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The Old Dark House

The Old Dark House

Comedy · Horror · Mystery · 1963

An American car salesman in London becomes mixed up in a series of fatal occurrences at a secluded mansion.

Movie details

The Old Dark House

“READY! SET! LAUGH! Join the fun in a nut-house of terror!”

1963 Comedy · Horror · Mystery 1h 26m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

An American car salesman in London becomes mixed up in a series of fatal occurrences at a secluded mansion.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Old Dark House?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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House on Haunted Hill

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Night Watch

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Dave, an artist who has yet to complete anything significant in his career, builds a fort in his living room out of pure frustration, only to wind up trapped by the fantastical pitfalls, booby traps, and critters of his own creation. Ignoring his warnings, Dave’s girlfriend Annie leads a band of oddball explorers on a rescue mission. Once inside, they find themselves trapped in an ever-changing supernatural world, threatened by booby traps and pursued by a bloodthirsty Minotaur.

Burnt Offerings

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Where it lives

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Names above the title

The people responsible.

Directed by

William Castle

Written by

Robert Dillon

Tom Poston

Tom Poston

Tom Penderel

Robert Morley

Robert Morley

Roderick Femm

Janette Scott

Janette Scott

Cecily Femm

Joyce Grenfell

Joyce Grenfell

Agatha Femm

Mervyn Johns

Mervyn Johns

Potiphar Femm

Fenella Fielding

Fenella Fielding

Morgana Femm

Peter Bull

Peter Bull

Caspar Femm / Jasper Femm

Court is in session

Put The Old Dark House on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.