DEAD OF NIGHT is one of the most influential and beloved horror classics of all time. Casual modern viewers may find it talky, old fashioned, overly mannered, and dated. It's very British but it is also still very much capable of generating some genuine chills. Get over any illogical aversion you may have to older black and white films that rely on story-telling and atmosphere rather than special effects and be treated to a genuine horror classic.

When Dead of Night (D.O.N.) it was first shown in the United States, it was about 20 minutes shorter and became a minor hit. Its influence worldwide was massive. It popularized the multiple story, ominibus style of film which ranged from European comedies, adaptations of O’Henry stories, and sex comedies like 1962’s BOCCACCIO㥎 (with segments directed by Vittorio De Sica, Frederico Fellini and Luchino Visconti). Eventually it led to a slew of 60s, 70s and even 80s horror offerings including: Roger Corman’s TALES OF TERROR (1962), Mario Bava’s BLACK SABBATH (1964), DR. TERROR’S HOUSE OF HORRORS (1965). Freddie Francis’ TALES FROM THE CRYPT (1972), Roy Ward Baker’s ASYLUM (1972) and VAULT OF HORROR (1973), George Romero’s (and Stephen King’s) CREEPSHOW (1982). It was an inspiration to Rod Serling’s classic tv shows: Twilight Zone, which begat Thriller and Night Gallery.

It was also a definite influence on Hitchcock’s PSYCHO, particular the film’s epilogue. The last segment of D.O.N. was remade and expanded into the effective THE DEVIL DOLL in 1964(no relation to Tod Browning’s 1936 film, The DEVIL DOLL) and obviously influenced William Goldman’s novel, MAGIC which was turned into the 1978 Richard Attenborough directed film, MAGIC starring then up and comer Anthony Hopkins.

QUEEN OF SPADES on the other hand (did I pun?), is not nearly as well known or as influential as D.O.N. but was highly regarded at the time of its 1949 release. It is a highly stylized romantic/horror melodrama that many will probably consider a very dated, slow moving film. Anchor Bay is to be commended for releasing the film along with DEAD OF NIGHT. I am familiar with it because Robert Bloch called it one of his favorite horror films and several critics I’ve read have praised it. However, it has rarely been seen in the last 30 years.

Remember sitting around the campfire telling spooky ghost stories to your friends and acquaintances at a summer camp or during an outing in the woods? That’s pretty much the feeling you’ll get watching DEAD OF NIGHT.

There’s a lot more to it, of course, and instead of a campfire, we have several very English characters having tea and conversations that seque-way into flashback tales of ghosts and the macabre. A couple tales are slight, one is comical and of passing interest at best, but two in particular are quite chilling and memorable. D.O.N. was directed by 4 seperate directors. Although it is extremely episodic and your interest in the various episodes will vary, the segments are all connected and both the last episode and wrap up of the film still pack a powerful psychological punch. No, nothing blows up at the end and a body isn’t dismembered and pulled into the ground; this is old school, classic atmospheric horror. You know the kind where you still get to use your imagination a bit while watching what goes on. The kind of film where not everything is spelled completely out for you, and where the details aren’t repeated four or five times to make sure you are following along.

Now I know there are some who refuse to have any patience when it comes to older, black and white films—particularly non-American ones. The more theatrical style of old films requires audiences to pay close attention and to be patient and a bit forgiving of technical short-comings. You won’t get fast edits, loud music stingers, garish colors, explosions or utterly formulaic scripting and strident acting. Many will understand by the film’s conclusion however, exactly why it is still regarded as one of the best of its type ever made. I can assure you that in subsequent viewings you’ll find nuances, performances and ideas to appreciated even in its weakest moments. If one can view DEAD OF NIGHT on its terms you will be rewarded with a still very effective and chilling movie.

It will be difficult to fully explain the movie without giving away too much, so if my synopsis seems slightly confusing or incomplete it is because I am being
overly cautious to not ruin the surprises for those who have never seen it. If you haven't seen the film or don't remember it very well, this review will not spoil the film for you.

Craig (Mervyn Johns), is an architect who is planning on doing some work for Eliot Foley (Roland Culver). As soon as Craig arrives at Elliot’s country cottage he begins having a sense of déjà vu. The other guests, the conversations, some seemingly minor occurrences all are things that he has had recent dreams about. The visiting Psychiatrist Dr. Van Straaten (Frederick Valk) insists that premonitions and paranormal occurrences don’t actually exist and can be logically explained. There is much disagreement about this from the guests. Anxiously the guests begin relating true personal stories that don’t seem to have logical explanations to them.

As the stories within the story get underway, the cozy proper settings and occasional very sharp British humor shows it face. Guests are soon explaining strange things that have happened to them in the past. The first is the story about a race car driver (Anthony Baird) and it seems simple and almost innocuous. Pay attention to the segment’s use of music and sound, particularly the ticking of the clock. The end of the first tale might send a slight chill down your spine if you have been playing close attention (it was directed by Basil Dearden).

The next tale is told by a young girl (a teenaged Sally Ann Howes who would late be part of CHITTY CHITTY BANG). It’s a slight ghost story tale—a rather quaint, unsurprising straight forward tale (directed by Brazilian Alberto Cavalcanti). The young girl however will play an important part later in the film.

The second-best episode follows and it involves a mysterious mirror. Ralph Michael is the only one who can see the mysterious room in his mirror. His relationship with his fiancé is affected, and his personality begins to change. The stylish way the story is directed by Robert Hamer, makes it one of the best of its kind. There’s a bizarre dream-like quality to the episode and the conclusion is perfectly timed for maximum impact. It is an effective and unforgettable segment.

The next tale is based on an H.G. Wells story and it’s an extremely light comic segment that features two British comedians Basil Radford and Naughton Wayne (of The Lady Vanishes and Night Train to Munich) who weren’t particularly well known outside of England then, and are far less known now. The segment plays like an overly cute comedy skit centered around two competitive golf buddies, a lady that comes between them and a ghost story. The ghost story component isn’t very convincing and so the segment feels very much out of place in tone and style from the rest of the film. It was directed by Charles Crichton. However it does have the effect of keeping the audience slightly off-balance and ready for the next and best segment of the film.

Michael Redgrave gives an utterly fascinating and compelling performance as a ventroliquist whose dummy, Hugo seems to have a mind of its own. It’s a creepy tale, that beside the riveting performance also benefits from having several stylish shots, interesting lighting and brilliant direction (by Brazillian Alberto Cavalcanti). This is the segment that everyone talks about after seeing the film. Its last few moments will remind you of Hitchcock’s Psycho.

Then we again return to the group having their discussion in the house in the country. Suddenly the rather straightforward visuals and lighting of this part of the film changes drastically as the film becomes almost surreal. Just when things seem to be over, as the credits begin, there’s yet another twist to what we have just seen. Wow. The wrap-around segments are directed by Basil Dearden. Pay attention to the coin toss, and the phone call.

D.O.N.’s story-telling, subject matter, style and concept has been imitated, ripped-off, and paid homage to by dozens of films for nearly 60 years but it has never been bettered.

The presentation of this uncut version of the film is good (far better than the previous VHS release of the film). The print while not superb and far from perfect looks very good over-all. The sound is flat and somewhat tinny, though the levels seem very consistent. I’m sure the design and recording of the original sound was problematic. There are some stills and artwork files as DVD extras but no trailer.

THE QUEEN OF SPADES is most likely not a movie you have ever heard of and appreciating it is an acquired taste. It’s a pretty slow moving romantic melodrama with definite horror/occult undertones. It’s all about atmosphere and mood and its doubtful the story will hold any surprises for you. Originally released in 1949, it was nominated as Best Film at the 1950 British Academy Awards. Since it’s a stylized, costume period piece, if you don’t appreciate quieter, psychological tales that are rooted in character interactions, you’ll be bored senseless by this one. Too bad, because this one is a minor classic, a gem of a mostly forgotten film that will hopefully find some appreciative fans because of Anchor Bay releasing it with DEAD OF NIGHT.

T.Q.O.S. is based on a short story by Alexander Pushkin and is set in St Petersburg during the 1800s. Captain Herman Suvorin (Anton Walrook of THE LIFE AND DEATH OF COLONEL BLIMP) is a German working as an engineer in the Russian Army. He’s somewhat respected but is the poor boy among the privileged aristocratic class who bet on Faro card games and pay gypsies to entertain them. He has been obsessively waiting and watching for his chance to obtain wealth and power. He is very envious of Fyodor (Anthony Dawson of DR. NO). Captain Herman buys a book about the occult and reads about the Countess R. who has sold her soul to the devil for the secret of the three cards that will always lead to a winning hand.

In a memorable and beautiful atmospheric sequence we are told her story and see one of the most exquisite haunted houses ever imagined on film. Although the story is more than 40 years old, Herman comes to believe that the Countess in the story he read about is the 60 something Countess Ranevskaya (Dame Edith Evans in her first feature film role) who lives as a recluse in a heavily guarded house. The only way to get close to the Countess is to win the affections of Lizaveta Ivanova (Yvonne Mitchell). She is also being courted by Andrei, (played by Ronald Howard the look-a-like son of Leslie Howard,) who truly loves her. Is Herman willing to use and eventually betray a woman like Lizaveta for the chance to meet the Countess so he can sell his soul, to bet everything he has on a game of cards?

It takes the whole movie to get to the pretty exciting card game finale. It’s a talky, character driven melodrama, dripping with wonderful details, atmospheric shots and highly stylish acting and direction. It’s the kind of film one savors moments from. My favorite is when the young Countess (played by Pauline Tennant), after selling her soul, begs for help and forgiveness from a painting of Mary and Jesus. The heads in the painting become black as her request is denied.

The cinematography is gorgeous and Anchor Bay’s QUEEN OF SPADES DVD looks much better than DEAD OF NIGHT. The black levels are strong and the shadowy black and white imagery of the film is sharp and beautiful atmospheric. The dialogue and music is crisp, well balanced, clear and free from distortion. There are stills, a poster gallery and a long theatrical trailer included. Liner notes provide additional background on the film.

If you appreciate atmospheric older psychological horror films don’t hesitate to pick up the disc. While the audience for THE QUEEN OF SPADES will be fairly small, if you’re a fan of DEAD OF NIGHT, rejoice, it’s been given a good though not perfect restoration here.


DEAD OF NIGHT / THE QUEEN OF SPADES
1945/1949 – 102 minutes/ 95 minutes FULL SCREEN
Directed by: D.O.N. : Alberto Cavalcanti, Charles Crichton, Basil Dearden, Robert Hamer / T.Q..O.S. : Thorold Dickinson
DVD Available From:
Anchor Bay




Copyright© Christopher J. Jarmick 2004



Recommended:
Yes

Viewing Format: DVD
Video Occasion: Better than Watching TV
Suitability For Children: Suitable for Children up Ages 8