Cry of the Banshee: Limited Edition - Hammer Films (UHD)

Theatrical Release Date: UK/USA, 1970
Director: Gordon Hessler
Writers: Tim Kelly, Christopher Wicking
Cast: Vincent Price, Elisabeth Bergner, Essy Persson, Hugh Griffith, Patrick Mower, Hilary Dwyer, Sally Geeson

Release Date: February 9th, 2026
Approximate Running Times: 91 Minutes 15 Seconds (Director's Cut), 86 Minutes 50 Seconds (AIP Re-edited Theatrical Version)
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 Dolby Vision
Rating: 15 (UK)
Sound: LPCM Mono English, DTS-HD 5.1 English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: £22.99 (UK)

"Lord Edward Whitman, who rules his domain with an iron fist, massacres a coven of witches. But some still survive and their vengeful leader summons a demonic spirit to destroy Whitman's family." - synopsis provided by the distributor

Video: 5/5 (Director's Cut, AIP Re-edited Theatrical Version)

Here’s the information provided about this release's transfer, “Held by Pro-Tek Vaults in Burbank for MGM, the 35mm original negative for the Director’s Cut of Cry of the Banshee was scanned at 4K resolution (16 bit) and restored extensively using Phoenix and PFClean software. In addition to the usual dirt and defects, the main issues with the image were general instability and density/color fluctuations causing flicker throughout. By careful processing, these effects were minimized, allowing for a more even, stable picture.”

Cry of the Banshee (Director's Cut) comes on a 100 GB triple layer 4K UHD.

Disc Size: 92.5 GB

Feature: 53.5 GB (1.85:1 Aspect Ratio), 36.5 GB (1.37:1 Aspect Ratio)

Cry of the Banshee (AIP Re-edited Theatrical Version) comes on a 66 GB dual layer 4K UHD.

Disc Size: 61.5 GB

Feature: 54.8 GB

This release comes with multiple versions and aspect ratios, all of which look excellent. Flesh tones look healthy; colors are nicely saturated; image clarity, contrast, black levels, and compression are solid; and the image always looks organic.

Audio: 5/5 (LPCM Mono English), 4/5 (DTS-HD 5.1 English)

This release comes with two audio options, a LPCM mono mix in English and a DTS-HD 5.1 mix in English. The Mono audio track sounds excellent; dialogue always comes through clearly, and everything sounds balanced and robust when it should. The DTS-HD 5.1 spreads the original source too thin and sounds unnatural. Included are removable English SDH.

Extras:

Extras on disc one include an image gallery (posters/stills/press book), an interview with author and film critic Kim Newman (13 minutes 29 seconds, DTS-HD stereo English, no subtitles), and an audio commentary with author, filmmaker, and horror film fan Chris Alexander for the director's cut.

Extras on disc two include a radio spot (32 seconds, DTS-HD mono English, no subtitles), a TV spot (56 seconds, DTS-HD mono English, no subtitles), a theatrical trailer (2 minutes 28 seconds, DTS-HD mono English, no subtitles), and an archival interview with director Gordon Hessler titled A Devilish Tale of Poe (17 minutes 52 seconds, DTS-HD stereo English, no subtitles).

Other extras include a slipcover and liner notes and information about the transfer on the inside cover.

Summary:

Gordon Hessler directed Cry of the Banshee. He’s known for The Oblong Box, Scream and Scream Again, Murders in the Rue Morgue, and The Golden Voyage of Sinbad.

A witch conjures up a banshee to attack and kill a cruel witch-hunting magistrate and his family.

After the success of Roger Corman’s The Fall of the House of Usher, American International Pictures embarked on a decade-long endeavor to produce a series of films based on the stories of Edgar Allan Poe. While the earlier films in the series were direct adaptations, many of the later films deviate significantly from Edgar Allan Poe’s original stories. Cry of the Banshee is a film that falls into that latter category, while Gordon Hessler’s other AIP Poe film, The Oblong Box, was an actual adaptation of Edgar Allan Poe’s short story of the same name.

Cry of the Banshee has more in common with Witchfinder General than it does with Edgar Allan Poe. Both films share Vincent Price in the role of a witch hunter, and while he gives another outstanding performance, unfortunately the film as a whole is nowhere near the quality of Witchfinder General. Cry of the Banshee is a significant film in the career of Vincent Price; after working with AIP since 1960, he was no longer the draw he once was for them.

Very early on, it becomes clear that Cry of the Banshee is a film that is in no hurry to get anywhere. The narrative moves at a languid pace that ensures there’s never any momentum, and a predictable climax serves as the final nail in the coffin. While Gordon Hessler’s direction is by the numbers at least when it comes to exploitative elements like nudity and carnage, Cry of the Banshee delivers. Ultimately, Cry of the Banshee represents a missed opportunity that might have faded into obscurity were it not for Vincent Price’s standout performance.

Hammer Films gives Cry of the Banshee its definitive home media release. Recommended.

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 Oblong Box – BFI (Blu-ray)

Theatrical Release Date: UK, 1969
Director: Gordon Hessler
Writers: Lawrence Huntington, Christopher Wicking, Michael Reeves
Cast: Vincent Price, Christopher Lee, Rupert Davies, Uta Levka, Sally Geeson, Alister Williamson, Peter Arne, Hilary Heath

Release Date: October 21st, 2024
Approximate Running Time: 96 Minutes 9 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: 15 (UK)
Sound: LPCM Mono English
Subtitles: English SDH
Region Coding: Region B
Retail Price: £16.99 (UK)

"In shadow-shrouded Victorian England, Sir Julian Markham (Price) is a landowner hiding a terrible family secret, while Dr Neuhartt (Lee) is a surgeon carrying out dreadful experiments upon stolen cadavers. When their disparate destinies entwine – and a mysterious murderer in a red mask begins a mission of vengeance – a series of brazen, bloody atrocities ensue." - synopsis provided by the distributor

Video: 3.75/5

Here’s the information provided about the transfer, "The Oblong Box has been supplied to the BFI by MGM and is presented in High Definition".

The Oblong Box comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.8 GB

Feature: 28.7 GB

This Blu-ray release uses the same master as all previous Blu-ray releases. Colors look correct, image clarity and black levels are strong, and compression is very good. That said, some minor source debris remains and instances where grain is not well resolved.

Audio: 3.75/5

This release comes with one audio option, a LPCM mono mix in English with removable English SDH. The audio sounds clear and balanced, and range-wise, things are satisfactory.

Extras:

Extras for this release include an extensive image gallery (stills/lobby cards/posters/advertisements), a theatrical trailer (1 minute 54 seconds, LPCM mono English, no subtitles), an archival interview with filmmaker Roger Corman titled Roger Corman on Edgar Allan Poe (9 minutes 48 seconds, LPCM stereo English, no subtitles), an interview with Victoria Price, Vincent Price’s daughter titled The Immortal Mr Price (16 minutes 53 seconds, LPCM stereo English, no subtitles), three Edgar Allan Poe short film adaptations; a silent short film titled The Bells (14 minutes 33 seconds, 1.33:1 aspect ratio, LPCM stereo with English intertitles, no subtitles), a silent short film titled Prelude (6 minutes 53 seconds, 1.33:1 aspect ratio, LPCM stereo with English intertitles, no subtitles), and a short film titled The Pit (26 minutes 59 seconds, 1.33:1 aspect ratio, LPCM mono English, no subtitles), an archival audio commentary with film historian Steve Haberman, and a 26-page booklet (first pressing only) with an essay titled Unlocking The Oblong Box written by Peter Fuller, an essay titled Boxed-In and Bowing-Out: Michael Reeves Quits The Oblong Box written by Benjamin Halligan, cast & crew information for The Oblong Box, The Bells, Prelude and The Pit, a text piece titled The Pit written by James Bell, and information about the transfer.

Summary:

Directed by Gordon Hessler, whose other notable films are Scream and Scream Again, Cry of the Banshee, Murders in the Rue Morgue, and The Golden Voyage of Sinbad. The Oblong Box is one of two films in which Gordon Hessler replaced Michael Reeves; the other film is Scream and Scream Again. The Oblong Box was adapted from the Edgar Allan Poe short story of the same name.

A man disfigured in a voodoo ritual is locked in the room by his guilt-ridden brother.

Though Vincent Price is widely known for his contribution to horror cinema, no other actor is more connected to the works of Edgar Allan Poe than he is. With The Oblong Box, he appeared in his final feature film adaptation of Edgar Allan Poe; the following year he would narrate a TV special titled An Evening of Edgar Allan Poe. His collaborations with Roger Corman are the best, while The Oblong Box falls somewhere in the middle. That said, the quality of these Edgar Allan Poe adaptations would greatly vary.

Things start off strong with a voodoo ritual that lays the foundation for the events that follow. Though there are a few tense moments before the big reveal in the finale, the narrative ultimately suffers from predictability. That said, despite this shortcoming, things move along quickly enough that there are no major lulls.

As good as the entire cast is, the main attraction is Vincent Price in the role of Sir Julian Markham. He delivers another superlative performance that elevates the material and everyone around him. That said, it's a shame they didn’t go with the original idea of making the brothers twins and having Vincent Price portray both of them. The cast features another horror icon, Christopher Lee (The Wicker Man), who portrays a doctor who employs grave robbers. Even with his limited screen time, he manages to steal a few scenes.

From a production standpoint, The Oblong Box is a film that does not waste any of its resources. Though the visuals are not overly stylish, Gordon Hessler’s solid direction lets the performances take center stage. That said, the scene where the doctor opens the coffin with the buried-alive brother is the most visually arresting moment. Ultimately, The Oblong Box is a well-made Edgar Allan Poe film that greatly benefits from Vincent Price’s performance.

BFI gives The Oblong Box an audio/video presentation that's on par with this film’s other home media release and an assortment of insightful extras.

Written by Michael Den Boer

The Mad Magician – Indicator Series (Blu-ray)

Theatrical Release Date: USA, 1954
Director: John Brahm
Writer: Crane Wilbur
Cast: Vincent Price, Mary Murphy, Patrick O’Neal, Eva Gabor, John Emery, Lenita Lane, Donald Randolph, Jay Novello

Release Date: April 25th, 2022
Approximate Running Time: 72 Minutes 51 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 12 (UK)
Sound: DTS-HD Mono English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: £8.99 (UK)

"Made shortly after the box-office success of House of Wax, The Mad Magician returns Vincent Price to the world of three-dimensional horror. He plays Don Gallico, the creator of elaborate illusions for stage magicians, who seeks their fame… and will turn to murder to achieve it!" - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about this release's transfer, "Sony's 2K remaster, supervised by Rita Belda, was the source to this Indicator edition."

The Mad Magician comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.9 GB

Feature: 21.4 GB

For this release, both the 3-D and 2-D versions of the film have been included. It should be noted that no 3-D glasses are included, and you will need the required equipment to watch this film in 3-D.

The source is in great shape; image clarity and compression are solid, black levels are strong, and there are no issues with digital noise reduction. Though this release shares the same source Twilight Time used for their 2017 Blu-ray, Fidelity in Motion’s solid encode of the 2D version gives it the edge.

Audio: 4.25/5

This release comes with one audio option, a DTS-HD mono mix in English, and included with this release are removable English SDH subtitles. The audio sounds clean, clear, balanced, and robust when it should.

Extras:

Extras for this release include an image gallery (32 images - stills/posters), a  theatrical trailer (2 minutes 9 seconds, Dolby Digital mono English, no subtitles), two super 8 versions of The Mad Magician: version #1 (8 minutes 34 seconds, no sound with burnt English subtitles) and version #2 (16 minutes 22 seconds, Dolby Digital mono English, no subtitles), Three-Dimensional Magic an appreciation of The Mad Magician and the 3D filmmaking boom of the 1950s by cinematographer Frank Passingham (Kubo and the Two Strings) and archivist Tom Vincent (15 minutes 2 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with film historians Kevin Lyons and Jonathan Rigby, two short films starring the Three Stooges, both presented in 3D and 2D: Spooks! (15 minutes 47 seconds, Dolby Digital mono English with removable English SDH) and Pardon My Backfire (15 minutes 59 seconds, Dolby Digital mono English with removable English SDH), and a 40-page booklet (limited edition of 3,000 copies) with cast & crew information. An essay titled Merv Taylor: The Real  Mad Magician written by Kat Ellinger, Bryan Foy: King of ‘Little Pictures”, an interview with John Brahm conducted by David Del Valle, a guide to the promotional campaign, an overview of contemporary critical responses, cast & crew information for Spooks! and Pardon My Backfire, an essay titled The 3-D Stooges written by Jeff Billington, archival images, and information about the transfer.

Summary:

Shortly after the box office success of House of Wax, producer Brian Foy would quickly start another similar-themed film. And that film in question was The Mad Magician. Besides borrowing elements from the aforementioned House of Wax, another area where these two films have similarities is the carryover of key cast members, including screenwriter Crane Wilbur and cinematographer Bert Glennon, and Vincent Price once again being cast in the lead role.

From a production standpoint, The Mad Magician features a solid premise, a strong narrative that is wonderfully paced, and well-defined characters that are all superbly portrayed by the cast. Another strength of The Mad Magician are its striking visuals, and when it comes to the use of 3-D, this film far exceeds expectations.

Standout moments visually include a sequence of moments where the protagonist has just severed off the head of his employer and the bag he put the head in has been mistakenly taken by a young woman who works for him, and the scene where the protagonist's ex-wife discovers that he has been impersonating a dead man.

When discussing The Mad Magician, one must not overlook the contributions from Vincent Price (Theatre of Blood) in the role of this film’s protagonist, Professor Henry Jarrod. He delivers a rock-solid performance, which allows him to take on many personas. Other notable cast members include Eva Gabor ("Green Acres") in the role of Jarrod’s ex-wife, John Emery (Spellbound) in the role of a magician named The Great Rinaldi, and Lenita Lane in the role of Alice Prentiss, an inquisitive novelist who writes murder mysteries.

Though not as well-remembered as House of Wax, The Mad Magician is a highly entertaining film that makes an excellent companion piece to the aforementioned film.

The Mad Magician gets its best home media release to date from Powerhouse Films, highly recommended.

Written by Michael Den Boer

Bloodbath at the House of Death – Vinegar Syndrome (Blu-ray)

Theatrical Release Date: UK, 1984
Director: Ray Cameron
Writers: Ray Cameron, Barry Cryer
Cast: Kenny Everett, Pamela Stephenson, Vincent Price, Gareth Hunt, Don Warrington, John Fortune, Sheila Steafel, John Stephen Hill, Cleo Rocos, Graham Stark, Pat Ashton, David Lodge

Release Date: August 20th, 2024
Approximate Running Time: 92 Minutes 2 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Stereo English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: $44.98

"A group of six scientists have assembled to test the apparent abundance of supernatural goings-on at the secluded Headstone Manor. No sooner have they set up all of their ghost-catching gadgetry than the hauntings begin: from randy spirits to unexplained manifestations, all the signs of the afterlife incarnate are present. But when members of their party start winding up deceased, it becomes clear that these undead souls aren’t very friendly, and all the while the foggy grounds of the manor are being traversed by another mysterious figure..." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "Newly scanned & restored in 4K from its 35mm original camera negative".

Bloodbath at the House of Death comes on a 50 GB dual layer Blu-ray.

Disc Size: 39 GB

Feature: 25.1 GB

Outside of a few very minor blemishes, the source looks excellent. Flesh tones look healthy, colors look correct, image clarity, contrast, black levels, and compression are solid, and the image always looks organic.

Audio: 4.5/5

This release comes with one audio option, a DTS-HD stereo mix in English with removable English SDH. The audio sounds clean, clear, balanced, and robust when it should.

Extras:

Extras for this release include a stills gallery with music from the film playing in the background, U.S. theatrical trailer (1 minute 57 seconds, Dolby Digital stereo English, no subtitles), UK theatrical trailer (2 minutes 47 seconds, Dolby Digital stereo English, no subtitles), an archival featurette titled Running the Bloodbath: A Look Back at the Making of a Cult Classic (22 minutes 48 seconds, Dolby Digital stereo English, no subtitles), an interview with producer Stuart D. Donaldson (16 minutes 51 seconds, Dolby Digital stereo English, no subtitles), an interview with screenwriter Barry Cryer titled Crying with Laughter (27 minutes 55 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with film historians and writers Jonathan Rigby and Kevin Lyons, reversible cover art and a spot gloss slipcover (limited to 5,000 units).

Summary:

Kenny Everett and his frequent collaborators, Ray Cameron and Barry Cryer, conceived Bloodbath at the House of Death as a starring vehicle for him. Bloodbath at the House of Death is Ray Cameron’s only theatrical film that he directed.

Scientists go to the haunted manor, where 18 people were murdered years before, to investigate its unusually high levels of radiation.

There is nothing remotely scary in Bloodbath at the House of Death; it is a parody of notable horror films that relies entirely on humor. Invasion of the Body Snatchers, Carrie, The Shining, and An American Werewolf in London, and several Vincent Price films, are just a few of the films that are parodied. Bloodbath at the House of Death’s humor comes from sight gags and absurd dialog, like characters constantly repeating how each of the 18 murdered died.

When it comes to the performances, they are all overflowing with enthusiasm. The main attraction Kenny Everett portrays Dr. Lukas Mandeville, a scientist with a German accent that brings back memories of Peter Sellers Dr. Strangelove. His comedic timing is flawless, and the way he maximizes his character's prosthetic leg is pure comedy gold. The most surprising performance is Vincent Price (House of Wax) in the role of Sinister Man, the leader of alien satanic monks. His character has the most memorable lines, and his pitch-perfect deadpan delivery makes their double meaning all the more funny.

From a production standpoint, Bloodbath at the House of Death is a film that achieves its goals. The well-constructed narrative moves at breakneck momentum towards a very satisfying finale. Those who appreciate humor without boundaries should thoroughly enjoy Bloodbath at the House of Death, despite some of the humor being dated. The humor doesn't rely on your familiarity with the films being parodied. Ultimately, Bloodbath at the House of Death is a divisive film that you either dislike or thoroughly enjoy.

Bloodbath at the House of Death gets an excellent release from Vinegar Syndrome that comes with a solid audio/video presentation and informative extras, recommended.

Written by Michael Den Boer

The Bat Whispers: Special Edition - VCI Entertainment (Blu-ray)

Theatrical Release Date: USA/UK, 1930
Director: Roland West
Writer: Roland West
Cast: Chester Morris, Una Merkel, William Bakewell, Grayce Hampton, Maude Eburne, Gustav von Seyffertitz, Spencer Charters, Charles Dow Clark, Hugh Huntley, DeWitt Jennings, Richard Tucker, Wilson Benge, Chance Ward, Sidney D'Albrook, S.E. Jennings, Ben Bard

Release Date: August 13th, 2024
Approximate running times: 85 Minutes 32 Seconds (The Bat Whispers - 35 mm version U.S. Theatrical Release), 85 Minutes 56 Seconds (The Bat Whispers - 35 mm version UK Theatrical Release), 84 Minutes 50 Seconds (The Bat Whispers - 65 mm version)
Aspect Ratio: 1.32:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (The Bat Whispers - 35 mm version U.S. Theatrical Release), (The Bat Whispers - 35 mm version UK Theatrical Release), 2.00:1 Widescreen / 1080 Progressive / MPEG-4 AVC (The Bat Whispers - 65 mm version)
Rating: NR
Sound: LPCM Mono English (All Versions)
Subtitles: English SDH (All Versions)
Region Coding: Region Free
Retail Price: $29.95

"An infamous burglar and jewel thief known as "The Bat" plays cat and mouse with the police and terrorizes the occupants of a mansion, leased from a bank president who is in Europe. After the town bank is robbed, "the Bat" and a cashier named, Brook, who disappeared afterwards, are the main suspects. Strange things begin to occur in the mansion, such as mysterious noises, lights being turned on and off and an ominous shadow is seen by the occupants. When a rock is thrown through a window with a threatening note telling the occupants to leave 'or else', the renter, Cornelia Van Gorder, and her guests, suspect the money from the robbery might be hidden there. They begin a search for a hidden room, hoping to find the stolen money but when Ms. Gorder's guests begin turning up dead, she fears "The Bat" is trying to keep them from finding his 'Stash'." - synopsis provided by the distributor

Video: 3.75:5 (35 mm version U.S. Theatrical Release, 35 mm version UK Theatrical Release), 3.5/5 (65 mm version)

The Bat Whispers comes on a 50 GB dual layer Blu-ray.

Disc Size: 46.2 GB

Feature: 20.5 GB (35 mm version U.S. Theatrical Release), 20.8 GB (35 mm version UK Theatrical Release)

The Bat Whispers comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.6 GB

Feature: 21.7 GB (The Bat Whispers - 65 mm version), 19.1 (The Bat -1959)

All three versions are in very good shape; this is easily the best they have ever looked at on home media. That said, contrast and grayscale are slightly stronger on two 35mm versions, while the source for the 65mm version is the weakest.

Audio: 3.75/5 (All Versions)

Each version comes with one audio option, a LPCM mono mix in English with removable English SDH. All three audio tracks sound very good; dialog comes through clearly, everything sounds balanced, and range-wise ambient sounds are well-represented. That said, each version has some minor hiss.

Extras:

Extras on disc one include a photo gallery with music from the film playing in the background (poster/stills/advertisements), and a featurette titled Version Comparison 1.32:1 U.S. vs British (10 minutes 14 seconds, LPCM mono English, no subtitles).

Extras on disc two include a featurette titled The Bat - 1926 Before & After Restoration (1 minute 54 seconds, no sounds with English intertitles), a featurette titled The Bat - 1926 vs The Bat Whispers (7 minutes 33 seconds, LPCM mono English with English intertitles), a featurette titled Version Comparison: U.S. 1.32: 1 vs Widescreen 2.00:1 (10 minutes 14 seconds, LPCM mono English, no subtitles), an audio commentary with Mick LaSalle for the widescreen 2.00:1 version), and a bonus feature film The Bat - 1959 (79 minutes 57 seconds, 1.85:1 aspect ratio, LPCM mono English with removable English SDH).  

Other extras include a 12-page booklet with cast & crew information, and a text piece titled The Restoration of The Bat Whispers written by Richard Burrios.

Summary:

The Bat Whispers: A mastermind jewel thief known as The Bat plays a cat and mouse game with the police.

The Bat Whispers is the second of three film adaptations of Mary Roberts Rinehart and Avery Hopwood’s three-act play titled The Bat. The other two adaptations are The Bat (1926), also directed by Ronald West, and The Bat (1959), which starred Vincent Price.

Though modern audiences take most visual techniques, The Bat Whispers was truly innovative for its time, where most cinema was stationary in the 1920s and 30s, and The Bat Whispers uses fluid camera movements that were uncommon for films from that area. Besides innovative camera techniques, the visuals have an expressionistic quality to them that's reminiscent of 1920s German cinema.

Another way in which The Bat Whispers stands apart from its contemporaries is its use of a widescreen format, decades before it became the norm. Besides being filmed in widescreen, there was a version made for U.S. audiences and a version made for UK audiences. The three versions have unique footage that sets them apart; the widescreen version is framed in a drastically different way.

Having seen the 1959 adaptation first, it's interesting to see how it differed from The Bat Whispers. Though both films share a premise, tone-wise, these two adaptations could not be more different, notably when it comes to The Bat Whisper's use of offbeat humor, while The Bat (1959) has a more serious tone. That said, despite their differences, you cannot go wrong with either of these adaptations.

Though the use of obvious miniatures gives The Bat Whispers a dated look, one would be hard-pressed to name another area where it is lacking. The narrative is well-constructed, pacing is never an issue, and a superb finale perfectly wraps up the events that proceeded. Other areas of note are solid production design and an abundance of atmosphere. Ultimately, The Bat Whispers is a solid crime drama that fans of Old Dark House films should thoroughly enjoy.

The Bat - 1959: The Bat was directed by Crane Wilbur, whose other notable credits as a screenwriter include He Walked by Night, House of Wax, and The Mad Magician. The Bat would also be Crane Wilbur's third collaboration with Vincent Price, following House of Wax and The Mad Magician.

When one thinks of Vincent Price, it is his work in the horror genre that immediately comes to mind. And though there are horror elements in The Bat, the result is something that is closer to a mystery film, think Agatha Christie.

The narrative revolves around Cornelia van Gorder, a mystery writer who has rented an old estate with a macabre past. After an initial setup, the narrative is told via a flashback that fills in the blanks that led to the moment that opens The Bat. With a finale that neatly wraps everything up.

Despite the fact that the entire cast is excellent in their roles. The main attractions of The Bat are Agnes Moorehead (Citizen Kane) in the role of Cornelia van Gorder and Vincent Price (The Last Man on Earth) in the role of Dr. Malcolm Wells. These two actors give The Bat star power and both deliver solid performances that elevate the story at hand. Another performance of note is Lenita Lane (While America Sleeps) in the role of Lizzie Allen, Cornelia van Gorder’s assistant who is prone to hysterics whenever something sinister is lurking.

Given that The Bat has all of the characteristics that one would expect from a B film, the result is actually a film that often exceeds its limited resources. Another strength of The Bat is how effectively it mixes genres. One minute it is a suspense film, only to shift to a horror film, and humor also plays a role in the story at hand. Ultimately, The Bat is a highly entertaining murder mystery that greatly benefits from its two leads, Vincent Price and Agnes Moorehead.

The Bat Whispers gets an exceptional release from VCI Entertainment, highly recommended.

                                  1.32:1 Aspect Ratio U.S. Version Screenshots.

                                  1.32:1 Aspect Ratio UK Version Screenshots

                                   2.00:1 Aspect Ratio Screenshots.

                                   The Bat (1959) Screenshots.

Written by Michael Den Boer