Spuk im Schloss

I'm a fan of both horror films and silent films, but I didn't have a chance to get around to this one until now--and I was surprised by how much I enjoyed it. Other reviewers have already indicated how well-directed it is, and some have pointed out that the "overacting" is intentional in what was always understood by 1927 audiences as a spoof of the "Old Dark House" genre that was popular on Broadway for much of the decade and spilled onto the movie screen. Once you understand that everyone KNEW these were cliches, you realize there's no reason to take a patronizing attitude. I have to say this is the most satisfying "ODH" film I've seen (not considering actual haunted house films like the first version of "The Haunting"). It has a light touch and almost every shot makes some delightful choice--moving camera, jarring close-up, dutch angle, etc. Director Leni succeeds in making this stage play seem cinematic. One shot has a frightened character speeding through the corridor, apparently on an unseen bicycle! The shot of the body falling down out of a closet onto the camera has been much imitated, both seriously (as in "Public Enemy") and as parody (Warner Bros. cartoons). For a quick comparison, check Roland West's early talkie "The Bat Whispers." Although nothing in "Cat" reaches quite the level of West's most astonishing shots, the film as a whole is more satisfying and less stagey.

This late silent movie shows off the considerable talents of its director, Paul Leni, as the camera prowls the environs of an old dark house with the gracefulness of a cat, while the actors bob around like canaries, forming uneasy alliances and plotting against one another. The cast is well chosen. Laura La Plante makes a lovely heroine, while bespectacled Creighton Hale makes an agreeable, somewhat Harold Lloyd-like hero. Tully Marshall and Martha Mattox represent, none too flatteringly, the older generation; the former has the face of a drawn, white prune, while the latter makes a perfect battle-axe as the ironically named Mammy Pleasant. By today's standards the movie isn't too scary, though its mood of foreboding is still effective. Its qualities are pictorial more than dramatic, and the print I saw was badly in need of restoration.

The Cat and the Canary is a key film of the silent era, and was hugely influential in kicking off the old dark house genre that continued into the early talkie period. When sound came in the wisecracks proliferated, which tended to lighten the mood and detract from the suspense. In this one the humor is visual, and the tone is more consistent. There have been dozens remakes and imitations over the years, but the dark, Gothic beauty of the original has never been surpassed.

Whether you take it as a good-natured send-up of the 'old dark house' genre, or simply as a semi-serious horror/comedy, either way "The Cat and the Canary" is good entertainment. The atmosphere in the dusty old mansion is done very well, with plenty of creativity, and the story moves at a good pace and is told well. These are more than enough to make up for a few plot holes and a couple of characters that are left undeveloped.

The cat/canary image, which was deliberately exaggerated somewhat, is simple but it ties the story and characters together rather well. Most of the characters are interesting, although a couple of them never really take shape. Most of the performers seemed to enjoy their roles, and they worked well together, with most of them making good use of their moments in the spotlight.

If you enjoy silent movies, you should find this a pleasant way to spend an hour and a half or so.

The millionaire Cyrus West has spent the last years of his life in his mansion nearby the Hudson River considered insane by his greedy relatives and feeling like a canary in a cage surrounded by cats. When he dies, he stipulates that his lawyer Roger Crosby (Tully Marshall) would read his will that is kept in a safe in the twentieth anniversary of his death. On the scheduled day, Cyrus West's loyal servant Mammy Pleasant (Martha Mattox) and the lawyer welcome the guests in the creepy mansion that people tells that is inhabited by ghosts: West's nephews Harry Blythe (Arthur Edmund Carewe), Charles "Charlie" Wilder (Forrest Stanley), the scared Paul Jones (Creighton Hale), Aunt Susan Sillsby (Flora Finch), Cecily Young (Gertrude Astor) and West's niece Annabelle West (Laura La Plante). When Roger Crosby opens the will, West's mansion and fortune are left to the most distant relative having the name West, meaning Annabelle. However, she should prove first that she is sane; otherwise, the inheritance would be bequeathed to another heir whose name is in a sealed envelope. Out of the blue, a guard (George Siegmann) comes to the mansion and tells that a dangerous lunatic has fled from an institution. During the night, Roger Crosby disappears and Annabelle receives an envelope from Mammy Pleasant where West tells the location of his precious diamonds. Annabelle finds the jewels and wears a necklace, but while she is sleeping, a hand comes from the wall and steals the diamonds from her neck. With the exception of Paul Jones that loves Annabelle, her relatives believe that she is insane. But when Annabelle finds a hidden chamber in the wall with the body of Roger Crosby, Mammy Pleasant decides to call the police and the identity of the lunatic is disclosed.

"The Cat and the Canary" is a creepy mystery and horror silent film by the German Expressionist director Paul Leni. The plots blends black humor with elements of horror using the atmosphere of the expressionism with shadows and lighting, and the result is a stylish movie where even the inter-titles are funny. The beauty of Laura La Plante is very impressive. My vote is eight.

Title (Brazil): "O Gato e o Canário" ("The Cat and the Canary")

This is the stereotypical old dark house movie, all the relatives come to and old dark house and some one begins to kill them, or tries to. This has been remade several times, each version having its flaws and its strengths. This is the first version, and while I would like to say its the best, I can't since the silent medium has rendered its pace a bit too slow for modern audiences.

This isn't to say that its a bad film. Its not. Anyone interested in film and what can be done with it should see this film because the first half of this movie is a treasure trove of cinema techniques. The first half is also a damn good movie as well since it wonderfully sets everything up. Only as things begin to follow there course does the pacing slow. Its far from bad, it just may have you look at your watch now and again.

I give it seven out of ten, not perfect but watchable.