User reviews

Many of Tod's melodramas like Maria Marten and The Face at the Window had been filmed numerous times since the dawn of British cinema. But in partnership with quota quickie producer George King, Tod stepped in front of film cameras for the first time to capture his signature role of Squire William Corder on celluloid. A typical 2-week residency at a provincial fleapit by Tod's company would consist of Maria Marten the first week and Sweeney the second.

Milton Rossmer handled directorial chores on this one instead of King and the difference shows. The camera is relatively mobile and seeks a number of interesting angles - especially as it prowls around the red Barn as Tod prepares to shoot the luckless Maria. Production values and period design are relatively high for what is in essence one of the much-derided quota-quickies. Tod is the central figure and a sympathetic, multi-faceted role for all his evil. At the opening barn dance, he is the life-and-soul of the party and ensures that all his guests are enjoying themselves as he cuts a merry caper on the dance floor. The flighty Maria is much taken with him - and who can blame her when the only alternative is the sullen Carlos the Gypsy. Far from being the callow young suitor who normally opposed Tod's leering baddies, Carlos is impulsive and a bit too handy with a knife for comfort. His pursuit of the uninterested Maria verges on stalking and Eric Portman plays him with an authority that matches Tod. The confrontation in the drawing room between the 2 men after Corder has received his dowry is an interesting conflict of two differing acting styles and I had to admire the way Corder was able to signal for help despite been at the mercy of Carlos. Tod Slaughter also demonstrates what a skilled comedy actor he was with some amusing interludes as he loses heavily at dice to a suavely-sleazy Dennis Hoey His facial contortions are a joy, as is his swindling of idiot Tim Winterbottom and his scarcely-concealed repulsion from his intended - the big-nosed Psalmist. By the end of the 30's, Tod's acting style was, even then, regarded as pass? and a bit of a joke. He was often reduced to performing shortened dramatic acts on stage on the ABC cinema circuit. Nonetheless, he kept active throughout his life (American soldiers stationed in Belfast during the war seeing him on stage didn't know what to make of him).

Compact, entertaining thriller concerning a pompous aristocrat who, following a brief moment of ecstasy with an impressionable young farmer's girl, discovers he's responsible for an unwanted foetus. Tod Slaughter plays the immoral Mr Corder, under financial pressure due to gambling, being threatened by his dalliance now up the duff and in the mood to tell all to her father, who'll surely kill Corder for sullying the family name. What to do but a murder in the red barn.

Well told, straightforward without complications or surprises, just a decent little tale (based on a true event) that showcases stage actor Slaughter's adept villainy, and that of younger Eric Portman in one of his first pictures as the chivalrous Gypsy enamoured by Sophie Stewart's damsel in distress. The cast is immaculate and the inimitable producer George King delivers his usual pint-for-a-pound pulling no punches despite limited resources.

While it's 1935, there's no disguising the atrocious nature of the title crime, and this element along with Slaughter's portrayal of the corpulent, depraved and cowardly ogre is more than just a little unsettling at times. The scene in which he's goaded to "dig, dig" is quite chilling, and the conclusion thereafter is entirely fitting. Worth a look.

Tod Slaughter was able to do one important action as an actor - he put on film a series of the popular "warhorse" melodramas that were the meat and potatos of Victorian theatre way into the 20th Century. He knew these plays and their lead roles by heart, and how the public wanted him to play those villains. And several of the films were based on actual cases.

That is the case with the murder of Maria Marten at the Red Barn in Polstead, England. In 1827 William Corder, the surviving son of a fairly prosperous farmer, had an affair with Maria Marten (the daughter of a mole catcher). She became pregnant, and demanded he do the right thing. After hemming and hawing a bit William agreed to leaving with Maria for their future together. But he insisted she meet him secretly at the Red Barn, and she wear male attire. She did, but she informed her step-mother who watched her head for the Red Barn. Maria was never seen again for the next year. But letters from William, from London, came telling how Maria and he were very happy together.

One day (we are told) Mrs. Marten had a nightmare in which she saw Maria's body in the barn. She insisted her husband look. Mr. Marten did, and in digging up the floor of the barn found Maria's remains. The authorities started looking for Corder, and found he was living in London with a wife, and running a school. He was arrested, brought back to Bury St. Edmunds (the nearest town to Polestead), tried for Maria's murder, and found guilty.

He was executed in 1828.

Did Corder kill Maria? Most criminal historians feel he did, and are impressed at his initial attempt at a perfect crime - but why did it fall apart so easily? However one writer, Donald McCormick, wrote THE RED BARN MYSTERY, and pointed out that there were lots of questionable points in the story. Mrs. Marten's behavior, for instance. Local rumors said she had had an affair with Corder before he turned to Maria. Did the jealous woman suspect Corder's motives about the secrecy and disguise - but if she did, why did she not warn Maria? And if she did why didn't she tell her husband earlier? Did those letters really convince her that Maria was safe, or was her "dream" fake? McCormick suggested a different solution to the murder but it was rather bizaar.

Anyway the film with Slaughter keeps the traditional solution. And he goes to town with it.

Squire William Corder wins the charms of an innocent country maiden, despite the attention she receives from Carlos, a gypsy. Corder seduces Maria and, after she becomes pregnant by him, he murders her in the red barn before burying her body there.

Decent melodrama set in the 19th Century, with a typically over the top performance by Tod Slaughter, so those familiar with his films will know what to expect. Sophie Stewart is the tragic Maria and there is an early role for Eric Portman as Carlos.

"Based upon a true story, a small English town is the setting of a love triangle involving Squire Corder, the gypsy Carlos, and young Maria Marten. While Maria is smitten with Carlos, a roguish gypsy, she has attracted the attention of Squire Corder, a wealthy older man with a liking for younger women. When Maria disappears, after entering the (titled) Red Barn, suspicions fall upon Carlos, thanks to the efforts of Squire Corder," according to the DVD sleeve's revised synopsis.

There is some worth in seeing Tod Slaughter (as William Corder) perform in this old English chestnut, but 1935's filmed version of "Maria Marten, or The Murder in the Red Barn" is far too rough around the edges to recommend very highly. This was Mr. Slaughter's movie star debut; he is enjoyable, but rapport with the camera would grow stronger in future films. Eric Portman (as Carlos) does well as Slaughter's rival. And, Sophie Stewart (as Maria Marten) makes it three British stars rising on screen.

**** The Murder in the Red Barn (1935) Milton Rosmer ~ Tod Slaughter, Eric Portman, Sophie Stewart

Apparently, this story is based on a real murder that occurred in 1827. At the time, the public was really fascinated with the case...so much so that various plays and stories were written about it. The film, interestingly, is told like a play and you see it introduced like a play. And, like a play, the acting is a bit broad and hammy. This might have been acceptable or even expected during the reign of William IV or Victoria, but when seen today it is clearly overacted....especially by Tod Slaughter in the lead. He over annunciates and overdoes many of his lines...to the point where you NEVER forget this is a play or a film. And, as a result, it's very stuffy and dull.

The basic kernel of a story is good and might be worth seeing in a film...but not this one. It's just too obsolete and folks today would blanch at having to see it!

A twist, maybe two at the most. Kind of par for the course in a realm of Hitchcock with plenty of forgettable moments. The opening summarized the whole story so there wasn't much reason to continue watching other than the writing and the acting. Of the two, the writing seemed to need the most help. Satisfying ending in a social justice sort of way, which played more into the viewing audience than perhaps reality, but it is a film made for entertainment after all.

Of all Tod Slaughter's films, this horror-melodrama about a young girl brought to disgrace by a local squire easily is my favourite. Slaughter plays Squire William Corder, infatuated with a young Maria who is also admired greatly by a roaming gypsy named Carlos(Carlos is very English, however). Squire Corder consentually has his way with Maria, she later becomes pregnant, and Corder kills Maria in the Red Barn to quiet her so he can continue on with his own marriage plans for some much needed capital in order to pay off his gambling debts. Slaughter is a sight for the sorest of eyes. They just do not cut ham this thick anymore! He rolls his eyes, leers, laughs maniacally with the best, and he also has the greatest ability to be totally likable no matter what variety of fiend he plays. At one point in a scene where Maria confronts Corder about needing his help for these very trying circumstances, Slaughter delivers lines like, "No, don't speak" with relish I just have not seen in film very often. Every line Slaughter says seems to come to life and yet we seem to be in on the joke with him. This is a great piece not so much for the mystery...really is no mystery...but simply to watch an actor who should get more credit than he does act like no other. Great fun, great laughs, great Slaughter!

The film is set in the Victorian 1820s in a rural area of England. Maria Marten (Sophie Stewart) is generally a sweet woman but gets herself mixed up with the wrong man with promises of marriage, becomes pregnant and then she comes up missing - murdered.

This one isn't too bad. It's not Tod Slaughter's best film but it's not that bad of a movie. It's Slaughter's first acting role on-screen and he wasn't to bad in it either. The screenplay is kinda bland, decent but bland. The whole film feels like they could have added a darker and more mysterious atmosphere to the Victorian appeal.

I did enjoy this film. Some of the acting is over-the-top and they have some pretty funny lines at times - sometimes seemingly strong language for the time period this was filmed in (1935) which worked in the film's favor.

6/10

I just found this a joy to watch, first off you have a typical plot of 2 men going for the same girl, but it's different from many other movies because this girl will not live to say who killed her,, she fancies a young Gyspsy, but also an older wealthy gentleman takes a liker to the much younger Maria and is smitten with her, I love the part in the movie where the girl comes home , and she doesn't think that her father is home yet, her mother asks her whats wrong at first the young girl doesn't say , but the all knowing mother get's it out of her, and the young girl starts to confess what's been bothering her,, a man, who she is in love with , but doesn't want her anymore or so she thinks. well then the father walks in just at the right moment and says never-mind I heard everything,, he disowns her .. and kicks her butt to the curb for disgracing the family name... what a lovely movie.. recommend to anyone who likes these old b/w movies.

Stage actor Tod Slaughter brings his customary flair to this starring film debut, which begat a series of cult classics that showcased the wonderfully hammy actor to great effect. Here, he plays the utterly dastardly Squire William Corder, who has been carrying on with young maiden Maria Marten (Sophie Stewart). When she reveals that she's pregnant, he decides to cover his tracks by murdering her! But Carlos (Eric Portman), the very English gypsy who dotes on Maria, suspects what a cad his rival really is.

Although obviously shot on a very low budget, "Murder in the Red Barn" is great fun for anybody who loves this sort of trashy Gothic melodrama. Director Milton Rosmer shows a fair bit of style, and the film has a solid pace (clocking in at *less* than an hour long), plenty of amusements, and some excellent atmosphere. The supporting cast (also including Dennis Hoey as the gambler to whom Corder will end up owing 6,000 pounds) brings plenty of their own gravitas, but Slaughter is the guy whom you'll remember the most. He truly appeared to be having great fun himself playing these rather over-the-top characters.

If you enjoy this one, be sure to check out other TS classics such as "The Face at the Window", "Crimes at the Dark House", and his most famous, "Sweeney Todd, The Demon Barber of Fleet Street".

Seven out of 10.

Until a few weeks ago, I had never even heard of Tod Slaughter. Now I have got to see three of his films and I absolutely love him. He is the master of pomposity. He has virtually no moral sense. In all three films, he frolics with much younger women. He has no qualms about bumping off anyone that gets in his way. In this film, he is a squire who has run up some sizable gambling debts. He has been wooing a local man's daughter, for obvious reasons. She is even willing to marry him, but he needs money, so, instead, he becomes engaged to the ugly daughter of a rich man. To seal things up, he must kill the attractive young woman and then cover his tracks. No one believes the young gypsy man who figures things out. There is a lot of classism going on. He is one of the haves and the have nots must curtsy to him. When Slaughter is on the screen he is absolutely dominating. I'm now hoping to locate some more. This is a bleak but intense film. The setting is wonderful, in the stultifying country, with its secrets. What a cad!

Tod Slaughter was vastly underrated as an actor. This was his movie debut, at the ripe old age of 50. This movie is just so watchable, even now, some 66 years after it's first release. Tod plays the villainous squire Corder, a man of questionable morals, with a penchant for the young ladies of his locality. Sophie Stewart is the young lady that is drawn to the charms of the smooth-talking squire, oblivious of the attentions of the besotted gypsy Carlos. Alas, it transpires to be her undoing, and the lovely Maria of the title is done to death by that dastardly rogue Corder. The rest of the film is devoted to the eventual unmasking of the killer, and him getting his just desserts for that foul deed. Let's face it, there are so many films from this era that just don't quite stand up to scrutiny by the modern-day viewer, but appreciate this film for what it really is...a melodramatic masterpiece from the late, great N. Carter Slaughter.

The stage play of Maria Marten was based on real events and was so extensively performed it was said to be the most frequently performed entertainment in nineteenth century Britain. This maybe goes some way to explain the opening of the movie which not only takes the form of a stage play but also introduces the characters in such a way that it is expected that the audience must know who they are in advance. But what makes this first cinematic sound version of most interest today is that it is the debut film of English actor Tod Slaughter. He was fifty years old by then and had made his name on the stage. He would go on to star in several other dark melodramas over the next few years, always playing a similar villainous character – an elder pillar of the community whose public face is wholesome but his private character is pretty evil and he always seems to be chasing after girls less than half his age. Slaughter is one of the greatly under-appreciated stars of yesteryear. He's a pretty obscure figure nowadays but in every film I have seen he has been an absolute riot to watch. His acting style is very over-the-top but he controls it well. In this film, like all the others, he is the undoubted draw.

In this one Tod plays a squire who has a dalliance with a young farmer's daughter. Although it's never made explicit, it seems that she falls pregnant to him and is thrown out of her home by her sanctimonious father. The nefarious squire isn't suspected though but the girl threatens to blow the whistle on him so he takes her to the red barn one night and murders her and the blame falls on a young gypsy who had eyes for the girl. It's a typical plot-line for a Slaughter vehicle. But it's really entertaining and the period setting adds to the enjoyment too. It moves along at a cracking pace and is never boring. For fans of Slaughter this is a must.

Prior to renting the video of this movie, I had no idea who Tod Slaughter was, why he has a cult following, or exactly what people meant when they said he was "hamming it up". I couldn't have told you the difference between a Victorian melodrama and a Greek tragedy.

Well, after viewing it, I still couldn't tell you what the big deal with Mr. Slaughter is or how this was any more melodramatic than, say, the movies Hitchcock was making at around the same time, but I will say that this movie was well made and thoroughly entertaining, with never a dull moment. You need not be a Tod Slaughter devotee or know a thing about the history of English theatre to enjoy it.

The Murder in the Red Barn reaffirms my belief that movies from the early sound period managed to pack a lot more into their short running times than today's, which have doubled in length. The action in this movie was non-stop.

Other reviewers have stated that this film feels more like a stage play, but I find that many of the films from this period have that feel. There obviously wasn't as wide a gap between the cinema and theatre back then as there is today.

The Murder in the Red Barn (1935)

** 1/2 (out of 4)

Maria Marten (Sophie Stewart) is torn between Carlos (Eric Portman), a poor gypsy who her father hates and Squire Corder (Tod Slaughter), a man she doesn't really care for but it would be more acceptable to marry him. She chooses the Squire but when he learns that she's pregnant he kills her and hides the body in the red barn.

THE MURDER IN THE RED BARN is the film that introduced the screen world to the one and only Tod Slaughter. This was a rather familiar tale as it was filmed several times during the silent era but Slaughter brought his own over-the-top performance to the role.

The biggest problem with the film is the fact that the British censors were so strict at the time that it would have been impossible to really dig into the story and do it any sort of justice. Quite often things aren't even hinted out so you're basically having to use your own imagination. The story itself is a good one but it's just not fully brought out here.

The film has pretty much been forgotten over the years except for those who enjoy watching Slaughter. The actor is certainly in a league of his own as he overacts incredibly bad but at the same time it's unlike anything you've seen before and on that level it is somewhat entertaining. Both Stewart and Portman are good in their supporting parts.

THE MURDERS IN THE RED BARN certainly isn't a classic or even a good film but it has some mild entertainment to it.