great go of it, and the camera work rewards the viewer! Some fun fight scenes too!
Excellent...
the lioness14 December 2001
I saw this film years ago on TV & enjoyed it.
This is the story of a young navive woman whose about to learn just how dastardly her uncle really is & how he'll stop at nothing to satisfy his greed.
The only thing about this film I don't like: never went to video. However, the BBC did a remake of it called "The Dark Angel" with Peter O'Toole.
This is the story of a young navive woman whose about to learn just how dastardly her uncle really is & how he'll stop at nothing to satisfy his greed.
The only thing about this film I don't like: never went to video. However, the BBC did a remake of it called "The Dark Angel" with Peter O'Toole.
Good old Black and white Gothic thriller
handbagshoes29 October 2006
Warning: Spoilers
I watched this film yesterday on Film 4 - I quited liked this film in some parts. Upon watching, I realised this film was really about family breakdown. You sometimes think that family problems are more of a modern thing of today - but back then they had their fair share of family upheaval, back stabbing and murder in mind.
This film is a Gothic,atmospheric melodrama about Caroline played by a young Jean Simmons as a 16/17-year-old who goes to live with her uncle Silas (Derrick de Marney)after her father dies. Uncle Silas house is some big creepy Mansion with lots of cob webs dark corners and dungeon like stairs and rooms. While there creepy uncle Silas, his son and a french governess plot to kill Caroline and keep her inheritance.
I though Derrick de Marney at times performance of Uncle Silas was not creepy enough, as it verged towards being comical. The french governess Madame de la Roughierre (played by Katrina Paxinau)was very creepy and sinister,especially when she takes Caroline on a journey of extreme deception. She was menacing Caroline every step of the way. Her performance made up for the loss in Derrick De Marney non evil performance. Caroline (Jean Simmons) sometimes gave a weak performance which probably was down to some weak and prissy dialogue. Sometimes I felt I could of climbed in the telly and give her a good slapping and tell her to pull herself together and be strong!!!!
This film is a Gothic,atmospheric melodrama about Caroline played by a young Jean Simmons as a 16/17-year-old who goes to live with her uncle Silas (Derrick de Marney)after her father dies. Uncle Silas house is some big creepy Mansion with lots of cob webs dark corners and dungeon like stairs and rooms. While there creepy uncle Silas, his son and a french governess plot to kill Caroline and keep her inheritance.
I though Derrick de Marney at times performance of Uncle Silas was not creepy enough, as it verged towards being comical. The french governess Madame de la Roughierre (played by Katrina Paxinau)was very creepy and sinister,especially when she takes Caroline on a journey of extreme deception. She was menacing Caroline every step of the way. Her performance made up for the loss in Derrick De Marney non evil performance. Caroline (Jean Simmons) sometimes gave a weak performance which probably was down to some weak and prissy dialogue. Sometimes I felt I could of climbed in the telly and give her a good slapping and tell her to pull herself together and be strong!!!!
Pass the brandy
AAdaSC3 July 2017
Wicked Derrick De Mornay (Uncle Silas) and his partner in crime Katina Paxinou (Madame de la Rougierre) spend the film trying to get their hands on the fortune left to Jean Simmons (Caroline). The setting is a large Gothic mansion with its fireplaces, corridors and general spooky largeness. Cousin Manning Whiley (Dudley) is yet another family member who is part of the plot to get the dough out of Simmons.
It's a peculiar film in that it combines menace with humour. De Marney is more of a cartoon comedy character – he's evil but with a nod and a wink. As for Katina Paxinou, she is brilliant. She is scary but provides hilarious moments, especially her fondness for a swig of brandy! However, whilst these characters are the standout baddies, they don't quite work in the context of the film's themes because they are so amusing. Paxinou does manage to carry off evil but it's a friendly kind of evil. It is her appearance and her costumes which are the most disturbing aspect to her character. She's brilliant and the film's clear favourite character. Simmons, whilst OK, needs to grow a pair. She's too nice for too long.
The film is actually pretty slow at the beginning – where is it going? And there are a few scenes that drag, particularly the dance sequence where everyone is gossiping. I'm afraid it's just tedious. For a spooky film it isn't very spooky – only Paxinou scores on this front. Thank goodness for Paxinou. And pass the wine – straight out of the bottle, please. Ha ha.
It's a peculiar film in that it combines menace with humour. De Marney is more of a cartoon comedy character – he's evil but with a nod and a wink. As for Katina Paxinou, she is brilliant. She is scary but provides hilarious moments, especially her fondness for a swig of brandy! However, whilst these characters are the standout baddies, they don't quite work in the context of the film's themes because they are so amusing. Paxinou does manage to carry off evil but it's a friendly kind of evil. It is her appearance and her costumes which are the most disturbing aspect to her character. She's brilliant and the film's clear favourite character. Simmons, whilst OK, needs to grow a pair. She's too nice for too long.
The film is actually pretty slow at the beginning – where is it going? And there are a few scenes that drag, particularly the dance sequence where everyone is gossiping. I'm afraid it's just tedious. For a spooky film it isn't very spooky – only Paxinou scores on this front. Thank goodness for Paxinou. And pass the wine – straight out of the bottle, please. Ha ha.
Nice Piece of Gothic Horror
Rainey-Dawn24 May 2016
Uncle Silas AKA The Inheritance (1947) The film is a good piece of Gothic eye-candy: great sets, costuming, atmosphere and cinematography. The acting is good but a bit over the top more often than not. Also, there are parts of this film that seems to drag in places.
The story is above average, it's about a girl, Caroline Ruthyn, who's father dies and leaves her an inheritance plus leaves her in the care or hands of his brother Silas. Her evil Uncle Silas, wants the inheritance and his wicked accomplice, Madame de la Rougierre, will help him to drive Caroline mad or even to death in order to gain control of the inheritance.
I like the film overall - I just wish some of the scenes didn't drag on so long.
7/10
The story is above average, it's about a girl, Caroline Ruthyn, who's father dies and leaves her an inheritance plus leaves her in the care or hands of his brother Silas. Her evil Uncle Silas, wants the inheritance and his wicked accomplice, Madame de la Rougierre, will help him to drive Caroline mad or even to death in order to gain control of the inheritance.
I like the film overall - I just wish some of the scenes didn't drag on so long.
7/10
I have no idea if this was the best adaption
jordondave-2808524 October 2023
(1951) Uncle Silas/ The Inheritance
SUSPENSE/ THRILLER
Adapted from the book by Sheridan Le Fanu that has Uncle Silas (Derrick De Marney) attempting to scheme to inherit his niece, Caroline Ruthyn (Jean Simmons) inheritance. He does this by conspiring with former governess, Madame de la Rougierre (Katina Paxinou)
It has some influences from director David Lean's "Great Expectations" and the film lacks some common sense in which stupidity can only go so far, but ends on a good note which is why this film deserves a pass. It is either the first or second "Uncle Silas" adaption out of six films.
Adapted from the book by Sheridan Le Fanu that has Uncle Silas (Derrick De Marney) attempting to scheme to inherit his niece, Caroline Ruthyn (Jean Simmons) inheritance. He does this by conspiring with former governess, Madame de la Rougierre (Katina Paxinou)
It has some influences from director David Lean's "Great Expectations" and the film lacks some common sense in which stupidity can only go so far, but ends on a good note which is why this film deserves a pass. It is either the first or second "Uncle Silas" adaption out of six films.
Very good thriller
Bondgirl125 March 2001
The thing that I like about Uncle Silas a.k.a. The Inheritance is that it is not your average thriller. The suspense is built slowly as we see things that affect the life of the heroine, but she is not aware of them yet. The movie builds up more and more and it becomes an exciting suspense movie that packs a punch even for its time. Jean Simmons is practically a child in this movie, she was so young and beautiful as always. Great acting and gloomy characters make this a fun movie to watch on a stormy night. Lovers of old Gothic tales and suspense movies will not be disappointed.
Good daft fun.
MOscarbradley7 July 2021
As hoary old Victorian melodramas go "Uncle Silas" is as ripe as they come which isn't to say that it's a stinker. It's based on a Sheridan Le Fanu novel so you should have some idea of what to expect and it's been adapted for the screen by Ben Travers. Am eighteen year old Jean Simmons is the heiress who comes to live with her murderous uncle after her father's sudden death. Derrick De Marney camps it up as Uncle Silas and a totally over-the-top Katina Paxinou is Simmons' hard-drinking and scheming governess and they are the most entertaining things in the picture which is actually very handsomely designed and beautifully shot by Robert Krasker. A decent supporting cast that includes John Laurie and Esmond Knight hams it up just as you would expect them to and while anything resembling suspense is conspicuously absent the film is still good daft fun nevertheless.
Cartoon version of a great book
lucy-1931 August 2006
Warning: Spoilers
This could have been a wonderful film with it's Gothic atmosphere and well-researched period detail (clothes, interiors). But it's hammy, cartoony and over-simplified. Jean Simmons is simpering and wet - oh, sorry, of course I mean cute and vulnerable, Uncle Silas and his son crude and her admirer wooden. Why must Christmas scenes of the 19th century always involve those tedious mummers? Jean Simmons' skirts are far too light and filmy, and young ladies in them days didn't run about at top speed showing lots of leg clad in pantalettes. They wore nothing under those petticoats and had to move more circumspectly. Read the book!
Perfect innocence at the mercy of ruthless treason and fraud
clanciai11 April 2020
This is one of the most accomplished horror films ever made for its subtlety in building up a towering nightmare assuming overwhelming proportions, with excellent players, all making some of their best parts of their careers, especially Derrick de Marney and Jean Simmons. De Marney is uncle Silas, a very shrewd scoundrel with a murder in his past which he got away from, taking care of his niece Jean Simmons in the hopes of acquiring her inheritance bý fraud, while she suspects nothing - to begin with, but she gradually finds herself waking up to a nightmare. Katina Paxinou makes another unforgettable horror portrait as the governess, but most of all Robert Krasker's expert photography makes this film a very special treat of a most unique kind. Someone said it was the epitome of Gothic victorian horror, and that is strking home. You will never forget this film, and you are almost sure to return to it once more, sooner or later...
Uncle Silas
Prismark1013 June 2021
Uncle Silas is a Gothic melodrama with an overbearing music score.
It makes the film hammy when it should have been creepy.
Set in the mid 19th century. Caroline Ruthyn (Jean Simmons) is a young sweet but not too bright teenager who has become the ward of her unscrupulous Uncle Silas (Derrick De Marney) after her father dies.
Silas is a man with a bad reputation and was once accused of murder. Her father always tried to see the good on him. More fool him.
When Caroline meets Uncle Silas he tries to be avuncular. Less so is his slimy son Dudley and the drunk governess Madame de la Rougierre who Caroline has met before.
It soon becomes clear that Uncle Silas wants to get rid of his niece so he can have her inheritance.
This is an uneven film which takes a while to get going. Although nicely shot, this is more hokum than a tense thriller.
It makes the film hammy when it should have been creepy.
Set in the mid 19th century. Caroline Ruthyn (Jean Simmons) is a young sweet but not too bright teenager who has become the ward of her unscrupulous Uncle Silas (Derrick De Marney) after her father dies.
Silas is a man with a bad reputation and was once accused of murder. Her father always tried to see the good on him. More fool him.
When Caroline meets Uncle Silas he tries to be avuncular. Less so is his slimy son Dudley and the drunk governess Madame de la Rougierre who Caroline has met before.
It soon becomes clear that Uncle Silas wants to get rid of his niece so he can have her inheritance.
This is an uneven film which takes a while to get going. Although nicely shot, this is more hokum than a tense thriller.
forgotten british gothic masterpiece
happytrigger-64-3905176 March 2019
Warning: Spoilers
In the too much long list of forgotten masterpieces, there's that incredible "Uncle Silas", an expressionnist adaptation of Joseph Sheridan Le Fanu's novel. Everything is perfect in Charles Frank direction. The casting is perfect, Jean Simmons is outstanding as the young woman threatened by her very nasty family and especially by her french Madame played by Katina Praxinou completely possessed. And the camera work is so virtuoso being close to the nasty characters' attacks causing panic to Jean Simmons. Add wonderful settings filmed in depth of field and there's a pure masterpiece of british gothic cinema. Mysteriously, "Uncle Silas" is one of the rare movie shot by Charles Frank, born in Belgium. I really wish to see a restored print in theater of this forgotten gem.
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