The Cat and the Canary – Kino Lorber (UHD/Blu-ray Combo)

Theatrical Release Date: USA, 1927
Director: Paul Leni
Writers: Robert F. Hill, Alfred A. Cohn, Walter Anthony, Edward J. Montagne
Cast: Laura La Plante, Creighton Hale, Forrest Stanley, Tully Marshall, Gertrude Astor, Flora Finch, Arthur Edmund Carewe, Martha Mattox, George Siegmann, Lucien Littlefield

Release Date: October 28th, 2025
Approximate Running Time: 84 Minutes 25 Seconds
Aspect Ratio: 1.33:1 Aspect Ratio / 2160 Progressive / HEVC / H.265
Rating: NR
Sound: DTS-HD 5.1 With English Intertitles, DTS-HD Stereo With English Intertitles
Subtitles: N/A
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $44.95

"A decaying mansion and a stormy night provide the archetypal setting for mystery and chaos when a pack of greedy relatives gather for the reading of a twenty-year-old will. But before the West fortune can be handed down, the family must endure a night in the cavernous manor, unnerved by the news that an escaped lunatic is at large." - synopsis provided by the distributor

Video: 4/5 (4K UHD), 3.75/5 (Blu-ray)

Here’s the information given about the transfer, “Brand new UHD/SDR master by Photoplay – A 4K restoration from original nitrate prints."

The Cat and the Canary comes on a 66 GB dual layer 4K UHD.

Disc Size: 57.6 GB

Feature: 55.7 GB

Kino Lorber’s release uses a different source than what Eureka Video used for their 2024 Blu-ray release. Besides using alternate takes, Kino Lorber’s release uses one color tint for the duration, while Eureka Video’s Blu-ray used two, one for day and the other for night. Kino Lorber’s release has more source-related debris and opens with a 4 1/2-minute overture.

The Cat and the Canary comes on a 50 GB dual layer Blu-ray.

Disc Size: 30 GB

Feature: 24.5 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Audio: 5/5 (Both Audio Tracks)

This release comes with two audio options, a DTS-HD 5.1 with English intertitles and a DTS-HD stereo with English intertitles. Both audio tracks sound clear and balanced.

Extras:

Extras on the 4K UHD disc include an audio commentary with film historian David Del Valle and silent film expert Randy Haberkamp and an audio commentary with film historian Anthony Slide.

Extras on the Blu-ray disc include a short film directed by Paul Leni titled Rebus-Film No. 1 (15 minutes 25 seconds, 1.33:1 aspect ratio, DTS-HD stereo with English intertitles), an audio commentary with David Del Valle and Randy Haberkamp and an audio commentary with Anthony Slide.

Other extras on the Blu-ray disc include trailers for Supernatural, The Cat and the Canary (1939 version), The Mad Doctor, The Undying Monster, The Lodger (1944 version), The Spider Woman Strikes Back, and Queen of Spades.

Other extras include reversible cover art and a slipcover (limited to the first pressing).

Summary:

Directed by Paul Leni, whose other notable films include Waxworks (Das Wachsfigurenkabinett), The Last Warning, and The Man Who Laughs.

The heirs of an eccentric millionaire gather on the 20th anniversary of his death for the reading of his will.

The Cat and the Canary was the first of four films Paul Lani directed in Hollywood before his untimely death at the age of 44. The Cat and the Canary was the first film adaptation of John Williard’s play of the same name. There have been numerous film adaptations since Paul Leni's film.

The Cat and the Canary is an early example of what is now known as an old dark house film. These types of films involve some sort of gathering at an old, neglected house. And though these films rely on things that go bump in the night, humor also plays a role. The Cat and the Canary has the core elements that one would expect from an Old Dark House film: an escaped lunatic, secret corridors, and a monster with a hairy arm.

The Cat and the Canary’s greatest asset is not the story that unfolds but the way the visuals tell that story. German expressionist cinema played a significant role for German filmmakers who made the transition to Hollywood cinema. That said, it is easy to see how German expressionist cinema influenced the look of The Cat and the Canary.

Though there were some inventive camera techniques employed in the early days of cinema, more often than not, it was stationary shots that cut from character to character. The Cat and the Canary’s camera is more active than in most silent films; there are shots that glide down corridors and shots of the camera zooming in on characters. The striking use of superimposing and juxtapositioning people and objects is another area where the visuals stand out.

From a production standpoint, there is no area where The Cat and the Canary does not excel. The well-executed narrative does an excellent job building tension towards a phenomenal finale. The production design is exquisite, and the eye for detail is astonishing. Ultimately, The Cat and the Canary is an extraordinary film and cinematic achievement that is one of silent cinema’s high-water marks.

Kino Lorber brings The Cat and the Canary 4K UHD via an alternate, shorter version that’s only recommended for completists who already own Eureka Video’s Blu-ray.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

Written by Michael Den Boer

The Man Who Laughs: Standard Edition – Eureka Video (Blu-ray)

Theatrical Release Date: USA, 1928
Director: Paul Leni
Writers: J. Grubb Alexander, Walter Anthony, May McLean, Marion Ward, Charles E. Whittaker
Cast: Mary Philbin, Conrad Veidt, Julius Molnar, Olga Baclanova, Brandon Hurst, Cesare Gravina, Stuart Holmes, Sam De Grasse, George Siegmann, Josephine Crowell, Károly Huszár

Release Date: August 17th, 2020
Approximate Running Time: 110 Minutes 15 Seconds
Aspect Ratio: 1.2:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC
Rating: PG (UK)
Sound: LPCM Stereo With English Intertitles, LPCM Mono With English Intertitles
Subtitles: N/A
Region Coding: Region B
Retail Price: OOP

"Adapted from the Victor Hugo novel, The Man Who Laughs is Gwynplaine (an extraordinary Conrad Veidt), a carnival sideshow performer in 17th-century England, his face mutilated into a permanent, ghoulish grin by his executed father's royal court enemies. Gwynplaine struggles through life with the blind Dea (Phantom of the Opera's Mary Philbin) as his companion—though she is unable to see it, his disfigurement still causes Gwynplaine to believe he is unworthy of her love. But when his proper royal lineage becomes known by Queen Anne, Gwynplaine must choose between regaining a life of privilege, or embracing a new life of freedom with Dea." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information given about the transfer, “4K restoration of the film completed by Universal Pictures."

The Man Who Laughs comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.4 GB

Feature: 32.6 GB

So many films from the silent era are lost, and while some imperfections remain, The Man Who Laughs looks incredible for a film that is 98 years old. For the most part, image clarity is solid, black and grey levels are strong throughout, compression is solid, and there are no issues with digital noise reduction.

Audio: 5/5 (LPCM Stereo), 4/5 (LPCM Mono)

This release comes with two audio options, a LPCM stereo mix with English intertitles scored by the Berklee School of Music and a LPCM mono mix with English intertitles that features the 1928 Movietone score. The track with the Berklee School of Music score sounds excellent, while the track with the 1928 Movietone score has background hiss and does not sound as robust.

Extras:

Extras for this release include reversible cover art, stills galleries: production stills (26 images), behind the scenes (24 images), costume/make-up tests (57 images), exhibition/trade ads (45 images), programs/posters/heralds (28 images), and memorabilia (12 images), a video essay by John Soister titled Paul Leni and The Man Who Laughs (13 minutes 44 seconds, LPCM stereo English, no subtitles), a video essay by David Cairns and Fiona Watson titled The Face Deceives (33 minutes 18 seconds, LPCM stereo English, no subtitles), and an interview with Kim Newman (12 minutes 23 seconds, LPCM stereo English, no subtitles).

Summary:

Paul Leni directed The Man Who Laughs. His other notable films include Waxworks (Das Wachsfigurenkabinett), The Last Warning, and The Cat and the Canary.

The son of an exiled nobleman is left disfigured because his father refused to bend to the king's will.

When discussing The Man Who Laughs, everything begins and ends with the iconic image of its protagonist. Before you have even seen a moment of this film, that image already puts you in a state of mind that’s reinforced as the story unfolds. It’s such a striking image that the creators of Batman used it as a template for the Joker.

While the protagonist's gaping smile gives the impression that The Man Who Laughs is a sinister film in the same vein as The Hunchback of Notre Dame or The Phantom of the Opera, the result is something closer to a melodrama than a horror film. Where revenge is central to those other two mentioned films, The Man Who Laughs is a thought-provoking film that explores disabilities, how others see us, and how that shapes one’s psyche.

There are two things that are central to The Man Who Laughs. The first and arguably the more significant is Conrad Veidt’s (The Student of Prague) extraordinary portrayal of the protagonist. While his performance relies heavily on the physical movements of his limbs, it is ultimately his gaping smile that conveys the most. Another performance of note is Mary Philbin (The Phantom of the Opera—1925 version) in the role of Dea, a blind woman who falls in love with the protagonist. Her inability to see allows her to connect with the protagonist in a way no one else can.

The second thing central to The Man Who Laughs is Paul Leni’s direction. He would tragically die just a year later after completing one more film, The Last Warning. Although his output as a director is not that prolific, based solely on Waxworks and the four films he made for Hollywood, there is a clear case to be made that he is one of the best silent-era filmmakers when it comes to delivering visually striking moments.

The narrative is flawlessly constructed; it does a superb job drawing you in and building momentum to its exemplary finale, where the protagonist is besieged by an angry mob. Another strength of the narrative is how effectively it employs comedy and tragedy. The production design should not be overlooked, as it does an outstanding job creating a believable world in which this film takes place. Ultimately, The Man Who Laughs is an extraordinary film that has not lost any of its power in the nearly 100 years since it was released.

It’s unfortunate that this release is now OOP, since Eureka's release is The Man Who Laughs' best home media release to date. Highly recommended.

Written by Michael Den Boer

The Cat and the Canary: Limited Edition – Eureka Video (Blu-ray)

Theatrical Release Date: USA, 1927
Director: Paul Leni
Writers: Robert F. Hill, Alfred A. Cohn, Walter Anthony, Edward J. Montagne
Cast: Laura La Plante, Creighton Hale, Forrest Stanley, Tully Marshall, Gertrude Astor, Flora Finch, Arthur Edmund Carewe, Martha Mattox, George Siegmann, Lucien Littlefield

Release Date: April 22nd, 2024 (UK), April 23rd, 2024 (USA)
Approximate Running Time: 86 Minutes 50 Seconds
Aspect Ratio: 1.33:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC
Rating: PG (UK), NR (USA)
Sound: DTS-HD 5.1 With English Intertitles
Subtitles: N/A
Region Coding: Region Free
Retail Price: £17.99 (UK), $39.95 (USA)

"Twenty years after the death of millionaire Cyrus West, his surviving relatives are called together in a decaying mansion on the Hudson River. There, they gather to hear West’s lawyer Roger Crosby (Tully Marshall) read his last will and testament and discover that West has left everything to his niece Annabelle (Laura La Plante). That is, at least, on the condition that she is judged to be legally sane. As the family settles in for the evening, tensions rise when they are informed that a murderer nicknamed the Cat has escaped from a nearby asylum and is suspected to be somewhere on the grounds. Crosby soon disappears in mysterious circumstances, which proves to be just the first in a series of horrifying events that will punctuate a long, dark night of terror – during which Annabelle’s sanity will be called into question again and again." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information given about the transfer, “a 4K digital restoration of the original negatives supplied by MoMA.”

The Cat and the Canary comes on a 50 GB dual layer Blu-ray.

Disc Size: 38.4 GB

Feature: 25.9 GB

Considering the limitations of the sources used for this transfer, it looks extremely good. Image clarity, contrast, and black levels look strong throughout, and there are no issues with compression.

Audio: 5/5

This release comes with one audio option, a DTS-HD 5.1 mix with English intertitles. This audio track sounds excellent.

Extras:

Extras for this release include an extra titled Lucky Strike – Paul Leni gives a full-throated endorsement to the product that got him through filming The Cat and the Canary (55 seconds, LPCM stereo English, no subtitles), an extract from John Willard’s original play titled A Very Eccentric Man (3 minutes 11 seconds, LPCM stereo English, no subtitles), an extract from John Willard’s original play titled Yeah, a Cat! (2 minutes 15 seconds, LPCM stereo English, no subtitles), an interview with film critic Phuong Le titled Phuong Le on The Cat and the Canary (9 minutes 11 seconds, LPCM stereo English, no subtitles), an interview with writer and film critic Pamela Hutchinson titled Pamela Hutchinson on The Cat and the Canary (13 minutes 4 seconds, LPCM stereo English, no subtitles), a video essay by David Cairns and Fiona Watson titled Mysteries Mean Dark Corners (29 minutes 2 seconds, LPCM stereo English, no subtitles), an audio commentary with Kim Newman and Stephen Jones, an audio commentary with Kevin Lyons and Jonathan Rigby, a limited-edition O-Card slipcase (2000 copies) and a 32-page booklet with cast & crew credits, an essay written by Richard Combs, an essay written by Craig Ian Mann, and an essay written by Imogen Sara Smith and information about the transfer titled Notes on Viewing.

Summary:

Directed by Paul Leni, whose other notable films include Waxworks (Das Wachsfigurenkabinett), The Last Warning, and The Man Who Laughs.

The heirs of an eccentric millionaire gather on the 20th anniversary of his death for the reading of his will.

The Cat and the Canary was the first of four films Paul Lani directed in Hollywood before his untimely death at the age of 44. The Cat and the Canary was the first film adaptation of John Williard’s play of the same name. There have been numerous film adaptations since Paul Leni's film.

The Cat and the Canary is an early example of what is now known as an old dark house film. These types of films involve some sort of gathering at an old, neglected house. And though these films rely on things that go bump in the night, humor also plays a role. The Cat and the Canary has the core elements that one would expect from an Old Dark House film: an escaped lunatic, secret corridors, and a monster with a hairy arm.

The Cat and the Canary’s greatest asset is not the story that unfolds but the way the visuals tell that story. German expressionist cinema played a significant role for German filmmakers who made the transition to Hollywood cinema. That said, it is easy to see how German expressionist cinema influenced the look of The Cat and the Canary.

Though there were some inventive camera techniques employed in the early days of cinema, more often than not, it was stationary shots that cut from character to character. The Cat and the Canary’s camera is more active than in most silent films; there are shots that glide down corridors and shots of the camera zooming in on characters. The striking use of superimposing and juxtapositioning people and objects is another area where the visuals stand out.

From a production standpoint, there is no area where The Cat and the Canary does not excel. The well-executed narrative does an excellent job building tension towards a phenomenal finale. The production design is exquisite, and the eye for detail is astonishing. Ultimately, The Cat and the Canary is an extraordinary film and cinematic achievement that is one of silent cinema’s high-water marks.

The Cat and the Canary gets an exceptional release from Eureka Video that comes with a solid audio/video presentation and informative extras, highly recommended.

Written by Michael Den Boer

Waxworks (Das Wachsfigurenkabinett) – Eureka Video (Blu-ray)

Theatrical Release Date: Germany, 1924
Director: Paul Leni
Writer: Henrik Galeen
Cast: Emil Jannings, Conrad Veidt, Werner Krauss, William Dieterle, Olga Belajeff, Paul Biensfeldt, John Gottowt, Georg John, Ernst Legal

Release Date: November 9th, 2020
Approximate Running Time: 81 Minutes 31 Seconds
Aspect Ratio: 1.33:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC
Rating: U (UK)
Sound: DTS-HD 5.1 With English Intertitles, DTS-HD Stereo With English Intertitles
Subtitles: French, German, Italian, Portuguese, Spanish, Arabic, Mandarin, Russian
Region Coding: Region Free
Retail Price: £14.99 (UK)

"The three separate episodes of ​Waxworks ​are united by the character of a young poet (William Dieterle), who is hired by the owner of a wax museum to create backstories for a trio of the museum’s figures: Caliph Harun al-Rashid (Emil Jannings), Ivan the Terrible (Conrad Veidt), and Jack the Ripper (Werner Krauss). The stories are depicted in succession (one per episode), the poet casting himself—as well as the daughter of the wax museum’s owner—at the center of each tale. Though the poet and the daughter play different characters in the corresponding plots, they are always lovers whose relationship is threatened by the personages of the wax figures." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information given about the transfer, “As there is no surviving original negative of ​Waxworks​, this newly restored edition—a joint effort by the Deutsche Kinemathek and Cineteca di Bologna, L’Immagine Ritrovata (with funding from the German Commission for Culture and the Media)—is composed of contemporary prints and additional film materials from archives around the world. The elements, including English intertitles, were scanned in 4K resolution and then restored in 2K.”

Waxworks (Das Wachsfigurenkabinett) comes on a 50 GB dual layer Blu-ray.

Disc Size: 31.3 GB

Feature: 22.3 GB

Considering the limitations of the sources used for this transfer, it looks extremely good. Image clarity, contrast, and black levels look strong throughout, and there are no issues with compression.

Audio: 5/5

There are two new scores to accompany the film: one by the Ensemble Musikfabrik (commissioned by ZDF/ARTE), and the second by composer Richard Siedhoff. Each score comes with two audio options, a DTS-HD 5.1 mix with English intertitles and a DTS-HD stereo mix with English intertitles. All audio tracks sound excellent. Included are removable French, German, Italian, Portuguese, Spanish, Arabic, Mandarin, and Russian subtitles.

Extras:

Extras for this release include Paul Leni’s Rebus-Film Nr. 1-8 – Courtesy of Kino Lorber, these Leni-helmed cinematic crossword puzzles were originally screened in 1920s German cinemas as featurettes accompanying the main film, each of these animated shorts was split into two parts—a clue and an answer—and presented before and after the visual presentation (15 minutes 24 seconds, DTS-HD stereo with English intertitles, no subtitles), an interview with journalist, film critic, and fiction writer Kim Newman titled Kim Newman on Waxworks (17 minutes 14 seconds, Dolby Digital stereo English, no subtitles), an interview with Julia Wallmüller (Deutsche Kinemathek) based on her presentation after the premiere of the restored film at Il Cinema Ritrovato festival in Bologna 2020 titled In search of the original version of Paul Leni’s ​‘Das Wachsfigurenkabinett’ (20 minutes 29 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with film and arts critic Adrian Martin. a limited-edition O-Card slipcase (2000 copies) and a 32-page booklet with cast & crew credits, an essay titled Paul Leni: A Career Cut Sadly Short written by Phillip Kemp, an essay titled Waxworks: Three Times a Romance written by Richard Combs, Waxworks: The Restoration written by Julia Wallmüller and information about the transfer titled Notes on Viewing.

Summary:

Directed by Paul Leni, whose other notable films include The Man Who Laughs, The Last Warning, and The Cat and the Canary (1927).

Content-wise, Waxworks (Das Wachsfigurenkabinett) is a fantasy/horror hybrid film that has all the elements that have become synonymous with German expressionism. And nowhere is this clearer than when it comes to architecture and sharp visual angles that contrast reality.

Structurally, Waxworks (Das Wachsfigurenkabinett) narratives consist of three stories (actually two when you factor in the third story’s connection to the wrap-around moments). That said, the first story that revolves around Caliph Harun al-Rashid has a whimsical tone that’s in contrast to the other two stories, which have a sinister tone. Also, the first story is the longest of the three; its running time is longer than the other two stories combined. The last story that revolves around Jack the Ripper is the most satisfying of the three. Ironically, the last story is the shortest of the three.

Performance-wise, the cast is very good in their respective roles, especially Emil Jannings (Varieté, Tartuffe) in the role of Caliph Harun al-Rashid and Conrad Veidt (The Man Who Laughs, Casablanca) in the role of Ivan the Terrible. Emil Jannings and Conrad Veidt were two of German silent cinema’s biggest stars, and with Waxworks (Das Wachsfigurenkabinett), they both delivered commanding performances.

Waxworks (Das Wachsfigurenkabinett) has gained a reputation as one of silent cinema’s best horror films. Calling Waxworks (Das Wachsfigurenkabinett) a horror film actually does Waxworks (Das Wachsfigurenkabinett) a disservice since it lacks most of the elements that one now expects from a horror film. There are no jump scares, even when it comes to the third story, the most menacing part of the Waxworks (Das Wachsfigurenkabinett). That said, despite its lack of menacing moments, Waxworks (Das Wachsfigurenkabinett) is a visual feast for the eyes that fans of German expressionism should thoroughly enjoy.

Waxworks (Das Wachsfigurenkabinett) gets an exceptional release from Eureka Video that comes with a solid audio/video presentation and informative extras, highly recommended.

Written by Michael Den Boer