I think this is one of the creepiest thrillers you will find from the 1940s-1950s. And why? Because it shows how fragile every day life can be when just one little occurrence can bring one's life tumbling down! While it is an excellent story, it's the cast that makes it shine. There was always something special about Ethel Barrymore in a film, and here she really shines! I won't say it's her best film role (that may be "Pinky"), but this is so very good. I was never very impressed with Maurice Evans; he probably thought more of himself than others thought of him, in terms of acting. But he does very nicely here as the villain...not overplaying it, which some actors might have done. This is not a very impressive role for Angela Lansbury, but she's good in it as another of the thieves. Likewise, Keenan Wynn does nicely as another thief, not overplaying the role at all, but just being slightly menacing. John Williams to the rescue! A venerable character actor who never disappoints. Doris Lloyd is pleasant as the servant.This is a neat thriller, a bit chilling in an old-fashioned way, and worth the mere 77 minutes of screen time! It's a gem.

Ethel Barrymore's whole suburban world is turned upside down by the sudden knock at the door by the curious Maurice Evans who inquires as to the origins of her ornate door knocker. She politely answers his questions, impressed with his knowledge of art, and soon, he is across the street in the park painting her flat. She kindly invites him in for conversation, but he's actually rather insulting to her, even going as far as to steal from her. But she's forgiving, and when he follows her into a bookstore to return the stolen item, she gullibly falls prey to his next scheme which involves his frail wife (Betsy Blair) and cockney friends (Keenan Wynn and Angela Lansbury) who show up and basically take over. There's really nothing Barrymore can do, and she ends up being trapped in terror in her own bedroom as the nefarious villains begin to sell her belongings.On the surface, Barrymore's not quite totally sweet old lady seems more stupid than simply just kind. She's actually quite emotionless, showing no real fear other than annoyance. However, like any great thespian, Barrymore speaks more with her eyes than words, especially when she's standing over the banister in her own home and witnesses a scene between Evans and her loyal housekeeper (Doris Lloyd) that expresses a thousand thoughts. Lansbury is basically playing an older version of her character in "Gaslight", and it certainly would be interesting at this point in her career to see her playing the Barrymore part. Wynn, one of the great character actors of the golden age of cinema, was adept at parts either comical or sinister, and here, he does the later brilliantly. Lloyd also deserves kudos for showing her character's fear after coming off as quite tough when the situation first began to develop. Blair's fragility reminds me of the great character actresses Judith Evelyn and Edith Barrett, women who often played those afraid of their own shadows.The Victorian age setting is brilliantly crafted at the hands of director John Sturges who doesn't put on any pretensions while creating a dark atmosphere which dominated most of his films. Previously made 15 years earlier with a younger actress playing the Barrymore part (Aline MacMahon), "Kind Lady" is the type of predictable "gaslight" thriller that dominated the stage (sort of like "Night Must Fall") and takes great pains in exposing sociopaths for the demented minds that are covered up by alleged sophistication and phony manners.

A kindly old dowager takes a penniless artist into her lavish household, only to find out he's got his own plans.For a filmed stage play, the movie surprisingly never drags. That's a tribute to a tight screenplay and excellent staging. For example, catch how director Sturges in the first confrontation scene positions the four intruders in the foreground so they appear now to loom over the exasperated old lady (Barrymore), symbolizing their gradual reversal of authority. Then too, Sturges has basically only a single set to dramatize with, a real staging challenge.However, the movie really belongs to the mild-looking Evans (Elcott) who manages an effortless study in civilized evil. His manipulations are so understated that his malignant nature sort of creeps up on you. It's one of the slyer incarnations in the history of bad guys. And get a load of the Edwards family, with the shrill Lansbury, the hulking Wynn, and the bratty Aggie. They're household help from heck, and we know Barrymore's in big trouble when this British version of The Beverly Hillbillies walk in the door. Anyway, the tension stays on high as we feel trapped along with the kind lady. All in all, the movie's a minor gem of claustrophobic suspense.

After the demise of ITV ON Digital in the UK, I missed their old classic movie channel, "Carlton Cinema" as I have taped several good films from there, including "Portrait of Jennie (1948)", starring my favourite actress Jennifer Jones.In that film Ethel Barrymore played Miss Spinney, a partner in a New York art gallery who saves Eban Adams from apparent starvation by buying some of his art work. We recently had SKY TV installed which includes "Turner Classic Movies" a.k.a. "TCM".I only saw the last 2/3 of "Kind Lady" but stayed to the end despite my wife saying we had to go out to the shops!I was fascinated by Ethel Barrymore again playing an art connoisseur,(3 years after the aforementioned film), in a movie I had not seen before on UK tv.I just had to see it to the end.And there was a very young Angela Lansberry playing a tough wife of a criminal played with shifting accent by Keenan Wynn!.Of course Hollywood did round up a clutch of British actors and a right-hand drive vintage car to give the movie some authenticity.This film has a nightmare like quality.We could all visualise what it would be like for us to be old, alone and have no protector when a person inveigles themselves into your home on an apparant genuine pretext and then systematically takes over your whole house and possessions!Yes the conventions of film making in 1951 meant that producers could not allow criminals on screen to get away with their ill-gotten booty and you don't see the death of the faithful maid.Maurice Evans is Ok but I would have cast someone like George Sanders in the chief "baddie" role - much more menacing!(Perhaps he wasn't available).It is nevertheless a rip roaring melodrama and next time I hope to see the first 1/3 of this film.