Le mystère du château noir

Richard Greene plays British nobleman Sir Ronald Burton, a man intent on proving that an evil Austrian count, Karl von Bruno (Stephen McNally), was the person responsible for murdering two of his friends. So he travels to the Counts' domain, the Black Castle of the title, under an alias, enjoying the Counts' hospitality, as well as participating in a leopard hunt. Along the way he falls in love with von Brunos' beautiful young wife, Elga (Rita Corday).

Greene is an effective hero, and Corday is absolutely lovely. There are lots of impressive supporting performances here, by John Hoyt and Michael Pate as two associates of our villainous Count, Tudor Owen as Burtons' travelling companion Romley, and especially Henry Corden as Fender the servant. Greene, as handsome and stoic as he is, still can't compete with the entertaining theatrics of one eyed McNally, who's fun to watch. Lon Chaney Jr. is kind of wasted in a thankless role as a nearly mute thug. Boris Karloff does his usual delightful work as a distraught doctor who joins the heroes' cause, although his fans should be aware that this isn't really a Boris vehicle. His role, too, is a supporting one.

There's a fair bit to enjoy here, in particular that leopard hunt, which is very atmospheric and is the best part of the movie. Nathan Juran directs, with his typical efficiency. The story, concocted by Jerry Sackheim, is a rather straightforward one and also an agreeable one. You gotta love von Bruno for having a castle with such standard features as booby traps and an alligator pit.

All in all, this isn't a great Universal-International production, but it is a good one.

Seven out of 10.

Whether or not you'll like this movie probably depends a lot on your expectations. If you see that Boris Karloff is in the film and it looks like a horror film, you may well be disappointed. While it is a pretty good film, Karloff's role is rather small and unimpressive. And, while there are Gothic horror elements, I wouldn't consider this exactly a horror film--more of a weird adventure tale and romance.

The film begins with an Englishman (Richard Greene) going one an undercover mission to a weirdo Count (Steven McNally). It seems that a couple of Greene's friends have disappeared and the trail leads to the sadistic Count. This is NOT coincidental, as the missing men as well as Greene had fought with the Count and his troops in Africa and Greene correctly assumes the Count has done something to them for retribution--as he lost the engagement and his eye! Once at the Count's castle for a hunt open to various nobles, it's soon obvious that the Count is a weirdo who likes tormenting things--such as the poor panther he's kept locked up for this hunt. In addition, you notice that the Count likes tormenting his lovely wife. Did Greene get invited there in order to be the Count's next victim? See this one to find out for yourself.

While the acting is good in this film, it was odd that McNally was cast, as he usually played cops or gangsters! His playing a Count in the Austria-Hungarian Empire seemed far-fetched and he had a lovely accent...for a cop or gangster! However, despite this, the direction was good, the sets nice and atmospheric and it had a creepy conclusion worth seeing. Not a great film but quite enjoyable....just not a lot of Karloff and what you generally have is a bit bland.

The Black Castle is one of those film's that has found its way into a Boris Karloff collection and is mistakenly expected to be an outright horror movie. Whilst some horror elements exist within Nathan Juran's movie, this really is a multi genre piece that's tightly produced and effectively portrayed. Joining Karloff, in what is a small but critical role, are Richard Greene, Stephen McNally, Lon Chaney Jr, Rita Corday, John Hoyt & Michael Pate. It's produced, unsurprisingly, out of Universal International Pictures. The plot sees Greene's English gentleman travel to the castle home of the sinister Count von Bruno {McNally}. He's following an investigation into the disappearance of two friends, an investigation that is fraught with danger and surprise at every turn.

This has everything that fans of the old dark house/castle sub-genre could wish for. Genuine good and bad guys, a fair maiden, dark corners for doing dark deeds, devilish traps, ticking clock finale and we even get a good old fashioned bit of swashbuckling into the bargain. The cast are all turning in effective performances, particularly Greene and the wonderfully sneering McNally. Whilst Jerry Sackheim's writing is lean and devoid of the pointless filler that has so often bogged down similar film's of this ilk. A very recommended film on proviso that Karloff fans understand it's not really a Karloff movie, and perhaps more importantly, that horror fans don't expect blood letting to be the order of the day. A fine atmospheric story with a sense of dread throughout, The Black Castle is a fine viewing experience. 7/10

The writer drew on famous sources :Edgar Poe ("buried alive") and Shakespeare ("Romeo and Juliet").The beginning is quite scary and the interest is sustained till the end.The screenplay is certainly smarter than the average horror flick.Boris Karloff is the stand-out ,even if he is not really the scariest thing of the movie.The castle in question is full of traps,dark dungeons and crocodiles pit (which makes sense ,for the story really begins in Africa).The countess and the hero make a good romantic couple inside the gloomy walls of her husband's desirable mansion.The leopard hunting is also a very exciting moment.Very entertaining and a must for Gothic horror buffs.

1952's "The Black Castle" was a followup to the prior season's "The Strange Door," Universal Gothics preceding the studio's switch to science fiction with 1953's "It Came from Outer Space." The opening credits roll in front of the miniature castle seen in "The Ghost of Frankenstein," with familiar musical cues from "The Wolf Man," "Frankenstein Meets the Wolf Man," "House of Frankenstein," even "Son of Frankenstein." Charles Laughton enjoyed a field day in "The Strange Door," which focused on the villains, while this slightly lesser feature (both scripted by Jerry Sackheim) centers on the heroic Englishman Sir Ronald Burton (Richard Greene), who journeys to The Black Forest and the domain of Count Karl Von Bruno (Stephen McNally), a former adversary in Africa, who had set himself up as a god with the local natives, only to be driven out after encountering Sir Ronald's forces, losing his right eye in the process. Burton is certain that two trusted allies were victims of the sadistic Von Bruno, whose lovely Countess (Paula Corday, "The Body Snatcher") takes a shine to the newcomer (soon to play Robin Hood on British television), who demonstrates his swordsmanship in a brief encounter with Michael Pate and John Hoyt, as henchmen of the Count. This castle comes with a dungeon, a black leopard, a pit full of alligators, and a coffin containing the skeleton of the wicked Count's first wife. Lon Chaney gets a stirring entrance but little screen time as Gargon, the Count's hulking mute caretaker, whose tongue was ripped out by the angry natives, while Boris Karloff also gets shortchanged in the small role of Dr. Meissen, physician to the Count but devoted to the Countess. He at least sets up the climax, the lovers taking a page out of Shakespeare by swallowing a potion that simulates death, delighting the villains who congratulate the doctor for allowing such a fitting demise for their enemies (buried alive). Together for the second time (after 1944's "House of Frankenstein"), Karloff and Chaney would be reunited once more, in the ROUTE 66 episode "Lizard's Leg and Owlet's Wing." Stephen McNally has fewer opportunities to shine than Charles Laughton, but rises to the occasion once faced with Burton's true identity. Michael Pate enjoys more screen time than he had in "The Strange Door," and would work with John Hoyt again in 1959's "Curse of the Undead." Like most of Universal's popular 50s catalog, this film aired on Pittsburgh's Chiller Theater four times- Dec 8 1973 (following 1960's "Psycho"), December 21 1974 (preceding 1956's "The Mole People"), June 21 1975 (preceding 1955's "Tarantula"), and March 12 1977 (following 1958's "Monster on the Campus").