The Cat and the Canary, based on John Willard’s play of the same name has been adapted for the screen a number of times, most notably in 1939, with Bob Hope. Here, Eureka Entertainment have given their customary lavish attention, through their ‘Masters of Cinema’ range, to the 1927 Paul Leni silent film. Beautifully restored with a golden hue, a crisp transfer, and a new 5.1 score from Robert Israel, this is kind of a haunted house film.
When rich millionaire Cyrus West dies, he demands that his will be sealed for twenty years before being read. With relatives arriving on the stipulated date, the will is read, and Annabelle West (Laura La Plante) – the most distant of the relatives in attendance – is named the only heir, but she will inherit only if deemed sane by a doctor, Ira Lazar (Lucien Littlefield). If not, there is a sealed envelope naming an alternative inheritor of the full estate.
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Meanwhile a guard tells the attendees that an escaped lunatic known as the cat is on the grounds, while the lawyer, Crosby (Tully Marshall) fears that one or more of the guests may seek to harm Annabelle in order to inherit. From there on a series of disconcerting events leave everyone doubting Annabelle’s sanity, whilst the race is on to find the cat before anyone gets hurt, whilst also uncovering the truth behind the spooky events at the mansion.
The first of two commentaries is from critic, novelist and long-time contributor to these sets Kim Newman, with writer and editor Stephen Jones. They work well together, knowing, as they do, seemingly everything of Cinema history. We are treated to chapter and verse on the films of the era, the stars of this production, the play on which this is based (hope how certain scenes have been adapted for the screen) and where it falls in the director’s career.
What marks this out though, is it is all so natural. This never feels like a fact dump or like they have crammed for this. These are two industry veterans with a full appreciation of the work – and other works, including later adaptations – and decades of acquired knowledge that they deploy in a relaxed manner, leaving little dead air, but never feeling hurried.
Kevin Lyons and Jonathan Rigby provide a second commentary. Rugby is the author of American Gothic a well-regarded look at six decades of US horror cinema, as well as a similar look at UK films. Lyons is a freelance writer and website curator. Rigby takes the lead on a light, playful track that is a little more technical, with a focus on methods used. Though they still have plenty of trivia and discussion of people and the play. A fine pair of commentaries, both with very likeable people, to support a flawless, attractive restoration.
‘Mysteries Mean Dark Corners’ is a half an hour video essay by David Cairns and Fiona Watson, and it is very similar to other works they have previously collaborated on for Eureka. It is part history of the genre and discussion of the development of this film from the play, and the parallel development of The Bat, and (much larger) part discussion of the end result. Their work is always distinctive and engaging, and this is a fine addition to the disc.
Next up is an interview with film critic Pamela Hutchinson. This is a typical talking head and runs to around 13 minutes. Her enthusiasm for the film is infectious, and her knowledge impressive. Even if lukewarm on the main feature, the viewer may very well be convinced of its merits by her arguments in its favour. There is also an interview with Phuong Le, a film critic (though, as usual, we are not told this onscreen). At a mere nine minutes, this is a more measured interview, but reasonably interesting, if lacking Hutchinson’s wonderful energy.
‘A Very Eccentric Man’ is a three-minute extract from the play, read radio-style over images from the same scene from the film. It is fine, but it would have been nice to get more. This is followed by ‘Yeah, A Cat!’, which is another scene from the same. These are fine, but it would have been nice to get a little more. The onscreen offering is rounded off by a Lucky Strike advert to which Paul Leni later gave his image and words.
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As usual, we have an accompanying booklet, running to thirty-six pages, and featuring a generous three essays. ‘Laughter in the Shadows’ by Imogen Smith discusses the meeting of horror and comedy and innovative Leni’s work in doing so. Craig Ian Mann provides ‘The Grotesque Mansion of an Eccentric Millionaire’, which discusses the film’s place as an ‘old dark house’ film, giving examples of similar from the era. Whilst ‘Un Chat Andalou’ by Richard Combs covers some of the same areas, but takes more of a qualitative look the work. This rounds off a set that we have no hesitation in recommending for fans of Leni, of silent cinema in general, and for collectors of the Masters of Cinema range. This is a fine offering.
The Cat and the Canary is out on Blu-ray on 22nd April from Eureka Entertainment.
