Cast a Dark Shadow

This movie originated in London's West End as a 'tour de force' vehicle for an actress who could play both victim and nemesis of the caddish hero 'Teddy'. In the movie the roles are split between Mona Washbourne and Margaret Lockwood.

The film betrays its theatrical origins many times over and is firmly couched in the thriller conventions of its time. Dirk Bogarde, one of the best actors to emerge from postwar British Cinema is caught in a web of clichés as badboy Teddy: (The one original aspect of his character is a clearly signaled penchant for muscle men) but the one good reason for all fans of Ms. Lockwood to see this flick, is the opportunity to see her cast off the Wicked Lady mantle and assume a straightforward, eminently practical, tough-talking persona that we have never seen before.

"you wouldn't like this one Monnie" says Teddy in imaginary dialogue with his late victim, "She's common". Well, Monnie might not like her, but be assured dear reader, you will.

Cast a Dark Shadow is directed by Lewis Gilbert and adapted to screenplay by John Cresswell from the play Murder Mistaken written by Janet Green. It stars Dirk Bogarde, Margaret Lockwood, Kay Walsh, Kathleen Harrison and Robert Flemyng. Music is by Antony Hopkins and cinematography by Jack Asher.

Edward Bare (Bogarde) marries an older woman for money, murders her and finds that inheritance is not forthcoming. Setting his sights on another lady target, he gets more than he bargained for when he homes in on Freda Jeffries (Lockwood)...

You! Whatever you do, leave me alone!

Splendid slice of Brit noir that takes the Bluebeard route and lets the actors indulge themselves with glee. There's a bubbling broth of class distinction and simmering sexual tensions on the stove here, with Gilbert (The Good Die Young) and Asher (The Curse of Frankenstein) dressing it up nicely in moody visuals. From a Ghost Train opening, where the eyes have it, to the consistent symbolic use of a rocking chair, there's a sinister edge to the piece that tickles the spine and tantalises the conscious. We are pretty sure what is about to unfold in the plotting, but the getting there through the shadows and low lights is where the rewards are.

The cast are uniformly impressive. Bogarde by this time in his career was revelling in playing sleazy or emotionally corrupt characters, and he turns in another memorable performance here. Walsh and Flemyng are playing peripheral characters but strike the right narrative notes, and Harrison is heart achingly doltish as bewildered housekeeper Emmie. But it's Lockwood who shines brightest, here at the end of her film career, she delivers a spitfire turn. Freda is tough, has a waspish tongue (the script affords her some great moments) and uses humour as a mechanism for staving off potential peril. She also has a sexy glint in her eye that matches her ferocious laugh!

It sometimes veers towards the over theatrical, and director Gilbert at times misses a chance to really tighten the suspense, but this without doubt is deserving of a bigger fan-base. 7.5/10

The inimitable Dirk Bogarde stars as Edward (Teddy) Bare, he is a ladies' man – that is on occasion that the lady is filthy rich. He has married wealthy but older Monica (Mona Washbourne) and thinks he will inherit all her money as he is her spouse. However, she wants to make a will, so he decides it might be time for him to become a widower a little sooner than had been expected.

Alas he gets it all wrong and so is left 'financially embarrassed'. Well as he has gotten away with murder once he decides he needs another Mrs Money bags with a short potential life span and so he puts another dastardly plan into action.

This is lovely for all the right reasons. Bogarde as the deranged yet charming killer is just excellent – his facial expressions alone make this film. The supporting cast including Margaret Lockwood and Kathleen Harrison as the maid are all superb and totally believable in their respective roles. This was an adaptation of a play and that come across at times but it does not matter as this is a 'sit back and enjoy film' of how the other half once lived and more importantly died – recommended to all fans of old black and white British crime flicks.

I tuned into this movie not realizing I had seen it years earlier, so I didn't pay a lot of attention to the opening credits or the set up. I was soon hooked - all over again. This is a thoroughly engaging movie with a twisted plot line. A thrilling English mystery with a wink and a nod.

Dirk Bogarde plays an absolute cad with a caviar appetite and a beer purse. He marries a tattered old English matron for her money, but misses the mark when she fails to include him in her will. They do a scene at a seaside tea house that is not to be missed. Listen for the lilting melody of the all girl band. He needs another sugar mama before his money runs out, and heads back to the tea house for another try. For a dapper dude, he really does not know how to pick them. This time his target is a shop worn widow played to the nines by Margaret Lockwood.It took me until halfway through the second viewing to figure out she was the same actress that played the naive ingénue in Hitchcock's "The Lady Vanishes". Not only does she outguess him, she outfoxes him. About this time, I began to think he ought to get another line of work. Margaret Lockwood makes him look like an amateur. Instead of her being a rich, vulnerable pigeon, she turns out to be very savvy slut who one ups him at every turn.

There is a real mind bender ending, but I would never screw the reader by revealing it. Every time I thought I had this movie figured, I got hit with one surprise after another until about four minutes before the ending credits rolled. Give this movie a play, but only if you have the time to give it the attention it deserves. For me, most of the delicious moments are quite subtle. I gave this movie a 9/10 and I'm a stingy voter.

Margaret Lockwood is so good as the hardened widow Mrs. Jeffries, it's almost scary. Those initial encounters between her and Bare (Bogarde) are like two sharks searching for a soft spot. Seldom has a courtship been more cynically reduced to a conjugation of bank balances than in this bleak little exercise. I love that tacky seaside club where they first meet with its empty tables and off-key musicians that reeks of faded gentility. Bogarde is all oily charm and greed, while Lockwood has seen it all, yet somewhere still wants to believe. Their prickly coupling is to marriage what he Hitler-Stalin pact was to peace treaties. Certainly, no one can accuse the writers of loading up with sympathetic characters. In fact, only the pathetic housekeeper Emmie invites empathy—Kathleen Harrison in a slyly bravura performance.

In my book, the movie's an excellent little thriller up to the point where the screenplay has Bogarde go bonkers. To that point, he's been all cold calculation and self-possession, an impressive study in ruthless boyish charm. However, by suddenly collapsing that cold confidence into a blubbering psychotic, the screenplay undercuts both the character menace and the dramatic tension. I'm just wondering whether some watchdog group insisted that the character be exposed as a weakling in order to undercut Bogarde's appeal as a villain. However that may be, the movie remains an atmospheric, well-mounted little thriller, unusually well acted.