Maria Marten, or The Murder in the Red Barn

Tod Slaughter was vastly underrated as an actor. This was his movie debut, at the ripe old age of 50. This movie is just so watchable, even now, some 66 years after it's first release. Tod plays the villainous squire Corder, a man of questionable morals, with a penchant for the young ladies of his locality. Sophie Stewart is the young lady that is drawn to the charms of the smooth-talking squire, oblivious of the attentions of the besotted gypsy Carlos. Alas, it transpires to be her undoing, and the lovely Maria of the title is done to death by that dastardly rogue Corder. The rest of the film is devoted to the eventual unmasking of the killer, and him getting his just desserts for that foul deed. Let's face it, there are so many films from this era that just don't quite stand up to scrutiny by the modern-day viewer, but appreciate this film for what it really is...a melodramatic masterpiece from the late, great N. Carter Slaughter.

Of all Tod Slaughter's films, this horror-melodrama about a young girl brought to disgrace by a local squire easily is my favourite. Slaughter plays Squire William Corder, infatuated with a young Maria who is also admired greatly by a roaming gypsy named Carlos(Carlos is very English, however). Squire Corder consentually has his way with Maria, she later becomes pregnant, and Corder kills Maria in the Red Barn to quiet her so he can continue on with his own marriage plans for some much needed capital in order to pay off his gambling debts. Slaughter is a sight for the sorest of eyes. They just do not cut ham this thick anymore! He rolls his eyes, leers, laughs maniacally with the best, and he also has the greatest ability to be totally likable no matter what variety of fiend he plays. At one point in a scene where Maria confronts Corder about needing his help for these very trying circumstances, Slaughter delivers lines like, "No, don't speak" with relish I just have not seen in film very often. Every line Slaughter says seems to come to life and yet we seem to be in on the joke with him. This is a great piece not so much for the mystery...really is no mystery...but simply to watch an actor who should get more credit than he does act like no other. Great fun, great laughs, great Slaughter!

Tod Slaughter was able to do one important action as an actor - he put on film a series of the popular "warhorse" melodramas that were the meat and potatos of Victorian theatre way into the 20th Century. He knew these plays and their lead roles by heart, and how the public wanted him to play those villains. And several of the films were based on actual cases.

That is the case with the murder of Maria Marten at the Red Barn in Polstead, England. In 1827 William Corder, the surviving son of a fairly prosperous farmer, had an affair with Maria Marten (the daughter of a mole catcher). She became pregnant, and demanded he do the right thing. After hemming and hawing a bit William agreed to leaving with Maria for their future together. But he insisted she meet him secretly at the Red Barn, and she wear male attire. She did, but she informed her step-mother who watched her head for the Red Barn. Maria was never seen again for the next year. But letters from William, from London, came telling how Maria and he were very happy together.

One day (we are told) Mrs. Marten had a nightmare in which she saw Maria's body in the barn. She insisted her husband look. Mr. Marten did, and in digging up the floor of the barn found Maria's remains. The authorities started looking for Corder, and found he was living in London with a wife, and running a school. He was arrested, brought back to Bury St. Edmunds (the nearest town to Polestead), tried for Maria's murder, and found guilty.

He was executed in 1828.

Did Corder kill Maria? Most criminal historians feel he did, and are impressed at his initial attempt at a perfect crime - but why did it fall apart so easily? However one writer, Donald McCormick, wrote THE RED BARN MYSTERY, and pointed out that there were lots of questionable points in the story. Mrs. Marten's behavior, for instance. Local rumors said she had had an affair with Corder before he turned to Maria. Did the jealous woman suspect Corder's motives about the secrecy and disguise - but if she did, why did she not warn Maria? And if she did why didn't she tell her husband earlier? Did those letters really convince her that Maria was safe, or was her "dream" fake? McCormick suggested a different solution to the murder but it was rather bizaar.

Anyway the film with Slaughter keeps the traditional solution. And he goes to town with it.

The film is set in the Victorian 1820s in a rural area of England. Maria Marten (Sophie Stewart) is generally a sweet woman but gets herself mixed up with the wrong man with promises of marriage, becomes pregnant and then she comes up missing - murdered.

This one isn't too bad. It's not Tod Slaughter's best film but it's not that bad of a movie. It's Slaughter's first acting role on-screen and he wasn't to bad in it either. The screenplay is kinda bland, decent but bland. The whole film feels like they could have added a darker and more mysterious atmosphere to the Victorian appeal.

I did enjoy this film. Some of the acting is over-the-top and they have some pretty funny lines at times - sometimes seemingly strong language for the time period this was filmed in (1935) which worked in the film's favor.

6/10

Many of Tod's melodramas like Maria Marten and The Face at the Window had been filmed numerous times since the dawn of British cinema. But in partnership with quota quickie producer George King, Tod stepped in front of film cameras for the first time to capture his signature role of Squire William Corder on celluloid. A typical 2-week residency at a provincial fleapit by Tod's company would consist of Maria Marten the first week and Sweeney the second.

Milton Rossmer handled directorial chores on this one instead of King and the difference shows. The camera is relatively mobile and seeks a number of interesting angles - especially as it prowls around the red Barn as Tod prepares to shoot the luckless Maria. Production values and period design are relatively high for what is in essence one of the much-derided quota-quickies. Tod is the central figure and a sympathetic, multi-faceted role for all his evil. At the opening barn dance, he is the life-and-soul of the party and ensures that all his guests are enjoying themselves as he cuts a merry caper on the dance floor. The flighty Maria is much taken with him - and who can blame her when the only alternative is the sullen Carlos the Gypsy. Far from being the callow young suitor who normally opposed Tod's leering baddies, Carlos is impulsive and a bit too handy with a knife for comfort. His pursuit of the uninterested Maria verges on stalking and Eric Portman plays him with an authority that matches Tod. The confrontation in the drawing room between the 2 men after Corder has received his dowry is an interesting conflict of two differing acting styles and I had to admire the way Corder was able to signal for help despite been at the mercy of Carlos. Tod Slaughter also demonstrates what a skilled comedy actor he was with some amusing interludes as he loses heavily at dice to a suavely-sleazy Dennis Hoey His facial contortions are a joy, as is his swindling of idiot Tim Winterbottom and his scarcely-concealed repulsion from his intended - the big-nosed Psalmist. By the end of the 30's, Tod's acting style was, even then, regarded as pass? and a bit of a joke. He was often reduced to performing shortened dramatic acts on stage on the ABC cinema circuit. Nonetheless, he kept active throughout his life (American soldiers stationed in Belfast during the war seeing him on stage didn't know what to make of him).