Dämon der Frauen

Cast a Dark Shadow is directed by Lewis Gilbert and adapted to screenplay by John Cresswell from the play Murder Mistaken written by Janet Green. It stars Dirk Bogarde, Margaret Lockwood, Kay Walsh, Kathleen Harrison and Robert Flemyng. Music is by Antony Hopkins and cinematography by Jack Asher.

Edward Bare (Bogarde) marries an older woman for money, murders her and finds that inheritance is not forthcoming. Setting his sights on another lady target, he gets more than he bargained for when he homes in on Freda Jeffries (Lockwood)...

You! Whatever you do, leave me alone!

Splendid slice of Brit noir that takes the Bluebeard route and lets the actors indulge themselves with glee. There's a bubbling broth of class distinction and simmering sexual tensions on the stove here, with Gilbert (The Good Die Young) and Asher (The Curse of Frankenstein) dressing it up nicely in moody visuals. From a Ghost Train opening, where the eyes have it, to the consistent symbolic use of a rocking chair, there's a sinister edge to the piece that tickles the spine and tantalises the conscious. We are pretty sure what is about to unfold in the plotting, but the getting there through the shadows and low lights is where the rewards are.

The cast are uniformly impressive. Bogarde by this time in his career was revelling in playing sleazy or emotionally corrupt characters, and he turns in another memorable performance here. Walsh and Flemyng are playing peripheral characters but strike the right narrative notes, and Harrison is heart achingly doltish as bewildered housekeeper Emmie. But it's Lockwood who shines brightest, here at the end of her film career, she delivers a spitfire turn. Freda is tough, has a waspish tongue (the script affords her some great moments) and uses humour as a mechanism for staving off potential peril. She also has a sexy glint in her eye that matches her ferocious laugh!

It sometimes veers towards the over theatrical, and director Gilbert at times misses a chance to really tighten the suspense, but this without doubt is deserving of a bigger fan-base. 7.5/10

The inimitable Dirk Bogarde stars as Edward (Teddy) Bare, he is a ladies' man – that is on occasion that the lady is filthy rich. He has married wealthy but older Monica (Mona Washbourne) and thinks he will inherit all her money as he is her spouse. However, she wants to make a will, so he decides it might be time for him to become a widower a little sooner than had been expected.

Alas he gets it all wrong and so is left 'financially embarrassed'. Well as he has gotten away with murder once he decides he needs another Mrs Money bags with a short potential life span and so he puts another dastardly plan into action.

This is lovely for all the right reasons. Bogarde as the deranged yet charming killer is just excellent – his facial expressions alone make this film. The supporting cast including Margaret Lockwood and Kathleen Harrison as the maid are all superb and totally believable in their respective roles. This was an adaptation of a play and that come across at times but it does not matter as this is a 'sit back and enjoy film' of how the other half once lived and more importantly died – recommended to all fans of old black and white British crime flicks.

This movie originated in London's West End as a 'tour de force' vehicle for an actress who could play both victim and nemesis of the caddish hero 'Teddy'. In the movie the roles are split between Mona Washbourne and Margaret Lockwood.

The film betrays its theatrical origins many times over and is firmly couched in the thriller conventions of its time. Dirk Bogarde, one of the best actors to emerge from postwar British Cinema is caught in a web of clichés as badboy Teddy: (The one original aspect of his character is a clearly signaled penchant for muscle men) but the one good reason for all fans of Ms. Lockwood to see this flick, is the opportunity to see her cast off the Wicked Lady mantle and assume a straightforward, eminently practical, tough-talking persona that we have never seen before.

"you wouldn't like this one Monnie" says Teddy in imaginary dialogue with his late victim, "She's common". Well, Monnie might not like her, but be assured dear reader, you will.

This is a movie that has almost all the parts working, in varying degrees. Direction, cinematography, screenplay, editing all were professionally done. The acting was superb. Dirk Bogarde couldn't have been better. Margaret Lockwood gave an award caliber performance. Kathleen Harrison as the maid played her character superbly while keeping her in the background, so to speak. The one obvious flaw was the predictability of the story. I found this to be a minor irritation only.

A crackerjack cast of British pros enlivens this drawing room murder story based on a play. Bogarde (looking lean and young) is married to doddering, but kindly older woman Washourne. When he misunderstands her intentions regarding her will, he decides to do her in. Unfortunately, his haste leaves him in a precarious financial state and so he must give marrying and killing for money one more try. He hooks up with wealthy, but incredibly common and vulgar Lockwood, but she proves to be more than he bargained for in the brains department. Things heat up further when attractive, tasteful and equally wealthy Walsh enters the picture. Meanwhile, Bogarde cons his first wife's simple-minded maid Harrison into thinking he's a decent man, but Washbourne's lawyer Flemyng isn't fooled. Though the film can't completely erase it's roots on the stage, the story is opened up nicely every so often and the story is compelling enough to hold one's interest. Bogarde is wonderful as the conniving lady-killer, showing lots of expression and layers. (His character has homosexual shadings. He's even perusing a muscleman magazine as he's on the hunt for wife number two!) Washbourne fulfills her role as the befuddled first wife very well. Walsh adds a dash of taste to the proceedings. The real gem of the film, however, is Lockwood. She's absolutely divine as the mouthy, tacky, worldly (but lonely) woman who has dealt herself not only a new husband, but a fractured nutcase. The role is unusual for her and she portrays it beautifully. In skirts that are so tight she has to pull them up in order to sit down and with cigarettes hanging out of her beauty-marked mouth, she enlivens the film every time she is on screen. The film has several great, dramatic flourishes and some gorgeous deep focus photography. There's also a memorably menacing title sequence featuring Bogarde's deranged eyes. Though the ending is fairly predictable, there is one twist that some viewers may not see coming. Fans of Hitchcock and his ilk of suspense films will probably enjoy it more than the average viewer.