The Frightened Lady

Another lively potboiler from George King, in which the absence of Tod Slaughter is compensated by some ripe ham from a young and dashing Marius Goring instead.

The picture it paints of a decadent aristocracy on the brink of the cataclysm of a second world war is not a pretty one, with the men neutered by in-breeding (replenished only by strong women marrying into the House of Lebanon) while surrounded by muttering, disrespectful servants.

"The Frightened Lady" popped up on YouTube soon after I viewed "Written in Blood" (Caroline Graham, excellent author of the Midsomer Murders series) a 2d time and read the book a 2d time also. Although I could hardly make sense of "Frightened Lady" at first, it gradually began to make sense in a Midsomer sort of way - a shrewd old woman, proud of her "blood line," wants her piano playing son, Sir Lebanon, last of the family line, to wed his lovely cousin being held captive in a big old manor house filled with gruesome shadows and scheming footmen. An architect arrives to prepare for upcoming renovations but the old lady who wants repairs also wants everything to remain the same. Right! Well, the bottom line turns out to be something like that "Written in Blood" plot but instead of a Writers Circle we have a composer of odd jazzy-classical melodies and an elderly woman much like Honoria L'Idiot - if I may say so. You know what happens to the blood line when cousins marry cousins.

One of the several adaptation of the Edgar Wallace play is a typical, but unfortunately quite imperfect old dark house mystery about the last members of the once wealthy and prestigious Lebanon family. The family's head is Lady Lebanon, who rules the house with an iron fist and her sinister looking servants follow all her orders, that include keeping and eye on everyone, especially her only son, who is the last bearer of the name. She wants him to marry Isla Crane, her secretary, who also happens to be his cousin, but that seems to be no problem for Lady Lebanon, on the contrary actually, as we learn that it's been an on-going habit to marry family members.. which somewhat foreshadows the later turn of events.

A young lad called Richard Ferraby arrives to the house to discuss renovation plans and him and Isla, who is not too keen on the marriage idea anyways are immediately attracted to each other. Soon, the family's chauffeur gets killed, strangled with a scarf and Lady Lebanon's plan start to fall apart even further. It becomes obvious that she has many things to hide, including a locked room upstairs, some secrets with the family's doctor called Amersham and also, a scarf, that she tries to burn when police starts to investigate. While Lady Lebanon does everything to stop the investigation or at least make it as difficult as possible, both Ferraby and Lord Lebanon (who is clearly more interested in composing music than in the future of the family) try to help the rather incompetent police officers, but they can not prevent another murder from happening.

The film has everything that could make it a good old dark house mystery: family secrets, an old mansion, locked rooms, sinister butlers, secret passages and more-or-less likeable heroes, but it just does not work out at the end. The story has potential but it is heavily handled, dialogues are often awkwardly badly written, the acting isn't much better for the most part and director George King does not do a very good job either. He is well-known for his horror movies starring Tod Slaughter, so he should know a thing or two about scares and how to create a threatening atmosphere, but still, this movie completely lacks suspense.

And a friendly warning: if you watch this on Odeon Entertainment's Best of British DVD (that was actually the first time the film was made available for the public since its initial theatrical run), do not look at the photos on the cover unless you don't mind spoilers, as they give away both the movie's final plot twist and ending.

It is easy to be put off - and mislead - by the first 10 minutes of this wonderful and unusual subtle film. Stiff and haughty Lady Lebanon (Helen Haye), severe mistress of all she surveys, commands one and all. Just a slight first hint that all might not be as it appears is given by the distinct insolence and knowingness of the two footmen. But it is insufficient to disturb the viewer's impression of stifling stuffiness to which the arrival of family doctor (Dr Amersham played by Felix Aylmer - epitome of dull probity) would seem to confirm.

But Helen Haye's brief dialogue with Dr Amersham is very off kilter. Within five more minutes the pace and tone has suddenly stepped up, the film has changed gear entirely; lively and amusing, secrets and odd connections, enough for three or four films, are revealed, any one of which sufficient on its own to drive the plot, even to murder. The air is full of intrigue and possibilities. A handsome young architect arrives to draw up plans for renovation of the rambling ancient house and has caught the eye of the young lady of the house. He will have to stay a week. "Where does this lead to?" asks the sharp-eyed architect after spying an ancient door. "Where does it all lead to?" wonders the audience.

By 60 minutes the developing droll class-comedy between policeman Ronald Shiner and his boss had me laughing out loud and the plot developments came at a bafflingly faster and faster pace. The end itself was an extended nail-biter.

According to a review in BritMovie "The Case of the Frightened Lady" remains a classic for those who enjoy this genre".

Seen on Talking Pictures

This film, based on a stage play by Edgar Wallace, is one of those traditional British murder mysteries set in an enormous aristocratic mansion with all kinds of supercilious people, suspicious servants, stupid detectives, and maidens in distress. But it is by no means as corny as it sounds. The film is dominated by the powerful presence of Helen Haye, an actress with the cutting edge of a diamond blade, who lashes everyone in sight with her reproving tongue. She is Lady Lebanon, the matriarch of the establishment, and don't you forget it! Her friend is Dr. Amersham, played by Felix Aylmer, and he even outdoes her in supercilious arrogance. What a pair! Between them, they so dominate the screen that there is barely space for the other players to make their presences known much of the time. The maiden in distress (the one who is 'frightened') is played by Penelope Dudley-Ward (1914-1982, sometimes credited only as Penelope Ward), who only appeared in 12 films between 1935 and 1944, retiring after that. From 1948 to 1976, she was married to Sir Carol Reed, and during the time that I knew him towards the end of his life, I met her, though I only ever exchanged a few polite words with her, as she never joined me and Carol for our chats over gin and tonic in their vast living room with the enormously high ceiling in their splendid house in Kings Road. (They had removed the floor above that room so that the room was two storeys high rather than one.) Alas, I retain little impression of her, so must make do with what I see in these old movies instead. Now they are all gone, even Tracy Reed, Lady Reed's daughter, who died in 2012. Sic transit gloria mundi, I suppose. Helen Haye is so outstanding in this film that it is worth recalling some of her other notable film performances, of which there were 60 altogether. One particularly remembers Hitchcock's THE 39 STEPS (1935), THE SPY IN BLACK (1939), THE REMARKABLE MR. KIPPS (1941), THE MAN IN GREY (1943), ANNA KARENINA (1948), and HOBSON'S CHOICE (1954). What a career! However, the truly inspired performance in this film is by Marius Goring as the young Lord Lebanon, Helen Haye's son. He really outdoes himself in this one. (He had already appeared with Helen Haye the year before this in THE SPY IN BLACK (1939, see my review).) The reasons why the Lebanon family are called Lebanon in this story is that they 'go back a thousand years' and were active in the Middle East at that time as crusaders. Helen Haye is determined to 'continue the line' and keeps urging her bachelor son, who is obsessed with composing music, to marry Penelope Dudley-Ward, which he, unlike Carol Reed in real life, is strangely loathe to do. George King does an excellent job of directing this tale, which could easily have been creaky, but does not creak. King never rose to be one of the famous British directors, despite directing 54 titles, retiring in 1949. Many or most of his films are unavailable and no one alive has seen them, which makes it rather difficult to evaluate his contribution to the cinema. Certainly this film has countless twists and turns and surprises and never drags. Considering that it started out framed by a proscenium (as a stage play), King got it moving and avoided the claustrophobic feeling we often get from stage plays adapted for the screen. When watching this, be careful not to become 'a frightened lady'!