El barón Sardonicus

Of the William Castle films with which I'm familiar, "Sardonicus" is definitely the best. If you strip away some of the schlocky "padding" (the maid with the leeches, the "beauty contest" in the cellar, etc) you have a remarkably effective and entertaining film. Ray Russell's plotting and dialog are pretty high quality stuff, and some of the conversations have an almost poetic quality, especially in the scenes between Guy Rolfe and Ronald Lewis.

Of course, the dialog is all the more effective when delivered by a fine cast, and the stately, urbane Rolfe, the amiable and stalwart Lewis and the delightfully quirky and sinister Oscar Holmolka elevate this film FAR above its low-budget liabilities. Castle's direction is more than competent, my only complaint being the overly bright lighting throughout the castle interior, which robs many scenes of their creepy potential.

THEN THERE IS THE GRAVEYARD SCENE----a masterpiece of its type in the annals of horror films. Acting, direction, cinematography, etc ALL rise to the occasion, with the shocking revelation within the coffin and the psychological dimension of its effect on Marek/Sardonicus producing a scene which is as horrifying and disturbing as it is memorable; it's impossible to describe--you simply have to see it yourself. And the trauma continues as Guy Rolfe stumbles home in the dark, sobbing pathetically, where his wife (and we the viewer) first discovers his hideous deformity. I initially saw this film on TV when I was 20 years old and it STILL scared the crap out of me! Thank God I didn't see it when it was first released.

HERE'S A THOUGHT--- the shot of Sardonicus' father's corpse is so profoundly upsetting (to US as viewers as well as Guy Rolfe in the film)that I don't believe it was designed and created by Castle and his team; I bet anything that they "FARMED OUT" this shot to an effects team in Mexico--where the horror effects artists were FAR better at creating visuals of this sort. Or perhaps the coffin opening was a shot LIFTED from some earlier, obscure Mexican film, which Columbia might have purchased for this crucial shot in "Sardonicus" (?)

The final shot of the coffin lid opening (all the more creepy since it appears to open BY ITSELF)is interesting; if you look closely, you will notice that this is a DIFFERENT coffin lid than the one in the previous shots; the pattern of dirt and mold is different, as are the seams between the wooden planks. When the father's remains turn up later in the shocking padlocked-room scene, it's clear that the quality of workmanship is nowhere near as good as the coffin figure, instead appearing to be the sort of effect that Castle's production team would have created from their modest budget. I imagine that it's impossible to ever know whether or not my idea is correct, since too much time has passed since the film was made.

Many people make a big deal about the "Punishment Poll" gimmick for the film, but it's really just a distraction for any serious viewer; too bad that Castle's 11th-hour on-screen appearance breaks the mood just prior to the classically understated irony of the final scene.

William Castle usually marketed his movies with gimmicks, and for MR. SARDONICUS the gimmick was "the punishment poll." When the film played in theatrical release, audience members were issued a voting card, and near the movie's conclusion Castle himself appeared on the screen and asked the audience to vote: show the card thumbs up to show mercy, thumbs down for none. Now, in theory, there were two different endings, and the ending shown depended on the audience vote--but no one ever saw the "show mercy" ending and it seems unlikely that it ever existed at all. And you certainly won't find it here: Sardonicus is punished every time.

For once Castle should have left well enough alone. The Punishment Poll is the only seriously weak thing in the entire film, which has a considerably better script and over-all better cast than most Castle outings. The story, which shows influences from everything from PHANTOM OF THE OPERA to Dracula to THE MAN THAT LAUGHED, concerns a grotesquely disfigured man who uses his wife to lure a noted specialist to his castle in the wilds of "Gorslavia"--and who then proceeds to make every one's life as miserable as possible, and that's throwing roses at it. Young women are molested, hung from the ceiling, nibbled on by leeches, and threatened with surgery designed to make them look as hideous as Sardonicus himself.

The cast is quite good, with Oskar Homolka a standout as Krull, Sardonicus' equally depraved servant. The lovely Audrey Dalton is also memorable as Sardonicus' unwilling wife. But the real star of the film is the make-up, which was quite famous in its day and is still capable of giving you a jolt. And along the way we're treated to a number of campy Castle flourishes that add to the fun. But MR. SARDONICUS is surprisingly cohesive for a Castle movie, and it moves along at a smart pace and has an interestingly atmospheric look. Most Castle films appeal almost exclusively to fans of cult and B-movies, but just about every one will find this one entertaining. Lots of silly Gothic fun! Gary F. Taylor, aka GFT, Amazon Reviewer

William Castle had cemented his reputation as a director of fun, gimmicky horror films by 1961, but for this one he's (almost!) dropped the fun feel and replaced it with a more serious tone; and in doing so has gone and created his best film! The film opens with an introduction from the director (I said he'd ALMOST dropped the fun feel), and from there we move onto a macabre tale of greed, curses, grave robbing and disfigurement. Based on a novella by Ray Russell, the film takes obvious influence from George Franju's masterpiece 'Eyes without a Face' in that it follows the horrifying idea of someone having their face scarred beyond belief. The tale puts greed at its centre, and it is that deadly sin which is to blame for the title character's affliction. We follow a prominent English doctor who is called to Europe on the request of his ex-lover. While there, he meets the cruel and sinister Baron Sardonicus; a man who is forced to wear a mask as his face is too hideous to look at. It's not long thereafter that we learn the reason for this facial deformity, as the man retells the tale of how he robbed his father's grave for a winning lottery ticket.

William Castle may not be the greatest director of all time, but here he creates just the right tone for the story to flourish in. The Gothic locations, sinister score and foreboding mood combine to ensure that the story is both gripping and as hideous as its central protagonist. This is helped along by the fact that the central characters are well fleshed out, and all of their motives make sense. Mr Sardonicus himself verges on comic book villainy at times, and as the plot is fairly ludicrous, this isn't always the easiest film to swallow. However, Castle ensures that the action always makes sense, and it has to be said that the tale has been given as good handling as it could afford. Castle's love for showboating shows through towards the end, however, when he tries one of his 'interactive cinema' tricks regarding the fate of Mr Sardonicus. It is these sort of things that make William Castle films what they are, and it fits films like The Tingler; but here Castle's segment feels out of place, given that the tone of the movie is largely serious. However, it's not enough to spoil what is a great Gothic horror story and overall I highly recommend this film to horror fanatics!

Many consider William Castle to be a sort of used car salesman turned film-maker. Admittedly, he relies heavily on hype, and admittedly his hype has worn a little thin over the years, but Bill Castle has been involved with some memorable movies over the years. The Tingler, Rosemary's Baby, Strait Jacket, and Mr. Sardonicus are his most entertaining ventures. No doubt, Mr. Sardonicus will seem awfully tame to younger audiences seeking shock value and graphic gore, but to those who enjoy a more old fashioned style of horror film, Sardonicus has a definite appeal. The story line is very unique, the acting is good (especially by Guy Rolfe playing the title character), and the ending is great. Rolfe is great as the kindly, respectful peasant turned nasty, unfeeling aristocrat. Sure, the special effects are a little long in the tooth, but sit a young child down in front of this movie and watch his/her reaction when Sardonicus reveals his condition. I remember being scared witless watching this as a youth. Actually, I wouldn't recommend this movie for the very young, but it's a lot of fun for the young at heart. If you enjoy 1950s horror films, check out this little-known gem.

My younger sister and I saw this film when we were children and it terrified us - we still mention Sardonicus all these years later when looking for a word to describe a shocked reaction. My sister has just sent me a jokey text message in response to an insult I sent her, saying that she's so shocked that her mouth is in a "fixed Sardonicus grimace of shock" - this made me laugh so much I decided to look up info on the film and here I am!

The film would seem tame to my own teenage son now, but it has obviously had a lasting affect on my sister and me and it would be great to see it again on TV.