Review: 'The Old Dark House' Blu-ray

Frankenstein is an undisputed masterpiece of Gothic horror with one of the great on screen performances from Boris Karloff as what is probably the most iconic depiction of a classic monster ever seared into celluloid. James Whale never made a more famous film—and not many other filmmakers have either—yet Frankenstein still doesn’t feel like his definitive work because it is almost completely lacking in a key Whale element: droll humor. He did not start stirring this essential ingredient into his horror movies until his next one: a nutso adaptation of J.B. Priestley’s novel Benighted called The Old Dark House.

The Old Dark House is a classic old dark house set up: on a stormy night, a rag-tag group of strangers seek shelter at a creepy manse full of ooky kooky weirdos. Plot-wise, there is very little else to The Old Dark House, but Benn W. Levy’s script gives a remarkable cast featuring Charles Laughton, Gloria Stuart, Melvyn Douglas, Eva Moore, and the divine Ernest Thesiger oodles of delicious things to say. As a leering butler without the ability to speak, Karloff does not get to roll Levy’s words over his tongue as the rest of the gang does, but he still makes his presence felt in an unhinged and unsettling performance. And the cool thing about The Old Dark House that distinguishes it from Whale’s other horror-comedies—The Invisible Man, and his real defining piece, Bride of Frankenstein—is that it still hold up as true-blue horror, blending in some genuinely chilling moments among the clowning.

Universal lost the right to release The Old Dark House after the Priestley estate resold the story to Columbia so it could remake Benighted in 1963 (and though I love director William Castle to death, it’s a lousy film), but this may actually be a good thing since Universal now only seems interested in its golden age horrors featuring the Big-Six monsters. If Universal still had dibs on The Old Dark House, we may never have gotten a Blu-ray release, which we now have thanks to the Cohen Film Collection. This 4K restoration looks miraculous compared to Kino’s 1999 DVD. The picture is clean and boasts beautiful contrast. The grain can get a bit intense, but these moments are few and hardly disrupt what is overall a fabulously clean presentation for a film of this age. Even the opening reel, which is only a dupe since the original was too decayed to use, looks pretty great. However, the soundtrack is somewhat tinny and noisy in patches, and the noise gets particularly hairy in the penultimate reel.

Most of the extras—feature commentaries with Gloria Stuart and James Curtis (who wrote the essential James Whale: A New World of Gods and Monsters) and an interview with Curtis Harrington, who knew Whale and hunted down the original negative of the film—were ported over from the Kino DVD (only an image gallery was lost in translation). Cohen only adds a booklet interview with Harrington and a 15-minute video interview with Boris’s daughter Sara Karloff, who discusses her dad’s career, difficulty in the makeup chair, and unique voice and body language. However, a lack of abundant new bonuses are of little consequence considering how much one of the great old films now looks like a great new film.

'The Old Dark House' Coming to Blu-Ray This Halloween Season

The Old Dark House is one of Universal's best and most underrated horror films of the 1930s. It's the movie on which director James Whale really started exploring the humor that would blossom in his twin masterworks The Invisible Man and Bride of Frankenstein, and features a killer cast that includes Boris Karloff, Ernest Thesiger, Charles Laughton, Gloria Stuart, and Melvyn Douglas. 

This October 24, Cohen Media Groups will give this underrated picture its due with the first Blu-ray presentation of The Old Dark House. No word on the bonus features yet, but a 4K restoration of this ooky, kooky classic is reason to start celebrating now. Have a potato!

Ten Reasons 'Bride of Frankenstein' is the Most!

There’s a lot of brilliance packed into Bride of Frankenstein’s slight 75 minutes. Here are 10 reasons why James Whale’s final monster movie remains cinema’s greatest.

1. What of My Mary?

As we open on Bride of Frankenstein, we witness one of its most inspired scenes. We are not in a laboratory of blasphemous horrors but an opulent living room where literary giants Lord Byron, Percy Bysshe Shelley, and Mary Wollstonecraft Shelley discuss the latter’s most famous creation. Informing her husband that Frankenstein “wasn't the end at all,” she proceeds to tell the tale of the Monster’s quest for a mate. There is literary accuracy in this scene, since Shelley’s original novel did, indeed, include a major subplot in which the Monster compels Frankenstein to build him a bride. There is also great cinematic ingenuity in this prologue. It is a way to directly transition into the second chapter of Frankenstein, to acknowledge its literary origins, and to tie the new monster to her true creator, as Elsa Lanchester plays both Mary and The Bride. As barrier-breaking ideas often do, the prologue had its obstacles. Editor Ted Kent wanted Whale to cut the sequence, feeling it detracted from the horror. The décolletage-baring gown Lanchester wore as Shelley set off alarms with the censors. Fortunately, Whale ignored Kent and a few minor cuts placated the censors enough for the prologue to remain, providing Bride of Frankenstein with its cleverest postmodern touch.

2. Woman… Friend… Wife

She only has four minutes of screen time in the film named after her, but Elsa Lanchester’s Bride of Frankenstein is without question the most memorable female monster in cinema history and certainly the first significant one. With her lightning-streaked fright wig and childlike awkwardness, The Bride has inspired countless imitators and been captured on an innumerable amount of merchandise. Her unsettling combination of morbid weirdness and early-Hollywood glamour (designed by Universal’s resident makeup whiz Jack P. Pierce) laid the groundwork for all of the sexy grotesques that followed her, from Vampira to Princess Asa Vajda of Black Sunday to Morticia Addams to Elvira to Lady Sylvia Marsh of Lair of the White Worm. Her hairstyle has been appropriated in one form or another by personalities ranging from Lily Munster to singer Dave Vanian of The Damned. Her teasingly brief presence in Bride of Frankenstein sparked numerous attempts to fill in the gaps (Elizabeth Hand’s imaginative feminist novel The Bride of Frankenstein: Pandora’s Bride; Franc Roddam’s film The Bride), yet she packs a lot of living into her four minutes on film. She learns to walk by leaning on the shoulders of her creators, takes in all around her with a wide-eyed mixture of wonder and disgust, tentatively considers a romance with an ugly but sensitive brute, and ultimately says “no thanks” to it all. That concise arch from childlike hesitancy to aggressive self-reliance makes The Bride a fully realized personality despite her lack of screen time. Couple that complexity with an iconic appearance and you’ve got the most unforgettable female monster of them all.

3. A Perfect Human

Review: ‘The Ghoul’ (1933)

Just two years after scoring a pair of monster smashes with Dracula and Frankenstein, Universal Pictures was already experiencing hard times. The studio all but ceased functioning throughout the first months of 1933, laying off employees and putting contracts on hold (though the studio would get itself together in time to release the summer-season hit Invisible Man). Despite the overseas situation, Gaumont Studios was making Britain’s first significant bid to capitalize on America’s horror fad. The result is a false start; it would take England 25 years to fully establish a unique horror vision and set the genre’s standard for the subsequent decade. Nevertheless, The Ghoul is a good movie, though one that might have been terrific with better orchestrated acting and crisper editing.

Director T. Hayes Hunter follows the Universal format pretty faithfully, using several of the studio’s stars on loan, fashioning a fairly memorable creature in the speechless Frankenstein Monster tradition, appropriating the Egyptian iconography of the previous year’s Mummy, and indulging wholeheartedly in the kind of German-Expressionist shadow play that distinguished all of Universal’s horror efforts to date. Professor Morlant (Boris Karloff) is a dying Egyptologist who insists on being entombed with a rare jewel, the “Eternal Light”. He vows to his servant Laing (Karloff’s recent Old Dark House co-star Ernest Thesiger) that he will return from the dead if anyone swipes the jewel from his dead paw. Naturally, someone does, otherwise there wouldn’t be a movie.


The premise is pretty decent, refurbishing bits of Universal’s past hits, as well as paying homage to classic ghost stories such as “The Golden Arm”. The talky, lumpy script by Frank King, who also wrote the novel and co-wrote the play on which this film was based, is no great shakes. The long stretch between Karloff’s entombment and his inevitable return is bloated with a lot of gabbing from grating characters. A product of the silent era, Hunter apparently had trouble adapting his style to sound film. The actors all bellow their lines as if they’re playing to the balcony.

The director’s way with a camera, however, is beyond reproach; his work is more inventive, fluid, and purposefully gloomy than that of Browning in Dracula or Whale in Frankenstein. His use of dancing shadows and bold framing is remarkable. His experiments with darkness are audacious, even if they’re not always completely successful: some images are so black it’s impossible to figure out what’s happening on screen.

There are also some nice, signature touches scattered throughout that puff life into even the saggiest passages, such as Harold Huth preparing himself an absinthe cocktail, the way the bursting of roasting chestnuts creates a bit of tension in an otherwise innocuous scene, and an effectively gruesome self-mutilation late in the picture. Karloff is underused, but Thesiger does an admirable job of picking up the slack with his typical impudence and wholly unconvincing Scottish brogue. It’s always fun to see him working with Karloff regardless of the quantity or quality of their screen time together. The Ghoul also deserves props for being one of the few films with the guts to explore the S&M possibilities of coffee making.