'THE CAT AND THE CANARY' (1927)
- A review by Richard Harrison (2024)
The late 1920s are a particularly fascinating time in general – not
least in terms of cinematic output. As “the Talkies” were gradually
emerging, the silent cinema reached a point of near-perfect artistry as
epitomised in such American films as Wings , Sunrise
and The Cat and the Canary, all released in 1927. The latter
may seem
an odd choice to make up this triumvirate, but in essence Paul Leni’s
Expressionist film laid the blueprint for the Universal horror cycle of
the early 1930s. These included Dracula (1931),
Frankenstein (1931), The Mummy (1932) and The
Invisible Man (1933). Put simply, were it not for the box-office
success of The Cat and the Canary , it is hard to imagine
Universal embarking on these later horror films with such gusto.
The scenario of The Cat and the Canary is simple – relatives
of the late Cyrus West arrive to hear the reading of the will. In the
event of the sole beneficiary (whose name is in envelope one) being
proven insane, the entire estate will go to another – whose name
resides in envelope two. The success of the film lies in its restrained
atmosphere of claustrophobic terror rather than having each of the
relatives murdered in turn. Despite avoiding being a ‘whodunnit?’ style
mystery, the film does create a strong sense of atmosphere – its
chilling and creative opening titles setting the tone for what follows.
In many respects, the psychological horror implicit in The Cat and
the Canary binds us with Annabelle, for, besides her, we are the
only witnesses to events that are then doubted by her fellow guests and
put down to Annabelle’s growing lack of sanity.
The ‘old dark house’ plot of The Cat and the Canary is given a
European twist by Stuttgart-born director Paul Leni, and utilises (as
does Sunrise, another American film made by a German director)
a strong Expressionist aesthetic. Thus The Cat and the Canary
is able to rise above being merely a commercial genre picture and
become a work of Euro-American artistry, as shown in several aspects
from innovative intertitles to a variety of superimpositions – such as
the ailing Cyrus West being surrounded by medicine bottles and then
cats near the start of the film. It is this blend of differing
approaches that helps make the film lively, though additional points of
interest are gained from comparing this silent version to the wonderful
1939 Paramount Pictures re-make, which, though of the highest calibre,
is more out for commercial success than artistic experimentation. Two
points in the 1927 version which (for this reviewer at any rate) make
for unfavourable comparison are the casting of Creighton Hale (who
swiftly grates, in the way that Bob Hope in the sound version does not)
and the two fight scenes – which are over-done and have dated badly in
their comic slapstick. But, to do Paul Leni justice, he cannot rely on
quick-fire verbal gags but must balance his terror with other forms of
humour.
On a technical level, The Cat and the Canary is beautifully
shot – and definitely enhanced by the stunning tinted version provided
here by Eureka. Gilbert Warrenton worked with director Paul Leni again
the following year (on The Man Who Laughs ), but it is odd –
given the quality of his work – that largely forgotten B-pictures
awaited him for the remainder of his career. The
director-cinematographer rapport is crucial, and produces in The
Cat and the Canary a film that is continually creative and
vibrant, enchanting and atmospheric. One particular moment is when
Crosby talks to Annabelle about the provisos in the will. As she enters
the room, the establishing shot is taken through the slats of a chair –
a strikingly unusual choice that reveals the influence of European
cinema and on symbolism (entrapment) rather than a strict focus on
suturing the audience into the narrative. Robert Israel’s score and its
presentation by Gillian B. Anderson (based on cue sheets for the
original release) also enhance the film, and, particularly in its
moments of synchronised sound effects, make this 1927 movie come
instantly alive once more. Were the superb quality of the print not
enough, the BluRay comes with several extras – though these are best
consumed after the film rather than before as they give away some of
the key moments.
The Cat and the Canary is available from
Eureka
Video
or from
all good stockists.
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