Age has its benefits, as I am learning from having read other reviews here of this film. I was always a Karloff fan, but I only found Charles Laughton at the age of 11, when we got our first TV set in 1950. Not only were some of his older English films on display there, but being centered in New York City at the time as a star of the historic stage reading of DON JUAN IN HELL, he himself was all over TV, introducing AMAHL AND THE NIGHT VISITORS, doing dramatic readings, guest shots, interviews, even occasionally taking part in game shows - Charlie was nothing if not democratic. Anyway, after discovering him in this manner, the very first film I then recall him making was THE STRANGE DOOR (oh, there had been THE BIG CLOCK and THE PARADINE CASE fairly recently, but they were just a bit too early to have been a part of my youthful movie-going experience - every day, seven days a week!). What I vividly recall is that when this film was being made, the various movie columns endemic at that time made much of the teaming of Laughton and Karloff. In fact, we were promised that there would be some kind of fight scene between those two iconic actors that would be the best such event filmed since the one in William Farnum's THE SPOILERS all the way back around 1914 or so. When the film came out, it wasn't that well reviewed, and certainly without any reference to the actors' 'epic' struggle. When it finally got to my neighborhood and I went to see it at the RKO Greenpoint, it was quite disappointing, although even then I was performance-oriented and loved Laughton's wildly excessive acting job (Karloff's more restrained one, too). The promised epic fight scene never came to be; rather, the two actors simply grappled with each other for about ten seconds or so, no punches thrown, drop kicks, eyes gouged, etc. So, as with the next year's Karloff vehicle, THE BLACK CASTLE, I was sorely disappointed and had not seen either of those films since. Watching both last night, for the first time in 65 and 64 years respectively, I found my original evaluation to be pretty accurate, and that I still really did LOVE Laughton's over-the-top performance as the villain of the piece (which alone gives it my rating of 7). Laughton could wonderfully ham up even a self-effacing TV Bible reading in 1951 without the least embarrassment or apology. Is it any wonder that he walks away with this choice acting opportunity? (Another reviewer's comparison of Laughton to Tod Slaughter is very much on the mark; what a wonderful Sweeney Todd he might have made!). Current viewers may have forgotten that in 1951, leading lady Sally Forrest was enjoying a more successful movie career than anyone else in this film (in socially-relevant Ida Lupino productions, as leading lady at M-G-M to both Mickey Rooney in THE STRIP and Keefe Brasselle in BANNERLINE - all of these in the same year as THE STRANGE DOOR), but she had been brought to Hollywood as a dancer and, in the end, never quite worked out in heavier drama, especially in a costume film like this one for which she seems rather unsuited. Really, she was the perfect girl next door! When the great UNIVERSAL HORRORS book was published, they chose to end coverage of the studio's efforts in that genre with ABBOTT AND COSTELLO MEET FRANKENSTEIN, but both THE STRANGE DOOR and THE BLACK CASTLE might well have been included as they really do seem to have been the tail end of the second Universal horror cycle, especially since both make much use of the famous European castle, village and street sets from the studio's earlier classics, and these may also be the last Universal films to make use of the old Salter and Previn music scores that so enlivened their earlier efforts. Flawed, but enjoyable throughout.

Charles Laughton stars as evil Sir De Maletroit, who invites reputed cad Dennis(played by Richard Stapley) to his manor home with the intention that he marry his niece Blanche(played by Sally Forest) He seeks revenge against his brother Edmond(imprisoned in his dungeons) because he dared marry the woman he loved. The plan goes awry when Dennis and Blanche unexpectedly fall in love, and are aided by his servant Voltan(played by Boris Karloff) to escape, but of course it wont be as simple as that. Not bad thriller is adequately directed by future TV director Joseph Pevney, who creates some atmosphere, but wastes Karloff in such a small role, and Laughton is quite hammy here. Story is OK but unexceptional in this mostly mediocre film, worth a watch on a rainy day at least!

A very neat Hammeresque thriller with some good plot twist and moody atmosphere.A young rascal is escaping the mob after accidentally killing a man and finds himself at the door of a sinister castle. The door opens and closes after him. But very soon it seems that he has been expected at the castle and for no other reason than to marry the lady of the house. So was his getting there a coincident in the first place? It's always nice to see two over-the-top actors fighting like professional beauties for the best of the picture. In this case, Laughton gallops away with his colours flying (in black and white). He really acts for every dollar. Perhaps Karloff would have been a better choice for this part, but Laughton's tour de force is such an enjoyment that I personally wouldn't have it any other way. Karloff's part isn't so interesting a material to start with, so he is pretty much wasted as far as his fans are concerned.Unfortunately the romantic leads don't fare well. The heroes' part cries out for Erroll Flynn or Stuart Granger or anyone as confident, suave, butch and agile. Unfortunately Richard Stapley-Wyler has none of these qualities. Albeit undeniably handsome, his performance is timid and effeminate. It's difficult to believe that in real life Wyler used to be a road racer. He walks like a ballerina in the mud and speaks in a flat, nasal voice which he obviously tries to make sound as low as possible. His total reluctance to act is sympathetically shared by another pretty but lifeless figurine, Sally Forrest. Personally I just think she keeps herself down as the leading man doesn't light her fire. If only these two would have blended into the acting ensemble, this film would be so much more fun.Nevertheless, nicely shot with good settings and soundtrack, it's a treat to everyone who enjoys Corman's Poe adaptations or Hammer's dark old house films. Not quite cigar, but gives a good puff of smoke.

A minor but irresistible Gothic melodrama with a rampant star performance by Charles Laughton (though he gets little to do in the second half - in fact, the film sags a bit during its latter stages). Boris Karloff's role is a good one, though clearly supporting Laughton rather than co-starring; actually, too much time is devoted to the rather insipid romantic leads (Richard Stapley and Sally Forrest) - though the supporting cast (including character actors such as Paul Cavanaugh, Michael Pate and Alan Napier) is adequate enough.The plot itself is quite intriguing - leading up to a satisfying climax that's strikingly similar to the one in another Karloff film, THE RAVEN (1935). Of course, THE STRANGE DOOR reunites Karloff with Laughton almost 20 years after THE OLD DARK HOUSE (1932) - as in that film, they engage in a fisticuff at the end - and also returns the actor to Robert Louis Stevenson territory (albeit in a non-villainous role) after his unforgettable turn in THE BODY SNATCHER (1945). Despite the obvious low-budget (a fact that is betrayed, more than anything else, by having its entire score comprised of themes from previous studio efforts - including the nth revamp of the instantly recognizable cue from THE WOLF MAN [1941]!), the film is crisply shot in black-and-white and, in spite of the rather pedestrian direction, it makes the most of its limited sets.