Cry Wolf

You may not believe it - but this was once a happy house. Cry Wolf is directed by Peter Godfrey and adapted to screenplay by Catherine Turney from the novel of the same name written by Marjorie Ca... You may not believe it - but this was once a happy house. Cry Wolf is directed by Peter Godfrey and adapted to screenplay by Catherine Turney from the novel of the same name written by Marjorie Carleton. It stars Errol Flynn, Barbara Stanwyck, Geraldine Brooks and Richard Baseheart. Music is by Franz Waxman and cinematography by Carl E. Guthrie. Effective old dark house mystery picture boasting star appeal and class from Guthrie and Waxman, Cry Wolf is an enjoyable failure. The story finds Babs Stanwyck as Sandra Marshall, who turns up at a creaky old mansion investigating the death of her husband. Met with a frosty reception by the lord of the manor, Mark Caldwell (Flynn), it's not long before Sandra is neck deep in intrigue and suspicious behaviours. Flynn and Stanwyck aren't asked to stretch themselves for this plot, in fact Flynn garnered unfair criticism for his portrayal of the shifty Mark Caldwell (wooden/miscast etc). Unfair because the character is meant to be restrained and sombre, keeping his cards close to his chest, you can certainly see why Flynn took the part, it was a chance to tackle something away from the flamboyant roles he was so iconically known for. As the main characters move through the standard plotting of such fare; what's the secrets of the house, what is going on in the locked room? And etc, the house is the major player. Again it's standard stuff, a place of creaky doors, shadowy rooms, ominous clock chimes and things that go bump in the night. Guthrie (Backfire/Caged/Highway 301) brings his awareness of film noir visual conventions to the piece, where all the night time sequences carry atmospheric punch. While Waxman at times scores it like a Universal Studios creature feature, which is just dandy, the string arrangements delightfully menacing. Some back projection work is poor, and although the twisty finale worked for me, I personally can understand it being a disappointment to others, while there's definitely the feeling of wasting the stars hanging over proceedings. Yet there's a nice old fashioned feel to the movie that charms, even if the stars and technical purveyors are bigger than the material handed to them. An enjoyable failure, indeed. 6/10

I just barely liked this, and I felt I would love it, since I adore film noir, and the work of both of the leads. To me, both Errol Flynn and Barbara Stanwyck are very charismatic people--they should ... I just barely liked this, and I felt I would love it, since I adore film noir, and the work of both of the leads. To me, both Errol Flynn and Barbara Stanwyck are very charismatic people--they should have had, regardless of which side they were acting (good or bad), smouldering chemistry if on the same side, or been extremely volatile if opposing each other. Conversely, here they were very muted, as if sleepwalking--and the fault must lie in both the direction in the script. Thus I can only give it the very faintest of recommendation. The film has harnessed the worst performance of either star that I have ever seen.