The Old Dark House (1932) - Part #2

A collaboration with Jamie B and Hellish Views!

Hellish Views - Harry Evans and Jamie B.

Jun 26, 2026

Intro (Harry)

Hello again! The storm is still thundering and smashing above, and it seems we are no closer to escaping this creepy old house.

In this second part of Jamie B. and I’s review of The Old Dark House (1932) we’ll be covering the film’s direction, briefly comparing the film to the book, and, of course, discussing our personal favourite moments. Please share your own faves as well!

Spoilers ahead.

Adaptation (Harry)

Straight in, the book is really excellent - vivid and fast-paced. I strongly recommend it to any horror fans. It also has some odd surprises - including the use of the word ‘sluts’ before 1930, which came as quite a shock.

There is a lot of introspection and changing of perspectives in the text. We get a real sense of late 20’s British society, and of how people view men and women. It’s quite a reflective book, honestly. Also, the description is just wonderful, and I think the film nails the visuals. The initial atmosphere and the approach of the house itself are perfect. It is a noisy, exceedingly wet and grim start that feels straight from the page.

Before I rewatched the film for this review, I thought I’d better note down my thoughts on the novel’s characters - and now it serves as an interesting follow-up to my notes in the previous article.

Penderel is extremely easy to like. A tragic character in many ways, lost after the war, and living what is in many ways a hedonistic life that brings him little joy. He is perhaps the best character. In the novel he does not survive. It was a shock to rewatch the film after reading, forgetting that he makes it through the night. The whole affair gives the ending a very different tone.
William is interesting in his mannerisms - his relationship with Gladys (who is the most likeable of all) is intriguing.
Philip is a simple kind of man - kind, but strained and perhaps a bit clueless. His obviously recent fall-out with Margaret is fascinating to watch, as is his obvious love for her. Margaret is judgemental, but soon it is made clear that really she is just having a terrible day.
Rebecca is creepy as fuck. Really sinister. Horace is pathetic, and hilarious.
Saul, like Morgan, is a very different beast, and Roderick is vividly spooky. I like the addition of Saul’s little dialogue in the film - as this adds something to Penderel as well.

Best Bits (Jamie)

Honestly, the entirety of The Old Dark House is the best bit. But if I have to narrow it down, there are five scenes that tickle my fancy.

The flowers: Horace tossing his sister’s flowers into the fire to clear the way for Penderel and the Wavertons to sit down is hilarious.
The dinner scene: “Have a potato.” Enough said.
Porterhouse’s monologue: Porterhouse tells the story of how his late wife Lucy was mocked by the women at the party, and it’s easy to feel sympathy for him. He clearly still loves his wife, and misses her dearly. “My Lucy.” Aw.
Sir Roderick: Philip and Margaret find Sir Roderick bedridden and weak, but that doesn’t stop him from giving them some important information. The centrepiece of the film, as far as I’m concerned.
Saul reveals himself: I can’t say too much about this scene, because it’s the climax of the film, but trust me when I say it’s brilliantly executed and played by Douglas and Wills.

Best Bits (Harry)

The Old Dark House is a very funny film, but also a very stylish one. I could easily pick another dozen best bits, but for now, these are some of my standouts moments:

Right at the start, Philip’s “I’VE NEVER BEEN IN A BETTER TEMPER IN MY LIFE” as they are drenched, lost and alone in the pitch black night is hysterical. The whole opening is a ten out of ten, really.
Rebecca’s speech to Margaret is pure atmosphere. You really don’t know how far it might go, whether that be violent or disturbing. It is an oppressive vibe.
Horace blaming Saul’s mad laugh on Morgan is such an obvious lie it’s hard not to laugh.
Margaret’s shadow puppetry is lovely after all the panic.
Morgan lumbering after Margaret straight after ramps things right back up again. Karloff channels The Creature here.
Roderick clearly having a woman’s voice is fun. It adds to the already queer feel of the film as a whole.
The hand on the staircase is a cracking moment - and straight from the text. What a spine-chilling reveal.
Saul’s manipulation of Penderel is very tense. In fact, much of this scene with him is added in for the film and I really love it. He has mad eyes and rapid movements that set you on edge immediately.

Overall Thoughts (Jamie)

I love The Old Dark House. More than Dracula. More than Frankenstein. More than The Mummy. And I really wasn’t expecting to, because I didn’t think it was possible.

This incredible horror comedy pushes boundaries, gender norms and traditions of the time to the very edge, even for a pre-code film. And it’s just a fucking fun time.

Here’s my score using Harry’s system:

Total score: 18/23

Overall Thoughts (Harry)

Man, I love this film. I first watched it in an old-school university lecture hall, and it was the ideal introduction. The mystery embedded in the story, the constant storm, the set, the characters. It’s all pure vibes. I knew when Jamie B. sent out that open invite to cover Universal horror classics that this was the one for me, and that I wanted to collaborate on it. It is a really fun and easy watch, and a decent adaptation too. The cast largely commit to the camp and overdramatic feeling, and stick to it. Truly, this movie feels like an important and underrated horror.

As a final note, it feels worth mentioning the plot similarities to Jane Eyre (1847), which is a very enjoyable read, and part of why this story works as well as it does. Gothic all the way down.

Total Score: 17/23.

Conclusion/Outro (Harry)

Thanks so much to Jamie for giving me the opportunity to write about this. I’ve had such a great time revisiting The Old Dark House, and collaborating with a brilliant writer once again!