Traum ohne Ende

I remember being bowled over as a kid when I first saw this classic. I know now that American cinema of the time simply wouldn't risk confusing an audience with such a complex (stunning) wrap-around and a string of separate stories. Then too, that was before humanoid dummies became a horror cliché, and so the effect was doubly jarring. Nonetheless, I'm still astonished at how well Redgrave shades his stages of madness, certainly Oscar worthy in some universe. That episode may be the creepiest and most difficult to figure out in the whole horror genre.

But what really amazes me now is how such a completely collaborative effort could have turned out so well—11 writers, 4 directors, and a large cast of principals. Usually collaborative efforts amount to less than the whole; this one, however, is considerably greater than the whole. After so many comments, there's no need to echo the obvious, except to point out that true horror depends on the psychological and in no way depends on buckets of blood. In my book, the movie's as good now as it was 60-years ago.

For years I've wondered if I really saw a movie that served as the source for innumerable childhood dreams and fears. I tried telling folks about seeing this British film on TV in the 1960s, but it was so jumbled in my memory that I really couldn't describe it properly. I knew it led to a lifelong dread of ventriloquist dummies, but I couldn't figure out how that tied to an architect at a country house party.

For no apparent reason today I put "ventriloquist movie" into yahoo and skimmed down to Dead of Night - British 1945. At long last I knew that I hadn't imagined the whole thing - and boy am I relieved! I'm also delighted to find that I've been "haunted" by a classic of the genre that has had a big impact on so many others.

I'm looking forward to ordering it and watching it again.

This is a great horror classic.I think what makes it so great is it contains something that we can all relate to. Many horror films are so far fetched, that we can't imagine anything like that happening to us. Today's horror pictures equate fear with blood, gore and shock value. But I think the things that scare us the most are the things that are subtle, which makes it more believable.

We've all had feelings of deja vu at some point - or had recurring dreams or similar experiences. This movie takes very ordinary objects we all have in our homes, like a mirror, and makes us think twice about them. And what child hasn't played hide and seek and worried that they might not get found by the others. But in this case, the girl gets lost in a secret area of a home only to discover something ghastly.

There is an expected lighthearted touch in the middle with the golfing story. I found the part where the ghost couldn't remember the hand-signal sequence to "disappear" to be absolutely hilarious. Some have commented they felt it was out of place. But I think the comedy relaxes you enough so that when the next scary sequence begins, it really comes as a shock.

I found shadings of Hitchcock, The Twilight Zone, and even Shyamalan ( the circular nature and premonition of SIGNS). I loved the circular nature in this tale especially. I found the cinematography to be intriguing, especially some of the close-ups. I think the "Christmas Party" sequence was especially beautifully filmed. And the creepy music score throughout does quite a good job of adding to and creating tension.

Any fan of classic Horror will love this little gem. This is one that will stick with you for some time (and make you double-check your mirrors). And remember...all it takes is a weekend in the country to cure those recurring nightmares!! HAPPY DREAMS!

Mervyn Johns a quite ordinary architect is summoned for a job by Roland Culver. As he drives up to Culver's house it's in the words of a great 20th century philosopher, deja vu all over again.

Culver's entertaining and Johns comes in and seems to know the people there. When Johns relates what he thinks is happening to him, the others start telling some paranormal tales of their own.

With Mervyn Johns's introductory story unifying the film, Dead Of Night now goes into five very engrossing short stories of some weird experiences that the guests have had. I'm not sure the introductory tale is needed, all five can certainly stand on their own as Gothic drama.

Although all the stories are good, by far the outstanding one involves Michael Redgrave as a ventriloquist whose dummy seems to be taking on a life of its own. One of Culver's guests is psychiatrist Frederick Valk and he contributes this story as he was a consultant on this case. Is it schizophrenia or is that dummy really alive?

I also liked the episode with Sally Ann Howes as a young teenager at a costume party who befriends a young boy whom she sings to sleep with a lullaby. The boy played by Michael Allan had a perfect right to be in that house, but he's a most unwelcome guest at the party.

I might not have even had the linking story included in the film and let the stories stand on their own. But either way Dead Of Night is an engrossing Gothic drama.

Dead of Night is one of those movies that actually started a genre. Tame to today's standards many of its short stories can be traced to horror plots today; most notably the ventriloquist dummy come to life (Michael Redgrave sequence). This movie takes horror where it should remain...the suspense film. We can see all the blood and gore today but why do films like The Six Sense (1999) or What Lies Beneath (2000) remain a success? Everyone has their own fears and thoughts of horror; and the thought of that fear and horror adds to the suspense film in all ways more thansay the breed of horror slasher films...probably best portrayed by Psycho, Halloween and the Scream Films. Dead of Night isn't a Hitchcock film but it uses the same actors of his England days and uses the same suspense techniques seen in his tv series. Check this film out and watch it from the perspective of the 1940s viewers eyes and see why it was popular. Also check out Cat People (1942)and M (1931)