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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.

This was a fun wolf man film. It is true that Tod Slaughter is quite a bit of a 'ham' (like Vincent Price) and it is his performance that made the film fun to watch. This movie is a good watch if you enjoy the classics and werewolf films. The film is a horror film but has touches of comedy in it tastefully done.

Who is "The Face at the Window"? We have two plausible suspects: Chevalier Lucio del Gardo (Tod Slaughter) and Lucien Cortier (John Warwick) but could it be someone else? Don't expect this film to be anything like "Werewolf of London" or "Wolf Man" -- this flick it a different story than either of two mentioned films.

This movie would make a great manatee' or a rainy day film. I quite enjoyed this movie.

7/10

Forget Karloff & Lugosi. Forget Cushing & Lee, even Price and the Chaneys. Tod is king of horror for one very important reason - he quite evidently enjoys his work. This was the first Tod film I saw and - having heard so much about him prior to this - I feared disappointment. No worries. Despite the cardboard settings and woeful support cast, from the moment he strides masterfully in, we are in the capable hands of a classic film villain. The opening murder with the eerie wolf howl on the soundtracks sets the scene perfectly and then we are treated to an acting masterclass from the great man himself. Whether innocently acting the concerned friend, lecherously trying to sneak a kiss from the heroine, threatening his low-life confederates with a grisly end if they cross him or, worst of all, holding somewhat one-sided conversations with his demented foster brother, Tod holds the film together. The Chevalier is underplayed by Tod compared to Sweeney Todd - but seldom has one man wiggled his eyebrows to more sinister effect. It's a great pity that Universal studios didn't try to to entice him over for their classic horror cycle - Tod would've made a far more spirited Dracula than John Carradine in the later sequels and can't you just see him going toe to toe with Basil Rathbone's Sherlock Holmes. Shame nobody thought of putting him up against Arthur Wontner's in the UK. The double-exposure effects for the appearance of the "face" are well done for their time and the whole film compares favourably with the Universal classics of the period.

The production values are far higher than is normal for a British quota quickie of the period. The contrast between the spacious elegant rooms of the moneyed classes and the clutter of the Blind Rat - with a wealth of extras and charming Parisian detail such as the dancers - more than foreshadows the class-consciousness Hammer brought to its gothics a few decades later. So does the violent action with Lucien using an oil lamp to devastating effect - his disguise as "Renard" could have been a bit more convincing - and Tod making a sudden getaway by leaping from the window of the scientist's house and swimming the Seine to safety. John Warwick and Marjorie Taylor make an appealing couple - although Warwick is no match for Eric Portman in the earlier melodramas - and George King is improving as a director with a tightly edited montage of tense faces as the "corpse" slowly stirs into action to write its incriminating message. Tod is less of a central figure with whom we are expected to side with - even through his setbacks - as Stephen Hawke and Sir Percival Glyde were, but is still a marvellously blackhearted villain, as seen in his unsporting behaviour at the duel with pistols with Lucien. This is his finest film.

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...

In 1880, the criminal called The Face is responsible for a murderous rampage in France. When the Brisson Bank is robbed in Paris and the employee Michelle is murdered, the wealthy Chevalier Lucio del Gardo (Tod Slaughter) is the only chance to save the bank.

Another team-up between actor Tod Slaughter and director George King (who expertly told the tale of Sweeney Todd, the Demon Barber of Fleet Street). This dynamic duo really nailed it and for that I thank them.

This is something of a horror film, though it tends to be more along the lines of a crime story. There is little about it that is outright terrifying or scary. That in no way takes away from the picture and all those involved should be proud.