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The Bat

The Bat

Horror · Mystery · Thriller · 1959

Mystery writer Cornelia Van Gorder has rented a country house called "The Oaks", which not long ago was the scene of some murders committed by a strange and violent criminal known as "The Bat". Meanwhile, the house's owner, bank president John Fleming, has recently embezzled one million dollars in securities and has hidden the proceeds in the house, but is killed before he can retrieve it.

Movie details

The Bat

“When it flies... someone dies!”

1959 Horror · Mystery · Thriller 1h 20m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

Mystery writer Cornelia Van Gorder has rented a country house called "The Oaks", which not long ago was the scene of some murders committed by a strange and violent criminal known as "The Bat". Meanwhile, the house's owner, bank president John Fleming, has recently embezzled one million dollars in securities and has hidden the proceeds in the house, but is killed before he can retrieve it.

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 Bat?

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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Dead Man's Folly

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Names above the title

The people responsible.

Directed by

Crane Wilbur

Written by

Crane Wilbur

Vincent Price

Vincent Price

Dr. Malcolm Wells

Agnes Moorehead

Agnes Moorehead

Cornelia van Gorder

Gavin Gordon

Gavin Gordon

Lt. Andy Anderson

John Sutton

John Sutton

Warner, the Chauffeur

Lenita Lane

Lenita Lane

Lizzie Allen

Elaine Edwards

Elaine Edwards

Dale Bailey

Darla Hood

Darla Hood

Judy Hollander

Court is in session

Put The Bat on trial.

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

The defence The Cool Ironist

“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 Sentimental Softie

“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.