A Universal-International classic starring Richard Greene as Sir Ronald Burton, who is searching for two of his friends at the rambling Austrian estate of Count von Bruno (Stephen McNally), who hides the fact he is displeased with the British government for setting natives against him in colonial Africa. Burton fears that his friends are victims of Bruno, who is obviously planning something dark for Burton. Count Bruno's henchmen stand in the way of the daring Burton, who wants to runaway with nonetheless, the Countess Elga von Bruno (Paula Corday).A costume drama directed by Nathan H. Juran. Released in Sweden ten days before its American debut, Christmas 1952. Kudos for cinematography by Irving Glassberg. The very talented cast also features: Boris Karloff, Lon Chaney, Jr., Michael Pate, John Hoyt, Tudor Owen and Nancy Valentine.

Brave and dashing adventurer Sir Ronald Burton (a solid and likable performance by Richard Greene) goes to the castle of the sinister Count Karl von Bruno (splendidly essayed with divinely wicked glee by Stephen McNally) to investigate the disappearance of two friends who were guests of the Count. Complications ensue when Burton falls for the Count's fetching wife Countess Elga von Bruno (an appealing portrayal by the lovely Rita Corday). Director Nathan Juran, working from an engrossing script by Jerry Sackheim, relates the absorbing story at a steady pace, does an expert job of creating and sustaining a supremely spooky ooga-booga gloom-doom mood, and stages the stirring outbursts of action with real aplomb. McNally's deliciously slimy and sadistic villainy keeps the picture humming throughout. Moreover, it's nice to see the always terrific Boris Karloff in a sizable change-of-pace good guy role as Dr. Meissen, a kindly physician who helps Ronald out, Popping up in sturdy supporting parts are Lon Chaney Jr. as the hulking, brutish Gorgon, Michael Pate as the haughty Count Ernst von Melcher, John Hoyt as the equally snooty Count Steiken, Tudor Owen as Ronald's loyal servant Romley, and Henry Corden as browbeaten coachman Fender. Irving Glasberg's crisp black and white cinematography and the robust shuddery score are both up to par. An enjoyable movie.

The Black Castle is one of those film's that has found its way into a Boris Karloff collection and is mistakenly expected to be an outright horror movie. Whilst some horror elements exist within Nathan Juran's movie, this really is a multi genre piece that's tightly produced and effectively portrayed. Joining Karloff, in what is a small but critical role, are Richard Greene, Stephen McNally, Lon Chaney Jr, Rita Corday, John Hoyt & Michael Pate. It's produced, unsurprisingly, out of Universal International Pictures. The plot sees Greene's English gentleman travel to the castle home of the sinister Count von Bruno {McNally}. He's following an investigation into the disappearance of two friends, an investigation that is fraught with danger and surprise at every turn.This has everything that fans of the old dark house/castle sub-genre could wish for. Genuine good and bad guys, a fair maiden, dark corners for doing dark deeds, devilish traps, ticking clock finale and we even get a good old fashioned bit of swashbuckling into the bargain. The cast are all turning in effective performances, particularly Greene and the wonderfully sneering McNally. Whilst Jerry Sackheim's writing is lean and devoid of the pointless filler that has so often bogged down similar film's of this ilk. A very recommended film on proviso that Karloff fans understand it's not really a Karloff movie, and perhaps more importantly, that horror fans don't expect blood letting to be the order of the day. A fine atmospheric story with a sense of dread throughout, The Black Castle is a fine viewing experience. 7/10

The best thing -- and that's pretty good -- about The Black Castle is that it's a black-and- white Forties' Gothic grabber featuring a murderous mad count which was somehow made in 1952. The star ostensibly is the British actor Richard Greene, a capable leading man who reminds me of an earlier version of Roger Moore. The villain is a mad count played by Stephen McNally, who does a credible job except when he's called on to laugh maniacally. Skulking around in the shadows is a long-gowned Boris Karloff in a decidedly secondary role of an aged doctor who may or may not be the salvation of our hero. It's the middle of the 18th Century in Austria and Sir Ronald Burton (Greene) is determined to find out what happened to two close friends. They disappeared in the vicinity of the castle belonging to Count Karl von Bruno (McNally), deep in the Black Forest. It seems that Sir Ronald and his friends had been instrumental in defeating a brutal plan of von Bruno's in Africa three years previously involving slavery and ivory. The Count was left not only with failure, but with a scar on his face and a black patch he now wears to cover a ruined eye. von Bruno vowed revenge, and it seems he might have been partially successful. So under a false name, Sir Ronald arranges for a hunting invitation from the Count, and off we go by carriage through a dark journey of storm and howling wolves to the Count's castle. It's a hulking mass of stone turrets and corridors, shadowy stairways, huge fireplaces...and creepy passages that lead to dank dungeon cells, a torture chamber and a great pit filled with snapping, thrashing crocodiles. It also is filled by the Count's lovely, blond, sensitive wife, Elga (Paula Corday, who sometimes is billed as Rita Corday), and by the Count's two close friends played by those two actors we know from the Fifties who specialized in being slime in costume, John Hoyt and Michael Ansara. There is a dangerous leopard hunt, forbidden kisses, knuckling servants, wooden signs creaking and swaying in the cold wind and poison in a cup. Not the least, Doctor Meissen (Karloff) has a special vial filled with a drug which will so slow the bodily functions that death will seem to have occurred. The risk is that...well, when the person awakes ten hours later, he'd better hope he's not already nailed shut in his coffin. Surprisingly, for all the clichés, The Black Castle keeps moving merrily along. The movie takes itself seriously, but it's competently enough made to keep our interest, even if we wind up sitting back with a smile while we watch. It's even reassuring in a way to realize there are strong echoes of The Most Dangerous Game. When Burton realizes just how crazy von Bruno is, he becomes even more determined to bring von Bruno to accounts. And, naturally, he has fallen for Elga. von Bruno, crazed by vengeance yet crafty and capable, is a man who loves the hunt and is engorged by the kill. Hollywood's second creative rule has always been, "If you're going to steal, steal from the best." It's first creative rule, of course, is "If you're going to steal, steal from the best and then turn it into liverwurst." The Black Castle is a nice bite of Austrian braunschweiger.