Vincent Price is without a doubt one of the most iconic actors of the horror genre, and even of cinema at large. Not all his films are equal, but it's a fair wager that any one work from his oeuvre is going to be more worthwhile than not, if not altogether outstanding. Within a short time after 'Diary of a madman' begins it impresses upon us reliably strong production design and art direction, if perhaps not so luscious and fetching as with other movies Price was involved with. This rather characterizes the picture as a whole: it doesn't stand as absolutely tall as some of its contemporaries, or some of the actor's others, but is nonetheless capably entertaining, and deserving on its own merits.
Like some other genre features of the same timeframe, 'Diary of a madman' mostly carries itself with more restrained airs as a simmering mystery thriller, and any sense of horror is almost more thematic than it is actualized. As the horla is unseen, itself represented only as a disembodied voice, early scenes in which its presence is announced come off as a tad hokey. That same feeling is reinforced with moments of light character drama or levity (such as the introduction of Odette and following scenes) and the accompanying musical themes. Intended as a calm before the storm, there's a certain heavy-handed imbalance in the contrast that the most robust airs of horror don't completely compensate for, just as the sometimes stilted simplicity of special effects are a little too obvious. All this is to say: 'Diary of a madman' is definitely more "fun-scary" than "scary-scary," and measures of kitsch are a big deciding factor.
Still, if you can get past the weaknesses, there's much to enjoy here. The concept of the horla feels amorphous and somewhat ill-defined - one part supernatural entity, one part parasite, one part manifestation of innermost turmoil and darkest desires. That shapelessness, however, is an enigma which makes the film more curious and therefore more enticing. 'Diary of a madman' is very deliberately paced with minimal violence for much of its length, but as it partially adopts airs as psychological horror in tracing the magistrate's troubles, a fine foundation is laid for bloodshed to follow and the superb climax. Great themes and story ideas abound, and one or two inclusions are especial devious fun. Though not the most immediately, wholly compelling example of horror, the screenplay is solid from top to bottom - as is the cast, and Reginald Le Borg's direction.
At length the construction of the film places particular limits on the thrills and chills it has to offer. It's a sound, enjoyable genre flick, just not utterly spellbinding or essential. Yet it fits neatly within the swell company of Vincent Price's long list of credits, and remains an excellent testament to the horror sensibilities that lie somewhere on the spectrum between more low-key titles of the 40s, and the more visceral fare that American International Pictures or Hammer Films would become known for. You don't need to go out of your way for 'Diary of a madman,' but if you have the chance to watch it, these are 96 minutes well spent.
Like some other genre features of the same timeframe, 'Diary of a madman' mostly carries itself with more restrained airs as a simmering mystery thriller, and any sense of horror is almost more thematic than it is actualized. As the horla is unseen, itself represented only as a disembodied voice, early scenes in which its presence is announced come off as a tad hokey. That same feeling is reinforced with moments of light character drama or levity (such as the introduction of Odette and following scenes) and the accompanying musical themes. Intended as a calm before the storm, there's a certain heavy-handed imbalance in the contrast that the most robust airs of horror don't completely compensate for, just as the sometimes stilted simplicity of special effects are a little too obvious. All this is to say: 'Diary of a madman' is definitely more "fun-scary" than "scary-scary," and measures of kitsch are a big deciding factor.
Still, if you can get past the weaknesses, there's much to enjoy here. The concept of the horla feels amorphous and somewhat ill-defined - one part supernatural entity, one part parasite, one part manifestation of innermost turmoil and darkest desires. That shapelessness, however, is an enigma which makes the film more curious and therefore more enticing. 'Diary of a madman' is very deliberately paced with minimal violence for much of its length, but as it partially adopts airs as psychological horror in tracing the magistrate's troubles, a fine foundation is laid for bloodshed to follow and the superb climax. Great themes and story ideas abound, and one or two inclusions are especial devious fun. Though not the most immediately, wholly compelling example of horror, the screenplay is solid from top to bottom - as is the cast, and Reginald Le Borg's direction.
At length the construction of the film places particular limits on the thrills and chills it has to offer. It's a sound, enjoyable genre flick, just not utterly spellbinding or essential. Yet it fits neatly within the swell company of Vincent Price's long list of credits, and remains an excellent testament to the horror sensibilities that lie somewhere on the spectrum between more low-key titles of the 40s, and the more visceral fare that American International Pictures or Hammer Films would become known for. You don't need to go out of your way for 'Diary of a madman,' but if you have the chance to watch it, these are 96 minutes well spent.