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Being one of the last truly great thriller/mystery classics I still had lingering on my must-see list; I cherished big expectations for "The Spiral Staircase". Perhaps even a little TOO big… Don't get me wrong, it's a fantastic film and a bona fide genre masterpiece, but somehow I expected even more suspense and moodiness! Let me just get out of my system that certain sequences inside the old dark house were a bit tedious and overdone. But hey, who's complaining, since the full rest of the film is pure perfection in terms of beauty, elegance, atmosphere and scenery. It's rather intriguing how certain films, like "Freaks" or "Peeping Tom" to name just two, caused so much controversy and scandal while "The Spiral Staircase" is widely considered as an untouchable landmark even though it features similar prohibited themes like voyeurism and murder victims with a disability. The opening sequence is almost too brilliant for words. A medium sized crowed gathers in a small theater for a silent movie screening while, on the floor above them, a crippled girl prepares herself to go to sleep. The utmost evil glazing eye watches her from inside the wardrobe and strikes exactly when she lifts the gown over her head. You can't get any more expressionistic than that. After that, "The Spiral Staircase" establishes itself as the sheer archetype of old dark house thrillers. The beautiful but mute Helen is a social worker in the secluded mansion of the ailing Mrs. Warren. A heavy thunderstorm rages outside, Mrs. Warren son and stepson argue over their life styles (and the lovely secretary Blanche) and the rest of the household staff either turns to alcohol or complains about the stubborn matriarch. Both Mrs. Warren and her doctor urge Helen to leave town. Could it be the maniacal killer is inside the house? This film is a rarity. Even though it doesn't require an Einstein brain to figure out the killer's identity, you honestly don't care that much and remain glued to the screen to admire how the Gothic atmosphere unfolds further. Director Robert Siodmak – a German immigrant in America following WWII – truly masters the cinematography and Victorian set pieces. He also manages to include the thunderstorm as an extra – and essential – supportive character. Speaking of the cast, I dare you to name a so-called 'damsel in distress' more amiable than Dorothy McGuire's Helen. She's a vulnerable angel, targeted by a frustrated and obsessive madman on a mission to rid the world of imperfection. Especially the women impress in "The Spiral Staircase" as I simply must also mention Ethel Barrymore as Mrs. Warren (nominated for an Oscar, even) and Elsa "Bride of Frankenstein" Lanchester as the maid with a taste for brandy.

This is a terrific thriller, made just the way that thrillers should be done, with nicely crafted tension, atmospheric setting, and plenty of strange and mysterious characters. Adding in the excellent leading performance by Dorothy McGuire makes it a top-notch picture.

From the very beginning, the suspense begins to build, while at the same time McGuire's character Helen immediately attracts and holds the audience's concern and sympathy. The combination works very well, and while you're never sure what else is going on, or which of the other characters can be trusted, you know that Helen is in danger and that you care about her.

The rest of the cast are all nicely matched with their characters, and do a fine job of bringing them to life. Some of the plot developments probably would prove somewhat implausible if analyzed carefully, but the story and atmosphere are crafted so effectively that you never notice while watching.

Anyone who enjoys classic thrillers should make sure to see "The Spiral Staircase".

The Spiral Staircase is one of the most eerie and atmospheric films that I have ever had the pleasure of seeing. The entire movie gives off a sense of malice throughout, and the use of music here is some of the best I've ever seen in a movie. The film's plot follows a series of murders, of which all the victims are people with imperfections. Our hero is Helen; a young mute girl that works as a nurse for Mrs Warren, an old lady that lives in a big house. Aside from the old lady, also living in the house are her two sons; Albert and Steven, along with a few other people such as the maid. As the murders are being committed on imperfect women, the old lady becomes concerned for her mute nurse and begs her to leave. When another murder is committed in the house, the danger that the young girl is in becomes more apparent.

The first thing you will notice about this hidden gem is it's striking cinematography and lush settings. The film is very Gothic, and that gives it a very foreboding atmosphere. This is without doubt the best things about the film; in a dark thriller such as this, the atmosphere is always important, and as I said; this film has plenty. The film also features a lot of intrigue. As it has many characters that could be suspects, it leaves you guessing. Playing it's cards very close to it's chest, we don't find out who is the murderer until the very last minute.

The cast of The Spiral Staircase don't excel individually, but they come together very well as an ensemble. Most of them would never make another notable movie, although the majority have rather large filmographies. Robert Siodmak takes the directors chair, and he should be commended for his work. His use of the camera is excellent; the film features numerous close-ups, and when coupled with the haunting music; it makes for a great eeriness. There is one sequence in particular where the killer is watching his would-be victim from some bushes in the rain, and that with the haunting music in the background is altogether one of the most frightening sequences ever filmed. Cinematic perfection.

THE SPIRAL STAIRCASE is one of the best known in the "old dark house" genre. These films typically feature a disparate group of characters who inevitably find themselves alone and trapped within a huge, rambling and spooky old house on the night of a storm, with a killer amongst them. What's notable about this outing is just how stylish it is: the story is nothing special, but the style makes it.

The story features a black-gloved killer (complete with POV shots) who hides in wardrobes and stalks his young, female victims and strangles them. In one of the movie's most infamous shots, the viewer sees a victim from the killer's point of view, and she's missing her mouth; symptomatic of his disturbed mind, and highly eerie with it. The whodunit aspect of the storyline is played up strongly, with some red herrings thrown into the mix, although it's pretty easy for a modern viewer to guess the identity of the murderer.

THE SPIRAL STAIRCASE features some decent performances, particularly from Dorothy McGuire, playing (unusually) a leading role as a mute. That the viewer becomes accustomed to her muteness and, eventually, even forgets about it is testament to her performance. Elsewhere in the cast, there's a barnstorming turn from grand old dame Ethel Barrymore who rules the roost from her deathbed, and a nicely comic performance from the BRIDE OF FRANKENSTEIN herself, Elsa Lanchester, as a drunk cook.

In the end, the film works because of the visual flourishes. As in a film noir, there's a lot of creeping about in the shadows, and silhouettes of various things and people play a big part. The emphasis on a deranged killer is a neat precursor to the later gialli and slasher films of the '70s and '80s, and there's little padding on the bare bones of the narrative. It's a good 'un.

For sheer mastery in the art of black and white photography and its ability to provide the shadowy atmosphere necessary for mood, they don't come any better than this. The house alone is as much a part of the plot as the actors--but everything clicks...the acting, the script, the story, the direction and the brooding atmosphere that lets you know you're in for an intense and absorbingly suspenseful story. All of the suspense is relieved occasionally with just the right amount of humor. Particularly by Elsa Lanchester as the housekeeper who uses trickery to steal an extra bottle of liquor from the wine cellar. While thunder and lightning storms outside the mansion, we know that a serial killer is lurking on or near the premises, one who specializes in murdering women with physical afflictions. At the center of the story is Dorothy McGuire's character, a mute girl who lost her voice years ago during a traumatic experience. Around her are a number of people, all of whom become suspicious as the plot thickens--Kent Smith, Rhonda Fleming, George Brent, Ethel Barrymore and Gordon Oliver. Ethel Barrymore is especially good as a frightened old woman, bedridden and suspicious enough of everyone. For comparison, view the recent color TV adaptation, bland in overall effect. It will make you appreciate this black and white classic more than ever. As with most remakes, it doesn't stand a chance against the original.

My only complaint is that DOROTHY McGUIRE does not have much range in her expressions. Wide-eyed, but seldom wild, her restraint limits the amount of fear her character can express without using her voice. A more over-the-top performance might have been more useful, given the Gothic mood created so well by director Robert Siodmak. She is overshadowed by Ethel Barrymore as a bed-ridden invalid urging her to leave the house and Gordon Oliver, as the playboy step-brother who plays his role to the hilt. GEORGE BRENT does nicely for the most part, but seems too laid back in the final scenes to be as menacing as he is meant to be.

Still, well worth watching for its shadowy Victorian atmosphere alone.