The Case of the Frightened Lady

Originally filmed in 1932 with Emlyn Williams (making his movie debut) and Gordon Harker (as Sergeant Totty), the movie was such a success that Wallace—reversing the usual procedure—turned his script into a stage play in which Williams (as Lord Lebanon) and Harker repeated their screen roles. Also in the 1932 movie, titled The Frightened Lady, were Cathleen Nesbitt as Lady Lebanon, while the lovely Belle Chrystall was Miss Crane, and Norman McKinnel, Inspector Tanner.

A Gothic thriller of the old school, The Case of the Frightened Lady spins an intriguing web of mystery and horror almost from the very first. I must admit I was not impressed by its trick opening which was obviously designed to fool not only the audience but the critics as well. At the conclusion of the under-the-credits sequence, director George King commences the movie proper with an odd scene in which Helen Haye faces the camera, while she and Marius Goring declaim their lines in full-blown theatrical style, their voices raised to reach the back of the gallery. At any second we expect the camera to pull back to reveal that Hayes and Goring are standing on an actual theatre set, as was done, for example, in The Hollywood Stadium Mystery (1938). But no! Before the scene has even concluded, both Haye and Goring suddenly abandon their grease-paint posturing and revert to more natural acting. So this was an expected "surprise" that happily didn't eventuate.

Another critical surprise lies in the writing and acting of Ronald Shiner's part. Although the sergeant is designed as comic relief, Shiner, for once, doesn't over-do the mugging and even plays the role with a degree of intelligence. Needless to say, we expect gifted performances from Haye, Ward and Goring, but at times Shiner even manages to hold his own in this company. However, an even bigger revelation in the acting department lies in the excellent portrayal by minor character actor George Merritt who plays a major role here and even manages to steal scenes from the principals.

King has handled his generous budget in fine style, making splendid use of his sets which, aided by Hone Glendinning's noirish lighting, provide plenty of spooky atmosphere. This brooding, riveting invocation of suspense, allied with rapid pacing and charismatic acting (even from minor players like Warwick, Thatcher and Scott), inexorably plunges us so inescapably into the maelstrom that we don't notice obvious contrivances in the plot and details that simply don't stand up to scrutiny. The script's faults, in fact, are inconsequential. While actually watching the story unfold, it remains a terrifyingly suspenseful movie experience.

In the title role, the charmingly aristocratic yet disarmingly sensitive Penelope Dudley Ward exhibits just the right note of fragile beauty as the imperiled heroine.

It is easy to be put off - and mislead - by the first 10 minutes of this wonderful and unusual subtle film. Stiff and haughty Lady Lebanon (Helen Haye), severe mistress of all she surveys, commands one and all. Just a slight first hint that all might not be as it appears is given by the distinct insolence and knowingness of the two footmen. But it is insufficient to disturb the viewer's impression of stifling stuffiness to which the arrival of family doctor (Dr Amersham played by Felix Aylmer - epitome of dull probity) would seem to confirm.

But Helen Haye's brief dialogue with Dr Amersham is very off kilter. Within five more minutes the pace and tone has suddenly stepped up, the film has changed gear entirely; lively and amusing, secrets and odd connections, enough for three or four films, are revealed, any one of which sufficient on its own to drive the plot, even to murder. The air is full of intrigue and possibilities. A handsome young architect arrives to draw up plans for renovation of the rambling ancient house and has caught the eye of the young lady of the house. He will have to stay a week. "Where does this lead to?" asks the sharp-eyed architect after spying an ancient door. "Where does it all lead to?" wonders the audience.

By 60 minutes the developing droll class-comedy between policeman Ronald Shiner and his boss had me laughing out loud and the plot developments came at a bafflingly faster and faster pace. The end itself was an extended nail-biter.

According to a review in BritMovie "The Case of the Frightened Lady" remains a classic for those who enjoy this genre".

Seen on Talking Pictures

This entertaining British mystery has a great setting. Mark's Priory is an old country house. It is the home of the Lebanons. Lady Lebanon is a "blood-proud" widow who controls everybody with money. She is keen to see her son marry her niece to maintain and consolidate the Lebanon bloodline.

The house has a locked lumber room with "unique door handles." There are two dodgy footmen who appear a bit too sure of themselves. They have complete control of the house after the other servants have left at 8PM. Lady Lebanon's niece is terrified of them and of being locked in her room at night. A manic laugh can be heard in the corridor at such times.

The murders start at an Institute Dance 2 or 3 miles from Mark's Priory. There is some mystifying action involving Indian silk scarves used for strangulation.

Pick of the intriguing characters for me are Lady Lebanon played by Helen Haye. And the footman Gilder played in great commanding style by Roy Emerton with the most menacing and insolent smirk on his face.

"The Frightened Lady" popped up on YouTube soon after I viewed "Written in Blood" (Caroline Graham, excellent author of the Midsomer Murders series) a 2d time and read the book a 2d time also. Although I could hardly make sense of "Frightened Lady" at first, it gradually began to make sense in a Midsomer sort of way - a shrewd old woman, proud of her "blood line," wants her piano playing son, Sir Lebanon, last of the family line, to wed his lovely cousin being held captive in a big old manor house filled with gruesome shadows and scheming footmen. An architect arrives to prepare for upcoming renovations but the old lady who wants repairs also wants everything to remain the same. Right! Well, the bottom line turns out to be something like that "Written in Blood" plot but instead of a Writers Circle we have a composer of odd jazzy-classical melodies and an elderly woman much like Honoria L'Idiot - if I may say so. You know what happens to the blood line when cousins marry cousins.

Penelope Dudley-Ward (Isla) is the frightened lady of the title. From the first shots of the film when she screams at the shadows that are following her in the house, you can't help but laugh and fear for your oncoming experience. It doesn't say much when the comedy detectives are the best thing about the film. It is woefully acted by all the main players who deliver their lines in that clipped English which is just plain fake – the word "exactly" becomes "exectly" – it's just nonsense. The film does keep you watching to see how things pan out but it ends just as badly as it started with some laughably crass dialogue being spouted by the appalling Helen Haye (Lady Lebanon) accompanied by a hysterical closing head shot of her. It's not meant to be funny, though. A nice, spooky venue is wasted in this badly acted effort.