An architect senses impending doom as his half-remembered recurring dream turns into reality. The guests at the country house encourage him to stay as they take turns telling supernatural tales. —IMDb
Alberto de Almeida Cavalcanti (February 6, 1897 – August 23, 1982) was a Brazilian-born film director and producer.
Cavalcanti was born in Rio de Janeiro, the son of a prominent mathematician. He was a precociously intelligent child, and by the age of 15 was studying law at university. Following an argument with a professor he was expelled. His father sent him to Geneva, Switzerland on condition that he did not study law or politics. Cavalcanti chose to study architecture instead. At 18 he moved to Paris to work for an architect, later switching to working on interior design. After a visit back to Brazil he took up a position at the Brazilian consulate in Liverpool, England.
Cavalcanti corresponded with Marcel L’Herbier, a leading light in France’s avant-garde film movement. This led to a job offer from L’Herbier for Cavalcanti to work as a set designer.
In 1920 Cavalcanti left his job at the Consulate and moved back to France to work for L’Herbier; he was to be… read more
Director Charles Crichton’s film career began as an editor in 1935 with Alexander Korda’s London Films, and in that capacity he worked on such productions as Sanders of the River (1935), Things to Come (1936) and Elephant Boy (1937) (which introduced Sabu to movie audiences). He soon left London Films for Ealing Studios, and rose quickly through the ranks, making his directorial debut with For Those in Peril (1944). Meticulous to the point of being referred to as a “perfectionist”, Crichton came into his own at Ealing, a studio noted for its comedies, and among his best known are the quirky but charming The Titfield Thunderbolt (1953) and the wildly popular The Lavender Hill Mob (1951). He tried his hand at drama—outside of Ealing—with Hunted (1952), starring Dirk Bogarde. When Ealing closed its doors in 1959, Crichton’s film work petered off, and he turned more and more to television, becoming a prolific director of crime and adventure series. His occasional forays back into feature… read more
Basil Dearden (born Basil Clive Dear; 1 January 1911 – 23 March 1971) was an English film director.
Dearden was born at Westcliff-on-Sea, Essex. He graduated from theatre direction to film, working as an assistant to Basil Dean. He later changed his own name to Dearden to avoid confusion with his mentor.
He first began working as a director at Ealing Studios, co-directing comedy films with Will Hay, including The Goose Steps Out (1942) and My Learned Friend (1943). He worked on the influential chiller compendium Dead of Night (1945) and directed the linking narrative and the “Hearse Driver” segment. He also directed The Captive Heart starring Michael Redgrave, a 1946 British war drama, produced by Ealing Studios. The film was entered into the 1946 Cannes Film Festival. The Blue Lamp (1950), probably the most frequently shown of Dearden’s Ealing films, is a police drama which first introduced audiences to PC George Dixon, later resurrected for the long-running Dixon of… read more
A former editor with a flair for both darkly satirical comedy and even darker British film noir, Robert Hamer was a key figure in postwar British cinema. His sensitive talent was probably best showcased in the handsome and witty period-set comedy of murders, “Kind Hearts and Coronets” (1949) and the realistic yet superbly moody noir “It Always Rains on Sunday” (1947). Hamer was also responsible for what some critics consider the best segment in the classic horror anthology, “Dead of Night” (1945), in which a haunted mirror keeps displaying a murder committed long ago, and which begins to take possession of its new owner. Among other films, the adult and complexly plotted “The Spider and the Fly” (1949) and the witty and civilized detective comedy “Father Brown” (1954) stand out. Unfortunately, Hamer’s highly promising career was derailed by an alcohol problem and he died at the age of 52. —TCM
It may appear to be a sketch film only, but wait until the ending comes. You'll get your reward for watching them. It all makes sense then. Why the story was told in segments, that is. I was a tad surprised. It looked to be another scary night story, yet, it's much more than that. It's cinema in itself. It begins. It ends. It begins again. Darn!, I won't say more.
Potential masterpiece damn near ruined by the humorous story of the two golfers. I hated that segment, because it disrupts the building sense of dread. I wish it wasn't in the movie. The ventriloquist dummy story everybody talks about was somewhat of a letdown. I actually thought the mirror story was the best of the lot and quite eerie.
To be honest, I was expecting a bigger payoff at the end, but I guess for the time, it was pretty revolutionary. The Dummy segment is the real standout here, and I agree with others when I say that the Gofling section could have been left out. Overall, it's definitely an overlooked horror classic.
Would that each section of the anthology were as strong as the flurry of eerie activity that ends the film. The frame tale and the Michael Redgrave section do maintain a consistent creepiness, but the others only really become effective in the context of the end of the film (with the "Golfing" section dragging the most). Good, in parts.
Also: Adam Curtis on Dead of Night, life, the universe and everything. And more.
"Nowadays, Alberto Cavalcanti is well-known among film history buffs, but otherwise more or less forgotten. This is a shame for a number
Halloween is at least twice as fun when October 31 falls on a weekend as it does this year and, while I mentioned a few related goings on
DEATH CANNOT STOP TRUE LOVE. ALL IT CAN DO IS DELAY IT FOR A WHILE. Capitaine Fracasse, based on a novel by Theophile Gautier. Directed by