Night Comes Too Soon

My wife and I recently saw this under it's original title of "Ghost of Rashmon Hall."

It's a very low budget, very British quickie from the late 40's, with some shaky acting from a cast of unknowns (aside from the sinister Dyall). Less than an hour long, this could've turned out as just another forgettable filler, and indeed has been completely overlooked by most critics. Yet this little film abounds in genuinely creepy moments, startling and unexpected visuals and an overwhelming air of menace.

I honestly can't think of another film where incompetence and inspiration mix to such a degree. But the narrative is so gripping and the high points so good that you end up accepting the film on it's own terms. Several times we had to rewind just to appreciate some of the visual effects, all achieved by simple lighting and in-camera effects but each one achieving a truly supernatural ambience.

If I say any more I'll start giving away plot elements and I don't want to spoil it for you. All I'll say is try to get hold of this one, or tape it if it should ever turn up on TV.

In this thriller now better known as GHOST OF RASHMON HAll, a British newly wed couple after searching in vain for a home of their own (remember this was made when there was a severe post war housing shortage in the U.K.) reluctantly buys an old mansion with a spooky history and moves in. Soon after moving in they encounter ghosts, poltergeists and other spooky goings on. A hundred years it seems the owner of the house's wife had an affair with a sailor, and when the affair was discovered, the wife and sailor were murdered. Realizing something must done, the husband brings in a doctor friend who is an expert on the the occult to rid the house of spirits.

This obscure, very low budget British item has some very creepy moments but suffers from stiff performances and crude production values. The film certainly looks as if it is a lot older than it is and seems to come from an era more remote than 1947. The film also has what is intended to be a surprise ending.

Whilst House of Mystery,released in 1961,uses a similar story,it is a far more impressive and chilling film.In this film too much relies on the chilling voice of Valentine Dyall and optical effects.Dyall was making a name for himself on BBC radio as "The Man Of Mystery" at the time and so was transferring his talents to the screen.The problem that I found with the film was that it was not that chilling.There are a number of ghosts materialising and a rather half baked reason for the happenings but it did nothing for me.It might of course have been different for someone sitting in a dark cinema all those years ago.You don't expect a big budget with these films but you do expect some big ideas.

This film is hokey beyond belief. The action is so stilted and there are so many pregnant pauses. The leads seem to be acting like they are in a public information film. Valentine Dyall is always a great presence to watch, but in this film he is so limited by the awful direction. The film, as others have said, look waaaaay older than it actually is...it looks more like a very early 30s film and the soundtrack (which is inappropriate at times) sometimes sounds like it's from a Laurel & Hardy short. That said, there are some superb filmic ideas, and for all they are 'low budget' I thought they were really quite eerie. Someone could take this film now and create something as good as 'The Others'...but considering that won't happen, we are left with an odd but strangely compelling film.

This film is based on a short story by Sir Edward Bulwer-Lytton entitled 'The Haunters and the Haunted'. The film has come to be generally known by an alternative title as THE GHOST OF RASHMON HALL, but that is a mistake, presumably originating from some dyslexic person. The house in the film is not Rashmon Hall but Ramelsham Hall. We hear the correct name pronounced distinctly and see it written down in a book which the camera is shown. Few people have seen this rare film. Much of this film was made inside a genuine semi-derelict mansion, and that gives it a much more authentic atmosphere. The lead character is played by the extraordinary actor Valentine Dyall, very tall, droll, and mysterious. He has an insight into paranormal phenomena which his friends lack. Unfortunately, the appearances of ghosts in this film are very corny and done without finesse, obviously for lack of funds for special effects. Otherwise, the film is a remarkable period piece full of voices, mannerisms, and behavioural patterns which don't exist anymore, and is another one of those amazing 'social documents' for which old movies are so useful. The film has a surprise ending which no one could guess, so don't try. The director has attempted with the lowest of budgets to suggest an atmosphere of horror while showing next to nothing. Taking some lessons from Carl Dreyer's VAMPYR (1932) perhaps, the director Denis Kavanagh (in his second film, and he only made eight in his career) concentrates effectively on such simple things as a relentlessly dripping tap (which its sound magnified) and a swinging door, shadows, and the suggestion of horror rather than in showing us anything much. Dyall's eerie performance makes the whole project work. The film is an intriguing example of its genre for such a low budget production.