The Face at the Window

Yes, this film is dated. Yes, it is muddled with every possible plot contrivance imaginable in a mystery-melodrama. But, this film stars one of the kings of the horror screen - a forgotten king named Tod Slaughter. And if you have never had the opportunity and privilege to see him on screen, then you are missing out on a pure cinematic joy. He is the hammiest of the hams with his eyes rolling incessantly, his mischievous leers, his over-pronounced dialogue, and his bombastic gestures. He makes Vincent Price look like an actor accustomed to giving understated performances. Plainly put - he is fun to watch! Slaughter was a British actor known primarily for his stage work but he made several pictures. As with all his films, he is the primary focal-point of attention, and A Face at the Window is no exception. This is a fun movie to watch and should make you a Tod Slaughter fan. The story of the movie is complicated and stretches credibility at times, but is to be taken in fun....that is apparent as soon as you see Slaughter say something and gesture about.

In THE FACE AT THE WINDOW, a murderer known as "The Wolf" is on the prowl in Paris, robbing and killing at will. Meanwhile, Chevalier. Lucio del Gardo (Tod Slaughter) sets out to marry a banker's daughter (Marjorie Taylor), who is much younger than he is.

No one plays these lecherous, wretched roles better than Mr. Slaughter! He's the Van Gogh of histrionic villainy! When del Gardo isn't busy killing people, he's framing his rival, so that he can wed the beautiful Cecile de Brisson (Marjorie Taylor).

Is this movie melodramatic to the extreme? Yes, but it's supposed to be. Mr. Slaughter's ham 'n' cheeeze approach fits in perfectly. We're treated to one of the Maestro's finest performances. This is highly entertaining stuff, complete with a nice mad science angle that comes in handy for the finale...

Tod Slaughter has to be one of the most reliably entertaining screen actors of the 30's. I've seen most of this guys films and he never disappoints. There's no doubt that his acting style is hammier than a hammy thing but there's nothing wrong with that surely? It takes considerable charisma and skill to overact as compellingly as Slaughter. This film follows a very similar narrative path to many of his other vehicles, i.e. Slaughter plays a rich pillar of the community who lives a double-life as an evil criminal, he lusts after a woman half his age who is not interested in him, so he sets about framing her fiancé with a crime he did not commit leaving the poor girl easy prey for him. Almost all his movies could be described thus. But it doesn't really seem to matter very much as Slaughter is always terrific as the leering cad and is easily the best thing about the films he stars in.

Slaughter's films were all Victorian melodramas first and foremost but this one definitely moves into more definite horror and even science fiction territory. The monster who is the face of the title is an effective looking baddie although he doesn't really get to do much and his presence in the movie doesn't make an awful lot of sense. But not to worry because, as I mentioned earlier, this is Slaughter's film and he delivers the goods as usual.

Tod Slaughter (1885-1956) was an unabashed and unapologetic purveyor of Victorian style stage melodrama. He had barnstormed throughout the English provinces during the early days of the Twentieth Century before serving in World War I.

By 1930, to stem the ever growing influx of Hollywood movies into England, a law was passed saying that 20% of all films had to be British made. In order to meet this goal, the "Quota Quickie" was established. These were essentially British B movies quickly and cheaply made to keep British artists and technicians employed. How they performed at the box office was of little concern.

Tod Slaughter's 8 QQ movies, shot between 1935-1940, were tailor made for that system. These were essentially his stage shows turned into film productions which were a cinematic capturing of a type of material and a style of performance that had flourished during the Victorian Era. This allows the viewer a glimpse into that time.

For those who have never seen him, think of Tod as a live action Snidely Whiplash (Dudley Do-Right's nemesis in ROCKY & BULLWINKLE). His most renowned film is SWEENEY TODD, THE DEMON BARBER OF FLEET STREET (1936) which served as the basis of the Stephen Sondheim musical (1979) and the Tim Burton movie with Johnny Depp (2007). Slaughter's most highly regarded movie (originally and today) is THE FACE IN THE WINDOW (1939).

The setting is 1880 Paris and a series of unsolved killings are committed by a criminal known only as "The Wolf" so called because right before a murder occurs the howl of a wolf is heard and a horrible visage is seen through a window. Could the mustache twirling, hand rubbing Chevalier Delgado be behind it all? We all know the answer to that question so it becomes a matter of going along for the ride and waiting for him to get his "just desserts".

This new restoration of FACE is part of a multi disc set. THE CRIMES OF TOD SLAUGHTER. Never has it or any of his other movies ever looked this good. If you would like to see the textbook definition of the word "Melodrama" then look no further. As Slaughter liked to say of his movies "They are full of "strong meat"...For more reviews visit The Capsule Critic.

Face at the Window, The (1939)

** 1/2 (out of 4)

A deranged killer known as "The Wolf" strikes terror into 1880's Paris. Is it the poor banker out to get money or the rich playboy (Tod Slaughter)? This is the best film from Slaughter that I've seen but his hammy performance, while getting laughs, makes it a bit hard to take the film too serious. The Wolf is a pretty good character and certainly a step up from Werewolf of London but the ending is wildly out of control. An interesting film nonetheless. The look and howl of the "wolf" here is a lot more effective than Universal's Werewolf of London.