Maria Marten, or The Murder in the Red Barn

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 Murder in the Red Barn (1935)

** 1/2 (out of 4)

Maria Marten (Sophie Stewart) is torn between Carlos (Eric Portman), a poor gypsy who her father hates and Squire Corder (Tod Slaughter), a man she doesn't really care for but it would be more acceptable to marry him. She chooses the Squire but when he learns that she's pregnant he kills her and hides the body in the red barn.

THE MURDER IN THE RED BARN is the film that introduced the screen world to the one and only Tod Slaughter. This was a rather familiar tale as it was filmed several times during the silent era but Slaughter brought his own over-the-top performance to the role.

The biggest problem with the film is the fact that the British censors were so strict at the time that it would have been impossible to really dig into the story and do it any sort of justice. Quite often things aren't even hinted out so you're basically having to use your own imagination. The story itself is a good one but it's just not fully brought out here.

The film has pretty much been forgotten over the years except for those who enjoy watching Slaughter. The actor is certainly in a league of his own as he overacts incredibly bad but at the same time it's unlike anything you've seen before and on that level it is somewhat entertaining. Both Stewart and Portman are good in their supporting parts.

THE MURDERS IN THE RED BARN certainly isn't a classic or even a good film but it has some mild entertainment to it.

Squire William Corder wins the charms of an innocent country maiden, despite the attention she receives from Carlos, a gypsy. Corder seduces Maria and, after she becomes pregnant by him, he murders her in the red barn before burying her body there.

Decent melodrama set in the 19th Century, with a typically over the top performance by Tod Slaughter, so those familiar with his films will know what to expect. Sophie Stewart is the tragic Maria and there is an early role for Eric Portman as Carlos.

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.