Three Cases of Murder

Two tales of the supernatural and one a plain murder are introduced by Eamon Andrews. The first how an artist draws a museum curator into his picture, the second a good, plain whodunnit and finally a pompous minister destroys an opposing MP who seeks his revenge via the ministers dreams.

3 really solid and remarkably modern tales, all of which are enjoyable in their own ways with the final story offering the best of the three with a fine performance from Orson Welles as the pompous Lord Mandrago culminating in a genuinely chilling ending

'Portmanteau' films used to be all the rage and provided a means by which producers could entice patrons with the prospect of seeing a series of mini-films for the price of one. The innate problem with these types of films is that they are bound to contain segments that are weaker than others. Notable exceptions that spring to mind are 'L'Oro di Napoli', 'Souvenirs Perdus' and 'Dead of Night'.

Having directed a short called 'The Stranger left no Card' with Alan Badel, director Wendy Toye has here been assigned the first segment in which Mr. Badel again appears. It concerns an unsuspecting museum guide being literally 'drawn into' a landscape painting with dire consequences. It is an imaginative, well-scripted and distinctly unsettling piece with a splendidly stylish performance by Mr. Badel.

I am not alone I am sure in regarding the next segment as the weakest. There is a neat twist at the end although the casting is bizarre. The theme here is 'cherchez la femme' but John Gregson simply fails to convince as a Don Juan and Elizabeth Sellars as 'la femme' does not exactly quicken the pulse. Alan Badel does a turn as Harry the barman.

Now we come to the main course.

'Lord Mountdrago' featured in a collection of short stories by W. Somerset Maugham published in 1940. Two other stories in the set had already been dramatised in 'Quartet' and 'Encore'.

This is one of the master storyteller's most gripping tales and is told by Dr. Audlin in the shape of a duologue between him and his patient Mountdrago, minister of foreign affairs, whose life is being blighted by nightmares and feelings of persecution. Needless to say this dramatisation has been fleshed out considerably so as to include characters and incidents only referred to during the consultation. The man causing Mountdrago sleepless nights is an MP that he has humiliated during a debate in the House. He is played by Alan Badel, again displaying his versatility. He is a member of the Labour party so naturally has to have a regional accent, in this case Welsh. André Morell gives a beautifully understated performance as Dr. Audlin and Mountdrago is the magnetic Orson Welles. He certainly looks the part as Maugham describes the character as 'having somehow the look of one of the Bourbon sovereigns of the 18th century.' Ironically Welles was to play Louis XV111 in 'Waterloo'.

Although George More 0'Ferrall is credited with the direction this whole segment has director Welles written all over it.

Georges Perinal supplies atmospheric cinematography and the editing by Gerald Turney-Smith is excellent throughout.

The rather strange choice of Eamonn Andrews as the link man prompted one witty critic to suggest that the title of this opus should have been 'This is your Death'!

I love the way Eamonn Andrews, in his introduction, saunters over to the mantelshelf, picks up the cigarettes and lights one! How better to make him seem to be acting naturally in the 50s?

Story 1 is intriguing and disturbing but a bit too long. Some of the flat spots add to the suspense and atmosphere, but some are just flat spots.

Agatha Christie has spoiled us for the likes of Story 2. I'm sure most people see the twist coming a mile off. The only sub-standard section.

A great actor and a master storyteller come together to produce something special in Story 3, marginally better than Story 1 and thus best of the bunch.

I was first introduced to this film in a British Cinema class I took at the College of Santa Fe and it's haunted me ever since! Despite what the box claims, Orson Wells has a small part in the and of the film... but the real star is Alan Badel. The first segment, "In the Picture," deals with a museum attendant who's paintings have a real, and sinister, life of their own. The second segment, "You Killed Elizabeth," is not supernatural, and probably the film's dullest installment, but has some good character to it. The final segment, which shows Badel at his absolute evilest, "Lord Mountdrago," has Wells and Badel as political adversaries, and Wells' murderous dreams become real. Of all the small obscure murder mystery / horror gems to go unnoticed from Britain this is certainly the one I wish would receive more attention. It is chilling (my favorite segment remains "In the Picture"), well acted, and brilliantly scripted. Rent it if you find it at your video store! Watch it if it (miraculously) appears on television! Or simply go out and buy it (you won't regret it!). If you want to see the BEST horror anthology film ever, look no further than THREE CASES OF MURDER.

Three stories of murder and the supernatural. In the first, a museum worker is introduced to a world behind the pictures he sees every day. Second, when two lifelong friends fall in love with the same woman and she is killed, they are obvious suspects. Is their friendship strong enough for them to alibi each other? Third, when a young politician is terribly hurt by the arrogant Secretary for Foreign Affairs Lord Mountdrago, he uses Mountdrago's dreams to get revenge.

Orson Welles received top billing, but he appears only in "Lord Mountdrago." According to Patrick Macnee, who had a supporting role, Welles began making suggestions to director George More O'Ferrall throughout the first day of filming, and by the third day he had taken over the direction of the entire segment.

Does this surprise anyone? Of course Welles would be the star to draw audiences in, and of course he would try to take over the production, because that was very much the sort of chap he was. For better or worse, a film starring Welles was very much a Welles film.

As far as anthologies go, this one is not often remembered. And as far as horror anthologies go (if this even counts), it seems all but forgotten, overshadowed by the later Amicus films. I love Amicus, and it is hard to beat them, but surely this film must have been some influence on the later Amicus and Hammer productions.