The Face at the Window


Drama / Horror

IMDb Rating 6 10 382

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Uploaded By: FREEMAN
October 29, 2020 at 08:38 PM



720p.BLU 1080p.BLU
594.21 MB
English 2.0
23.976 fps
1 hr 4 min
P/S 0 / 4
1.08 GB
English 2.0
23.976 fps
1 hr 4 min
P/S counting...

Movie Reviews

Reviewed by claudio_carvalho 7 / 10

Delightfully Naive

In 1880, the criminal called The Face is responsible for a murderous rampage in France. When the Brisson Bank is robbed in Paris and the employee Michelle is murdered, the wealthy Chevalier Lucio del Gardo (Tod Slaughter) is the only chance to save the bank. Chavalier proposes to the owner M. de Brisson (Aubrey Mallalieu) to deposit a large amount of gold, but in return he would like to marry his daughter Cecile (Marjorie Taylor). However, Cecile is in love with the efficient clerk Lucien Cortier (John Warwick) that belongs to the lower classes and refuses the engagement. In order to get rid off the rival, Chavalier uses evidences to incriminate Lucien, manipulating the incompetent Parisian chief of police.

"The Face at the Window" is dated and delightfully naive, but is also a great entertainment. The story has a despicable villain; the good guy is unfairly accused and has to prove his innocence; the heroine is extremely naive, but has strength to fight for her love; the chief of police is a complete stupid. Tod Slaughter performs another villain with his usual efficiency. My vote is seven.

Title (Brazil): "Um Vulto da Janela" ("A Face at the Window")

Reviewed by chrismartonuk-1 8 / 10

The true king of brit-shock.

Forget Karloff & Lugosi. Forget Cushing & Lee, even Price and the Chaneys. Tod is king of horror for one very important reason - he quite evidently enjoys his work. This was the first Tod film I saw and - having heard so much about him prior to this - I feared disappointment. No worries. Despite the cardboard settings and woeful support cast, from the moment he strides masterfully in, we are in the capable hands of a classic film villain. The opening murder with the eerie wolf howl on the soundtracks sets the scene perfectly and then we are treated to an acting masterclass from the great man himself. Whether innocently acting the concerned friend, lecherously trying to sneak a kiss from the heroine, threatening his low-life confederates with a grisly end if they cross him or, worst of all, holding somewhat one-sided conversations with his demented foster brother, Tod holds the film together. The Chevalier is underplayed by Tod compared to Sweeney Todd - but seldom has one man wiggled his eyebrows to more sinister effect. It's a great pity that Universal studios didn't try to to entice him over for their classic horror cycle - Tod would've made a far more spirited Dracula than John Carradine in the later sequels and can't you just see him going toe to toe with Basil Rathbone's Sherlock Holmes. Shame nobody thought of putting him up against Arthur Wontner's in the UK. The double-exposure effects for the appearance of the "face" are well done for their time and the whole film compares favourably with the Universal classics of the period.

The production values are far higher than is normal for a British quota quickie of the period. The contrast between the spacious elegant rooms of the moneyed classes and the clutter of the Blind Rat - with a wealth of extras and charming Parisian detail such as the dancers - more than foreshadows the class-consciousness Hammer brought to its gothics a few decades later. So does the violent action with Lucien using an oil lamp to devastating effect - his disguise as "Renard" could have been a bit more convincing - and Tod making a sudden getaway by leaping from the window of the scientist's house and swimming the Seine to safety. John Warwick and Marjorie Taylor make an appealing couple - although Warwick is no match for Eric Portman in the earlier melodramas - and George King is improving as a director with a tightly edited montage of tense faces as the "corpse" slowly stirs into action to write its incriminating message. Tod is less of a central figure with whom we are expected to side with - even through his setbacks - as Stephen Hawke and Sir Percival Glyde were, but is still a marvellously blackhearted villain, as seen in his unsporting behaviour at the duel with pistols with Lucien. This is his finest film.

Reviewed by kidboots 8 / 10

Thoroughly entertaining

When I lived in Sydney in the '70s it was the vogue of the "music hall restaurants". There were quite a few around - you could go out to tea and then be entertained by a blood curdling melodrama where you had to boo and hiss the villain and make appropriate sounds for the hero and heroine. Neutral Bay had a very good one and with plays like "Sweet Nell of Old Drury" and "The Spring Heeled Terror of Putney Green" you knew you were in for an entertaining night.

This is exactly what this film is like - it is thoroughly entertaining. Tod Slaughter is the whole show - he acts and gestures everyone else off the screen. That you know at once he is the villain makes no difference.

Paris 1880: there is a killer on the loose called the Wolf, who is also responsible for a string of daring robberies. M. de Brisson's bank has just been robbed and Lucio del Gardo (Tod Slaughter) arrives on the scene to try to solve the mystery. He has just seen Cecile, the banker's daughter and is determined to make her his own. The only thing that stands in his way (he has already talked her father around) is her fiancée, Lucien Cortier, a clerk at the bank.

By subtle innuendo (and much leering and ogling) he starts suspicions that Lucien is the Wolf. It is up to Lucien to clear his name and win Cecile back. But wait - there's more. Del Gardo has a monstrous half brother (who is the face at the window!!!). Del Gardo has made a promise to his mother (40 years before!!!) that he will always keep his brother in a cage in the cellar - never letting him be seen by anyone.

At 65 minutes it is blood curdling entertainment!!!!!

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