The Strange Door (1951) User Reviews

Beloved favorite seen on Pittsburgh's Chiller Theater in 1974

[kevinolzak · 7/10 · 31 May 2011]

1951's "The Strange Door" is something of a throwback to the Gothic horrors of previous decades, except that it comes from Universal, which rarely did such pictures (1939's "Tower of London" and 1940's "The House of the Seven Gables" instantly come to mind). Reuniting Charles Laughton and Boris Karloff 19 years after 1932's "The Old Dark House" (James Whale English Gothic), Laughton especially has a field day, alternately menacing and comical, and always fun to watch. Karloff is sadly reduced to a tongue-in-cheek servant role, quietly speaking his lines while rolling his eyes with great frequency. The château was used as a torture chamber during the Middle Ages, featuring a dungeon full of armor and weapons, plus a cell where the walls come together (Lugosi made use of one in 1935's "The Raven"). Richard Stapley (later Wyler) makes little impression as the hero, but Sally Forrest captures the eye as the endangered beauty (even lovelier in "Son of Sinbad" with Vincent Price, where she dances in a skimpy harem outfit). Laughton's sadistic nobleman is ably supported by a terrific supporting cast of rogues ("villainy binds men together!"), with William Cottrell, whom I've never seen in anything else, Morgan Farley, and Hollywood newcomer Michael Pate, who earns a piece of mutton for his handling of a bribe (he later starred as the vampire gunslinger in Universal's 1959 "Curse of the Undead"). Paul Cavanagh and Alan Napier have smaller roles, but are welcome faces nonetheless. This eternally underrated little 'B' features music cues from "The Wolf Man," "Frankenstein Meets the Wolf Man," and "House of Frankenstein," and was followed a year later by a similar Gothic, "The Black Castle," also featuring Karloff and Pate.

There's something afoot in the Maletroit home.

[hitchcockthelegend · 6/10 · 3 March 2010]

The Strange Door (1951) is released by Universal Pictures, it's directed by Joseph Pevney and stars Charles Laughton, Boris Karloff, and Sally Forrest. Based on the short story, The Sire de Maletroit's Door by Robert Louis Stevenson, it comes with much horror credentials. However, and in spite of it constantly being tagged a horror film, The Strange Door is more a Gothic thriller tinged with madness and all round nastiness.

The story is a solid one as Laughton's Sire Alain de Maletroit plots revenge against his younger brother, Edmund {Paul Cavanagh}, revenge that comes in the form of imprisonment down in the family dungeon for 20 years. Not content with that, Maletroit, after telling her that her father is dead, makes Edmund's daughter, Blanche's {Forrest}, life a misery. Culminating in a forced marriage to scallywag Denis de Beaulieu {Richard Stapley/Whyler)} who has been duped and trapped in the Maletroit castle. But Maletroit hadn't planned for Blanche & Denis to hit it off, and also lurking in the shadows is servant Voltan {Karloff} who is loyal to the imprisoned Edmund.

This is very much an acting piece, both Laughton & Karloff could overact with the best of them, but the results were never less than entertaining. Such is the case here as Pevney creates a moody Gothic atmosphere in the shadowy Maletroit home, and then, lets his actors run with Stevenson's genesis source. There's much dastardly talking and the odd perky moment dotted along the way, but really it's only the lead actors that keep the piece from stagnating. Particularly at the midpoint when the good old romantic thread starts to be pulled.

Still it's a recommended film for sure, for its sets {Universal rarely fails to deliver here}, mood and its two scene stealing lead actors. Just don't go in expecting an outright horror film is all. 6.5/10

THE STRANGE DOOR (Joseph Pevney, 1951) **1/2

[Bunuel1976 · 6/10 · 29 October 2006]

A minor but irresistible Gothic melodrama with a rampant star performance by Charles Laughton (though he gets little to do in the second half - in fact, the film sags a bit during its latter stages). Boris Karloff's role is a good one, though clearly supporting Laughton rather than co-starring; actually, too much time is devoted to the rather insipid romantic leads (Richard Stapley and Sally Forrest) - though the supporting cast (including character actors such as Paul Cavanaugh, Michael Pate and Alan Napier) is adequate enough.

The plot itself is quite intriguing - leading up to a satisfying climax that's strikingly similar to the one in another Karloff film, THE RAVEN (1935). Of course, THE STRANGE DOOR reunites Karloff with Laughton almost 20 years after THE OLD DARK HOUSE (1932) - as in that film, they engage in a fisticuff at the end - and also returns the actor to Robert Louis Stevenson territory (albeit in a non-villainous role) after his unforgettable turn in THE BODY SNATCHER (1945). Despite the obvious low-budget (a fact that is betrayed, more than anything else, by having its entire score comprised of themes from previous studio efforts - including the nth revamp of the instantly recognizable cue from THE WOLF MAN [1941]!), the film is crisply shot in black-and-white and, in spite of the rather pedestrian direction, it makes the most of its limited sets.

Pedestrian horror brought to life by its two stars

[tomgillespie2002 · 6/10 · 18 January 2016]

There were many horror titles released by Universal around the 1940's and 50's which told short stories (usually adapted from literature) within a slim running time - routine B-movie fare bolstered by one of the many fantastic actors they had on their payroll. The Strange Door is one such example. It's a rather daft story, adapted from a Robert Louis Stevenson short about a playboy high-born caught up in the sadistic plans of a sadistic lord. With a tacked-on romance, this is pretty pedestrian stuff for the most part. But when Charles Laughton and Boris Karloff are on screen, this timid horror comes alive.

Sire Alain de Maletroit (Laughton) and his cronies manipulate troublesome rake Denis de Beaulieu (Richard Wyler) into a mansion. While the front door opens from the outside, the inside contains no handle, trapping Denis within the strange castle. Alain explains to Denis that he intends for Denis to marry his lovely daughter Blanche (Sally Forrest). At first apprehensive, Denis meets and eventually falls in love with the delicate Blanche, infuriating the huge lord who naturally has an ulterior motive to his sweet-sounding deal. Alain has imprisoned and tortured his brother Edmond (Paul Cavanagh) for the past 20 years, with the hope of making the poor man's daughter miserable as well. However, he doesn't anticipate Denis's redemptive qualities.

Laughton doesn't so much chew the scenery but swill it around his chubby cheeks. Whenever he is on screen, it is impossible to take your eyes from him. Alongside looking like he's having a ball, every gesture, eye movement and idiosyncratic ramble seem almost improvised, as if he knows how forgettable this movie is but wants to make damn sure you'll be entertained while you watch it. Karloff also brings wide-eyed sympathy to the faithful servant Voltan, a man tasked with the dirty job of watching over the prisoner but does all he can to help the poor man. Wyler is less impressive; a constantly wooden presence with a voice that almost hurts the ears. The film is formulaic and stretched, but is occasionally very entertaining and a must-see for fans of its two lead stars.

A Victorian Gothic set in Louis XV's France

[bkoganbing · 6/10 · 2 March 2005]

When Charles Laughton is given good direction and a decent script he'll give you an Oscar caliber performance and has on many occasions, one of them officially. But when he's not, hmmmm............. Well what's a body to do, but make the best of it, have a little fun.

With that gleam in his eye and the shtick with the food, plagiarized from his own performance of Henry VIII, Laughton goes to town in an orgy of overacting as Andre de Maletroit, malevolent lord of the manor in 18th Century France. For reasons I'll not explain Laughton has some nefarious reasons for wanting his niece to marry the worst kind of aristocratic rake.

The niece and the rake are played respectively by Sally Forrest and Richard Stapley none too convincingly I might add. Boris Karloff is an old family servant who Laughton delights in mistreating. He also is defeated by the script and direction so he also resorts to shtick.

Boris Karloff's career is illustrative of the path that Charles Laughton's could have taken. Trapped by his performance as the Frankenstein monster, Karloff stayed in the horror genre for most of his career. It was Laughton's good fortune and acting instincts that kept him from the same fate.

The film is based on a Robert Louis Stevenson story and certainly Stevenson has had great cinema made from his stories like Treasure Island and Kidnapped. Too bad this one can't rate up there.

The Strange Door is the kind of material that in the late 50s, Hammer films would have done so well. Too bad they didn't get a crack at it here.

Laughton at His Despicable Best

[Hitchcoc · 7/10 · 3 June 2017]

I'm surprised at having never heard of this film because it's certainly part of the genre I enjoy. To see Charles Laughton and Boris Karloff as the stars, I thought it was worth a look. Of course, it is full of formulaic stuff, with the madman Laughton carrying decades of anger after being jilted, exacting his revenge at the daughter of his adversary. He lives in a hideous mansion, full of torture devices and secrets. He is surrounded by toadies whom he mistreats, but who are beholding to him. A young man is shanghaied because he is a scoundrel. Laughton wants him to become the groom to the young woman's bride. Karloff, for some reason, is able to lurk around the castle, peeking through doors and protecting a prisoner. Of course, love will out and that throws a monkey wrench into things. There is also the classic flaw of the villain just going a bit too far in his efforts to gain vengeance. Still, there is lots of suspense and a satisfactory plot line.

Very satisfying and well-acted by Laughton

[planktonrules · 7/10 · 26 June 2009]

The film begins with Sire Alain de Maletroit (Charles Laughton) meeting some of his employees at a pub (circa 1750 give or take a week). The agents indicate that they have found a real scoundrel--a horrible man who is a liar and debaucher. Why, you don't know, but they then set up this scoundrel to get into a fight an seemingly kill a man. Then, as he runs away, he's taken by carriage to Laughton's manor. It seems that the scoundrel has been recruited for a special job--to marry Laughton's niece in order to make her miserable! Why would Laughton's character do this? Well, it seems that 20 years earlier, a woman was supposed to marry him but instead ran off with his brother. Shortly afterwords, she died in childbirth (with the niece) and Laughton has plotted all those years to make his brother (who he keeps locked in the dungeon) and the niece miserable. Nice guy, huh?!

Boris Karloff is also in the film as one of Laughton's servants. However, he hates his master and wants to help the lady escape her mad Uncle's clutches. And, in a strange twist, the scoundrel turns out to be not such a bad guy after all, and he also vows to rescue the lady. Part of this is because he just saw the man he supposedly killed in the pub--and he knows that Laughton cannot be trusted. Part of this is because he's fallen for the niece.

For Laughton, this sort of film suits him. Never was he accused of being a subtle actor and here he could allow himself to be bombastic and cruel and eat up the scenery--he was a good choice for the role. Karloff, on the other hand, had a role that wasn't particularly complex or interesting--many actors could have handled this role just as well.

Overall, it's a cool little horror film--in particular, because the horror is man-made---usually the scariest kind! After all, Frankenstein or Dracula lack the cruelty that Laughton's character has. Despite this, the film isn't overly vivid--and this is a good thing. If the movie were done these days, the subtlety would all be gone and gore would replace it. Here, good writing and acting (minor concerns, I know) are allowed to shine--making for a very satisfying tale of revenge and evil.

CHARLES LAUGHTON OVER ACTS BORIS KARLOFF!

[whpratt1 · 5 February 2003]

Don't get caught behind THE STRANGE DOOR, it is full of mystery and plenty of Charles Laughton, eating and slobbering over his food and over acting his role. However, Boris Karloff is a kind hearted servant and performs like a hero throughout the entire picture. There are good elements of suspense and characterization in this celluloid adatation of a Robert Louis Stevenson story. As the master fiend, Laughton is well cast. He revels in his lines and leers at his victims to the point of overplaying.

Behind which strange door is Boris hiding?

[Coventry · 6/10 · 18 October 2006]

It's rather ironic that "The Strange Door" was included in the fabulous Boris Karloff collection (horror fans, buy this!!), since his role in the story – albeit important – is rather limited in screen time. If some distributor ever comes up with the luminous idea of releasing a Charles Laughton box set, then this film most definitely should be a part of that, as it is mainly he who steals the show! Karloff is professional and reliable as always, but it's Laughton who dominates every sequence he's in; hands down. "The Strange Door" is adapted from a story by Robert Louis Stevenson (the creator of "Dr. Jekyll and Mr. Hyde") and it's a truly engaging and atmospheric tale set during the Victorian era in France. Laughton portrays Sire Alain de Maledroit, a malicious nobleman who hates every still living member of his family and wants to destroy them slow & painfully. Therefore he personally selects a reputed troublemaker to marry his niece Blanche and counts on the possibility that he'll emotionally wreck her! And even though Blanche believes that her father is long dead, Sire de Maledroit keeps him locked up in the dungeons beneath the castle. Boris Karloff plays Voltan, the only servant that remained loyal to count Edmond. The story isn't always very plausible and contains quite a few immense holes. I'm sure there are easier ways for Sire de Maledroit to torture his relatives than to rely on the bad attitude of an outsider? Or how is it possible that, for twenty whole years, Blanche doesn't even suspect that her father is kept prisoner in the castle while everybody else knows? Yet, despite these and several other improbabilities, "the Strange Door" is an entertaining Gothic horror film with superb decors, a fair amount of tension and poetic dialogs. The last sequences are particularly exciting, as the castle turns out to be a labyrinth filled with eerie death traps and dark corridors. It's nice to see Karloff star in a heroic role for a change. Recommended!

Fun for Laughton and Karloff Fans

[joe-pearce-1 · 7/10 · 27 June 2016]

Age has its benefits, as I am learning from having read other reviews here of this film. I was always a Karloff fan, but I only found Charles Laughton at the age of 11, when we got our first TV set in 1950. Not only were some of his older English films on display there, but being centered in New York City at the time as a star of the historic stage reading of DON JUAN IN HELL, he himself was all over TV, introducing AMAHL AND THE NIGHT VISITORS, doing dramatic readings, guest shots, interviews, even occasionally taking part in game shows - Charlie was nothing if not democratic. Anyway, after discovering him in this manner, the very first film I then recall him making was THE STRANGE DOOR (oh, there had been THE BIG CLOCK and THE PARADINE CASE fairly recently, but they were just a bit too early to have been a part of my youthful movie-going experience - every day, seven days a week!). What I vividly recall is that when this film was being made, the various movie columns endemic at that time made much of the teaming of Laughton and Karloff. In fact, we were promised that there would be some kind of fight scene between those two iconic actors that would be the best such event filmed since the one in William Farnum's THE SPOILERS all the way back around 1914 or so. When the film came out, it wasn't that well reviewed, and certainly without any reference to the actors' 'epic' struggle. When it finally got to my neighborhood and I went to see it at the RKO Greenpoint, it was quite disappointing, although even then I was performance-oriented and loved Laughton's wildly excessive acting job (Karloff's more restrained one, too). The promised epic fight scene never came to be; rather, the two actors simply grappled with each other for about ten seconds or so, no punches thrown, drop kicks, eyes gouged, etc. So, as with the next year's Karloff vehicle, THE BLACK CASTLE, I was sorely disappointed and had not seen either of those films since. Watching both last night, for the first time in 65 and 64 years respectively, I found my original evaluation to be pretty accurate, and that I still really did LOVE Laughton's over-the-top performance as the villain of the piece (which alone gives it my rating of 7). Laughton could wonderfully ham up even a self-effacing TV Bible reading in 1951 without the least embarrassment or apology. Is it any wonder that he walks away with this choice acting opportunity? (Another reviewer's comparison of Laughton to Tod Slaughter is very much on the mark; what a wonderful Sweeney Todd he might have made!). Current viewers may have forgotten that in 1951, leading lady Sally Forrest was enjoying a more successful movie career than anyone else in this film (in socially-relevant Ida Lupino productions, as leading lady at M-G-M to both Mickey Rooney in THE STRIP and Keefe Brasselle in BANNERLINE - all of these in the same year as THE STRANGE DOOR), but she had been brought to Hollywood as a dancer and, in the end, never quite worked out in heavier drama, especially in a costume film like this one for which she seems rather unsuited. Really, she was the perfect girl next door! When the great UNIVERSAL HORRORS book was published, they chose to end coverage of the studio's efforts in that genre with ABBOTT AND COSTELLO MEET FRANKENSTEIN, but both THE STRANGE DOOR and THE BLACK CASTLE might well have been included as they really do seem to have been the tail end of the second Universal horror cycle, especially since both make much use of the famous European castle, village and street sets from the studio's earlier classics, and these may also be the last Universal films to make use of the old Salter and Previn music scores that so enlivened their earlier efforts. Flawed, but enjoyable throughout.

So-so Horror Revival

[bsmith5552 · 5/10 · 8 October 2006]

"The Strange Door" was based on the Robert Louis Stevenson story "The Sire de Maldroit's Door". The film appears to have been an effort by Universal to revive its profitable Gothic horror genre of the 30s and 40s. Unfortunately, the film has the look of a "B" movie and Director Josph Pevney was unable to rein in star Charles Laughton's hammy performance.

Alan de Maledroit (Laughton) lures unsuspecting tavern rogue Denis de Beaulieu (Richard Stapely) to his castle after framing for a murder. de Beaulieu enters the castle through the strange door of the title, a door that seems to open and close on its own without benefit of a handle or lock.

de Maledroit plans to force the young man to marry his young niece Blanche (Sally Forrest) and by selecting the most reprehensible character he could find, hopes to avenge her mother's rejection of him years earlier. Blanche's mother had died in child birth after marrying her father Edward, Alan's brother. Edward (Paul Cavanaugh) unbeknown st to Blanche, has been imprisoned in Alan's dungeon these many years. Only Edward's loyal servant Voltan (Boris Karloff) remains loyal to him.

As luck would have it, the young couple do actually fall in love. The marriage takes place but Denis feigns drunkenly in order to escape the castle with the aid of an old acquaintance Count Grasson (Alan Napier). However, Grasson is murdered and the newly weds are imprisoned in the same dungeon as Edward. Only Voltan stands between the mad de Maletroit and freedom. Can they escape?

Had Laughton's performance been controlled by a stronger director, this could have been a much better film. Karloff as usual, is better than his material in a largely supporting role. I can picture him in the de Maledroit role and bringing much more depth and horror to the role. The set pieces evoke memories of Universal's earlier horror successes. The strange door of the title has little to do with the plot other than to trap de Beaulieu in the castle.

Others in the cast include William Cottrell as Corbeau, de Maledroit's assistant and Michael Pate as Talon another of de Maledroit's thugs.

Laughton and Karloff had first appeared together in "The Old Dark House (1932). Followed by "The Black Castle" (1952) before the studio abandoned Gothic horror for the giant insect cycle.

Underraterd

[bagtown2002 · 8/10 · 7 March 2008]

Aside from Karloff being one of my favorite actors with his numerous character portrayals. Charles Laughton can compliment any script he was an outstanding talent. His character in The Strange Door highlights his ability for sophisticated characterization of a truly ruthless and vindictive man, it is outstanding and I am astonished by this films low marks. It gets an 8 from me and I even toyed with rating it higher. And of course there is Karloff I can't say enough about his talents. The Gothic atmosphere all the secret passageways make for a great castle adventure. I purchased this film in a Boris Karloff collection which includes The Tower of London and 4 or 5 other great Karloff films but once again Laughton is by far the great talent in this Gothic horror flick from the early 50s.

A Standout Performance From Laughton In This Universal Horror-Thriller

[meddlecore · 6/10 · 13 October 2017]

A drunken, barfighting, womanizing, nobleman is set up- by a mysterious cabal- to be lynched.

However, while he is running for his life, he happens upon a door, and enters it...only to find out that it can only be passed through in one direction.

Now he's trapped...in a mansion...with a deranged man, who immediately has him arrested by guards. The man- Sire Alain de Maletroit (played brilliantly by Charles Laughton)- informs him, he is to be wed to his niece in an arranged marriage.

It soon becomes clear, however, that this man does not have the young woman's best interests at heart. Not only has he killed the love of her life- for no good reason. He is also keeping her father hostage, and torturing him by subjecting her to cruel and unusual punishments.

Having witnessed, first hand, what she is going through, the young nobleman starts to feel bad for the stunning young maiden...and seeks to help her escape. Which triggers her to truly acquire feelings for him.

And, seeing as this was not part of the evil malcontent's plan...he moves toward an even more sinister plot- placing them both in a booby trapped cell, with her imprisoned father.

Now, their only hope, is that Voltan (played by Boris Karloff)- the last person remaining loyal to her father. His former servant, and confidant.

Will Voltan be able to save them before it's too late- or will they all end up perishing together? This is a solid little black and white horror thriller from Universal, with a romance angle. The acting is strong- particularly Laughton's performance as the misogynistic Maletroite. And that booby trapped cell is pretty badass! While not a masterpiece or anything, this is a thoroughly enjoyable horror thriller.

6 out of 10.

Eye-rolling grand guignol overstuffed with hammy performances.

[mark.waltz · 4/10 · 20 April 2013]

Not since the barn-storming days of Tod Slaughter (and his series of gruesome, cheap shockers) has there ever been such a creepy villain as Charles Laughton's Sire de Maletroit, a madman keeping his brother (Alan Napier) prisoner and arranging a sham marriage for his niece. This lacks the mustache twirling that made Slaughter's villains such a hoot and was part of Laughton's previous similar role in "Jamaica Inn". Toss in Boris Karloff as a servant, playing both ends against the middle, and you have a plethora of mediocre attempts at chills with a finale reminiscent of 1935's "The Raven".

Laughton's "Snidely Whiplash" villain (who laughs like Mutley) seems to have no monetary motivation, just jealousy over the fact that he was in love with the woman his brother married. Karloff's character must be a cat, because he gets shot and stabbed, yet manages to make it through the climax. Then, there's the perennial hero and heroine (Michael Pate and Sally Forrest), thrust together, even though she's originally in love with somebody who is never seen, and he goes from a drunken playboy to noble savior in a flash. At least Universal's famous Gothic sets got some good use, if not their stock writers's imagination.

Charles Laughton Shines

[gavin6942 · 7/10 · 23 October 2014]

Noble-born cad Dennis (Stapley) has been tricked into a forced stay at the eerie manor of the Sire de Maletroit (Charles Laughton), an evil madman who cannot get over the death of his beloved, twenty years after she married his brother (Paul Cavanagh) instead and subsequently passed away during childbirth.

This film starts as a period piece and slowly turns into a horror story. Quite slowly, in fact, to the point where you may even doubt if the horror aspects are going to arise. But this plays out well, building the characters and situation for the events that are to come.

While this is sometimes considered a Boris Karloff film, Karloff actually has a rather small role to play. It ought to be called a Charles Laughton film, because Laughton shines. He has such charisma, stealing every scene (in a good way) and leaving you wanting more. He ought to be a bigger deal than he is.

The Strange Door

[Scarecrow-88 · 7/10 · 22 October 2009]

Devlish aristocrat develops scheme to destroy his niece by forcing her into marrying womanizing scoundrel, while holding her father prisoner in a dungeon cell, not knowing that his oft-abused servant is working to set them all free.

Charles Laughton is a riot as the lecherous Sire Alain de Maletroit, gnawing without restraint on the scenery, applying relish to the dialogue..his dinner table scene, where he's tearing into his meal along with his underlings, had me in ribbons. Maletroit's château is one of those wonderful Universal sets with secret passageways, torture chambers, hidden rooms, and large areas only a massive castle could contain for banquet guests. While accepting that beautiful fair maiden Blanche(Sally Forrest)and rogue Denis de Beaulieu(Richard Wyler)would fall in love with each other is a bit of a stretch(..and this romance does deter from spending more time with Laughton and Karloff), and the fact that it's hard to fathom Maletroit trusting Voltan(Karloff) to move about unimpeded, I still found The Strange Door incredibly entertaining. The juicy sanguinary dialogue is cheerfully delivered by Laughton who understood how over-the-top the material was, playing it very tongue-in-cheek. While embarrassed critics would commonly complain of Laughton's ham, I say, "Prepare the feast!" Yep, Laughton, in his performance, might deliver the ham, but I'm at the table licking my chops with a fork and knife. Karloff, while in an unflattering role as a mistreated servant, he does get to be the hero at the end, in a suspenseful climax, badly wounded after an altercation with Laughton, attempting to deliver the key to the cell trapping Blanche, Denis, and her father as the walls are closing in to crush them. The 50's wasn't exactly that good to Karloff, but he did what he could with the roles given him. I consider The Strange Door the kind of chiller perfect for a late rainy night, a definite midnight movie deserving of a cult following, if you approach it in the right frame of mind, that is. The villains are so positively evil, you can't help but grin at their benevolent antics.

An object lesson on the value of Charles Laughton and skilled hamminess

[Terrell-4 · 7/10 · 31 January 2008]

"They've begun by disliking each other," says Alain de Maletroit (Charles Laughton), smacking his lips, eyes gleaming at the prospect of the forced marriage between his 20-year-old niece and a drunken wastrel he chose for her in a rough French tavern. "Hatred will come later. I'm in the mood for relaxation! Let's visit the dungeons!" And with that we follow de Maletroit into the dank, forbidding bowels of his country estate where we will meet the ragged, bearded man he has imprisoned for 20 years...the father of his niece, his own brother. It's fair to say that de Maletroit bears a grudge. Long ago he loved a woman who spurned him and married his brother, a woman who died giving birth to Blanch de Maletroit (Sally Forest). Alain de Maletroit will wreak his vengeance by forcing his niece into a horrible marriage, and then will dispose of his brother in a unique dungeon cell by a device, powered by a water mill, developed by a de Maletroit ancestor who had a penchant for torture. Only two things stand in his way. Is there a possibility that the wastrel, Denis de Beaulieu (Richard Stapley) will turn out to be an honorable man after all, and will Voltan (Boris Karloff), the devoted old servant to the imprisoned brother, survive two gunshots, a stabbing, two fights to the death...exertions that would fell a man half his age...and bring retribution to evil and salvation to the good. Well, you might as well ask if Charles Laughton is capable of rich, succulent hamminess.

As de Maletroit, Laughton sports an amazing comb-over, almost as grotesque as the one he wore in Jamaica Inn. de Maletroit can be charmingly gracious one moment, squinty-eyed suspicious the next, and absolutely jolly as he enjoys his crazed and nefarious plans. The movie is hardly more than an amusing throw-away, but Laughton turns it into a comedy of melodramatic excess. I'd like to believe that Laughton took the role so that he could have a great time going over-the-top. He constantly twirls an ornate key tied to a long chain around his neck. He rubs and pulls at his lower lip while his eyes twinkle over some bit of nastiness he's plotting. He's a delight to watch but he must have been the despair of actors sharing a scene with him. Laughton might be hammy, but he's excellent in delivering the hammy goods. He makes the movie worth watching.

Karloff has a much smaller, but important role, and does a sympathetic job of it. The Strange Door might have been better if Laughton had had an actor in the role of de Beaulieu who was able to provide some acting competition. Stapley is reasonable athletic, but as a hero or as an actor he's not very persuasive. He has a light, slightly sibilant voice and that precise, upper-class accent that British studios used to drill into their leading men. As for the rest of the actors, the least said is probably the best. On balance, the movie is fun and worth watching because of Laughton, but it's basically filler.

Ham dinner

[utgard14 · 6/10 · 16 August 2017]

Entertaining Gothic thriller from Universal starring Charles Laughton as a sadistic nobleman who takes a young ne'er-do-well prisoner and plans to marry him off to his niece as a means of punishing her. Boris Karloff also appears but it's a part that's frankly beneath him at this stage of his career. Chaney and Lugosi I understand playing parts like this because of how their demons had wrecked their careers. But Karloff kept his nose clean and deserved better. Anyway, Charles Laughton is the reason to watch as he has a grand time playing to the rafters. The story is okay with some decent twists and turns, but it's really only worth a look for the healthy doses of ham from Laughton.

What's Behind It?

[AaronCapenBanner · 5/10 · 22 October 2013]

Charles Laughton stars as evil Sir De Maletroit, who invites reputed cad Dennis(played by Richard Stapley) to his manor home with the intention that he marry his niece Blanche(played by Sally Forest) He seeks revenge against his brother Edmond(imprisoned in his dungeons) because he dared marry the woman he loved. The plan goes awry when Dennis and Blanche unexpectedly fall in love, and are aided by his servant Voltan(played by Boris Karloff) to escape, but of course it wont be as simple as that. Not bad thriller is adequately directed by future TV director Joseph Pevney, who creates some atmosphere, but wastes Karloff in such a small role, and Laughton is quite hammy here. Story is OK but unexceptional in this mostly mediocre film, worth a watch on a rainy day at least!

Quite good, Laughton especially

[zetes · 8/10 · 3 October 2010]

Vastly underrated, at least compared to the IMDb rating (5.9). I mean, come on, a movie starring Charles Laughton and Boris Karloff? That alone makes it pretty awesome. And even aside from them, the movie's just darn good. It's a Gothic horror about a French nobleman (Laughton) who captures a rogue (Richard Wyler) and tries to force him to marry his niece (Sally Forrest) to spite her father (Paul Cavanagh), whom Laughton has imprisoned in his dungeon for the past 20 years. Karloff plays Cavanagh's guard. The only real problem, besides its having an utterly forgettable title, is the hero, Wyler, who is not that good an actor. Fortunately, it's the kind of film where all eyes are on the awesome supporting cast, so it's easy to forget about him. Joseph Pevney is probably best known for directing 14 Star Trek episodes, including "The Trouble with Tribbles".

Not very good, but some funny parts

[HotToastyRag · 4/10 · 24 April 2018]

We all know Charles Laughton can play someone likable, and we all know he can play a bad guy-but in The Strange Door he plays both! He's a man driven insane by jealousy and a broken heart, but he's not dark and brooding. He cracks jokes, giggles, and treats everything with a light touch that doesn't overlap into mugging or milking. In the midst of this very dark, creepy story, I found myself laughing every time he was on the screen!

Charles lives in a creepy, mysterious house with his niece, Sally Forrest. He arranges for her to marry Richard Wyler, but the pair isn't very willing. Charles is very insistent that his plans get carried out, so he enlists his faithful servant Boris Karloff to help. Poor Boris! Throughout the movie, his only motivation is to be helpful, but he's ordered around by so many different people he gets confused.

Despite Charles's humor and Boris's sweetness, this movie isn't really very good. It's not one I'd want to watch over and over again, but if you like old, campy, scary movies, you can rent it.

A Strange Door isn't a Bore

[mart-45 · 8/10 · 27 February 2008]

A very neat Hammeresque thriller with some good plot twist and moody atmosphere.

A young rascal is escaping the mob after accidentally killing a man and finds himself at the door of a sinister castle. The door opens and closes after him. But very soon it seems that he has been expected at the castle and for no other reason than to marry the lady of the house. So was his getting there a coincident in the first place?

It's always nice to see two over-the-top actors fighting like professional beauties for the best of the picture. In this case, Laughton gallops away with his colours flying (in black and white). He really acts for every dollar. Perhaps Karloff would have been a better choice for this part, but Laughton's tour de force is such an enjoyment that I personally wouldn't have it any other way. Karloff's part isn't so interesting a material to start with, so he is pretty much wasted as far as his fans are concerned.

Unfortunately the romantic leads don't fare well. The heroes' part cries out for Erroll Flynn or Stuart Granger or anyone as confident, suave, butch and agile. Unfortunately Richard Stapley-Wyler has none of these qualities. Albeit undeniably handsome, his performance is timid and effeminate. It's difficult to believe that in real life Wyler used to be a road racer. He walks like a ballerina in the mud and speaks in a flat, nasal voice which he obviously tries to make sound as low as possible. His total reluctance to act is sympathetically shared by another pretty but lifeless figurine, Sally Forrest. Personally I just think she keeps herself down as the leading man doesn't light her fire. If only these two would have blended into the acting ensemble, this film would be so much more fun.

Nevertheless, nicely shot with good settings and soundtrack, it's a treat to everyone who enjoys Corman's Poe adaptations or Hammer's dark old house films. Not quite cigar, but gives a good puff of smoke.

Good Old Boris and Charles

[marquisdeposa · 8/10 · 28 September 2006]

Good Old Boris! He always said "I'll never retire...I want to go out with greasepaint on my face and my boots on" In 1952 he was 65 years old. Charles Laughton was 53 at the time, but looked considerably older. Together their performances in this film make it worth the watch.

Laughton chews the scenery a bit in places but his over the top acting make it that much more fun.

Based on a Robert Louis Stevenson short story this 80+ minute film has much going for it: fist fights, carriage chases, deception and trickery, murders, and a love story thrown in for good measure.

And Good Old Boris, although shot and stabbed, manages to help save the day just in the nick of time.

Boris was a trouper. Watching him crawl across the damp cobblestones I was reminded that in his remaining 17 years he continued to work in films, never complaining, and often performing in grueling weather conditions where he always seemed to end up caught in the rain, lying in a puddle, or dunked in a vat of water.

Watch this film for the fun of it. The plot holds together just fine and it is an enjoyable glimpse of two veteran actors who make the most of their roles.

Fans of Charles Laughton are in for a treat!

[TheSmutPeddler · 8/10 · 9 October 2006]

While the movie publicity foregrounds Boris Karloff as the "sell" for this picture, it's actually Charles Laughton's vehicle more than Boris's (Boris is relegated to a supporting role as a wily henchman ready to slit throats for his master who is imprisoned by Laughton's diabolical Sire de Maletroit). But there's plenty to chew on even for Boris purists, as he has some choice moments here and there and eventually saves the day (oops! should I not have told you?). The film is full of splendid atmosphere, but may seem like fluff to contemporary audiences who can't fathom the "issue" importance of pretty Sally Forest being married off to a rogue against her wishes (you see, in those days people were wed for life). And still, the film is really about mood over material and -- in my humble opinion -- it succeeds beautifully as a lesser-known thriller of court intrigue and swashbuckling derring-do. Laughton is superlative as a sleazy nobleman whose personal hatred of his imprisoned brother drives him to make every attempt to dash the happiness of the niece in his charge. Supporting players are fine also, with the always lurid Michael Pate on hand as well as William Cottrell as Laugton's sadistic servants. Nothing supernatural here, necessarily, as one might hope from a movie combining the talents of Laughton and Karloff, but the Robert Louis Stevenson based-story doesn't disappoint from a romantic or melodramatic standpoint. Even Richard Stapley's somewhat fey hero (who doesn't seem remotely like the rogue Laughton believes him to be) can't sink this one. Whoever said it was dull obviously doesn't have much to work with in terms of an imagination. Pop some popcorn, curl up on the sofa late at night, and enjoy this period-piece. How often do we get to see Laughton cackling away in a dungeon (where he goes "to relax" as he puts it)...or Karloff as the hero...?

Enjoyable Gothic melodrama

[Woodyanders · 8/10 · 3 January 2011]

Cruel and cunning madman Sire Alain de Maletroit (a wonderfully robust and wicked portrayal by Charles Laughton) plots revenge against his younger brother Edmund. Alain forces brash and dashing rascal Denis de Beaulieu (a fine and likable performance by Richard Wyler) to marry his sweet niece Blanche (the fetching and appealing Sally Forrest). Alain's meek browbeaten servant Voltan (the always marvelous Boris Karloff in sturdy form) tries to help Denis and Blanche escape from Voltan's vile clutches. Skillfully directed with real style and energy by Joseph Pevney, with a constant brisk pace, a clever and compelling script by Jerry Sackheim, sharp, witty dialogue, crisp black and white cinematography Irving Glassberg, a few thrilling and well staged action scenes, a spirited score, a tight 81 minute running time, and an extremely tense and harrowing climax, this lively romp overall sizes up as an immensely entertaining picture. Moreover, it's a definite treat to see legendary cinematic giants Laughton and Karloff on screen together (Laughton's deliciously decadent presence in particular certainly keeps the movie humming throughout). There are also sound supporting contributions from William Cottrell as the cynical Corbeau, Paul Cavanaugh as the miserable, imprisoned Edmund, and Michael Pate as Alain's faithful, smoothly slimy butler Talon. A neat little film.