The Strange Door

The Strange Door (1951) is released by Universal Pictures, it's directed by Joseph Pevney and stars Charles Laughton, Boris Karloff, and Sally Forrest. Based on the short story, The Sire de Maletroit's Door by Robert Louis Stevenson, it comes with much horror credentials. However, and in spite of it constantly being tagged a horror film, The Strange Door is more a Gothic thriller tinged with madness and all round nastiness.

The story is a solid one as Laughton's Sire Alain de Maletroit plots revenge against his younger brother, Edmund {Paul Cavanagh}, revenge that comes in the form of imprisonment down in the family dungeon for 20 years. Not content with that, Maletroit, after telling her that her father is dead, makes Edmund's daughter, Blanche's {Forrest}, life a misery. Culminating in a forced marriage to scallywag Denis de Beaulieu {Richard Stapley/Whyler)} who has been duped and trapped in the Maletroit castle. But Maletroit hadn't planned for Blanche & Denis to hit it off, and also lurking in the shadows is servant Voltan {Karloff} who is loyal to the imprisoned Edmund.

This is very much an acting piece, both Laughton & Karloff could overact with the best of them, but the results were never less than entertaining. Such is the case here as Pevney creates a moody Gothic atmosphere in the shadowy Maletroit home, and then, lets his actors run with Stevenson's genesis source. There's much dastardly talking and the odd perky moment dotted along the way, but really it's only the lead actors that keep the piece from stagnating. Particularly at the midpoint when the good old romantic thread starts to be pulled.

Still it's a recommended film for sure, for its sets {Universal rarely fails to deliver here}, mood and its two scene stealing lead actors. Just don't go in expecting an outright horror film is all. 6.5/10

When Charles Laughton is given good direction and a decent script he'll give you an Oscar caliber performance and has on many occasions, one of them officially. But when he's not, hmmmm............. Well what's a body to do, but make the best of it, have a little fun.

With that gleam in his eye and the shtick with the food, plagiarized from his own performance of Henry VIII, Laughton goes to town in an orgy of overacting as Andre de Maletroit, malevolent lord of the manor in 18th Century France. For reasons I'll not explain Laughton has some nefarious reasons for wanting his niece to marry the worst kind of aristocratic rake.

The niece and the rake are played respectively by Sally Forrest and Richard Stapley none too convincingly I might add. Boris Karloff is an old family servant who Laughton delights in mistreating. He also is defeated by the script and direction so he also resorts to shtick.

Boris Karloff's career is illustrative of the path that Charles Laughton's could have taken. Trapped by his performance as the Frankenstein monster, Karloff stayed in the horror genre for most of his career. It was Laughton's good fortune and acting instincts that kept him from the same fate.

The film is based on a Robert Louis Stevenson story and certainly Stevenson has had great cinema made from his stories like Treasure Island and Kidnapped. Too bad this one can't rate up there.

The Strange Door is the kind of material that in the late 50s, Hammer films would have done so well. Too bad they didn't get a crack at it here.

1951's "The Strange Door" is something of a throwback to the Gothic horrors of previous decades, except that it comes from Universal, which rarely did such pictures (1939's "Tower of London" and 1940's "The House of the Seven Gables" instantly come to mind). Reuniting Charles Laughton and Boris Karloff 19 years after 1932's "The Old Dark House" (James Whale English Gothic), Laughton especially has a field day, alternately menacing and comical, and always fun to watch. Karloff is sadly reduced to a tongue-in-cheek servant role, quietly speaking his lines while rolling his eyes with great frequency. The château was used as a torture chamber during the Middle Ages, featuring a dungeon full of armor and weapons, plus a cell where the walls come together (Lugosi made use of one in 1935's "The Raven"). Richard Stapley (later Wyler) makes little impression as the hero, but Sally Forrest captures the eye as the endangered beauty (even lovelier in "Son of Sinbad" with Vincent Price, where she dances in a skimpy harem outfit). Laughton's sadistic nobleman is ably supported by a terrific supporting cast of rogues ("villainy binds men together!"), with William Cottrell, whom I've never seen in anything else, Morgan Farley, and Hollywood newcomer Michael Pate, who earns a piece of mutton for his handling of a bribe (he later starred as the vampire gunslinger in Universal's 1959 "Curse of the Undead"). Paul Cavanagh and Alan Napier have smaller roles, but are welcome faces nonetheless. This eternally underrated little 'B' features music cues from "The Wolf Man," "Frankenstein Meets the Wolf Man," and "House of Frankenstein," and was followed a year later by a similar Gothic, "The Black Castle," also featuring Karloff and Pate.

There were many horror titles released by Universal around the 1940's and 50's which told short stories (usually adapted from literature) within a slim running time - routine B-movie fare bolstered by one of the many fantastic actors they had on their payroll. The Strange Door is one such example. It's a rather daft story, adapted from a Robert Louis Stevenson short about a playboy high-born caught up in the sadistic plans of a sadistic lord. With a tacked-on romance, this is pretty pedestrian stuff for the most part. But when Charles Laughton and Boris Karloff are on screen, this timid horror comes alive.

Sire Alain de Maletroit (Laughton) and his cronies manipulate troublesome rake Denis de Beaulieu (Richard Wyler) into a mansion. While the front door opens from the outside, the inside contains no handle, trapping Denis within the strange castle. Alain explains to Denis that he intends for Denis to marry his lovely daughter Blanche (Sally Forrest). At first apprehensive, Denis meets and eventually falls in love with the delicate Blanche, infuriating the huge lord who naturally has an ulterior motive to his sweet-sounding deal. Alain has imprisoned and tortured his brother Edmond (Paul Cavanagh) for the past 20 years, with the hope of making the poor man's daughter miserable as well. However, he doesn't anticipate Denis's redemptive qualities.

Laughton doesn't so much chew the scenery but swill it around his chubby cheeks. Whenever he is on screen, it is impossible to take your eyes from him. Alongside looking like he's having a ball, every gesture, eye movement and idiosyncratic ramble seem almost improvised, as if he knows how forgettable this movie is but wants to make damn sure you'll be entertained while you watch it. Karloff also brings wide-eyed sympathy to the faithful servant Voltan, a man tasked with the dirty job of watching over the prisoner but does all he can to help the poor man. Wyler is less impressive; a constantly wooden presence with a voice that almost hurts the ears. The film is formulaic and stretched, but is occasionally very entertaining and a must-see for fans of its two lead stars.

A minor but irresistible Gothic melodrama with a rampant star performance by Charles Laughton (though he gets little to do in the second half - in fact, the film sags a bit during its latter stages). Boris Karloff's role is a good one, though clearly supporting Laughton rather than co-starring; actually, too much time is devoted to the rather insipid romantic leads (Richard Stapley and Sally Forrest) - though the supporting cast (including character actors such as Paul Cavanaugh, Michael Pate and Alan Napier) is adequate enough.

The plot itself is quite intriguing - leading up to a satisfying climax that's strikingly similar to the one in another Karloff film, THE RAVEN (1935). Of course, THE STRANGE DOOR reunites Karloff with Laughton almost 20 years after THE OLD DARK HOUSE (1932) - as in that film, they engage in a fisticuff at the end - and also returns the actor to Robert Louis Stevenson territory (albeit in a non-villainous role) after his unforgettable turn in THE BODY SNATCHER (1945). Despite the obvious low-budget (a fact that is betrayed, more than anything else, by having its entire score comprised of themes from previous studio efforts - including the nth revamp of the instantly recognizable cue from THE WOLF MAN [1941]!), the film is crisply shot in black-and-white and, in spite of the rather pedestrian direction, it makes the most of its limited sets.