In today's world, House of Darkness (1948 film) has become a topic of great relevance and interest to a wide spectrum of people. From its impact on society to its global implications, House of Darkness (1948 film) has captured the attention of academics, scientists, politicians and ordinary citizens alike. Its influence covers different fields, from economics to culture, including technology and the environment. In this article, we will delve into the world of House of Darkness (1948 film) to explore its different facets and understand its importance and impact today.
House of Darkness | |
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![]() Original trade ad in Kinematograph Weekly | |
Directed by | Oswald Mitchell |
Written by | John Gilling |
Based on | radio play Duet by Betty Davies[1] |
Produced by | Harry Reynolds |
Starring | Henry Oscar Laurence Harvey |
Cinematography | Cyril Bristow |
Music by | George Melachrino (musical director) |
Production company | International Motion Pictures |
Distributed by | British Lion |
Release date |
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Country | UK |
Language | English |
House of Darkness is a 1948 British film directed by Oswald Mitchell and starring Henry Oscar and Laurence Harvey.[2] It was written by John Gilling based on the 1947 radio play Duet by Betty Davies. It marked the film debut of Laurence Harvey.[3][4][5]
A young man plans to get his hands on the family fortune.
Harvey had been spotted by a talent scout while performing in Manchester Rep.[6]
The Monthly Film Bulletin wrote: "This film could have become boring in parts if it were not so well cast. Lawrence Harvey, as the embittered Francis, is outstanding, as also are Lesley Osmond, his forbearing wife in a difficult household, and Grace Arnold as Tessa, the devoted housekeeper. The haunting music of George Melachrino's First Rhapsody completes the eerie atmosphere of this film."[7]
Kine Weekly wrote: "Unpretentious, yet holding, psychological melodrama, embellished with George Melachrino's melodies. ... Lawrence Harvey gives a most promising performance as megalomaniac Francis. Talented and self-confident, he should go far. ...The film, unfolded in one uninterrupted flashback, is quite a good romantic thriller, even though its abracadabra takes a bit of swallowing. Lawrence Harvey has a lot to learn, but in spite of his lack of experience his sense of the dramatic and his power to convey hysteria are more than capable of meeting the comparatively modest demands of its plush upholstered macabre."[8]