When Universal became Universal-International in 1946, the studio virtually ended its monster movies. Producing honorable, but now forgotten films like ANOTHER PART OF THE FOREST and ALL MY SONS, the newly-organized studio was obviously aiming for taste and class. Even the Universal-International logo, with a quiet, turning earth against a starry field, was more tasteful than the brash, glittering glass-globe that opened Universal movies the decade previous. Aching for critics' approval, the studio even hired the brilliant Val Lewton, who produced only one Universal-International film before his untimely death. Afterwards, William Alland, an associate of Orson Welles, assumed command of the studio's B-films and soon made THE STRANGE DOOR.
It's often compared to Universal's previous great monster films, which is not quite appropriate, because the movie is more of an attempt at doing a Val Lewton horror film. Like Lewton's BEDLAM, this film is set in 18th century. Like Lewton's THE BODY SNATCHER, this film is based on a story by Robert Louis Stevenson. Like Lewton's ISLE OF THE DEAD, this film has Boris Karloff.
Certainly THE STRANGE DOOR is not the best for fans of either Karloff or Laughton, both of whom overact to the point of silliness. Even though it compares to--because it draws inspiration from--the Val Lewton horror films, it completely lacks their creepiness and substance. Watch any of the Lewton horrors and compare its atmosphere with this movie's and you'll observe a great example of the difference between subtle and non-subtle lighting. Not surprisingly, producer Alland would find his niche in producing B science fiction films, not horror ones.
It's a fun flick, but one that disappoints on most all levels. Even fans of Robert Louis Stevenson are disappointed. The short story, "The Sire de Maletroit's Door" is romantic, ironic, and even humorous (this movie has humor as well, but unintentional). Stevenson's original tale is not set in the refined eighteenth century, but during the chaotic era of the Hundred Years War. Although Stevenson's sire is a severe authoritarian, he is actually shrewd and clever--nothing like Laughton's madman, just as the original story has little in common with this over-ripe (or overwrought?) piece of entertaining hokum.
It's often compared to Universal's previous great monster films, which is not quite appropriate, because the movie is more of an attempt at doing a Val Lewton horror film. Like Lewton's BEDLAM, this film is set in 18th century. Like Lewton's THE BODY SNATCHER, this film is based on a story by Robert Louis Stevenson. Like Lewton's ISLE OF THE DEAD, this film has Boris Karloff.
Certainly THE STRANGE DOOR is not the best for fans of either Karloff or Laughton, both of whom overact to the point of silliness. Even though it compares to--because it draws inspiration from--the Val Lewton horror films, it completely lacks their creepiness and substance. Watch any of the Lewton horrors and compare its atmosphere with this movie's and you'll observe a great example of the difference between subtle and non-subtle lighting. Not surprisingly, producer Alland would find his niche in producing B science fiction films, not horror ones.
It's a fun flick, but one that disappoints on most all levels. Even fans of Robert Louis Stevenson are disappointed. The short story, "The Sire de Maletroit's Door" is romantic, ironic, and even humorous (this movie has humor as well, but unintentional). Stevenson's original tale is not set in the refined eighteenth century, but during the chaotic era of the Hundred Years War. Although Stevenson's sire is a severe authoritarian, he is actually shrewd and clever--nothing like Laughton's madman, just as the original story has little in common with this over-ripe (or overwrought?) piece of entertaining hokum.