From director Robert Siodmak, whose work includes the excellent Film Noir’s “The Killers” and “Phantom Lady” this is 1946’s “The Spiral Staircase”, a serial killer movie, where the killer stalks and kills women with various afflictions, though most of it takes place in an old house on a stormy night so multiple tick boxes here.
The movie technically stars Dorothy McGuire as the Mute Helen, but despite being the protagonist, because she is mute the dialogue is all taken by other actors. Helen became a mute after witnessing her parents die in a fire when she was younger and has not spoken a word since. The supporting cast includes Kent Smith as Dr. Parry, George Brent as Professor Warren, Gordon Oliver as Steve Warren and Ethel Barrymore as the bed ridden Mrs. Warren.
The Twisted Path.
In the hands of a less capable director and with a less capable lead this would have been a very mediocre movie. The plot is unremarkable and most of the actors are likewise. However, Siodmak with his heavy influence from German Expressionism brings a fantastic eye to the camera and provides some beautiful imagery, mostly involving the use of shadows, rain and of course the Spiral Staircase itself along with some great glimpses of the killers eye (an eye provided by Siodmak himself) and an interesting daydream sequence.
Also raising the quality of the movie is McGuire and given she isn’t allowed to speak any dialogue has to convey to the audience all her emotions purely through her movements and expressions. Of course this movie is only 17 years after the end of the silent film era so perhaps this was less impressive in the day, but none the less she played her role perfectly. The killer however, once revealed wasn’t particularly imposing, which is a real shame because I know Siodmak can give us a great killer as the one in his “Phantom Lady” was actually very intimidating and had some great dialogue.
The Ever Decreasing Circles.
The music is typical of what you’d hear in the period in a Film Noir, but this is blended with a nice bit of Theremin. It works well enough but doesn’t really add anything. The problem with this film is simply that as a horror it’s not really scary or unsettling. I feel sympathy for Helen’s plight as a mute but that’s it really. The killer isn’t revealed until quite late on and while we see glimpses it doesn’t really build any terror. Really this plays more like a Film Noir, which also makes the visuals seem less unique as those techniques are all over that genre. Ultimately this isn’t Siodmak’s best work but it has it’s moments none the less.
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