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The Haunted Strangler
The Haunted Strangler
The Haunted Strangler
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The Haunted Strangler
Theatrical release poster
Directed byRobert Day
Written byJohn Croydon (as "John C. Cooper")
Jan Read
Based onan original story by Jan Read
Produced byJohn Croydon
executive
Richard Gordon
StarringBoris Karloff
Jean Kent
Elizabeth Allan
Anthony Dawson
CinematographyLionel Banes
Edited byPeter Mayhew
Music byBuxton Orr
Production
company
Distributed byMetro-Goldwyn-Mayer (U.S.)
Eros Films (U.K.)
Release dates
  • 11 May 1958 (1958-05-11) (United States)
  • 11 October 1958 (1958-10-11) (United Kingdom)
Running time
80 minutes
CountryUnited Kingdom
LanguageEnglish
Budget£80,000[1]
Box office$650,000 (on double bill)[2]

The Haunted Strangler (also known as Grip of the Strangler and originally titled The Judas Hole) is a 1958 British horror film directed by Robert Day and starring Boris Karloff, Jean Kent, Elizabeth Allan, and Anthony Dawson.[3]

It was adapted from "Stranglehold", a story which screenwriter Jan Read had written specially for Karloff, and was shot back to back with producer Richard Gordon's Fiend Without a Face (1958), with both later being released as a double feature by MGM.[4]

Plot

[edit]

In 1860, Edward Styles is accused of being the notorious Haymarket Strangler, who brutally killed five women by partially strangling them with one hand before stabbing them to death. Styles, who lacks the use of one arm, is tried and executed for these crimes. As his coffin is nailed shut, an unknown onlooker slips a knife into it.

Twenty years later, James Rankin, a novelist and social reformer, launches a private investigation to prove that Styles was innocent and would not have been convicted if adequate legal representation had been provided for him at trial. Police official Burk permits Rankin to examine the case evidence. Of note, the Strangler murdered his fifth victim, a dancer named Martha Stuart, at the sleazy Judas Hole music hall, where singer Cora Seth and other witnesses noticed his disabled left arm as he fled the scene; the Strangler's knife was never recovered; and a doctor named Tennant conducted the autopsies on all five Strangler victims as well as Styles, and then fell ill during Styles' burial.

Tennant becomes the focus of Rankin's inquiry. At the hospital where Tennant was brought, Rankin learns the doctor had been diagnosed with a severe nervous breakdown and was going to be institutionalized, but he and his nurse both vanished without a trace. Rankin takes possession of Tennant's abandoned personal effects, which include a journal containing unusually detailed descriptions of the Strangler's victims and a surgeon's kit with a missing knife. At the Judas Hole, Rankin gleans from Cora that she never saw the Strangler's face, and that Tennant was a regular patron who made unwanted advances towards Martha Stuart. Rankin deduces that Tennant was the real Haymarket Strangler, and suspects that his breakdown was precipitated by him disposing of his knife, the symbol of his homicidal compulsion, in Styles' coffin in a lucid moment when he was overwhelmed by guilt.

Rankin next goes to the Newgate Prison cemetery and surreptitiously exhumes Styles' body. Finding the knife amid the bones, he takes hold of it and undergoes a transformation that contorts his face, paralyzes his left arm, and alters his personality. Rankin returns to the Judas Hole and kills Cora's protege, and as he departs, Cora recognizes him as the Haymarket Strangler. Alternating between himself and the Strangler persona, Rankin murders other women before finally coming to realize that he was Tennant all along. His wife Barbara confirms this, revealing that she was his nurse and fell in love with him. Believing that Tennant had been misdiagnosed, Barbara absconded with him and helped him build a new life as the writer James Rankin. Distressed by these revelations, Rankin reverts into the Strangler, kills Barbara, and runs off. When he returns home the next day to the news that his wife was murdered, Rankin confesses that he is the killer, but no one believes him and he becomes hysterical.

Rankin is committed to Coldbath Fields, a traumatic experience that exacerbates his instability. He again assumes the Strangler persona and escapes after disfiguring a guard and murdering a kitchen maid. Back at his house, Rankin regains his senses before he can kill his daughter Lily. Confronted by the police, he leaps out a window and makes his way to Newgate Prison, where he tries to rebury the knife. The police pursue Rankin there and shoot him. In his last moments, Rankin declares that he and the knife both belong in the cemetery.

Cast

[edit]

Production

[edit]

The film was originally going to be called Stranglehold and was written by Jan Read, a friend of Boris Karloff's. He gave the script to producer Richard Gordon, who was looking to make a horror movie in the UK. Gordon set up Amalgamated Productions with Charles Vetters and had started providing U.S. funding and talent for eight pictures shot in Britain.[citation needed]

Amalgamated went into partnership with British producer John Croydon and negotiated a deal with distributor Eros Films, who agreed to guarantee 70% of the film's budget after delivery of the final product. The remaining 30% of the budget was provided by the National Film Finance Corporation.[1]

The agreement with Eros was conditional on Amalgamated providing a second film, so Gordon arranged to make Fiend Without a Face back to back with a different cast and director. MGM picked up both films for release.[1] Gordon later estimated the cost of the two movies together was approximately £80,000, excluding the costs of imported American stars.[5]

Read's script was rewritten by John Croydon, who brought in the idea of making the killer a Jack the Ripper-type murderer and having the transformation be physical (in the original draft, Rankin was only possessed by the killer's spirit).[1]

The film was shot in Walton Studios in Surrey.[1] Karloff was paid $27,500 for four weeks, with an option to make a second film for Amalgamated.[5]

Executive producer Richard Gordon and interviewer Tom Weaver talk about the making of The Haunted Strangler on the audio commentary of the Criterion DVD, available as part of the 2007 box set Monsters and Madmen.

Reception

[edit]

Box office

[edit]

According to MGM records, this film and Fiend Without a Face together earned $350,000 in the U.S. and Canada and $300,000 elsewhere, resulting in a profit to the studio of $160,000.[2]

Critical

[edit]

The Monthly Film Bulletin wrote: "This ludicrously improbable plot, which peters out into a series of tediously repetitive chases, is used as an excuse for the now familiar ingredients of the current horror trend. Karloff and Jean Kent play with well-intentioned earnestness, and Vera Day is as bright as ever in her brief sequences."[6]

In British Sound Films: The Studio Years 1928–1959 David Quinlan rated the film as "average", writing: "Gruesome horror film, quite scary."[7]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Haunted Strangler

View on Grokipedia
from Grokipedia
The Haunted Strangler (also known as Grip of the Strangler) is a 1958 British directed by Robert Day, starring as author James Rankin, who investigates the wrongful execution of Edward Styles, known as the Haymarket Strangler, twenty years earlier and becomes possessed by the killer's spirit, leading him to commit new murders. Set in Victorian London, the story centers on Rankin's obsession with proving Styles' innocence after discovering new evidence, including a cursed knife that triggers his transformation into a violent alter ego. The film features supporting performances by Jean Kent as Cora Seth, Elizabeth Allan as Barbara Rankin (Rankin's wife), and Anthony Dawson as Superintendent Burk, with additional cast members including Vera Day and Leslie Perrins. Produced by John Croydon for Amalgamated Productions, The Haunted Strangler was shot back-to-back with the period horror (also starring Karloff) on a modest budget, utilizing effective black-and-white by Lionel Banes to create atmospheric tension. Running 78 minutes in its original release, the film premiered in the United States on May 11, 1958 and exemplifies late-1950s British genre cinema's blend of supernatural possession and crime drama.

Story and themes

Plot

In 1860, Edward Styles, a one-armed man accused of being the Haymarket Strangler, is publicly hanged for the murders of five women, whom he allegedly partially strangled with his one good hand before stabbing them to death. During the burial, an unidentified onlooker places a in Styles' coffin as it is interred in the prison graveyard with quicklime. Twenty years later, in 1880 , novelist James Rankin becomes obsessed with proving Styles' innocence, believing the execution was a due to the poor defense provided. With reluctant permission from Inspector Burk, Rankin begins investigating the case by reviewing old evidence, including visits to the now-abandoned where Dr. Richard Tennant, the physician who performed the autopsies on the victims, once worked before suffering a nervous breakdown and disappearing. Rankin's inquiry leads him to the Judas Hole, a seedy where several victims performed as dancing girls, and he interviews Cora , the sole survivor of an attack by . Cora recounts seeing a well-dressed man, whom she identifies as resembling Dr. Tennant, lurking near one of the victims on the night of her murder. Suspecting Tennant's involvement, Rankin exhumes Styles' coffin from the graveyard and discovers the hidden among the remains, which he takes as evidence. Upon handling the , Rankin experiences a supernatural possession: his demeanor shifts, his face contorts into a grotesque grimace, and his left arm twists into a crippled state mimicking the Strangler's deformity, while fragmented memories of the crimes flood his mind. Under the Strangler's influence, Rankin begins committing new murders, starting with strangling and stabbing Cora's young protégé in a dark alley, then killing two more women in similar fashion, including one encountered at the Judas Hole. His wife, Barbara, notices his increasingly erratic behavior and physical changes, eventually confessing that Rankin is actually Dr. Tennant, whom she rescued from a burning hospital 20 years earlier; she had cared for him during his amnesia, helping him assume a new identity to escape his past guilt over the original crimes. The possession intensifies, leading Rankin to murder Barbara in a fit of rage before confessing the truth to Inspector Burk, though Burk dismisses it as delusion. Committed to Coldbath Fields asylum, Rankin transforms again and escapes, racing to Newgate Prison in a final attempt to rebury the cursed scalpel and end the cycle; in the ensuing confrontation with pursuing police, he is shot dead while climbing the walls.

Themes

The central theme of The Haunted Strangler revolves around supernatural possession as a for guilt and repressed violence, where the James Rankin's transformation after handling a cursed scalpel symbolizes the of latent evil from the past. This manifests physically and psychologically, blurring the line between rational control and uncontrollable urges, as Rankin's face contorts and his arm twists upon contact with the artifact, evoking the unleashing of buried trauma. The film further explores themes of injustice and within , particularly through the case of the executed Edward Styles, which underscores class biases in the legal system where the poor face disproportionate punishment without fair recourse. Rankin's investigation into Styles' conviction highlights how influences judicial outcomes, reflecting broader societal critiques of inequality in . Motifs of duality and permeate the narrative, as Rankin grapples with his civilized, upper-class persona against the emergence of the primal "Strangler" identity, drawing on Gothic horror traditions of split personalities akin to Dr. Jekyll and Mr. Hyde. This internal battle represents a repression gone awry, where forgotten memories resurface to fracture the self, emphasizing the horror of psychological fragmentation. A subtler commentary on roles emerges through the portrayal of female characters, whose vulnerability in the fog-shrouded streets of amplifies the terror of the Strangler's attacks on women, positioning them as symbols of societal fragility and domestic concern amid male-driven violence.

Cast and crew

Cast

The principal cast of The Haunted Strangler features as James Rankin, the writer-investigator determined to uncover the truth behind a past execution. portrays Cora Seth, the survivor witness who holds crucial insights into the original crimes. plays Barbara Rankin, James's devoted wife who supports his quest. appears as Superintendent Burk, the skeptical police official who challenges Rankin's theories. Supporting roles include Vera Day as Pearl, a music hall performer and murder victim whose fate underscores the film's tension. Tim Turner as Dr. Kenneth McColl, the doctor revealed as the true killer in flashbacks. Diane Aubrey as Lily Rankin, James and Barbara's daughter. Peggy Ann Clifford as Kate, a household servant. Additional supporting performers include Dorothy Gordon as Hannah, Desmond Roberts as Dr. Johnson, and Derek Birch as the Hospital Superintendent. Michael Atkinson appears uncredited as Edward Styles, the executed man seen in flashbacks. Casting highlights include Boris Karloff's portrayal of James Rankin in both his rational investigative state and a contrasting possessed demeanor, showcasing the actor's range in embodying psychological duality.

Crew

Robert Day directed The Haunted Strangler, marking his feature film debut and establishing his early reputation in British horror cinema. Day, who had previously worked as a camera operator, brought a focus on atmospheric tension and character-driven suspense to the production. The screenplay was co-written by Jan Read and John Croydon, with Read also credited for the original story titled "Stranglehold." Read, a friend of star , developed the narrative around themes of possession and wrongful conviction, while Croydon (billed as John C. Cooper) adapted it for the screen to suit the low-budget constraints. Producers John and Richard Gordon managed the film's modest £70,000 budget, coordinating a back-to-back shoot with another Karloff project to maximize efficiency. , experienced in British independent productions, handled executive oversight, while Gordon, known for horror B-movies, secured distribution deals that enabled the film's international release. Lionel Banes captured the Gothic atmosphere through stark black-and-white visuals, employing to enhance the film's Victorian-era dread and shadowy possession sequences. Editor paced the film's suspenseful rhythms, ensuring tight cuts during key transformation and chase moments to build escalating tension without excess footage. Buxton Orr composed the score, using minimalist orchestral cues to underscore the and mounting in scenes of influence. John Stoll designed the sets evoking Victorian and a foreboding , creating immersive period details on a limited . Makeup artist Jimmy Evans crafted the subtle yet striking transformations for the lead, relying on practical techniques like denture removal to achieve distorted facial effects.

Production

Development

The screenplay for The Haunted Strangler originated as an original story titled "Stranglehold" by writer Jan Read, who was a personal friend of star ; Read tailored the concept specifically for Karloff before passing it along to producer Richard Gordon. The script was co-written by Read and John Croydon (credited under the John C. Cooper), developing the narrative as a possession-themed horror rooted in Victorian-era crime investigation without adapting from any prior . Production was spearheaded by Richard Gordon through his company Amalgamated Productions, established to capitalize on the burgeoning British horror genre following the success of Hammer Films' early Gothic revivals like The Curse of Frankenstein (1957). Gordon, working alongside associate producer John Croydon, secured financing through a co-production deal with distributor Eros Films, which covered a significant portion of the £80,000 budget to enable Karloff's involvement and target the international market. This low-budget approach emphasized Karloff's established horror pedigree from roles like the Monster in Frankenstein (1931), positioning him as the lead to draw audiences to the film as a star vehicle. Pre-production advanced rapidly in 1957, with the script finalized after Karloff's approval and revisions to suit the possession elements, allowing for efficient planning amid Gordon's dual-project schedule. To maximize resources and market appeal, Gordon decided to pair The Haunted Strangler with Arthur Crabtree's Fiend Without a Face (also 1958) for a double-bill release, sharing production efficiencies while the films utilized different casts and directors.

Filming

for The Haunted Strangler took place primarily at in , , , in late 1957. To optimize costs, the production was scheduled back-to-back with the period horror , allowing shared resources and facilities under producer Richard Gordon's Amalgamated Productions. This efficient approach was essential given the film's modest budget of approximately £80,000. The majority of the film was shot on studio sets designed to evoke Victorian-era London, including recreated street scenes, the grim interiors of , and the domestic spaces of James Rankin's home. These controlled environments enabled director Robert Day to craft the film's atmospheric tension through careful lighting and set design, minimizing the need for on-location work. While specific exterior locations beyond the studio are not extensively documented, the production relied on these sets to immerse audiences in the foggy, oppressive world of 1880s London. Technical challenges arose from the limited special effects budget, particularly in depicting James Rankin's possession and physical transformation into the Haymarket Strangler. achieved the eerie change through practical techniques, including the removal of his false upper and lower right molars to distort his face, sucking in his lower lip, lowering his left eyebrow, and using his left hand to simulate a paralyzed — all without heavy prosthetics. Director Day complemented these methods by emphasizing shadows, quick cuts, and Karloff's expressive acting to build horror, avoiding reliance on graphic gore or elaborate effects. This resourceful approach not only stayed within financial constraints but also heightened the psychological to the story. The shooting schedule prioritized sequences that amplified , such as the nocturnal scenes, which were filmed at night to capture authentic darkness and , enhancing the film's gothic mood. Day's direction focused on performance-driven tension, leveraging Karloff's nuanced portrayals to convey inner turmoil over visual spectacle. These choices reflected the production's lean operation, wrapping efficiently while maintaining narrative impact.

Release

Theatrical release

The film premiered in the United States on May 11, 1958, distributed by as a paired with to appeal to audiences seeking low-budget horror . In the , the film was released on October 11, 1958, handled by Eros Films and marketed under the alternative title Grip of the Strangler to underscore its horror and elements. Marketing efforts emphasized Boris Karloff's star power and the supernatural possession theme central to the plot, with promotional posters featuring dramatic imagery of Karloff alongside taglines like "King of the Monsters! KARLOFF IN HIS NEW HORROR HIT!" The campaign targeted B-movie enthusiasts, focusing on drive-in theaters and second-run venues to maximize reach among genre fans. Internationally, the film saw a limited rollout across beginning in 1959. Non-English markets received dubbed versions to accommodate local audiences. An earlier , The Judas Hole, was considered during development but ultimately dropped in favor of The Haunted Strangler. The theatrical version runs 78 minutes and received an Approved rating from the of America, though its depictions of violence and strangulation made it suitable primarily for mature audiences.

Home media

The film was first released on in the via budget tapes from labels such as MPI Home Video, often as part of horror collections featuring . A significant upgrade came in 2007 with its DVD debut in the United States as part of the Criterion Collection's Monsters and Madmen (Region 1), which included a restored high-definition digital transfer of the film alongside , , and . The set offered bonus materials such as audio commentary tracks by producer Richard Gordon and film historian Tom Weaver (with additional remarks from on The Haunted Strangler), new video interviews with director Robert Day and actors Francis Matthews and , and archival interviews with producer Richard Gordon. In the , a DVD edition under the alternative title Grip of the Strangler was released around 2006 by independent distributors, providing access to the film for European audiences. Special editions have paired it with in double-feature formats on DVD, reflecting their original theatrical billing, though such releases are typically from budget labels without extensive extras. As of 2025, The Haunted Strangler streams for free on ad-supported platforms like and Fawesome in the United States, and is available with subscription on and the Criterion Channel in select regions. No official Blu-ray edition has been released to date, though the film's availability continues through digital restorations in the aforementioned formats.

Reception

Box office

The Haunted Strangler was produced on a budget of approximately £80,000. Paired with for its U.S. release by , the double bill achieved a worldwide gross of over $650,000, recouping the films' combined £130,000 budget and generating a modest profit. In the UK, distributed by Eros Films under the title Grip of the Strangler, returns were more modest owing to a delayed rollout and rivalry from Hammer's high-profile Gothic productions like (1958).

Critical reception

Upon its initial release in 1958, The Haunted Strangler garnered mixed critical reception, with reviewers noting its atmospheric ambitions but faulting its execution as a derivative Gothic horror. The New York Times characterized the film as possessing "little more life than a chestful of old Victorian costumes," attributing the lack of vitality to the screenplay by Jan Read and John C. Cooper, which lacked real spirit, and to Robert Day's flat direction that left the production mired in "synthetic posturing." Karloff's portrayal of a Jekyll-and-Hyde figure who uncovers his prior murderous identity—leading to further crimes before his capture—was viewed as competent but constrained by the material's overall inertness, with the narrative resolving in a predictable manner as surviving characters, including his daughter, plan to relocate to Canada. While praised in some quarters for its low-budget tension and Karloff's commanding screen presence during possession sequences, the consensus highlighted a clichéd script, predictable twists, and unoriginal Gothic elements, positioning it as a serviceable B-horror entry rather than an innovative work.

Legacy

Cultural impact

The Haunted Strangler exemplified the low-budget British horror productions of the late , contributing to the emerging wave of genre films that blended with elements like possession. Produced by Richard Gordon for Amalgamated Productions, its modest success helped pave the way for additional horror efforts, such as (1958) and (1959), which capitalized on similar atmospheric, period-set thrillers. In Boris Karloff's career, the film represented a key transition following his Universal Monster era, showcasing his versatility in nuanced, sympathetic roles that delved into moral ambiguity and inner torment. Karloff's portrayal of the possessed writer James Rankin reinforced his enduring as a tragic figure haunted by darker impulses, solidifying his influence on character-centric horror narratives during the decade. The picture gained visibility through double-bill pairings with contemporary sci-fi horrors like , common in theatrical releases that boosted B-movie accessibility. Its alternate title, Grip of the Strangler, echoed motifs in pulp serials and Victorian crime tales, appearing in retrospective horror compilations that highlighted genre experimentation.

Modern reevaluation

In the , The Haunted Strangler has garnered renewed interest among horror enthusiasts for its blend of Gothic elements and psychological possession themes, often highlighted in retrospective reviews. A analysis on Moria Reviews described the film as an early entry in the English horror cycle, praising its sober historical realism in depicting Victorian contrasts between upper-class society and seedy underbelly, though noting the plot's descent into implausibility. Fan communities on platforms like reflect this cult appeal, with an average user rating of 3.0 out of 5 based on over 2,700 ratings, appreciating Boris Karloff's as a sympathetic investigator turned killer. Scholarly examinations have positioned the film within British horror's production history, particularly its use of Walton Studios in Surrey, England, as a key location for low-budget Gothic productions in the late 1950s. In Boris Karloff: A Critical Account of His Screen, Stage, Radio, and Recording Work (1997, with later editions), the film is reevaluated as a significant late-career vehicle for Karloff, exploring themes of wrongful execution and split personality that prefigure later psychological horror narratives, such as possession-driven stories in The Exorcist (1973). Fan revivals have included screenings at genre festivals like Horror-on-Sea in the 2010s and 2020s. The film aired on the horror hosting show on on May 31, 2025, introducing it to new generations of viewers. Home media releases, such as the 2007 Criterion Collection's Monsters and Madmen set, include tracks by producer Richard Gordon, writer Tom Weaver, and , which emphasize director Day's efficient handling of atmospheric tension and practical effects within budget constraints. On , as of November 2025, the audience score stands at 44% based on 250+ ratings, indicating a polarized but enduring appreciation for its vintage horror style. Modern critiques acknowledge outdated portrayals of roles, with female characters often relegated to victimhood or domestic support, but commend the film's exploration of social injustice through its wrongful conviction motif, resonating in discussions of miscarriages of justice. A 2023 analysis noted how societal blindness to the true killer amplifies themes of institutional failure, offering a proto-psychological lens on guilt and possession that feels relevant amid contemporary true-crime reevaluations.

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