Die Katze und der Kanarienvogel

I'm not overly fond of seeing remakes of movies that I hold in high esteem, such as Paul Leni's excellent silent film "The Cat and the Canary" (1927), but the 1979 British remake (actually the fifth filming of John Willard's 1922 stage play) has such an impressive cast that it was hard for me to resist. And, as it turns out, this most recent incarnation is as fun as can be; an amusing and at times pretty darn scary updating. In what is a now-classic setup, a group of relatives convenes in England, at Glencliff Manor on a stormy night in 1934, to hear the reading of Cyrus West's will, while outside the house, an escaped homicidal maniac stalks the neighborhood. Here, West's attorney, Dame Wendy Hiller, screens the 20-year-old filmed testament of the old man (Wilfrid Hyde-White, whose grumpy recitation for his latter-day "leeches" and "bastards" easily steals the show) to a group of millionaire wanna-bes that includes yummy Carol Lynley, lesbian cousins Honor Blackman and Olivia Hussey, and American songwriter Michael Callan. Radley Metzger, in his sole horror outing in a career more known for various erotic entertainments, directs this film with style to spare, and his screenplay is clever and at times even sparkling. Callan gets the lion's share of the script's comical one-liners, and his quips regarding "putting on heirs," "where there's a will, there's a way" and "kissing cousins" are actually very funny. But don't get me wrong; despite the screenplay's cleverness, this "CATC" does dish out the scares, especially in the film's final 1/2 hour, when that maniac (who reminded me a bit of a bloodied-up Keith Richards, of all people!) gets into the house and things turn pretty nasty. All in all, a surprisingly well-done remake. Now...when is somebody finally gonna release a Region 1 DVD of the 1939 Bob Hope/Paulette Goddard "CATC"? That's what I want to know!

This had nice British cast and a remake of an old film that had been remade several times after the original silent production.

Just look at the names: Edward Fox, Wendy Hiller, Olivia Hussey, Carol Lynly, Daniel Massey, Wilfrid Hyde White, Honor Blackman, Michael Callan - maybe not huge names, but all fine actors.

This adaptation was too talky for me, especially for a murder story. It starts off promising in the first half hour but really peters out with all the gab and not nearly enough suspense or action. It looked like a modern English TV drama with a little profanity added. I was disappointed to see two very pretty faces of the 1960s, Lynley and Blackman, not look very good on the facial closeups. All the makeup they had on looked almost grotesque.

If drawing-room-type murder mysteries with a comic touch are your cup of tea, then you can't go wrong with this one. It's not as good as, say, "Murder by Death" or the best Agatha Christie adaptations, and there are some overly talky sequences that exist mainly to showcase the actors and lead nowhere. But it holds your interest, and has some very good acting, especially by Wilfrid Hyde-White in a most unusual cameo. (**1/2)

The Cat and the Canary is directed by Radley Metzger who also adapts the screenplay from the play written by John Willard. It stars Honor Blackman, Michael Callan, Edward Fox, Wendy Hiller, Olivia Hussey, Wilfred Hyde-White, Carol Lynley, Beatrix Lehmann, Daniel Massey and Peter McEnery. Music is by Steven Cagan and cinematography by Alex Thomson.

Ah the dark house murder mystery, sadly seeming now like a relic of our cinematic pasts. There are many to choose from for those of us who choose to go back in time and cosy up by a warm fire, with drink in hand, to involve ourselves in the standard plot formula of various folk getting bumped off by a scheming murderer during a short time period and under one roof. John Willard's The Cat and the Canary is a well mined source for such fun and fearful frolics, as of the time of writing, this 1979 version stands as the last attempt to transfer the play to the screen.

There is nothing unduly bad about Metzger's movie, it's just that it is rarely inspiring either. The cast is well assembled, with one or two creaky performances aside, the mystery element holds strong, and period flavours are tasteful. But the mansion it's set in is too bright and un-threatening, it's overtly talky as a good hour is used to set up characters and plot dynamics, while there's a distinct lack of acidity in the script. Still, it's never less than fun, and for the innovative reading of the will segment alone this version is worth seeking out by those who decry the demise of the old dark house set mystery thriller. 6/10

What an odd film. A few decent chuckles, a few wonderful camera tricks, but far too much chitchat and a very nasty sadistic tinge.

The "old dark house" thriller idea is hardly given any new energy, and the thunder sound effects often swamp the dialogue, making some sequences a challenge to endure. I agree with other reviewers that this feels like a 70s version of the 30s, with the same costume/lighting ideas as many of the 70s Agatha Christie adaptations (and Olivia Hussey in the cast).

Wilfred Hyde White is great fun from beyond the grave, and a special word for the wonderful sequence where the usually glorious (but here slightly subdued) Beatrix Lehmann walks behind his projection screen, appears on screen, then emerges from behind the other side. Also, a very effective sequence where Ms Lehmann talks about her late employer with her face reflected in his photo.

Far too many characters I found it hard to care about, all written in very poor, sub-Cluedo dialogue. Even Honor Blackman struggles with the poor material she is given. Some sequences are, frankly, silly. Edward Fox leaps through a window instead of knocking on the door. After relating the saga of the escaped loony, Mr Fox instructs everyone to lock up the house and hide in their rooms; this comes despite his having rendered the house insecure by destroying the lounge window.

There is a nasty tinge of sadistic enjoyment to the final sequences, where the barking mad murderer is cornered in his lair. As much of the rest of the film tries (and very occasionally succeeds) in being light-hearted, the unpleasant conclusion, followed by a twee little "happily ever after" coda, seems at odds with the film's intentions.

Very uneven and unsure of whether to laugh or scream, this really isn't very good.