A Mansão da Meia-Noite

This is a horror film aficianado's dream - the only time that Peter Cushing, John Carradine, Christopher Lee and Vincent Price appeared in the same film and the same scenes together!

Forget about the ponderous build-up to the appearance of the stars and the lamentable arrogance of Desi Arnaz Jr. in a forgettable role (he can't hold a torch to the acting abilities of his famous co-stars!). The cliched surroundings of a dark, haunted house can also be criticised; but this is the ideal platform for the horror greats on show to perform in a typically professional fashion.

Peter Cushing's drunken characterization is very well done and Vincent Price's grand dialogue is reeled off in an extremely believable way. Christopher Lee's role is also enjoyably wooden and in the mould that we have come to expect over the years!

The film is guilty of faulty pacing - the start is slow but the execution of murders later in the film comes relentlessly and with little subtlety in thought or execution. However, the sole purpose of the film is to provide a horrific who-dunnit in an old-fashioned way with the top stars of the genre!

The ending also ensures that the viewer is never quite confident that the story's resolution has been provided.

Not a masterpiece by any means , but a fitting tribute to the stars in the horror field, who have entertained us so much in the past and will continue to do so in the future!

While Desi Arnaz Jr. may be one of the worst actors I've ever seen, this movie succeeds despite his desperate attempts to ruin every seen he's in. Price, Cushing, Lee and Carradine are, of course, stellar in their various supporting roles, with Cushing's best Elmer Fudd/Peter Cook from The Princess Bride impersonation standing as the comic high watermark of the piece. I'm not one to figure out endings, but I did figure this one out, even through the movie-within-a-movie setup. And still I enjoyed the hell out of the film. It's no Memento, but if you're in the mood for a simple, Old Dark House-style midnight-on-Friday popcorn black horror comedy, here you go. Enjoy! I sure did.

Pete Walker's "House Of The Long Shadows" of 1983 may be an extremely silly and partly even ridiculous movie, all right, but it is still an absolute must-see for any serious lover of horror, and even for any serious film fan, as it features FOUR of the greatest Horror icons in the history of motion pictures, Vincent Price, Peter Cushing, Christopher Lee and John Carradine in one movie. This unique cast alone makes this movie essential, regardless of the ridiculous storyline.

Young American author Kenneth Magee (Desi Arnaz Jr.) makes a ridiculous bet with his English publisher that he can write a novel as great as Emily Bronte's "Wuthering Heights" within 24 hours. His publisher therefore sends him to a Welsh manor, where Kenneth is supposed to have the necessary quietude to work effectively. Soon after his arrival, however, some strange guests show up, amongst them some of our favorite Horror icons...

Vincent Price, Peter Cushing, Christopher Lee AND John Carradine - A movie with this cast is, once again, absolutely essential for any fan of Horror. These four legendary actors clearly had a lot of fun shooting this over-all silly movie together, especially Price plays his role very humorously and seems to enjoy it a lot. Apart from the four Horror legends, the movie has little to offer. Desi Arnaz Jr. delivers a dreadful performance, and Julie Peasgood is not exactly a very good actress either. The story and its many twists are quite ridiculous. There were some points in the movie when I actually started to like the story, but these moments are quickly destroyed by silly twists again. If it wasn't for this movie's stars, the film would, if for anything, be remembered for its silly premise, but Price, Cushing, Lee and Carradine make this an absolute must-see!

An over-all silly film with a ridiculous storyline, "House Of The Long Shadows" is made a real joy by the four great Horror legends. A film that unites Price, Cushing, Lee and Carradine is a must-see for every Horror fan and serious lover of cinema!

Never turning up on television, long out of print on video, and never released to DVD, HOUSE OF THE LONG SHADOWS has fallen prey to neglect in recent times. To a degree, this is understandable; taken purely on its own, HOUSE at first seems to emerge a bit disappointing today. The oft-cited problem is that the four horror stars seem painfully marginalized in order to make way for Desi Arnaz Jr. But, when seen in a larger context, HOUSE rises far above its humble origins and becomes something much greater than the sum of its parts. Much like James Whale's THE OLD DARK HOUSE - a film that shares much in common with HOUSE - it is a film that requires multiple viewings to fully appreciate.

Just as Universal's Dracula of 1931 inspired and influenced a cycle of horror films that would grow, mature, mutate, and ultimately flounder in various forms till the late Forties, so too did another horror zeitgeist bloom during the late Fifties, Sixties and Seventies. The British studio that had produced 1957's groundbreaking THE CURSE OF FRANKENSTEIN, Hammer Films, found great success in the genre over the next twenty years, not infrequently making use of Christopher "Dracula" Lee and Peter "Frankenstein" Cushing. Meanwhile, in Hollywood, American International found their superstar in Vincent Price, whom they headlined in a series of literate, atmospheric Edgar Allan Poe adaptations, beginning with THE FALL OF THE HOUSE OF USHER in 1960. Eventually, this series too would cross the Atlantic. The popularity (and profitability) of these scare shows insured a legion of second-rate cheapness from various entities, many of which utilized Shakespearian actor and erstwhile Universal horror veteran John Carradine, who crept his arthritic way through such low-budgeters as GALLERY OF HORRORS and BLOOD OF DRACULA'S CASTLE.

But, by 1982, this cycle of traditional horrors had seemingly come to a dead end. Hammer and AIP were no longer producing feature films, and most of the great horror stars of the time were now electing to either shoot for mainstream success or a semi-retirement save for the occasional film and television cameo appearance. As the Eighties dawned too, the genre was foregoing Gothic horror in favor of the summer camp bloodbath, the holiday massacre, and the dream-slaying slasher. In the midst of these gruesome developments however, director Pete Walker, not unfamiliar with bloody subject matter himself, decided to provide the old-fashioned approach one last go-around, and gather the very icons of that style to do it.

The plot is old humbug, another revitalization of Earl Derr Bigger's old standard Seven Keys to Baldpate, which had been filmed a number of times before. Jaded novelist Arnaz accepts a bet from his impish publisher (Richard Todd), which involves him spending 24 hours in an old Welsh mansion and writing a Bronte-like Gothic story. As the stormy night progresses, various dodgy characters turn up who, as it emerges, are all members of the benighted Grisbane family, gathered on this night to release a horrible secret in the attic. Before long, various unwary visitors - as well as the Grisbanes themselves - begin to be murdered in grisly ways by a mysterious psychopath. Many twists and turns later, the narrative works its way toward a lighthearted conclusion.

There had long been plans to unite the four horror superstars in one film, but scheduling conflicts had made it impossible. Finally, the opportunity arrived with this project, and all are well served by their roles here. Each is allowed to indulge in his particular acting persona. Price is flamboyant and theatrical, Lee imperious and sinister, Cushing genteel and sympathetic, Carradine sonorous and stentorian. Price in particular excels here, and this was his last real opportunity to shine in a full-fledged horror film. Though he would return to the genre two more times before his death in 1993, neither his embarrassing appearance as an expletive-spewing sorcerer in BLOODBATH IN THE HOUSE OF DEATH or his cantankerous turn hosting THE OFFSPRING can compare to his grandly overstated Lionel Grisbane. In particular, Lionel's pitched introduction at the doorway is unforgettable, a true highlight of horror cinema.

If there is a major regret here, it's that Cannon opted to re-cut the film for some theatrical showings - and that's the version released to VHS years ago. This move appears to have been done in order to play up the horror content and mute the comedy. Though I've never seen the original cut, it almost unquestionably would have been preferable. Both Price and Cushing seemed to feel so, and lamented the fact that many of the comic build-ups were left in, only to have the punch lines cut. The real loss was the original end credits sequences, in which each member of the cast steps out of character to take a final bow.

But, in the end, the shortcomings matter little. HOUSE stands as truly the last of its kind, and more than that, can be seen as the point of embarkation for a new style. Just as Universal provided the iconographic monsters of the Thirties and Forties with a peculiarly reverential send-off in ABBOTT AND COSTELLO MEET FRANKENSTEN, so too does HOUSE OF THE LONG SHADOWS allow its four veteran bogeymen of the Sixties and Seventies to gracefully bow out, in character and with their dignity intact. It's sublimely appropriate that the film should meld Eighties slasher/body-count horror themes (gruesomely accented ax murders, stabbings, acid baths, etc.) with the traditional Gothic approach these men specialized in; by taking part in those very situations themselves, Price, Lee, Cushing, and Carradine thereby "pass the torch" to the knife-wielding maniacs that would come to rule the genre in their place. Seen in this light, the film's faults seem to considerably melt away, and one realizes what a true, unique gem we have here. That is, a lighthearted but affectionate good-bye to twenty-five years of classic horror films executed with great deft and style.

This proved to be the last film of British horror director Walker (in the accompanying DVD interview for his THE FLESH AND BLOOD SHOW [1972], which followed this in short order, he states that this was his only 'assignment' – all his other work he personally financed) as well as the final teaming of that prolific and (for fans, hugely rewarding) iconic duo of Peter Cushing (complete with endearing speech impediment) and Christopher Lee (a complex characterization, albeit characteristically boorish).

Having mentioned the two Hammer stars, some reviewers mistakenly believed the film intended to recapture that studio's Gothic tradition but it actually hearkens back to the comedy-thrillers of the Silent and early Talkie era. In fact, it was the sixth filmization – scripted by Michael Armstrong, whose own directorial career was curtailed following the notoriety of his MARK OF THE DEVIL (1970) – of "Seven Keys To Baldpate", a novel by Earl Derr Biggers (creator of Charlie Chan) that was adapted for the stage by George M. Cohan (yes, the songwriter played by James Cagney in YANKEE DOODLE DANDY [1942]!).

Besides, its plot about a dysfunctional Welsh family that includes a locked-up maniac and whose mansion is 'intruded' upon by innocent strangers is a virtual retread of James Whale's sublime THE OLD DARK HOUSE (1932; one of my absolute favorites) – though with little of that film's style or wit. Another direct link to it is the fact that there is a Roderick involved – and let's not forget that Vincent Price (who co-stars here) had played a character by that name in Roger Corman's seminal Poe adaptation HOUSE OF USHER (1960)! The final revelation (which wasn't at all surprising nor, come to think of it, was the identity of the mysterious killer), then, is straight out of SEVEN FOOTPRINTS TO Satan (1929)…

The cast also highlights two other lesser horror stars – John Carradine (who's supposed to be the patriarch of the family when the difference in age from, at least, Price and Cushing is minimal!) and Walker regular Sheila Keith (replacing the ailing Elsa Lanchester). The young cast isn't in any way comparable obviously – however, both Desi Arnaz Jr. (from childhood sci-fi TV show AUTOMAN [1983]!) and Julie Peasgood prove reasonably engaging nonetheless. By the way, Richard Todd appears as novelist Arnaz's genial publisher – who makes a bet with his client that he won't stay the full-length of 24 hours in an ostensibly haunted house (which is the exact same premise of the Abel Gance/Max Linder short AU SECOURS! [1924] I've just watched and, I see, Michael Elliott did too!).

At the end of the day, the film is clearly old fashioned (despite the occasional gore) but undeniably fun – which makes the Leonard Maltin guide's *1/2 rating a genuine head-scratcher!