The Old Dark House

Zotz!.. another William Castle and Tom Poston lighthearted dark adventure for all ages. Amusing quips and snappy banter abound. There are some plot contrivances (typically par for the Castle course). The Old Dark House would surely have been better suited for black and white film stock as the milieu is inherently sinister. That being said the full color palette does tend to heighten the humor elements of the story as Poston's pink puppy dog cheeks remind us of how sweet and naive a witless hero can be. However, the chromatic compromise confounds establishment of mood and thus character motivation. A third of the duration of the film passes prior to the formation of a real clue about the plot (which according to other reviewers holds little sway in the realm of fidelity to the original Priestly story or Whale film from the thirties). The staging/blocking and mobile framing are not constructed with any technical finesse or creative flair. I tend to find that Castle's best directing efforts are inspired by higher quality scripts he works with. For Castle, when the storytelling stammers his direction staggers and his authorial voice goes mute. There are shades of this crutch in The Old Dark House. Similar to Zotz!, Poston plays a character that reminds one of Leonid Gaidai's Shurik character - fumbling and bumbling through the simplest of tasks, getting himself into trouble way over his head, and gallantly dodging sexy, seductive women who throw themselves at him bosom to face. If you wanted to probe and plumb this film for some deeper value, try a psychoanalytic approach (either Freud or Lacan will do). Personally, I wouldn't bother... but you never know. As it stands, this is an amusing film that is best watched while doing something more important.

The Old Dark House does not provide the gore and R-rated material seen in today's horror movies but it does reflect a more simple time when comedy and horror could be matched while maintaining a family rating.

As a child I saw The Old Dark House over one hundred times, I remember being on the edge of my chair during the entire movie every single sitting.If only the local television stations would be able to air this movie, a new generation of viewers could enjoy, The Old Dark House.

The film may be the last of the "old age" comedies that were popular during that time. Tom Poston does a good job of not only showing fear but does so in comedy style to allow us, the viewers, to use our imagination.

While The Old Dark House may not live up to today's standards, it was a "movie of the day" in 1963.

Hadn't expected the rigmarole I'd have to go through to snag this film on video, several years ago. I'd seen this two or three times as a child and reveled in the dark comedy of it. The plot is silly, but it's not nearly as important as the production itself.

The charming performances by the many delightful character actors are the highlights of "The Old Dark House" -- Robert Morely, Joyce Grenfell, Peter Bull. Who would ever think that Tom Poston would appear as the romantic (?!) hero of a movie, but there he is. And Oo, that Fenella Fielding! What a dish!

This film isn't for everyone, but I'll never forget it, and neither will you!

In this second screen version of J.B. Priestleys' book, Tom Poston plays Tom Penderel, an American living in London who makes his living as a car salesman. He shares a flat with Caspar Femm (Peter Bull), who uses the place in the daytime while Tom sleeps there at night. One day Caspar implores Tom to come visit him at the Femm estate, which is up for grabs. Tom is then forced to deal with the wacky Femm family for one every eventful evening.

One would have expected a collaboration between gimmick master William Castle and Britains' legendary Hammer Studios to be more fun. It's more of a comedy than a horror film, and only a fitfully amusing one. There are some funny gags, but it just falls flat a lot of the time. It basically serves to make fun of the entire "old dark house" genre, complete with the expected tropes (like a dark, stormy night). It's decent light entertainment, but is eminently forgettable. It looks great, which is what the viewer expects from Hammer films (a lot of the crew are the usual Hammer suspects). But it doesn't have the level of atmosphere that's really required for most stories of this type.

The likable Poston leads a sterling British cast that helps to keep this version of "The Old Dark House" watchable for 87 minutes. Robert Morley is gun nut Roderick Femm, Janette Scott the striking blonde Cecily, Joyce Grenfell the doddering matriarch Agatha, Mervyn Johns the upbeat Potiphar, Fenella Fielding the slinky Morgana, and Danny Green the hulking, silent Morgan. (If Popeye had been turned into a live action feature in the 60s, Green might have made for a good Bluto.)

This kills time without too much pain, but it's far from grade A Castle *or* Hammer.

Title illustrations by Charles Addams.

Six out of 10.

Owing little to either James Whale's 1932 chiller, or to J.B. Priestly's original source novel, "Benighted", THE OLD DARK HOUSE is a small, off-beat and pleasantly daffy scare-comedy, a change-of-pace for director William Castle. Filmed and set in England, Tom Poston stars as a hapless American who, on a visit to a curious roommate's even curiouser family home, is caught up in a murderous merry-go-round of mayhem, nursery rhymes, love and (very possibly) the end of the world (including an Ark!). British stalwarts Robert Morley, Joyce Grenfell, Mervyn Johns, and Peter Bull have a charming good time playing the various members of the Femm family, along with Janette Scott and an unforgettably slinky Fenella Fielding as romantic interests. None of the usual Castle gimmicks for this release--just a bit of eccentricity and a pleasant, creepy, multi-murder mystery, with a puzzle to solve, a couple of surprises, and some good solid chuckles.

A note to fans of Charles Addams--the film's poster and its main titles contain some choice Addams artwork.

An additional note: the film was shot in color, but released in a very faintly tinted black-and-white version. The color version of the film was only seen on subsequent television release.

This movie really does deserve a DVD release, not only for its place in the William Castle canon, but for the performances and the fun.