The House in Marsh Road

Low budget British movie about a troubled married couple whose luck changes when the wife inherits a house along with a small fortune. Said house comes complete with a ghost - a poltergeist to be exact - known as Patrick! Tony Wright is good as the devious, drunken husband whilst Patricia Dainton looks gorgeous as his suffering wife. Relatively tame but engaging supernatural thriller that does manage a few sudden creepy moments, it is well acted, charming and at 70 minutes long is perfect in length. I really enjoyed this movie.

It seems unusual for a story with a poltergeist character to be set in the modern era (1960) but the story is convincing and the narrative is helped by the effective and restrained performances of the main characters. The music seems strangely reminiscent of Bernard Hermann's Vertigo score in places; in others of that used in the One Step Beyond TV series; surely a coincidence since the latter was produced at around the same time as this film.

Patricia Dainton is married to Tony Wright, a writer.... when he isn't drinking up all the cash. She inherits a house from her late aunt, and loves it; he wants to be in London, especially when a local real estate man offers him an unlikely sum of money for it. She won't sell. She loves the memories, she loves owning something real, she's even fond of the house's resident poltergeist, at which Wright scoffs.He takes up with Sandra Dorne, and eventually the comes to him that if his wife is dead, he can sell the house and take his lover to London. So he tries a couple of ways to kill her.

Mostly it's a thriller,with Miss Dainton being the lovely, totally unobjectionable sort of blonde which, in my experience, can drive a man mad. Wright is a lazy cad, and Miss Dorne is.... well, she's easy. It's efficiently written and directed; Walter Harvey's shadowy cinematography is a big plus.

Missing from David Pirie's filmography in 'A Heritage of Horror' (1973) despite Pirie praising director Montgomery Tully's oeuvre overall as seeming "to be impressively consistent both in style and content". This overlooked little gem anticipating 'The Night of the Eagle' resembles a Chabrol marital drama produced by Val Lewton, as a poltergeist intervenes in a serious marital spat between Tony Wright & Patricia Dainton; with Sandra Dorne as the peroxide blonde Other Woman.

Recommended.

The House in Marsh Road is directed by Montgomery Tully and adapted to screenplay by Maurice J. Wilson from the novel written by Laurence Meynell. It stars Tony Wright, Patricia Dainton, Sandra Dorne, Derek Aylward, Sam Kydd, Llewellyn Rees and Anita Sharp-Bolster. Music is by John Veale and cinematography by James Harvey.

When Jean Linton (Dainton) inherits a house in the country she hopes her hard drinking novelist husband David (Wright) will settle down and make something of himself and their marriage. However, when sultry Valerie Stockley (Dorne) arrives on the scene it's not long before David's head is turned and he begins to plot the murder of his wife. Jean is in trouble, but she has an ally, the resident poltergeist of Four Winds House...

Simplicity of plot and economical of running time and technical attributes, The House in Marsh Road should not be sought out by any "horror" fan craving poltergeist terror. This is a quaint and fun chiller for the most part, even with an air of jauntiness for the first half, in fact very much like The Uninvited (1944) in how the presence of a ghost is not seen as something to be outright feared. Then the mood for the latter stages of the play notably shifts into darker territory, here the dastardly David starts to put his plans in motion, something which signals time for the poltergeist to take a hand in proceedings. Which leads to a very good and genuinely edgy denouement at pics finale.

It never lacks for atmosphere or period flavours, or indeed for competency of performances and direction, where although it never breaks out into the upper echelons of other classic British chillers, it's still something of a "B" chiller worthy of inspection by those who don't need to be jolted out their seats. As for "Patrick the Poltergeist", he's rightly kept off screen, or is he? One scene appears to show him? Either that or a prop guy is guilty of standing in the shot? See if you can spot the moment and judge for yourself. It's just another fun part of a movie that provides gentle chills and honest entertainment. 7/10