Monsters and Matinees: A protective poltergeist? Only at the ‘House in Marsh Road’

A glass of milk – so calming, so pure.

Mothers give it to their children. Kids leave glasses for
Santa. A husband hands one to his wife to help her relax.

Wait. Take go back to that husband. If you’ve seen the Alfred Hitchcock thriller Suspicion, you’re probably feeling a bit uneasy.

In a famous scene from that 1941 film, shadows and darkness ominously move across the face of actor Cary Grant as he carries a glass of milk upstairs to his wife’s bedroom where she looks anxiously at the drink. Why is she hesitating?

Grant is Johnnie Aysgarth, husband to wealthy Lina McLaidlaw (played by Oscar winner Joan Fontaine). The film has raised the question of whether he’s married her for love or money and his new interest in poison isn’t helping quell Lina’s concerns. No wonder she looks at the milk like it’s on fire – or worse. Her expression mirrors our thoughts: Is there poison in the milk? Is he trying to kill her?

I couldn’t help thinking about that masterful scene after rewatching a similar one in a quiet little black and white horror film called House in Marsh Road (1960).

There’s a hubby, a glass of milk and a wife who also controls the money. But in Marsh Road, there’s no doubt what the husband is up to: Kill the wife, get the house, the money and his mistress. Despite his motives being perfectly clear, the film remains impressively effective and has a fantastic twist that takes it into Monsters and Matinees territory.

* * * * *

I first saw House in Marsh Road three ago after discovering a series of classic movies from a British distribution company called Renown Films. They were newly streaming on Amazon Prime Video (they also stream now on Tubi) and I had never seen or even heard of any of the films except The Trollenberg Terror (1958) which we know in the U.S. as The Crawling Eye.

The movies are low budget, of various genres and without stars. My expectations were low, but it turned out that there were a few gems with creative plots like House in Marsh Road.

The film was a compact 70 minutes and had a fun plot description that caught my interest: A loving wife inherits some property and hopes it will be the fresh start her and her husband need, but the house has other plans.

House in Marsh Road is part thriller, part ghost story. It’s even-tempered for most of its short running time, setting up the plot through its characters who are easy to know because they are who they say they are. And we learn that right away.

* * * * *

The film opens by introducing us to married couple Jean
(played by Patricia Dainton) and David Linton (Tony Wright) as they’re
inspecting a shabby boarding house room. The writing in this scene does a very
good job in quickly telling us about them. David is a struggling author, hard
drinker, a bit of a con man and a player (watch when he walks by a pretty woman)
who lives off his wife. He drinks away the little money she makes at a dress shop,
so they run from rooming house to rooming house when the rent is overdue. “What
a way of living,” she says, clearly losing her patience with him and their way
of life.

In this initial scene, David offers to pay the new landlady upfront,
but she is so impressed by the fact he’s an author and his thick wad of bills,
she says there’s no need to pay now. His fake money works every time.

“Everyone is willing to give you credit, if they think you’ve
got money,” the cocky David says to Jean who isn’t amused.

Luckily their housing situation is about to improve as Jean inherits
a house in the British countryside by the whimsical name of Four Winds, Witherley.  She has a few childhood memories of it, so she
immediately feels at home. In true David fashion, he sees it in terms of dollar
signs yet makes disparaging comments about the old-fashioned place. That’s strike
one, David.

As the happy Jean explores the house, a door slams in
David’s face.  Boom.

Say hello to Patrick, David. That’s what the Irish housekeeper
Mrs. O’Brien calls the ghost who comes with the house (he’s named after her
husband because he’s also “invisible”).

Patrick doesn’t take kindly to humans who put down his home,
nor does he like how David speaks to Jean. As the talkative Mrs. O’Brien shares,
Jean’s aunt called Patrick a poltergeist which suggests he’s a malevolent
spirit, yet she also believed Patrick would never harm her, nor “anyone
belonging to her” which would include Jean. (I wonder why? I would love to see
the prequel to this film.) Patrick will leave others alone – if they don’t make
him angry. (We’re looking at you David.)

For much of the film you can call Patrick a protective
poltergeist or even the playful poltergeist, though I know that’s a
contradiction in terms. Patrick likes to tease Jean by doing things like moving
chairs in hopes she’ll play with him (she does). “Dear Patrick, I do wish you
could stop playing jokes,” she smiles while moving a chair back in place.

With David he’s more like a nasty prankster making a plate
fall off the wall near David when he dismisses the idea that Patrick exists.
(Strike 2, David.)

* * * * *

Jean takes care of the house and the garden. She’s happy. “Four Winds means something to me,” she says and she won’t part with it.

David is miserable, spending his days at the local pub called
The Plough. That’s where an estate agent offers him a hefty sum for the house and
provides the name of a typist to help with his book. Bonus: Mrs. Valerie
Stockley is “quite a dish,” David is told.

And that she is – as well as a soon-to-be-divorcee. Yes, there’s an immediate attraction between the two and if a horror film can have a femme fatale, she’s it. Valerie (played by Sandra Dorne) seems nice enough and is drawn to David, but she’s also tempting, teasing and sees him as a means to an end.

But she has standards. She won’t be
David’s mistress. She also wants to remarry after her divorce and that takes David
out of the running for her affection because he is married. (Sounds like she’s
implying he should do something about that pesky wife.) Oh, and there’s the
issue of money, too.

With Valerie, David says he’s
drawn like a moth to the flame while the selfish cad bemoans his marriage. If only
Jean wasn’t around, he would have money and Valerie.

Be careful, David, Patrick knows
all. (Is this strike 3? I’ve lost count.)

This all plays out in a
straightforward way without filler material, allowing the film to mosey along in
a way that feels a bit unexciting despite the greed and infidelity, but gets us
to where we want to go. (It is a haunted house movie after all.)

For example, ghosts in movies are
usually seen or heard even if it’s only as the whisper of the wind or a shadow
on the wall. Not Patrick. Oh, we see objects move a few times but that’s about
all. Patrick isn’t much of a force in the film until that milk gets warmed up –
then look out. Our mundane little ghost story catapults into full-on
poltergeist mode.

David’s refusal to believe in
Patrick’s existence makes him blind to warning signs like that falling plate
and a mirror that violently breaks as Valerie gazes at her reflection. (The
fact that Valerie returns to the house after that is puzzling. I would run and
never look back.)

Meanwhile, Patrick looks out for
Jean. He throws one of David’s desk drawers and its contents on the floor where
Jean finds a letter signed “V.” It reads: “Darling. Thanks and thanks again for
the twenty pounds, now I know you love me.”

Twenty pounds? The look on Jean’s
face is priceless – she knows David stole it from her and she finds proof that
he did.

There is a great scene when the two
women finally meet while wimpy David hides. We love Jean as she stands up for
herself and demands what has been stolen from her – and it ain’t David. Keep
the hubby and give me back my money, she tells Valerie. Valerie learns what we already
knew: Loverboy is broke and a liar.

But Valerie, it turns out, is in
love and David’s response is to blame Jean for telling the truth.

“I could have murdered her,” he
says.

“Why don’t you,” the angry Valerie
screams at him. “Why don’t you break her silly little neck?”

If we thought Patrick was mad
before, just wait.

* * * * *

Ah, back to that glass of milk. Stir in an overdose of
sleeping pills and it still looks pure and white. No one will know, David
thinks.

The tension builds as David carries the glass upstairs in a darkened hallway and into the room where his wife is resting. Jean’s nerves are on edge by an earlier “near accident” and David urges her to drink the milk and “aspirin.” Her intuition tells her something is off but he’s persistent.

Each time she raises the glass to her lips, strange things
happen in a most unique way. Something is setting off warning bells but is
anyone listening?

It’s a taut, thrilling and clever sequence but it’s not the film’s ending. As strong as it is – I remember sitting on the edge of my seat when I first watched it – it’s not the most fiery and intense scene in the film either.

The true nature of ghosts, like people, eventually comes out. Even the odd poltergeist with a nice side has his limits.

* * * * *

Trivia notes

• Actor Tony Wright who plays David was married to actress Janet Munro (Trollenberg Terror, Darby O’Gill and the Little People).

• Director Marshall Tully didn’t do many genre movies, but his last two films were The Terronauts with Simon Oakland and Terror Beneath the Earth, both made in 1967.

• House in Marsh Road was not theatrically released in the United States, but it was part of the Amazing ’65 syndicated television package released in 1964 by American International Television.

Here’s the link to my original story on Renown Films in my Monsters and Matinees column for Classic Movie Hub.

– Toni
Ruberto for Classic Movie Hub

You
can read all of Toni’s Monsters and Matinees articles here.

Toni Ruberto, born and raised in Buffalo, N.Y., is an editor and writer at
The Buffalo News. She shares her love for classic movies in her blog, Watching Forever and is a writer
and board member of the Classic
Movie Blog Association. Toni was the president of the former Buffalo
chapter of TCM Backlot and led the offshoot group, Buffalo Classic Movie Buffs.
She is proud to have put Buffalo and its glorious old movie palaces in the
spotlight as the inaugural winner of the TCM in Your Hometown contest. You can
find Toni on Twitter at @toniruberto.