Le chat et le canari

I fondly remember seeing this film in '79, and I was taken by it but this was long before I started demanding quality from the industry. I wish I hadn't seen it again, so I could have preserved the memory of the atmosphere and lightning and secret passageways, the reading of the will -- I could go on. But the sun rises. How can a film that boasts such talent lie on the floor so limply? There is no depth to any of the characters except the house keeper. Playboy to Doctor to Sportswoman to Pet girl to Instant heiress -- stick characters played by bored actors. The leading lady seemed miscast. Sorry, Miss Linley but the accent came and went so many times, it was distracting. Not that Miss Lynley got much help from Randy's adaption. To sum it up -- it was all there, all the spooky/ horror elements, but nothing jelled. There was no chemistry between anything... the movie lied there, the end offered nothing but who the killer was and even that was obvious from the onset. Yes. Yes. Very sad. Sometimes it's best to keep childhood memories in your mind's eye rather then try to relive the moment.......................

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.

This film version of greedy relatives gathering for the reading of a will has been crucified in some corners as a pale shadow of the original, or if not the original the Bob Hope version. While certainly no classic this is a fun retelling of the story that works because the cast is so enjoyable to watch and because the old story works even if its done half way decently.

This was the first version of the story that I ever saw. Endless reruns on HBO years ago have burned portions of this film into my mind, but I didn't mind since the film was just a good time passer.

No, its not perfect. The 1970's retro feel that it has doesn't really work and makes the film feel like it doesn't belong anywhere. There were several films in the 1970's set in the 20's, 30's or 40's that suffered similar fates, particularly if they had any European connections. This is not the place to discuss it, but when you see this film you'll understand what I mean.

And you should see this since its good but far from great. Is this the version if you can only see one go at the story? No, that would probably be the Bob Hope version, but if you want something for a rainy Sunday that won't tax the brain, this is it.

7 out of 10 on the pure enjoyment scale.

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.