O Gato e o Canário

This is the stereotypical old dark house movie, all the relatives come to and old dark house and some one begins to kill them, or tries to. This has been remade several times, each version having its flaws and its strengths. This is the first version, and while I would like to say its the best, I can't since the silent medium has rendered its pace a bit too slow for modern audiences.

This isn't to say that its a bad film. Its not. Anyone interested in film and what can be done with it should see this film because the first half of this movie is a treasure trove of cinema techniques. The first half is also a damn good movie as well since it wonderfully sets everything up. Only as things begin to follow there course does the pacing slow. Its far from bad, it just may have you look at your watch now and again.

I give it seven out of ten, not perfect but watchable.

"The Cat and the Canary" has been considered a masterpiece, and that the film is still known today is a feat in itself. It is easily my favorite silent film. Paul Leni (the director) has a great deal of prowess on films like these, and it has been admitted by others.

First, the sets are realistic, making this film a believable "journey back in time" (it was made over 70 yrs. ago). I am shocked to hear one reviewer say this film as broadly acted and visually stunted. The sets are marvelous, especially the drawing room (it looks very nice to be part of a "haunted house"). The camera work (ex. the skeleton double-exposure, the subtitles occasionally moving like a ghost) is very enjoyable, too.

About the acting, first get this straight: Much of the acting is quite normal. But in the fright scenes (especially by Laura La Plante), the acting has nothing wrong with it. Much of it is very funny (contrary to common belief). Flora Finch (Aunt Susan) is funny as the gossiper, and Creighton Hale as Paul is cute. Why do most of you find the broad acting painful to watch? If you can't find silent films enjoyable, all I can tell you is, tough luck. Classic films are as a general rule better than the new ones, but even new films can be very good.

I'm a fan of both horror films and silent films, but I didn't have a chance to get around to this one until now--and I was surprised by how much I enjoyed it. Other reviewers have already indicated how well-directed it is, and some have pointed out that the "overacting" is intentional in what was always understood by 1927 audiences as a spoof of the "Old Dark House" genre that was popular on Broadway for much of the decade and spilled onto the movie screen. Once you understand that everyone KNEW these were cliches, you realize there's no reason to take a patronizing attitude. I have to say this is the most satisfying "ODH" film I've seen (not considering actual haunted house films like the first version of "The Haunting"). It has a light touch and almost every shot makes some delightful choice--moving camera, jarring close-up, dutch angle, etc. Director Leni succeeds in making this stage play seem cinematic. One shot has a frightened character speeding through the corridor, apparently on an unseen bicycle! The shot of the body falling down out of a closet onto the camera has been much imitated, both seriously (as in "Public Enemy") and as parody (Warner Bros. cartoons). For a quick comparison, check Roland West's early talkie "The Bat Whispers." Although nothing in "Cat" reaches quite the level of West's most astonishing shots, the film as a whole is more satisfying and less stagey.

The millionaire Cyrus West has spent the last years of his life in his mansion nearby the Hudson River considered insane by his greedy relatives and feeling like a canary in a cage surrounded by cats. When he dies, he stipulates that his lawyer Roger Crosby (Tully Marshall) would read his will that is kept in a safe in the twentieth anniversary of his death. On the scheduled day, Cyrus West's loyal servant Mammy Pleasant (Martha Mattox) and the lawyer welcome the guests in the creepy mansion that people tells that is inhabited by ghosts: West's nephews Harry Blythe (Arthur Edmund Carewe), Charles "Charlie" Wilder (Forrest Stanley), the scared Paul Jones (Creighton Hale), Aunt Susan Sillsby (Flora Finch), Cecily Young (Gertrude Astor) and West's niece Annabelle West (Laura La Plante). When Roger Crosby opens the will, West's mansion and fortune are left to the most distant relative having the name West, meaning Annabelle. However, she should prove first that she is sane; otherwise, the inheritance would be bequeathed to another heir whose name is in a sealed envelope. Out of the blue, a guard (George Siegmann) comes to the mansion and tells that a dangerous lunatic has fled from an institution. During the night, Roger Crosby disappears and Annabelle receives an envelope from Mammy Pleasant where West tells the location of his precious diamonds. Annabelle finds the jewels and wears a necklace, but while she is sleeping, a hand comes from the wall and steals the diamonds from her neck. With the exception of Paul Jones that loves Annabelle, her relatives believe that she is insane. But when Annabelle finds a hidden chamber in the wall with the body of Roger Crosby, Mammy Pleasant decides to call the police and the identity of the lunatic is disclosed.

"The Cat and the Canary" is a creepy mystery and horror silent film by the German Expressionist director Paul Leni. The plots blends black humor with elements of horror using the atmosphere of the expressionism with shadows and lighting, and the result is a stylish movie where even the inter-titles are funny. The beauty of Laura La Plante is very impressive. My vote is eight.

Title (Brazil): "O Gato e o Canário" ("The Cat and the Canary")

Like the deadly game between THE CAT AND THE CANARY, so a young heiress feels trapped in a very peculiar haunted house, surrounded by lurking, unseen evils...

This is a dandy old creeper of a silent horror film, with just the right mix of menace & mirth to please the uncritical viewer. Universal gave the movie very fine production values, which extend not only to the atmospheric sets, but also to the humorously spooky title cards scattered throughout.

This film is really story driven, rather than dominated by the personalities of its stars. However, mention should be made of very entertaining performances by Tully Marshall as the scabrous old lawyer, Flora Finch as a terrified auntie, and Lucien Littlefield as an exceedingly strange doctor. Laura La Plante as the lovely, frightened heiress & Creighton Hale as her nervous, scatterbrained cousin give a light touch to the romantic subplot.

THE CAT AND THE CANARY is a choice example from the Old Dark House genre of spook tales. All the elements are here: distressed young ladies, a crumbling mansion, a housekeeper of baleful aspect, a lawyer who knows too much, an escaped lunatic, stalking ghosts or monsters, missing wills, meetings at midnight, bony and/or hairy hands appearing from hidden bedroom panels, secret passageways, and sudden death. Unnerved characters are forever making silly choices which always lead them into the clutches of the ravening ghosts/monsters/lunatics. But the Old Dark House has for long years been a respected avenue in literature & movies to maximize suspense & tension. Indeed, it's only a short walk from West Mansion in this film to Wuthering Heights, Baskerville Hall, Manderley & the Bates House...