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•DEAD OF NIGHT (1945), •RAYGUN'S NIGHTMARE (1982), •HOW TO SLEEP (1935), •DEAD OF NIGHT (1945), <<< PERCHANCE TO DREAM!!!
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SPLODGE! NOTES: 1st. Mon. SEPTEMBER (06/09/04)
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3rd. Quartile
3rd. Quartile
SEPTEMBER
AD 2004
AD 2004
Monday, 06th.
Registration: 7.30 - 8.00 pm
Screening: >>>>> 8.00 (*EIGHT*!!!!) pm <<<<<
Screening: >>>>> 8.00 (*EIGHT*!!!!) pm <<<<<
TONIGHT: STRICTLY MEMBERS-ONLY
MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT
DETAILS BELOW
MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT
DETAILS BELOW
PERCHANCE TO DREAM!!!
•HOW TO SLEEP (1935),
A lecturer seated at a desk promises an informative film about how to sleep; it's a sequel to and inspired by "How to stay awake," which put his audience to sleep. He plans to examine the causes of sleep, the causes of insomnia, and recent research on sleep, including a time-lapse film of a man changing positions 55 times during an 8-hour rest: why exercise, he asks, when you can sleep like a top? The film instructs one on how to get a drink of water during the night without waking completely, and other useful skills for the insomniac.
This is a delightful little short that packs more laughs into ten minutes than you'll get from some feature-length comedies.
Robert Benchley acts as our affable host/narrator, covering such topics as 1) the causes of sleep, 2) methods of inducing sleep, 3) methods of avoiding sleep, and 4) how to wake up, which, we're informed, "is very important." But this is no dry academic lecture. Our host, who happens to sport the most outlandish pajamas ever designed, helpfully serves as actor as well, demonstrating various positions such as the Supine Curl, the Ventrolateral Sprawl, and the Sleeping-Sitting Standing Crouch. Benchley is aided in his analysis of sleep by some highly amusing animated segments.
•HOW TO SLEEP (1935),
A lecturer seated at a desk promises an informative film about how to sleep; it's a sequel to and inspired by "How to stay awake," which put his audience to sleep. He plans to examine the causes of sleep, the causes of insomnia, and recent research on sleep, including a time-lapse film of a man changing positions 55 times during an 8-hour rest: why exercise, he asks, when you can sleep like a top? The film instructs one on how to get a drink of water during the night without waking completely, and other useful skills for the insomniac.
This is a delightful little short that packs more laughs into ten minutes than you'll get from some feature-length comedies.
Robert Benchley acts as our affable host/narrator, covering such topics as 1) the causes of sleep, 2) methods of inducing sleep, 3) methods of avoiding sleep, and 4) how to wake up, which, we're informed, "is very important." But this is no dry academic lecture. Our host, who happens to sport the most outlandish pajamas ever designed, helpfully serves as actor as well, demonstrating various positions such as the Supine Curl, the Ventrolateral Sprawl, and the Sleeping-Sitting Standing Crouch. Benchley is aided in his analysis of sleep by some highly amusing animated segments.
HOW TO SLEEP won the (richly deserved) OscarTM for Best Short Subject of 1935, and led to Benchley's series of 'how-to' short comedies for MGM and Paramount, but this one may well be the very best of his output, and is heartily recommended. Prod Co: Metro Goldwyn Mayer. Dir: Nick Grinde. Wr: Robert Benchley (uncredited). Cast: Robert Benchley. 10 mins. NFVLS
•RAYGUN'S NIGHTMARE (1982),
A Splodge! favourite, Peter (son of Eli) Wallach's rubber-suited, puppet delerium has President Raygun take on the meanest hombre East of the Pecos: Toyota Godzilla! Prod: David Jablin. Dir: Peter Wallach. 8 mins. ALC
and featuring:
*DEAD OF NIGHT (1945),
"Just room for one more inside, sir."
Talk about wild Deja Vu! One day, middle-aged architect Walter Craig,
(Mervyn Johns), arrives at a country farmhouse that he has been asked
to redesign, but when he gets there, he is surprised to find that the
guests he is introduced to are all subjects from a reoccurring dream
which has been plaguing him, and - although he only has faint memories
of his dream - events seem to be unfolding exactly as in his
nightmare! He explains to the gathering that they have all previously
appeared in his recurring nightmare and each in turn replies by telling
him of similar bizarrre experiences that they've had. Ever present is
a sceptical psychiatrist, Dr. Van Straaten, who cynically attempts to
explain away the supernatural occurrences.
(Mervyn Johns), arrives at a country farmhouse that he has been asked
to redesign, but when he gets there, he is surprised to find that the
guests he is introduced to are all subjects from a reoccurring dream
which has been plaguing him, and - although he only has faint memories
of his dream - events seem to be unfolding exactly as in his
nightmare! He explains to the gathering that they have all previously
appeared in his recurring nightmare and each in turn replies by telling
him of similar bizarrre experiences that they've had. Ever present is
a sceptical psychiatrist, Dr. Van Straaten, who cynically attempts to
explain away the supernatural occurrences.
This classic chiller involves a gathering of people who have
experienced dreams which seem to repeat themselves in reality; The
tales involve everything from phantom hearses to haunted mirrors. The
final sequence with Michael Redgrave as a ventriloquist is a knockout.
The movie progresses from great to outstanding as the tales go on and
the twist ending is most enjoyable.
experienced dreams which seem to repeat themselves in reality; The
tales involve everything from phantom hearses to haunted mirrors. The
final sequence with Michael Redgrave as a ventriloquist is a knockout.
The movie progresses from great to outstanding as the tales go on and
the twist ending is most enjoyable.
Produced before the war and held up due to a wartime ban on horror
films, Dead of Night is one of the best-made horror anthologies. No
true horror films were made in Britain during the War in compliance
with government censorship, but borderline fantasies that included The
Halfway House (1943) found moderate success. Ealing Studios were
already working on Dead of Night (1945) when peace was announced in
1945. The film is a serious study of the supernatural that captures
all the nuances of the British ghost story with an omnibus of five
tales linked by the nightmare of Walter Craig.
films, Dead of Night is one of the best-made horror anthologies. No
true horror films were made in Britain during the War in compliance
with government censorship, but borderline fantasies that included The
Halfway House (1943) found moderate success. Ealing Studios were
already working on Dead of Night (1945) when peace was announced in
1945. The film is a serious study of the supernatural that captures
all the nuances of the British ghost story with an omnibus of five
tales linked by the nightmare of Walter Craig.
The five set pieces in this classic British horror anthology still
echo throughout today's pop culture - in cable creep-shows, and in
SIMPSONS Halloween Specials, not to mention in the odd feature film.
echo throughout today's pop culture - in cable creep-shows, and in
SIMPSONS Halloween Specials, not to mention in the odd feature film.
Nevertheless, the original remains fresh, thanks to the able direction
(by Charles Crichton and Alberto Cavalcanti, among others), the source
material (by the likes of H.G. Wells), and one virtuoso performance by
Michael Redgrave, as a ventriloquist who has begun throwing more than
his voice into his maniacally grinning dummy. The other ghost stories
- especially those involving a mirror that reflects The Past, and the
man whose nightmares are coming true! - are almost as chilling; but
it's the puppet show that still spooks, no matter how many times it's
been ripped off. If the finale seems a little predictable, its only
because its been copied so many times.
(by Charles Crichton and Alberto Cavalcanti, among others), the source
material (by the likes of H.G. Wells), and one virtuoso performance by
Michael Redgrave, as a ventriloquist who has begun throwing more than
his voice into his maniacally grinning dummy. The other ghost stories
- especially those involving a mirror that reflects The Past, and the
man whose nightmares are coming true! - are almost as chilling; but
it's the puppet show that still spooks, no matter how many times it's
been ripped off. If the finale seems a little predictable, its only
because its been copied so many times.
Although Ealing studios is best known for producing fine comedies,
Dead of Night is its most sophisticated offering.
Dead of Night is its most sophisticated offering.
Extract: George Perry: "Forever Ealing". © :
Ealing's first post-war film was Dead of Night, one of the best films
ever made about the supernatural. It was the first 'portmanteau' film
made at Ealing, wherein a number of different directors were able to
contribute an individual story without unbalancing the unity.
Ealing's first post-war film was Dead of Night, one of the best films
ever made about the supernatural. It was the first 'portmanteau' film
made at Ealing, wherein a number of different directors were able to
contribute an individual story without unbalancing the unity.
An architect (Mervyn Johns) arrives at a house party in the country
where a number of other guests are assembled. Immediately he feels a
sense of deja vu, that he has been through it all before. He realises
that a recurrent dream has suddenly come to life, and he knows, but
cannot quite remember, that there is an evil climax. His revelation
provides a talking point for the gathering, and by one the others
relate various supernatural experiences they have heard about, or have
actually witnessed, which are then shown in flashback to provide
several films-within-a-film.
where a number of other guests are assembled. Immediately he feels a
sense of deja vu, that he has been through it all before. He realises
that a recurrent dream has suddenly come to life, and he knows, but
cannot quite remember, that there is an evil climax. His revelation
provides a talking point for the gathering, and by one the others
relate various supernatural experiences they have heard about, or have
actually witnessed, which are then shown in flashback to provide
several films-within-a-film.
The first story is a simple haunting. During a Christmas party in an
old house, a teenage girl finds a small boy sobbing alone in a room at
the top of a hidden, narrow flight of stairs. He tells of unspeakable
cruelties that are being enacted and she comforts him. Later there is
no trace of him or the room. It seems that she has stepped into the
previous century. This sequence was directed by Cavalcanti, and was
taken from a story by Angus MacPhail.
old house, a teenage girl finds a small boy sobbing alone in a room at
the top of a hidden, narrow flight of stairs. He tells of unspeakable
cruelties that are being enacted and she comforts him. Later there is
no trace of him or the room. It seems that she has stepped into the
previous century. This sequence was directed by Cavalcanti, and was
taken from a story by Angus MacPhail.
The next tale, the first official directing credit for Robert Hamer,
came from a chilling story by John V. Baines. It follows the progress
of an engaged couple. The girl (Googie Withers) sees an early
Victorian mirror in an antique shop and buys it for her fiancé. As he
is using it, he suddenly has an impression that the room reflected is
not his own dressing-room. The couple marry, but the husband becomes
sullen and morose, with bursts of sharp temper. The mirror is now
dominating him; in it he sees himself in a large, heavily-furnished
Victorian bedroom with a four-poster bed and a fire in the grate,
though his wife sees only a normal reflection. He goes to a doctor,
who suggests that it is a psychiatric problem, but when the man
becomes violent and jealous his wife goes back to the antique dealer
to find out the provenance of the mirror, and discovers that it came
from a house where in early Victorian times the owner had been
confined to his bedroom after an accident. He had then killed his wife
and himself before the mirror in frustration and madness. After that,
the contents of the house were put away until the present. Returning
to her husband with this knowledge, she is attacked by him before she
can reveal the mirror's secret. As he begins to strangle her, she,
too, sees the hideous room in the mirror. She is able to smash it,
whereupon her husband becomes normal again, unable to recollect what
had happened.
came from a chilling story by John V. Baines. It follows the progress
of an engaged couple. The girl (Googie Withers) sees an early
Victorian mirror in an antique shop and buys it for her fiancé. As he
is using it, he suddenly has an impression that the room reflected is
not his own dressing-room. The couple marry, but the husband becomes
sullen and morose, with bursts of sharp temper. The mirror is now
dominating him; in it he sees himself in a large, heavily-furnished
Victorian bedroom with a four-poster bed and a fire in the grate,
though his wife sees only a normal reflection. He goes to a doctor,
who suggests that it is a psychiatric problem, but when the man
becomes violent and jealous his wife goes back to the antique dealer
to find out the provenance of the mirror, and discovers that it came
from a house where in early Victorian times the owner had been
confined to his bedroom after an accident. He had then killed his wife
and himself before the mirror in frustration and madness. After that,
the contents of the house were put away until the present. Returning
to her husband with this knowledge, she is attacked by him before she
can reveal the mirror's secret. As he begins to strangle her, she,
too, sees the hideous room in the mirror. She is able to smash it,
whereupon her husband becomes normal again, unable to recollect what
had happened.
This was followed by a short tale of premonition, directed by Basil
Dearden from a story by E. F. Benson. Recovering in hospital from a
car crash, a man (Anthony Baird) wakes up in the middle of the night
to find that it is broad daylight outside. He looks down and sees a
horse-drawn hearse. The driver looks up at him, nods towards the
coffin and says "Room for one inside." The man gets back into bed,
realises that it is the middle of the night and that he must have been
dreaming, and goes back to sleep. When he is discharged from the
hospital he waits at a bus stop to go home. A loaded vehicle pulls up
and the conductor says to him, "Room for one inside." It is, of
course, the man in the dream. He steps back from the bus stupefied,
the conductor shrugs and rings the bell, and the bus goes off without
him. Suddenly, it is involved in a collision with a truck, goes out of
control and crashes over the parapet of a bridge, falling on to a
railway line and presumably killing all aboard.
Dearden from a story by E. F. Benson. Recovering in hospital from a
car crash, a man (Anthony Baird) wakes up in the middle of the night
to find that it is broad daylight outside. He looks down and sees a
horse-drawn hearse. The driver looks up at him, nods towards the
coffin and says "Room for one inside." The man gets back into bed,
realises that it is the middle of the night and that he must have been
dreaming, and goes back to sleep. When he is discharged from the
hospital he waits at a bus stop to go home. A loaded vehicle pulls up
and the conductor says to him, "Room for one inside." It is, of
course, the man in the dream. He steps back from the bus stupefied,
the conductor shrugs and rings the bell, and the bus goes off without
him. Suddenly, it is involved in a collision with a truck, goes out of
control and crashes over the parapet of a bridge, falling on to a
railway line and presumably killing all aboard.
Light relief follows with a tall golfing story, a version of a tale by
H. G. Wells, somewhat modified by Charles Crichton, who also directed
the piece. It featured Basil Radford and Naunton Wayne as golf chums
in love with the same girl (Peggy Bryan). They decide that the only
way to solve the problem is to play for her, the loser to commit
suicide. Naunton Wayne drowns himself as a result, and Basil Radford
marries her. But the spectre of his old friend keeps turning up to
ruin the proceedings. It seems that Radford won by cheating and is
therefore not entitled to his prize.
H. G. Wells, somewhat modified by Charles Crichton, who also directed
the piece. It featured Basil Radford and Naunton Wayne as golf chums
in love with the same girl (Peggy Bryan). They decide that the only
way to solve the problem is to play for her, the loser to commit
suicide. Naunton Wayne drowns himself as a result, and Basil Radford
marries her. But the spectre of his old friend keeps turning up to
ruin the proceedings. It seems that Radford won by cheating and is
therefore not entitled to his prize.
The last of the stories, another directed by Cavalcanti, was to become
the most celebrated. It concerned a ventriloquist (Michael Redgrave)
who is becoming possessed by his dummy, which has a repugnant persona.
The dummy leads its host to degradation, murder, a prison cell and
madness. The possession motif is one that has been revived in the
cinema, and Richard Attenborough's Magic (1979) even used the idea of
an apparently animate dummy inspiring murder.
the most celebrated. It concerned a ventriloquist (Michael Redgrave)
who is becoming possessed by his dummy, which has a repugnant persona.
The dummy leads its host to degradation, murder, a prison cell and
madness. The possession motif is one that has been revived in the
cinema, and Richard Attenborough's Magic (1979) even used the idea of
an apparently animate dummy inspiring murder.
After the stories have been told, the film reaches its climax and in a
bewildering nightmare they all intermingle with bizarre horror
erupting to a point at which the man in the centre of the action
awakes at home in bed. His wife reminds him that he has to go down to
the country about a commission. The film ends with him approaching the
same farmhouse, and meeting the same host that we saw at the
beginning. It is without doubt one of the most satisfying
entertainment's ever offered by Ealing, brilliantly conceived and
wrought by a fusion of creative talent, in the spirit of teamwork and
the cross-fertilisation of ideas for which it was renowned.
bewildering nightmare they all intermingle with bizarre horror
erupting to a point at which the man in the centre of the action
awakes at home in bed. His wife reminds him that he has to go down to
the country about a commission. The film ends with him approaching the
same farmhouse, and meeting the same host that we saw at the
beginning. It is without doubt one of the most satisfying
entertainment's ever offered by Ealing, brilliantly conceived and
wrought by a fusion of creative talent, in the spirit of teamwork and
the cross-fertilisation of ideas for which it was renowned.
<http://www.missinglink.free-online.co.uk/ealing.htm>
(incl. experpts in realaudio format )
To download Free Real Player
<http://huxley.real.com/real/player/player.html?src=011011rpchoice_c2&d>
c=102410231022
(incl. experpts in realaudio format )
To download Free Real Player
<http://huxley.real.com/real/player/player.html?src=011011rpchoice_c2&d>
c=102410231022
Architect Walter Craig, (Mervyn Johns), visits a farmhouse that he has
been asked to redesign, but when he gets there, he is surprised to
find that the guests he is introduced to are all the subjects in his
reoccurring dream and although he only has faint memories of his
dream, events seem to be unfolding exactly as his nightmare.
<http://www.missinglink.free-online.co.uk/deadsnd1.rm>
been asked to redesign, but when he gets there, he is surprised to
find that the guests he is introduced to are all the subjects in his
reoccurring dream and although he only has faint memories of his
dream, events seem to be unfolding exactly as his nightmare.
<http://www.missinglink.free-online.co.uk/deadsnd1.rm>
Intrigued, the visitors relate their own tales of the supernatural.
Hugh, (Anthony Baird), tells of a vision he suffered after a near
fatal race car accident while he was in hospital of a hearse driver,
(Miles Malleson), complete with a horse drawn hearse who announces
that there is "just room for one inside".
<http://www.missinglink.free-online.co.uk/deadsnd2.rm>
Hugh, (Anthony Baird), tells of a vision he suffered after a near
fatal race car accident while he was in hospital of a hearse driver,
(Miles Malleson), complete with a horse drawn hearse who announces
that there is "just room for one inside".
<http://www.missinglink.free-online.co.uk/deadsnd2.rm>
Later when he is about to board on a bus, the conductor, (Miles
Malleson), utters the same phrase. The man decides to miss the bus and
watches in horror as it drives away, narrowly misses a lorry and
plummets off the road.
<http://www.missinglink.free-online.co.uk/deadsnd3.rm>
Malleson), utters the same phrase. The man decides to miss the bus and
watches in horror as it drives away, narrowly misses a lorry and
plummets off the road.
<http://www.missinglink.free-online.co.uk/deadsnd3.rm>
Young Sally O'Hara, (Sally Ann Howes), at the cottage relates that
while at a party when playing hide'n'seek, she wandered into a small
forgotten room at the large house and found a little boy crying in the
darkness. She spends some time with him, but when she returns
downstairs to the party and explains where she was hiding, she is
informed that the child she met was the ghost of Francis Kent who was
murdered by his sister some years ago.
<http://www.missinglink.free-online.co.uk/deadsnd5.rm>
while at a party when playing hide'n'seek, she wandered into a small
forgotten room at the large house and found a little boy crying in the
darkness. She spends some time with him, but when she returns
downstairs to the party and explains where she was hiding, she is
informed that the child she met was the ghost of Francis Kent who was
murdered by his sister some years ago.
<http://www.missinglink.free-online.co.uk/deadsnd5.rm>
By now Walter Craig is becoming increasingly agitated as he confirms
that the events are unfolding just as he predicted and announces that
he will soon try to murder Dr. Van Straaten, (Frederick Valk), who has
been sceptical of Craig's claims since he arrived.
<http://www.missinglink.free-online.co.uk/deadsnd4.rm>
that the events are unfolding just as he predicted and announces that
he will soon try to murder Dr. Van Straaten, (Frederick Valk), who has
been sceptical of Craig's claims since he arrived.
<http://www.missinglink.free-online.co.uk/deadsnd4.rm>
Joan, (Googie Withers), explains how her husband, Peter, (Ralph
Michael), became possessed by the spirit in an antique mirror that she
bought for him as a birthday present. Slowly Peter becomes a jealous,
homicidal maniac as he observes a much older, Victorian room in the
mirror.
<http://www.missinglink.free-online.co.uk/deadsnd6.rm>
Michael), became possessed by the spirit in an antique mirror that she
bought for him as a birthday present. Slowly Peter becomes a jealous,
homicidal maniac as he observes a much older, Victorian room in the
mirror.
<http://www.missinglink.free-online.co.uk/deadsnd6.rm>
Concerned Joan learns of the mirror's history from the antique dealer,
(Esme Percy), where she purchased it, but when she returns to Peter's
flat he tries to strangle her. In a moment of inspiration, she smashes
the mirror and ends the spell.
In the weaker of the stories two golfing partners, George and Larry,
(Basil Radford & Naunton Wayne), play a round of golf for the love of
Mary, (Peggy Bryan).
<http://www.missinglink.free-online.co.uk/deadsnd8.rm>
(Esme Percy), where she purchased it, but when she returns to Peter's
flat he tries to strangle her. In a moment of inspiration, she smashes
the mirror and ends the spell.
In the weaker of the stories two golfing partners, George and Larry,
(Basil Radford & Naunton Wayne), play a round of golf for the love of
Mary, (Peggy Bryan).
<http://www.missinglink.free-online.co.uk/deadsnd8.rm>
Larry loses and drowns himself, but returns to haunt his partner when
he discovers that he had cheated.
he discovers that he had cheated.
Increasingly sceptical of Walter Craig's claim that they are all
living out his dream, Doctor Van Straaten, a psychologist, relates a
past case history that he was unable to solve. His patient was Maxwell
Frere, (Michael Redgrave), a ventriloquist who was slowly becoming the
nasty alter ego presented by his ventriloquist's dummy, Hugo. When
Maxwell mistakenly believes that fellow ventriloquist Sylvester Kee,
(Hartley Power), is trying to steal his dummy, he shoots him and is
arrested.
<http://www.missinglink.free-online.co.uk/deadsnd9.rm>
living out his dream, Doctor Van Straaten, a psychologist, relates a
past case history that he was unable to solve. His patient was Maxwell
Frere, (Michael Redgrave), a ventriloquist who was slowly becoming the
nasty alter ego presented by his ventriloquist's dummy, Hugo. When
Maxwell mistakenly believes that fellow ventriloquist Sylvester Kee,
(Hartley Power), is trying to steal his dummy, he shoots him and is
arrested.
<http://www.missinglink.free-online.co.uk/deadsnd9.rm>
In prison Hugo completely takes over his personality.
Walter Craig enters a nightmarish world of images from each of the
stories
<http://www.missinglink.free-online.co.uk/deadsnd10.rm>
stories
<http://www.missinglink.free-online.co.uk/deadsnd10.rm>
and then suddenly awakes when he receives a phone call to visit a
farmhouse.
<http://www.missinglink.free-online.co.uk/deadsnd11.rm>
farmhouse.
<http://www.missinglink.free-online.co.uk/deadsnd11.rm>
Already unnerved after the experiences of World War II, audiences and
critics alike made the film a success, except in America where it was
released without the "The Golfing Story" and "The Christmas Story".
The absence of the former, the weakest of the quintet, no doubt
created a better paced film, but without the latter it lacked the
necessary humour and charm that aided the growing sense of menace
within the film as a whole. Not only did American audiences see this
at 77 minutes, but many cinema projectionists further weakened the
film's impact by turning up the house lights and drawing the curtains
just as soon as the credits appeared. Of course the last scene is
played out as the credits roll when the full circle of the narrative
is completed.
Unlike most modern horror compendium tales, the framing story
involving Walter Craig is embedded into the narrative and is not just
a device to link the tales.
critics alike made the film a success, except in America where it was
released without the "The Golfing Story" and "The Christmas Story".
The absence of the former, the weakest of the quintet, no doubt
created a better paced film, but without the latter it lacked the
necessary humour and charm that aided the growing sense of menace
within the film as a whole. Not only did American audiences see this
at 77 minutes, but many cinema projectionists further weakened the
film's impact by turning up the house lights and drawing the curtains
just as soon as the credits appeared. Of course the last scene is
played out as the credits roll when the full circle of the narrative
is completed.
Unlike most modern horror compendium tales, the framing story
involving Walter Craig is embedded into the narrative and is not just
a device to link the tales.
Also deserving of praise is George Auric's score that is as equally
restrained as the narrative and never intrudes where it isn't needed.
Indeed, the moments of silence are scored with as much forethought and
intensity as the music itself.
The two strongest episodes are "The Haunted Mirror" and
"Ventriloquist's Dummy", both of which take the implied horror
elements one more notch up the scale before reaching the horrendous
climax. The former is a cleverly executed ghost story that creates
just the air of mystery needed. The audience never experiences
anything beyond the strange room in the mirror, but the other worldly
presence is felt through the eyes and mannerisms of Ralph Michael's
superb performance. When we are finally told of the mirror's past by
the antique dealer, it comes as no surprise, but his chilling account
is nevertheless a memorable moment.
<http://www.missinglink.free-online.co.uk/deadsnd7.rm>
restrained as the narrative and never intrudes where it isn't needed.
Indeed, the moments of silence are scored with as much forethought and
intensity as the music itself.
The two strongest episodes are "The Haunted Mirror" and
"Ventriloquist's Dummy", both of which take the implied horror
elements one more notch up the scale before reaching the horrendous
climax. The former is a cleverly executed ghost story that creates
just the air of mystery needed. The audience never experiences
anything beyond the strange room in the mirror, but the other worldly
presence is felt through the eyes and mannerisms of Ralph Michael's
superb performance. When we are finally told of the mirror's past by
the antique dealer, it comes as no surprise, but his chilling account
is nevertheless a memorable moment.
<http://www.missinglink.free-online.co.uk/deadsnd7.rm>
Michael Redgrave's virtuoso performance as the neurotic ventriloquist
is also extremely memorable, but this is a story of madness as
ventriloquist Maxwell Frere slowly, but surely becomes completely
insane when he adopts the personality of his dummy Hugo with whom he
is completely at odds with. (John Maguire portrays the ventriloquist's
dummy when it comes to life. He was 25 and only 4 foot high). Although
this episode is frequently praised, and has been copied several times
since including MAGIC (1979) starring Anthony Hopkins, this elaborate
episode fails to invoke quite the same foreboding as "The Haunted
Mirror". The reason lies in the fact that Redgrave's character is
already highly strung and neurotic from the start, so his complete
insanity is not entirely unexpected.
is also extremely memorable, but this is a story of madness as
ventriloquist Maxwell Frere slowly, but surely becomes completely
insane when he adopts the personality of his dummy Hugo with whom he
is completely at odds with. (John Maguire portrays the ventriloquist's
dummy when it comes to life. He was 25 and only 4 foot high). Although
this episode is frequently praised, and has been copied several times
since including MAGIC (1979) starring Anthony Hopkins, this elaborate
episode fails to invoke quite the same foreboding as "The Haunted
Mirror". The reason lies in the fact that Redgrave's character is
already highly strung and neurotic from the start, so his complete
insanity is not entirely unexpected.
Overall Dead of Night works well due to the juxtpositioning of humour
and terror, elements of which can be found in each of the stories,
even though different directors were responsible for their own
episode. This suggests a strong guiding hand by producer Michael
Balcon who helped bring this experimental idea into full focus.
and terror, elements of which can be found in each of the stories,
even though different directors were responsible for their own
episode. This suggests a strong guiding hand by producer Michael
Balcon who helped bring this experimental idea into full focus.
"At last I can see about me the sort of British film industry I have
dreamed about for twenty-five years."
dreamed about for twenty-five years."
While Ealing Studios grew during World War II, Balcon had many
adversaries, all of whom he fought against with vigour. Those
technicians who left for Hollywood he called deserters, he attacked
the numerous government departments for their film policy and when J.
Arthur Rank threatened to engulf the whole industry, Balcon fought
hard for the independent producer. Continually he struggled against
the might of the imported films of Hollywood, but in 1947 Michael
Balcon stated "At last I can see about me the sort of British film
industry I have dreamed about for twenty-five years. Our films are
going to the whole world. They are preferred to all others by our own
people. They have got American producers worried. They have got our
Parliament interested in them."
adversaries, all of whom he fought against with vigour. Those
technicians who left for Hollywood he called deserters, he attacked
the numerous government departments for their film policy and when J.
Arthur Rank threatened to engulf the whole industry, Balcon fought
hard for the independent producer. Continually he struggled against
the might of the imported films of Hollywood, but in 1947 Michael
Balcon stated "At last I can see about me the sort of British film
industry I have dreamed about for twenty-five years. Our films are
going to the whole world. They are preferred to all others by our own
people. They have got American producers worried. They have got our
Parliament interested in them."
After his Knighthood in 1948, Balcon continued to produce successful
films at Ealing and created a string of comedies that typified a way
of life on these small islands which did not just include an eternal
tea-time or rounded English accents, but also injected the stories
with several anti-establishment concepts as Britain entered a new age
of peace.
films at Ealing and created a string of comedies that typified a way
of life on these small islands which did not just include an eternal
tea-time or rounded English accents, but also injected the stories
with several anti-establishment concepts as Britain entered a new age
of peace.
Ealing Studios Ltd. left their buildings on January 13th. 1956 when
they were sold to BBC television. Michael Balcon erected a plaque that
read "Here during a quarter of a century many films were made
projecting Britain and the British character."
they were sold to BBC television. Michael Balcon erected a plaque that
read "Here during a quarter of a century many films were made
projecting Britain and the British character."
It is doubtful that we will ever experience the same environment
again.
again.
"The Hearse Driver". Dir: Basil Dearden. From a story by E.F. Benson.
"The Christmas Story". Dir: Alberto Cavalcanti. From a story by Angus
MacPhail.
"The Haunted Mirror". Dir: Robert Hamer. From a story by John V.
Baines.
"The Golfing Story". Dir: Charles Crichton. From a story by H.G.
Wells.
"Ventriloquist's Dummy". Dir: Alberto Cavalcanti. From a story by John
V. Baines.
"The Christmas Story". Dir: Alberto Cavalcanti. From a story by Angus
MacPhail.
"The Haunted Mirror". Dir: Robert Hamer. From a story by John V.
Baines.
"The Golfing Story". Dir: Charles Crichton. From a story by H.G.
Wells.
"Ventriloquist's Dummy". Dir: Alberto Cavalcanti. From a story by John
V. Baines.
Prod Co: Ealing Studios. Prod: Michael Balcon; A.Prod: Sidney Cole &
John Croyden; Sc: John V. Baines, Angus MacPhail & T.E.B. Clarke; Ph:
Stan Pavey, DOUGLAS SLOCOMBE, Jack Parker & Harold Julius; Ed: Charles
Hasse; Mu: Tom Shenton & Ernest Taylor; Art: Michael Relph; Sfx:
Lionel Banes & Cliff John Robertson; Mus: GEORGES AURIC. Cast: MERVYN
JOHNS Walter Craig, Renee Gadd: Mrs Craig, Roland Culver: Eliot Foley,
Mary Merrall: Mrs Foley, Frederick Valk: Dr van Straaten, Barbara
Leake Mrs O'Hara, Sally Ann Howes: Sally OHara, Robert Wyndham: Dr
Albury, Anthony Baird: Hugh, Judy Kelly: Joyce, MILES MALLESON: Hearse
Driver/Bus Conductor, GOOGIE WITHERS: Joan, Ralph Michael: Peter, Esme
Percy: Antique Dealer, Basil Radford: George, Nauton Wayne: Larry,
Peggy Bryan: Mary, MICHAEL REDGRAVE: Maxwell Frere, Hartley Power:
Sylvester Kee, Elisabeth Welch: Beulah, Magda Kun: Mitzi, Garry Marsh:
Harry Parker. 103 mins. NFVLS.
John Croyden; Sc: John V. Baines, Angus MacPhail & T.E.B. Clarke; Ph:
Stan Pavey, DOUGLAS SLOCOMBE, Jack Parker & Harold Julius; Ed: Charles
Hasse; Mu: Tom Shenton & Ernest Taylor; Art: Michael Relph; Sfx:
Lionel Banes & Cliff John Robertson; Mus: GEORGES AURIC. Cast: MERVYN
JOHNS Walter Craig, Renee Gadd: Mrs Craig, Roland Culver: Eliot Foley,
Mary Merrall: Mrs Foley, Frederick Valk: Dr van Straaten, Barbara
Leake Mrs O'Hara, Sally Ann Howes: Sally OHara, Robert Wyndham: Dr
Albury, Anthony Baird: Hugh, Judy Kelly: Joyce, MILES MALLESON: Hearse
Driver/Bus Conductor, GOOGIE WITHERS: Joan, Ralph Michael: Peter, Esme
Percy: Antique Dealer, Basil Radford: George, Nauton Wayne: Larry,
Peggy Bryan: Mary, MICHAEL REDGRAVE: Maxwell Frere, Hartley Power:
Sylvester Kee, Elisabeth Welch: Beulah, Magda Kun: Mitzi, Garry Marsh:
Harry Parker. 103 mins. NFVLS.
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Feature runs last; shorts order may vary from listing.
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