1979 saw the reworking of the 1922 silent horror benchmark 'Nosferatu' by famed director Werner Herzog, and on the other end of scale to follow that up we see another (there's a few, but this was a British) film adaptation (inspired by John Willard's play) of the 1928 silent murder mystery 'The Cat and the Canary' by kitsch soft-porn director Radley Metzger. I haven't seen any seen of the other versions, so I don't know how close it was to them, but I found this effort to be a hot and cold fable. A wonderful star-studded cast including Honor Blackman, Olivia Hussey, Edward Fox, Carol Lynley, Daniel Massey, Wendy Hiller, Beatrix Lehmann and delightfully riveting cameo part by Wilfrid Hyde White lend strongly to the theatrical and eccentric comic styling that Metzger opts for. The offbeat interplay and rapports between the actors were authentically drilled and sprucely delivered. The isolated mansion comes into its own with its baroque etched details that create character with its shadowy interiors, creaky sounds, flickering lights, various rooms and secret passages. A stormy backdrop with the side-splitting thunder was the tip of it. Material-wise it's an often told, but twisted and cunning tale of mystery, murder, corruption, greed and insanity with a wicked sense of humour underlining it. The thick script is talky with many lyrical exchanges and goes about things in a slow-tempo. It takes a good hour to really kick into gear and this can make it feel a little too sluggish, as some urgency and suspense could've gone done much more for the beginning set-up. Nonetheless the edgy tension effectively builds and eeriness showers the air towards the latter end, but it never feels like enough by the end. Steven Cagen's music score is atmospherically good, the art direction is polished, photography placement is crisply crafty and Metzger directs with sophistication. One thing that did strike me was how the film ends with its revelation on who's doing the murderous acts and somehow it had me thinking did this have an influence of Wes Craven's 'Scream (1996)'? It's more about the way the killers in both films go about setting things in motion and then presenting themselves to their desirable object.
45 Reviews
An enjoyable misfire.
dbborroughs5 July 2004
This film version of greedy relatives gathering for the reading of a will has been crucified in some corners as a pale shadow of the original, or if not the original the Bob Hope version. While certainly no classic this is a fun retelling of the story that works because the cast is so enjoyable to watch and because the old story works even if its done half way decently.
This was the first version of the story that I ever saw. Endless reruns on HBO years ago have burned portions of this film into my mind, but I didn't mind since the film was just a good time passer.
No, its not perfect. The 1970's retro feel that it has doesn't really work and makes the film feel like it doesn't belong anywhere. There were several films in the 1970's set in the 20's, 30's or 40's that suffered similar fates, particularly if they had any European connections. This is not the place to discuss it, but when you see this film you'll understand what I mean.
And you should see this since its good but far from great. Is this the version if you can only see one go at the story? No, that would probably be the Bob Hope version, but if you want something for a rainy Sunday that won't tax the brain, this is it.
7 out of 10 on the pure enjoyment scale.
This was the first version of the story that I ever saw. Endless reruns on HBO years ago have burned portions of this film into my mind, but I didn't mind since the film was just a good time passer.
No, its not perfect. The 1970's retro feel that it has doesn't really work and makes the film feel like it doesn't belong anywhere. There were several films in the 1970's set in the 20's, 30's or 40's that suffered similar fates, particularly if they had any European connections. This is not the place to discuss it, but when you see this film you'll understand what I mean.
And you should see this since its good but far from great. Is this the version if you can only see one go at the story? No, that would probably be the Bob Hope version, but if you want something for a rainy Sunday that won't tax the brain, this is it.
7 out of 10 on the pure enjoyment scale.
A Surprisingly Well-Done Remake
ferbs545 April 2009
I'm not overly fond of seeing remakes of movies that I hold in high esteem, such as Paul Leni's excellent silent film "The Cat and the Canary" (1927), but the 1979 British remake (actually the fifth filming of John Willard's 1922 stage play) has such an impressive cast that it was hard for me to resist. And, as it turns out, this most recent incarnation is as fun as can be; an amusing and at times pretty darn scary updating. In what is a now-classic setup, a group of relatives convenes in England, at Glencliff Manor on a stormy night in 1934, to hear the reading of Cyrus West's will, while outside the house, an escaped homicidal maniac stalks the neighborhood. Here, West's attorney, Dame Wendy Hiller, screens the 20-year-old filmed testament of the old man (Wilfrid Hyde-White, whose grumpy recitation for his latter-day "leeches" and "bastards" easily steals the show) to a group of millionaire wanna-bes that includes yummy Carol Lynley, lesbian cousins Honor Blackman and Olivia Hussey, and American songwriter Michael Callan. Radley Metzger, in his sole horror outing in a career more known for various erotic entertainments, directs this film with style to spare, and his screenplay is clever and at times even sparkling. Callan gets the lion's share of the script's comical one-liners, and his quips regarding "putting on heirs," "where there's a will, there's a way" and "kissing cousins" are actually very funny. But don't get me wrong; despite the screenplay's cleverness, this "CATC" does dish out the scares, especially in the film's final 1/2 hour, when that maniac (who reminded me a bit of a bloodied-up Keith Richards, of all people!) gets into the house and things turn pretty nasty. All in all, a surprisingly well-done remake. Now...when is somebody finally gonna release a Region 1 DVD of the 1939 Bob Hope/Paulette Goddard "CATC"? That's what I want to know!
Old warhorse still has legs
heedarmy23 January 2001
This old theatrical warhorse gets another outing in what is (to date) the only colour version of a classic play.
There are some pleasantly swish performances from a good cast and neat direction from Metzger. Film takes a while to get going but the last reel packs in the action.
Wilfred Hyde-White's appearance on film is a nice touch and he even gets to "host" the end credits. But the best moment is Edward Fox's spectacular entrance and his scene-stealing thereafter : a moment to treasure, especially his delivery of the line "We're just up the road"! (It'll make sense when you watch it).
There are some pleasantly swish performances from a good cast and neat direction from Metzger. Film takes a while to get going but the last reel packs in the action.
Wilfred Hyde-White's appearance on film is a nice touch and he even gets to "host" the end credits. But the best moment is Edward Fox's spectacular entrance and his scene-stealing thereafter : a moment to treasure, especially his delivery of the line "We're just up the road"! (It'll make sense when you watch it).
Parasites and Bastards!
hitchcockthelegend11 October 2012
The Cat and the Canary is directed by Radley Metzger who also adapts the screenplay from the play written by John Willard. It stars Honor Blackman, Michael Callan, Edward Fox, Wendy Hiller, Olivia Hussey, Wilfred Hyde-White, Carol Lynley, Beatrix Lehmann, Daniel Massey and Peter McEnery. Music is by Steven Cagan and cinematography by Alex Thomson.
Ah the dark house murder mystery, sadly seeming now like a relic of our cinematic pasts. There are many to choose from for those of us who choose to go back in time and cosy up by a warm fire, with drink in hand, to involve ourselves in the standard plot formula of various folk getting bumped off by a scheming murderer during a short time period and under one roof. John Willard's The Cat and the Canary is a well mined source for such fun and fearful frolics, as of the time of writing, this 1979 version stands as the last attempt to transfer the play to the screen.
There is nothing unduly bad about Metzger's movie, it's just that it is rarely inspiring either. The cast is well assembled, with one or two creaky performances aside, the mystery element holds strong, and period flavours are tasteful. But the mansion it's set in is too bright and un-threatening, it's overtly talky as a good hour is used to set up characters and plot dynamics, while there's a distinct lack of acidity in the script. Still, it's never less than fun, and for the innovative reading of the will segment alone this version is worth seeking out by those who decry the demise of the old dark house set mystery thriller. 6/10
Ah the dark house murder mystery, sadly seeming now like a relic of our cinematic pasts. There are many to choose from for those of us who choose to go back in time and cosy up by a warm fire, with drink in hand, to involve ourselves in the standard plot formula of various folk getting bumped off by a scheming murderer during a short time period and under one roof. John Willard's The Cat and the Canary is a well mined source for such fun and fearful frolics, as of the time of writing, this 1979 version stands as the last attempt to transfer the play to the screen.
There is nothing unduly bad about Metzger's movie, it's just that it is rarely inspiring either. The cast is well assembled, with one or two creaky performances aside, the mystery element holds strong, and period flavours are tasteful. But the mansion it's set in is too bright and un-threatening, it's overtly talky as a good hour is used to set up characters and plot dynamics, while there's a distinct lack of acidity in the script. Still, it's never less than fun, and for the innovative reading of the will segment alone this version is worth seeking out by those who decry the demise of the old dark house set mystery thriller. 6/10
Intriguing if talky mystery.
gridoon3 November 2002
If drawing-room-type murder mysteries with a comic touch are your cup of tea, then you can't go wrong with this one. It's not as good as, say, "Murder by Death" or the best Agatha Christie adaptations, and there are some overly talky sequences that exist mainly to showcase the actors and lead nowhere. But it holds your interest, and has some very good acting, especially by Wilfrid Hyde-White in a most unusual cameo. (**1/2)
The Crass and the Unfunny
son_of_cheese_messiah29 January 2012
By the film this film was made (late 70s), this type of set-up was well past its sell-by date. The original play is considered a 'classic' and has been influential but frankly it is badly dated now. A deeply contrived and unconvincing plot, an assortment of unbelievable, unappealing and frankly inbred characters and a lot of clunky, expositional dialogue make this a leaden hour and a half.
To compensate for the tired plot, the makers introduce some 70s gimmicks. A pointless Lesbian couple only succeeds in making lesbianism look dull. There's also a nasty line in sadistic mutilation which unusually is inflicted only on the female guests. One woman is gruesomely tortured to death, another assumed to be so, and a third scheduled to be so. This 'kills off' any pretence the film has for being a comedy. The delight with which the camera voyeuristically pans over the instruments of torment is actually disturbing.
With the exception of Wilfred Hyde-white, who does a good turn as Cyrus West, none of the actors really shines. They all appear lost in this huge house. One really yearns for a likable central character like Bob Hope in the 50s version. A few good gags and less torture would go a long way to making this watchable.
To compensate for the tired plot, the makers introduce some 70s gimmicks. A pointless Lesbian couple only succeeds in making lesbianism look dull. There's also a nasty line in sadistic mutilation which unusually is inflicted only on the female guests. One woman is gruesomely tortured to death, another assumed to be so, and a third scheduled to be so. This 'kills off' any pretence the film has for being a comedy. The delight with which the camera voyeuristically pans over the instruments of torment is actually disturbing.
With the exception of Wilfred Hyde-white, who does a good turn as Cyrus West, none of the actors really shines. They all appear lost in this huge house. One really yearns for a likable central character like Bob Hope in the 50s version. A few good gags and less torture would go a long way to making this watchable.
What would you do for a fortune?
bensonmum23 July 2005
Warning: Spoilers
- A will is read in a big, old, dark house. The beneficiary can only claim the inheritance if she survives the night. Otherwise, the fortune goes to a secondary beneficiary who will only be named should the first beneficiary die. Anyone could be that secondary beneficiary - and someone is willing to kill to find out who it is.
- The house is wonderful - lots of rooms and secret passages. I love a house with a sliding bookcase and that's exactly what you get here. The house creates a perfect setting for a murder mystery. Surprisingly, there is some pretty good atmosphere.
- Much of the movie is meant to be a comedy and that's where The Cat and the Canary falters. Had it been played straight, it might have been more enjoyable.
- The movie was directed by Radley Metzger. The fact that a porn director was able assemble a cast including Edward Fox, Olivia Hussey, Honor Blackman, and the wonderful Wendy Hiller is amazing. The fact that he was able to pull the whole thing off as well as he did is a miracle.
Nice Cast, But They Talk Too Much
ccthemovieman-15 March 2007
This had nice British cast and a remake of an old film that had been remade several times after the original silent production.
Just look at the names: Edward Fox, Wendy Hiller, Olivia Hussey, Carol Lynly, Daniel Massey, Wilfrid Hyde White, Honor Blackman, Michael Callan - maybe not huge names, but all fine actors.
This adaptation was too talky for me, especially for a murder story. It starts off promising in the first half hour but really peters out with all the gab and not nearly enough suspense or action. It looked like a modern English TV drama with a little profanity added. I was disappointed to see two very pretty faces of the 1960s, Lynley and Blackman, not look very good on the facial closeups. All the makeup they had on looked almost grotesque.
Just look at the names: Edward Fox, Wendy Hiller, Olivia Hussey, Carol Lynly, Daniel Massey, Wilfrid Hyde White, Honor Blackman, Michael Callan - maybe not huge names, but all fine actors.
This adaptation was too talky for me, especially for a murder story. It starts off promising in the first half hour but really peters out with all the gab and not nearly enough suspense or action. It looked like a modern English TV drama with a little profanity added. I was disappointed to see two very pretty faces of the 1960s, Lynley and Blackman, not look very good on the facial closeups. All the makeup they had on looked almost grotesque.
Above-average mystery chiller
Dekko-220 October 1999
While most noted for his adult films, Radley Metzger proved he's not limited to the ol' in-and-out with this fourth remake of the oft-filmed reading-of-the-will format play. The plot is fairly typical stuff (a bunch of heirs, a will with loads of cash to be handed down, a history of insanity in the family), but a good cast, some clever plot twists and Metzger's usual adept hand at visual imagery (check out the shot where the maid recites a monologue through the reflection on a picture of the old man) make this a welcome change of pace to the dreary and remarkably similar Agatha Christie murder mysteries of the same time period.
Where a good cast meets staid direction
Leofwine_draca19 September 2018
Warning: Spoilers
THE CAT AND THE CANARY is the umpteenth remake of the old silent murder mystery classic and one of many 'old dark house' comedies made during the 1970s and 1980s. This one has a decent cast but rather staid direction from none other than Radley Metzger, a man best known for his work in the erotic genre. Once again a bunch of kooks are assembled in a creepy old mansion for a reading of the will; what follows is mildly amusing at at times just plain weird. It's also rather small scale and slow, with all of the good bits packed into the second half. Wilfrid Hyde-White is a delight as the deceased host while the ensemble cast includes Honor Blackman, Daniel Massey, Olivia Hussey and Carol Lynley. Best of all is Edward Fox with tongue very much in cheek; his entrance scene alone is a real highlight here.
Old Man West was a funny old thing.
Sleepin_Dragon22 October 2015
Cyrus West has a huge fortune to leave. Twenty years after his death he still holds the strings to his family, he arranges for his family, solicitor and faithful housekeeper to gather for the reading of his will. It's 1934 and Glyncliffe Manor plays host. Cyrus was considered an eccentric, ahead of his time, he presents his bequest via moving pictures, presenting his legacy from beyond the grave. His fortune is left to the beautiful Annabelle, just because she shared the same surname, West. Wanting to put a bittersweet twist on the affair Cyrus added a proviso, should the heir die or be judged insane in a twelve hour period the legacy would go to a second heir. Events that evening are made all the more complicated when Doctor Hendricks bursts in with a warning, an escaped psychopathic killer is on the loose, he believes he's a cat, killing his victims with his bare hands. Annabelle has a tough night ahead, a killer on the loose and a greedy grouping of dubious relatives.
I'll start off by saying I think it's a really great movie, I prefer this to the previous version. It was produced more so as a horror/thriller then a supernatural thriller. It does have some moments of humour which work, mostly coming from Paul Jones.
Annabelle is set up nicely as the victim, she is made sweet, nice, kind, such a contrast to most of the others who are shown as greedy, devious, even murderous. Paul being the exception.
The acting is solid as opposed to awesome, it's the two seniors that I enjoy most, Wilfred Hyde White and Beatrix Lehmann, both are so much fun, quite underrated gems. Honor Blackman too is excellent, she's tough but rather creepy. Carol Lynley played the English Rose really well, I had no idea she was a native New Yorker.
This film was not Edward Fox's finest moment, I think he's guilty of overacting somewhat, he's definitely enjoying himself, just a little too much.
There are some excellent moments in this film, some of the best ones include, the disappearance of Mrs Crosbie, the theft of a slumbering Annabelle's necklace and of course the finale. That torture room was a rather nasty creation, although nobody lost any blood after being shot.
Another good moment, the attack on Susan was ruined a little as it ended in a somewhat cartoon sketch.
Mrs Pleasant says to Annabelle 'The Canary in a cage almost dies of fright when the cat walks around the cage. Dies a thousand deaths, although it's quite safe.' It's a great analogy for the film, with the house acting as the cage, and the killer, the cat.
Such an underrated film. 9/10
I'll start off by saying I think it's a really great movie, I prefer this to the previous version. It was produced more so as a horror/thriller then a supernatural thriller. It does have some moments of humour which work, mostly coming from Paul Jones.
Annabelle is set up nicely as the victim, she is made sweet, nice, kind, such a contrast to most of the others who are shown as greedy, devious, even murderous. Paul being the exception.
The acting is solid as opposed to awesome, it's the two seniors that I enjoy most, Wilfred Hyde White and Beatrix Lehmann, both are so much fun, quite underrated gems. Honor Blackman too is excellent, she's tough but rather creepy. Carol Lynley played the English Rose really well, I had no idea she was a native New Yorker.
This film was not Edward Fox's finest moment, I think he's guilty of overacting somewhat, he's definitely enjoying himself, just a little too much.
There are some excellent moments in this film, some of the best ones include, the disappearance of Mrs Crosbie, the theft of a slumbering Annabelle's necklace and of course the finale. That torture room was a rather nasty creation, although nobody lost any blood after being shot.
Another good moment, the attack on Susan was ruined a little as it ended in a somewhat cartoon sketch.
Mrs Pleasant says to Annabelle 'The Canary in a cage almost dies of fright when the cat walks around the cage. Dies a thousand deaths, although it's quite safe.' It's a great analogy for the film, with the house acting as the cage, and the killer, the cat.
Such an underrated film. 9/10
The Cat and the Canary
CinemaSerf4 June 2023
Radley Metzger manages to gather quite a decent cast in this 1978 iteration of John Willard's play. Wilfred Hyde-White plays a recently deceased millionaire who has gathered his potential heirs to hear his will - delivered by him via film. What follows is a Cluedo-esque sequence of events as each suspects and conspires against the other until only the one who will inherit the devious old man's fortune is left (or not!). The cast gel quite well, but the screenplay is far too wordy; the pace too slow and so much more could have been made of the original, far more quirky characterisations. Still worth a watch, though - Honor Blackman and an ever-imperious Dame Wendy Hiller add bags of class to the proceedings.
Where There's a Will, There's a Way
wes-connors6 September 2010
In 1934, blonde fashion designer Carol Lynley (as Annabelle West) and an assortment of greedy relatives gather at "Glencliff Manor" to hear the taped reading of wealthy Wilfrid Hyde-White's last will and testament. Relatively soon, we learn Ms. Lynley is to inherit everything, but not without stipulation. First, she must remain alive and sane after one night in the deceased's spooky old mansion. As a storm rages outside, the suspicious cast is joined by psychologist Edward Fox (as Hendricks), who informs them a homicidal killer known as "The Cat" has escaped from the local insane asylum. That's a recipe for murder and mayhem
This fairly tepid re-make of the 1927 "silent" classic was likely inspired by the success of films like "Murder by Death" (1976). Lynley and Michael Callan (as Paul Jones) could be described as the leads. As a stand-in for Buddy Rodgers (make that Ben Lyon), Peter McEnery (as Charlie Wilder) figures prominently, and Daniel Massey (as Harry Blythe) doesn't. Lawyerly Wendy Hiller (as Allison Crosby) arches her eyebrow. Elderly housekeeper Beatrix Lehmann shows how unflatteringly the film's extreme close-ups can exaggerate a face. And, Honor Blackman and Olivia Hussey somehow manage to make a lesbian subplot unexciting.
***** The Cat and the Canary (11/78) Radley Metzger ~ Carol Lynley, Michael Callan, Peter McEnery, Edward Fox
This fairly tepid re-make of the 1927 "silent" classic was likely inspired by the success of films like "Murder by Death" (1976). Lynley and Michael Callan (as Paul Jones) could be described as the leads. As a stand-in for Buddy Rodgers (make that Ben Lyon), Peter McEnery (as Charlie Wilder) figures prominently, and Daniel Massey (as Harry Blythe) doesn't. Lawyerly Wendy Hiller (as Allison Crosby) arches her eyebrow. Elderly housekeeper Beatrix Lehmann shows how unflatteringly the film's extreme close-ups can exaggerate a face. And, Honor Blackman and Olivia Hussey somehow manage to make a lesbian subplot unexciting.
***** The Cat and the Canary (11/78) Radley Metzger ~ Carol Lynley, Michael Callan, Peter McEnery, Edward Fox
Hm. That wasn't very good, was it?!
chuffnobbler29 November 2004
What an odd film. A few decent chuckles, a few wonderful camera tricks, but far too much chitchat and a very nasty sadistic tinge.
The "old dark house" thriller idea is hardly given any new energy, and the thunder sound effects often swamp the dialogue, making some sequences a challenge to endure. I agree with other reviewers that this feels like a 70s version of the 30s, with the same costume/lighting ideas as many of the 70s Agatha Christie adaptations (and Olivia Hussey in the cast).
Wilfred Hyde White is great fun from beyond the grave, and a special word for the wonderful sequence where the usually glorious (but here slightly subdued) Beatrix Lehmann walks behind his projection screen, appears on screen, then emerges from behind the other side. Also, a very effective sequence where Ms Lehmann talks about her late employer with her face reflected in his photo.
Far too many characters I found it hard to care about, all written in very poor, sub-Cluedo dialogue. Even Honor Blackman struggles with the poor material she is given. Some sequences are, frankly, silly. Edward Fox leaps through a window instead of knocking on the door. After relating the saga of the escaped loony, Mr Fox instructs everyone to lock up the house and hide in their rooms; this comes despite his having rendered the house insecure by destroying the lounge window.
There is a nasty tinge of sadistic enjoyment to the final sequences, where the barking mad murderer is cornered in his lair. As much of the rest of the film tries (and very occasionally succeeds) in being light-hearted, the unpleasant conclusion, followed by a twee little "happily ever after" coda, seems at odds with the film's intentions.
Very uneven and unsure of whether to laugh or scream, this really isn't very good.
The "old dark house" thriller idea is hardly given any new energy, and the thunder sound effects often swamp the dialogue, making some sequences a challenge to endure. I agree with other reviewers that this feels like a 70s version of the 30s, with the same costume/lighting ideas as many of the 70s Agatha Christie adaptations (and Olivia Hussey in the cast).
Wilfred Hyde White is great fun from beyond the grave, and a special word for the wonderful sequence where the usually glorious (but here slightly subdued) Beatrix Lehmann walks behind his projection screen, appears on screen, then emerges from behind the other side. Also, a very effective sequence where Ms Lehmann talks about her late employer with her face reflected in his photo.
Far too many characters I found it hard to care about, all written in very poor, sub-Cluedo dialogue. Even Honor Blackman struggles with the poor material she is given. Some sequences are, frankly, silly. Edward Fox leaps through a window instead of knocking on the door. After relating the saga of the escaped loony, Mr Fox instructs everyone to lock up the house and hide in their rooms; this comes despite his having rendered the house insecure by destroying the lounge window.
There is a nasty tinge of sadistic enjoyment to the final sequences, where the barking mad murderer is cornered in his lair. As much of the rest of the film tries (and very occasionally succeeds) in being light-hearted, the unpleasant conclusion, followed by a twee little "happily ever after" coda, seems at odds with the film's intentions.
Very uneven and unsure of whether to laugh or scream, this really isn't very good.
I Finally Found a Copy!
BaronBl00d14 July 2012
Warning: Spoilers
Boy! It took me quite some time to track down a copy of this film that I remembered seeing on HBO in the early 80's. I saw it then and remembered I rather liked the film as a small(OK not so small) young man. The film is obviously a remake of a film that has been done by the same title at least twice - really three times. Paul Leni's silent masterpiece from 1927. The Bob Hope version that is easily the most fun. Those two used the same title but John Willard's play was also used in 1930's The Cat Creeps. Let us not be naive; however, that this is it. The Willard ply has been the basis for any and all haunted house pictures since the 1927 version(The Old Dark House and James Whale owe it immensely). Creaky doors. Hidden panels. Masked killers. A will reading at night. A hand from a hidden panel. Eyes moving in pictures. All these and many more are due to the many versions of this wonderful play. Now, I digress with a brief history of the play to say that I do not agree with those that this film, the 1978 version, was unnecessary and trivial. Having just watched it again, I found it withstands the test of time rather well. Is it as good as the silent film or the Hope film? Probably not(definitely not the silent), but it is an enjoyable film nonetheless. The plot has been changed a bit here, but the general spirit is basically the same. What I do think is that this film clearly has the best acting. We get a nice array of British acting stalwarts: Dame Wendy Hiller as the lawyer Allison Crosby(Is it just me or did anyone else find her quite alluring in that well-tailored business suit?) I love Hiller's vocal intonations and think she is a might good actress and, even though she is an Oscar-winner, a generally forgotten actress. Anyway, she is in top form here. Then there is Daniel Massey playing what he plays best: irritating, gruffy, huffy-puffy men. Lovely, and I mean just lovely Carol Lynley. She looks like an angel in this film. She is an adequate actress as well and does a pretty good job with the comedic by-play she has with Michael Callan as the Bob Hope funny person. Callan desperately tries to be funny but mostly misfires. He is not horrible though. Honor Blackman and lovely Olivia Hussey(somewhat wasted I thought) play a "couple" in every sense of that word. Strangely I do not remember that at all in the 1927 or 1939 film versions. Spooky Beatrix Lehmann looks like she just walked out of her sarcophagus. She definitely has an air about her. Then we get Edward Fox chewing up the scenery in his small role as only he can, and Wilfred Hyde-White stealing the show, so to speak, as the deceased who talks to his relatives contemptuously through a film. He is always wonderful. The director Radley Metzger does a good job working with his cast(it is actually his screenplay being used here). Metzger uses his own vision for many things in the play - I mean he changes things quite a bit but the general spirit of the Willard play remains intact. There are some very creepy scenes from Hiller's body being found to the closing one with Fox, Lynley, and Peter McEnery. There is also a plethora of wonderful images from the icy vault that kept the secret films in tact for twenty years to the set pieces, costumes, etc... Producer Richard Gordon obviously used what financial resources he had well as this film looks very stylish. It is a stylish, fun film. Really its only real flaw was when it came out. Audiences were really not looking for stylish film in 1978. After all it was the dawn of the 1980's - what for me is the least stylish decade in all film history.
Enjoyable, if stodgy
gridoon202413 November 2020
This third screen version of "The Cat And The Canary" is an enjoayble film, although the pacing is stodgy (at least in the 102-minute version I watched). The plot is clever in its main deception, but as a whodunit it falls below the works of Agatha Christie for one simple reason: there are zero clues given to the viewer as to the identity of the villain! Strong cast all around, with hammy in the best sense of the word Wilfrid Hyde-White the standout (certainly in comparison to the 1939 version Gale Sondergaard is the one who is sorely missed). Also worth noting are the clearly lesbian relationship between Honor Blackman and Olivia Hussey, and the very sexy nightie in which Carol Lynley appears in the final section of the movie. **1/2 out of 4.
Not much in this film for a cat to chew on but the canary.
Eegah Guy12 October 2000
There was so much potential in a modern color remake of this old dark house mystery tale, but this one is just so average. The muted colors and static direction give it the look and feel of something filmed for British TV but shown theatrically. More spooky stuff with the escaped lunatic who rips his victims to shreds with his sharp nails would have been vastly appreciated without sacrificing the mystery element. The most striking scene has a woman walking behind a movie screen, appearing on the B&W film being projected and walking off the other side to appear from behind the screen. I wonder how many takes it took the bring this effect off so flawlessly.
An OK murder mystery who dun-nit.
poolandrews24 June 2005
Warning: Spoilers
The Cat and the Canary starts by informing us that we're at 'Glencliff Manor 1904'. There is a canary flying around in a cage outside & a black cat wandering around, before long the cat has been mysteriously killed... Now the film cuts to 'Glencliff Manor - Thirty Years Later' on a dark, cold & stormy English night. A car approaches the Manor as the rain lashes down, it's a lawyer named Allison Crosby (Wendy Hiller) who knocks the door & is greeted by Glencliff Manor's long serving housekeeper Mrs Pleasant (Beatrix Lehmann) who says she is the first to arrive & invites her in. They both head for a room in which is a wooden coffin sized box with various bits of running machinery attached to the sides, the box has been chained & padlocked shut for twenty years & only Crosby has the keys, once opened they remove a smaller box inside containing some film. More guests arrive, ex surgeon Dr. Harry Blythe (Daniel Massey) is the second, a sportswoman named Susan Sillsby (Honor Blackman) & Cicily Young (Olivia Hussey) arrive together next, a war hero named Charlie Wilder (Peter McEnery) is the fourth while an American songwriter named Paul Jones (Micheal Callan) is the fifth & finally a young fashion designer named Annabelle West (Carol Lynley) is the sixth & last to arrive. After everyone has been introduced they get down to business, they are all informed that they are the last surviving relatives of Cyrus West (Wilfrid Hyde White) who has requested the reading of his will exactly twenty years after his death. The film that Crosby recovered earlier in the evening features footage of Cyrus as he talks his potential heirs through his will, he states that only one will inherit his fortune but should that person die before the night is over or is pronounced insane then the next in line will inherit instead. Cyrus reveals that Annabel is to receive the lot, everyone else are visibly disappointed & jokingly suggest that someone has a good motive for murder. Later on that night a Dr. Hendricks (Edward Fox) unexpectedly turns up to warn everyone that a murderer has escaped from a nearby sanatorium for the criminally insane, to be careful & that no one should leave until the morning. As the night draws on sinister events start to unfold as either there is a killer running around Glencliff Manor or Annabelle is going crazy...
This 1979 version of The Cat and the Canary is the sixth & to date last filmed adaptation of the play by John Willard, the others are the silent The Cat and the Canary (1927), the Spanish La Voluntad del Meurto (1930), The Cat Creeps (1930), the popular The Cat and the Canary (1939) with Bob Hope & the Sweedish made for TV Katten och Kanariefageln (1961). Written & directed by Radley Metzger I thought this particular The Cat and the Canary was an OK murder mystery but ultimately nothing special. The script is simply too slow, there is no foul play at all in The Cat and the Canary until well past the 50 minute point. Leading up to this the film merely sets the situation up & introduces the characters far more than is needed, I was starting to become inpatient after the 30 minute mark & generally speaking the film could have done with a little less chat & few more incidents. You may figure out the killers identity, you may not but I was left wondering how a character who is a complete stranger, has nothing to do with anyone else & supposedly never met any of them before knew so much about their personal lives & for this reason I thought they basically stuck out like a sore thumb, I'll say no more... The characters are OK & most of them have a motive for murder but the actual body count is very low, just the one for most of it's run time unfortunately, I really wish the filmmakers had included a couple more murders much earlier to create some tension, mistrust & mystery. The Cat and the Canary has vague horror elements & overtones, the old dark spooky house, secret passages, an escaped killer, murder, isolation & a constant raging thunder storm outside & while it has a nice atmosphere throughout it isn't particularly scary & I don't think Metzger intended it to be as there are no real jump out of your seat scares which seemed a bit of a wasted opportunity if you ask me. The acting is solid from all involved especially Hyde White who makes for a great grumpy old relative. Technically The Cat and the Canary is very good but I can't help thinking that the period setting didn't quite work for some reason, the cinematography, editing, music & production design are decent enough for not to complain about anything. Overall I liked The Cat and the Canary as a one time watch & is a reasonable mystery that should have been more, well mysterious.
This 1979 version of The Cat and the Canary is the sixth & to date last filmed adaptation of the play by John Willard, the others are the silent The Cat and the Canary (1927), the Spanish La Voluntad del Meurto (1930), The Cat Creeps (1930), the popular The Cat and the Canary (1939) with Bob Hope & the Sweedish made for TV Katten och Kanariefageln (1961). Written & directed by Radley Metzger I thought this particular The Cat and the Canary was an OK murder mystery but ultimately nothing special. The script is simply too slow, there is no foul play at all in The Cat and the Canary until well past the 50 minute point. Leading up to this the film merely sets the situation up & introduces the characters far more than is needed, I was starting to become inpatient after the 30 minute mark & generally speaking the film could have done with a little less chat & few more incidents. You may figure out the killers identity, you may not but I was left wondering how a character who is a complete stranger, has nothing to do with anyone else & supposedly never met any of them before knew so much about their personal lives & for this reason I thought they basically stuck out like a sore thumb, I'll say no more... The characters are OK & most of them have a motive for murder but the actual body count is very low, just the one for most of it's run time unfortunately, I really wish the filmmakers had included a couple more murders much earlier to create some tension, mistrust & mystery. The Cat and the Canary has vague horror elements & overtones, the old dark spooky house, secret passages, an escaped killer, murder, isolation & a constant raging thunder storm outside & while it has a nice atmosphere throughout it isn't particularly scary & I don't think Metzger intended it to be as there are no real jump out of your seat scares which seemed a bit of a wasted opportunity if you ask me. The acting is solid from all involved especially Hyde White who makes for a great grumpy old relative. Technically The Cat and the Canary is very good but I can't help thinking that the period setting didn't quite work for some reason, the cinematography, editing, music & production design are decent enough for not to complain about anything. Overall I liked The Cat and the Canary as a one time watch & is a reasonable mystery that should have been more, well mysterious.
The Bob Hope version is better.
BA_Harrison23 October 2020
The Cat and the Canary is one of the classic 'old dark house' stories, with its collection of greedy and possibly murderously insane relatives gathered on a dark, stormy night for the reading of a will at the sprawling ancestral pile, an old manor with many a dark corridor and secret passageway. This late '70s movie adaptation also throws in an escaped lunatic and a pair of lesbian lovers (played by Honor Blackman and the very lovely Olivia Hussey) for good measure, but despite all of these potentially fun ingredients, writer/director Radley Metzger somehow concocts a frustratingly dull thriller that gets bogged down by a seriously talky script and lethargic pace.
For the first hour, practically nothing of interest happens: the characters bicker, they watch an old film of long dead testator Cyrus West (Wilfrid Hyde-White) who explains the rules of his will, and Dr Hendricks (Edward Fox) from the nearby asylum jumps through a window (why? I'm not sure) to inform the guests that the dangerous patient known as 'The Cat' has escaped. The murders are a long time coming and really aren't worth the wait, mostly occurring off-screen, and Blackman and Hussey's potentially exploitative relationship doesn't even extend so far as a peck on the cheek.
The final half an hour picks the pace up from incredibly sluggish to just about bearable, but never delivers the thrills and chills one expects from such a film. The whole thing is far too stagy and devoid of excitement. Just about worth seeing, perhaps, for the impressive cast, which also includes the delightful Carol Lynley as heiress-in-peril Annabelle West, but don't expect too much from anyone - the weak script and doesn't give the performers much chance to shine.
4.5/10, rounded up to 5 for IMDb.
For the first hour, practically nothing of interest happens: the characters bicker, they watch an old film of long dead testator Cyrus West (Wilfrid Hyde-White) who explains the rules of his will, and Dr Hendricks (Edward Fox) from the nearby asylum jumps through a window (why? I'm not sure) to inform the guests that the dangerous patient known as 'The Cat' has escaped. The murders are a long time coming and really aren't worth the wait, mostly occurring off-screen, and Blackman and Hussey's potentially exploitative relationship doesn't even extend so far as a peck on the cheek.
The final half an hour picks the pace up from incredibly sluggish to just about bearable, but never delivers the thrills and chills one expects from such a film. The whole thing is far too stagy and devoid of excitement. Just about worth seeing, perhaps, for the impressive cast, which also includes the delightful Carol Lynley as heiress-in-peril Annabelle West, but don't expect too much from anyone - the weak script and doesn't give the performers much chance to shine.
4.5/10, rounded up to 5 for IMDb.
Very eerie
kkpai-7457118 December 2021
Certainly has an old fashioned gothic feel with a dark and stormy night in a isolated manor with a madman on the loose ! While the acting appears somewhat insipid and the scares are few, the movie did keep my attention, worth watching once !
Best avoided really
hellholehorror1 October 2017
This is a preposterous film. Olivia Hussey looked stunning although this alone does not make a film. I found it rather stupid, too slow and uneventful. Basically it is a thriller set in the thirties. It is not very thrilling. It is not violent. The secret passages around the house are cool. Best avoided really.
Very suspenseful, fun thriller
Geoff-219 July 1999
I recently saw this on video, and let me say it is one of the best thrillers I have ever seen! Its got chills, some laughs, spooky atmosphere, and Pussy Galore! I mean, it has Honor Blackman, who played Pussy Galore in Goldfinger. She is wonderfully twisted in this.
The story is rather simple. The relatives of a dead millionaire are called to his mansion on the 20th anniversary of his death. Via 8 mm film, the dead man names his heir to the assembled group. The sole heir must spend the night in the house with the group and be deemed sane the next morning. To add to the jealousy of the losers and the creepy house, the local insane asylum curator drops by to say a homicidal maniac has escaped and is hiding out in the area. All these things add up to a great story and climax. I really liked the clever way the end credits are displayed too. I gave this 9 out of 10. Truly enjoyable.
The story is rather simple. The relatives of a dead millionaire are called to his mansion on the 20th anniversary of his death. Via 8 mm film, the dead man names his heir to the assembled group. The sole heir must spend the night in the house with the group and be deemed sane the next morning. To add to the jealousy of the losers and the creepy house, the local insane asylum curator drops by to say a homicidal maniac has escaped and is hiding out in the area. All these things add up to a great story and climax. I really liked the clever way the end credits are displayed too. I gave this 9 out of 10. Truly enjoyable.
In Which Annabelle...Dates All of Her Cousins?
thalassafischer4 October 2023
This mildly humorous remake of the 1939 film The Cat and the Canary fails to be as genuinely creepy as the original, but thankfully it knows it. Amusing stunts like Cyrus West reading out his will on 1914 audiovisual technology are added, and instead of being the mild mannered victim besotted with Paul, Annabelle in this round gets around...except all of the men she's been with are her relatives.
There's a really cool old house used in this film, it has the usual carpets and drapes, but it also has secret passage ways and more.
I suspect this version of The Cat and the Canary may have been one of several films that influenced the iconic Clue: The Movie seven years later.
There's a really cool old house used in this film, it has the usual carpets and drapes, but it also has secret passage ways and more.
I suspect this version of The Cat and the Canary may have been one of several films that influenced the iconic Clue: The Movie seven years later.
Boring!
miss_toucan23 January 2022
I found this to be very slow and boring. The acting was also quite bad. The storyline certainly had potential but I did not enjoy watching this at all. There was zero character development so I just didn't care about any of the characters or what happened to them.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
