I'll tell you why so serious

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

One of the most extraordinary films you will see this year. Take that as you want.

This is a gorgeous movie made by a gorgeous spirit.

The second highly enjoyable British Edgar Wallace adaptation I've seen in recent weeks, following on from the exemplary Dark Eyes of London. THE CASE OF THE FRIGHTENED LADY is more of a traditional old dark house style mystery, in which a young woman is being assailed by mysterious goings-on in a rambling old ancestral pile, leading the police to investigate.There's little to dislike about this oft-filmed tale, which takes all of the clichés and somehow breathes life and vigour into them. Where THE CASE OF THE FRIGHTENED LADY particularly excels is in the efforts of the cast members, many of whom give fine performances, particularly those in support.Marius Goring is fine as the likable heir, attempting to get to the bottom of the mystery; George Merritt matches him as the dogged detective. Felix Aylmer plays the mysterious family friend and Helen Haye the scheming mother. Penelope Dudley-Ward is the titular character and slightly weaker, but she doesn't really have much screen time anyway. The best two actors in the film are Ronald Shiner, who adds hilarious comic relief as the wisecracking sergeant, and Roy Emerton as the delightfully sinister manservant, complete with glass eye and stern demeanour.For fans of old mystery flicks this has it all: secret passages, inexplicable murders, shadowy figures, strangulations, dark pasts, familial secrets, confuddled detectives, a dark and oppressive atmosphere, and plenty more besides. It's a delight.

It is easy to be put off - and mislead - by the first 10 minutes of this wonderful and unusual subtle film. Stiff and haughty Lady Lebanon (Helen Haye), severe mistress of all she surveys, commands one and all. Just a slight first hint that all might not be as it appears is given by the distinct insolence and knowingness of the two footmen. But it is insufficient to disturb the viewer's impression of stifling stuffiness to which the arrival of family doctor (Dr Amersham played by Felix Aylmer - epitome of dull probity) would seem to confirm.But Helen Haye's brief dialogue with Dr Amersham is very off kilter. Within five more minutes the pace and tone has suddenly stepped up, the film has changed gear entirely; lively and amusing, secrets and odd connections, enough for three or four films, are revealed, any one of which sufficient on its own to drive the plot, even to murder. The air is full of intrigue and possibilities. A handsome young architect arrives to draw up plans for renovation of the rambling ancient house and has caught the eye of the young lady of the house. He will have to stay a week. "Where does this lead to?" asks the sharp-eyed architect after spying an ancient door. "Where does it all lead to?" wonders the audience. By 60 minutes the developing droll class-comedy between policeman Ronald Shiner and his boss had me laughing out loud and the plot developments came at a bafflingly faster and faster pace. The end itself was an extended nail-biter.According to a review in BritMovie "The Case of the Frightened Lady" remains a classic for those who enjoy this genre".Seen on Talking Pictures

This Edgar Wallace mystery got two versions of which this is the second one. In addition one for experimental television was also made of The Case Of The Frightened Lady.The case is set in Mark's Priory the ancestral estate of the Lebanons who apparently down through the years have had a habit of marrying their cousins. Right down to today the Dowager Lady Lebanon Helen Haye wants another cousin Penelope Dudley Ward to marry her son Marius Goring the current Lord Lebanon. But she's got eyes for architect Patrick Barr who is visiting the estate to make renovations.Ward is the frightened lady of the title. For some reason she's got some bad vibes about the place and the people that inhabit it. But she's practically being kept a prisoner. That will change when the family chauffeur who seems to be one of the few normal people on the place is murdered. All signs point to a disgraced doctor Felix Aylmer who has a strange hold on the Lebanon family. Then he gets murdered and Scotland Yard is once again starting from scratch.Haye is some piece of work. She's so desperate to have Ward marry Goring that she's even willing to overlook a lot to get Ward to marry Goring and continue the family line.This is a good murder mystery as only the English can do them. It all leads up to a shocking climax where one of the principals steps way out of character or more like takes off a mask.

This film, based on a stage play by Edgar Wallace, is one of those traditional British murder mysteries set in an enormous aristocratic mansion with all kinds of supercilious people, suspicious servants, stupid detectives, and maidens in distress. But it is by no means as corny as it sounds. The film is dominated by the powerful presence of Helen Haye, an actress with the cutting edge of a diamond blade, who lashes everyone in sight with her reproving tongue. She is Lady Lebanon, the matriarch of the establishment, and don't you forget it! Her friend is Dr. Amersham, played by Felix Aylmer, and he even outdoes her in supercilious arrogance. What a pair! Between them, they so dominate the screen that there is barely space for the other players to make their presences known much of the time. The maiden in distress (the one who is 'frightened') is played by Penelope Dudley-Ward (1914-1982, sometimes credited only as Penelope Ward), who only appeared in 12 films between 1935 and 1944, retiring after that. From 1948 to 1976, she was married to Sir Carol Reed, and during the time that I knew him towards the end of his life, I met her, though I only ever exchanged a few polite words with her, as she never joined me and Carol for our chats over gin and tonic in their vast living room with the enormously high ceiling in their splendid house in Kings Road. (They had removed the floor above that room so that the room was two storeys high rather than one.) Alas, I retain little impression of her, so must make do with what I see in these old movies instead. Now they are all gone, even Tracy Reed, Lady Reed's daughter, who died in 2012. Sic transit gloria mundi, I suppose. Helen Haye is so outstanding in this film that it is worth recalling some of her other notable film performances, of which there were 60 altogether. One particularly remembers Hitchcock's THE 39 STEPS (1935), THE SPY IN BLACK (1939), THE REMARKABLE MR. KIPPS (1941), THE MAN IN GREY (1943), ANNA KARENINA (1948), and HOBSON'S CHOICE (1954). What a career! However, the truly inspired performance in this film is by Marius Goring as the young Lord Lebanon, Helen Haye's son. He really outdoes himself in this one. (He had already appeared with Helen Haye the year before this in THE SPY IN BLACK (1939, see my review).) The reasons why the Lebanon family are called Lebanon in this story is that they 'go back a thousand years' and were active in the Middle East at that time as crusaders. Helen Haye is determined to 'continue the line' and keeps urging her bachelor son, who is obsessed with composing music, to marry Penelope Dudley-Ward, which he, unlike Carol Reed in real life, is strangely loathe to do. George King does an excellent job of directing this tale, which could easily have been creaky, but does not creak. King never rose to be one of the famous British directors, despite directing 54 titles, retiring in 1949. Many or most of his films are unavailable and no one alive has seen them, which makes it rather difficult to evaluate his contribution to the cinema. Certainly this film has countless twists and turns and surprises and never drags. Considering that it started out framed by a proscenium (as a stage play), King got it moving and avoided the claustrophobic feeling we often get from stage plays adapted for the screen. When watching this, be careful not to become 'a frightened lady'!