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An architect, visiting an English country house, realizes the other guests are familiar from his recurring nightmare. When they share their tales of the supernatural, he is filled with a growing dread.
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Intimate, plot-driven, open-ended and spare.
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Written by TMDB members; each links to the original. Not part of Taste Buds's numbers.
Ever since I was a small child I have loathed ventriloquist's dummies. They put the fear of death into me - and I am fairly certain that seeing this film in the 1970s is to blame. It's a compendium of four stories told by guests at a farmhouse, and is all kicked off by Mervyn Johns ("Craig") who has a recurring - and rather menacing - dream that predicts doom and gloom. Before he can finish his story, though, we hear from three of the others. One involves a married couple where the husband becomes drawn into the life on the other side of his mirror: a mirror that comes from a room with a grisly past. The second is a more light-hearted haunting mystery with Basil Bradford and Naunton Wayne before the third, featuring an effective Michael Redgrave, is the one with the ghastly puppet - and then it is all rounded off by Mervyn. Thing is - is any of it real? Is is prophetic? Well you have to get to the end, and even then... It is well written and editing together. The episodic nature of the stand-alone stories works well keeping them short and snappy and the swathe of character actors who pepper the whole hundred minutes are all well cast and deliver solidly as we build to quite a gripp
Read the whole review on TMDBA weekend in the country? I should go. Architect Walter Craig arrives at Pilgrim's Farm for a weekend party held by what he hopes is a prospective client. Upon entering the farm house, Walter amazes everyone by telling them that he has a recurring nightmare about the house, the weekend and everyone in it. This sets off talk about the supernatural and each guest takes it in turn to recount their own strange tale... Dead Of Night is brought to us courtesy of Ealing Studios, somewhat a veer from the normal output associated with that bastion of British cinema, it is none the less one of the finest films to have come from the place that gave us The Ladykillers, Kind Hearts And Coronets and The Man in The White Suit. I often wonder if Dead Of Night sometimes wrongly gets marked down by the modern audience on account of its familiarity with creepy anthology shows such as One Step Beyond and The Twilight Zone? Or because of the numerous other movies with the same horror format that followed this, the best of them? There are five segments in Dead Of Night that are jointly directed by Alberto Cavalcanti (Went the Day Well?), Basil Dearden (Victim), Robert Hamer (Kind Hearts and Coronets) an
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