![]() Viewing these women as women in peril connects it to the Gothic – a matter the melodrama research group has an interest in (see the blog’s gothic tag: ). Our consideration of characters led us to contrast Teddy (the irredeemable villain) to his wives, and other women, in the film (his potential victims). In fact, melodrama was supplied in the realistic and psychologically well-motivated relationships between the characters. We noticed that the film did not rely on coincidence to the same extent as many melodramas we’ve screened. This is soon revealed to be in response to a ghost train ride, rather than a real terror threat, and is followed by Molly and Teddy’s quiet discussion in a quaint seaside tea room. The film opens with a piercing scream from, and a look of terror on the face of, Molly Bare (Mona Washbourne). ![]() Confounding expectations of horror also occurs. This melodrama mostly takes the form of changing rhythm: less exciting scenes are punctuated by moments of action. We agreed that the fact that Teddy Bare’s (Dirk Bogarde’s) villainy was evident from almost the outset meant that mystery and suspense were subjugated to melodrama. Picturegoer magazine provided more detail, assessing that the film had ‘little mystery, some suspense, but plenty of spirited melodrama’ (17 th September 1955, p. It is the only genre mentioned in British fan magazine Picture Show’s brief review (8 th October 1955, p. We began by considering Cast a Dark Shadow’s relationship to melodrama, a label it was assigned in some contemporary reviews. And in the end, she died in an asylum with no brain at all.Our discussion on the film covered: its melodramatic aspects and the horror genre related matters of the gothic: the house and the film’s women in peril Margaret Lockwood’s screen image Dirk Bogarde’s screen image Bogarde’s wider role in the film’s production. Gregory : It began with her imagining things, that she heard noises, footsteps, voices, and then the voices began to speak to her. Gregory : She died in an asylum when you were a year old. Gregory : I didn't know that about your mother. Gregory : I was staggered, but I didn't know then how much reason I had to be. Look at this letter.' And staring at nothing. That's when it began.I can see you still, standing there and saying, 'Look. Paula : That one I found among the music from that man. The first day here when I found that letter. : Paula : But that's what you think, isn't it? That's what you've been hinting and suggesting for months now, ever since.the day I lost your brooch. Gregory : It's what I'm trying NOT to tell myself. Paula : Gregory, are you trying to tell me I'm insane? If I could only get inside that brain of yours and understand what makes you do these crazy, twisted things. Now, because you would go out tonight, the whole of London knows it. Gregory : I've tried so hard to keep it within these walls - in my own house. And in the end, she died in an asylum with no brain at all. Paula: That's not true! Gregory: It began with her imagining things, that she heard noises, footsteps, voices, and then the voices began to speak to her. Gregory: She died in an asylum when you were a year old. Paula: What about my mother? Gregory: Your mother was mad. What dream? Gregory: I didn't know that about your mother. Paula: What? Gregory: I was staggered, but I didn't know then how much reason I had to be. Paula: What? Gregory: You had NOTHING in your hand. The first day here when I found that letter. : Gregory: What letter? Paula: That one I found among the music from that man. Paula: But that's what you think, isn't it? That's what you've been hinting and suggesting for months now, ever since.the day I lost your brooch. Paula: Gregory, are you trying to tell me I'm insane? Gregory: It's what I'm trying NOT to tell myself. Gregory: I've tried so hard to keep it within these walls - in my own house.
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