CheerupSilver Very Cool!!!

WasAnnon Slow pace in the most part of the movie.

Brenda The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Janis One of the most extraordinary films you will see this year. Take that as you want.

Paul Evans I enjoyed this unusual B movie, it's basically 75% domestic murder story, 25% supernatural thriller. Jean inherits a house, moves her drunken no good partner David in, and he meets someone else, a voluptuous blonde, Valerie Stockley. Valerie persuades David to kill his wife, but Jean is protected by a poltergheist, wonderfully named Patrick by the potty Irish maid Mrs O'Brien.It's unusual to say the least, I can't think of many supernatural murder mysteries, but it works. Patricia Bainton appeared in some cracking films in the 50's and 60's, my favourite being The Third Alibi, and once again she's pretty good. Sandra Dorne is pretty fabulous it has to be said.I'm struggling to believe it was made in 1960, it looks like it was should in the forties, production values are pretty poor, although the fire is pretty well done.

jamesraeburn2003 Jean Linton (Patricia Dainton) is married to an unreliable, heavy drinking and would be author called David (Tony Wright) who drinks what little money he earns reviewing books and subjects his wife to a life of living in private hotels and owing rent to all and sundry. But, everything changes when Jean is left an old fashioned country house called High Winds by her Aunt Grace who has unexpectedly passed away. The house is supposedly haunted by a poltergeist that the elderly Irish housekeeper Mrs O' Brien (Anita Sharp Bolster) refers to as 'Patrick' saying that it was very protective of Aunt Grace and brought misfortune to those who tried to harm her. Jean is inclined to believe that it actually exists since furniture starts to move around of its own accord, but David is sceptical dismissing it as 'supernatural nonsense' and his only interest is selling the house to make a quick buck, but his wife flatly refuses. David begins an affair with the attractive Valerie Stockley (Sandra Dorne) who he has hired as a typist to work on his novel and her divorce is about to come through. David proposes to her and she accepts, but Jean poses a problem so the pair plan to murder her in order to be able to sell the house for the £6000 that local property developer and owner Maurice Lumley (Sam Kydd) has offered them for it. When David attempts to get Jean drunk and push her down the shaft of the house lift, the cage slams shut of its own accord. Next, he attempts to poison her hot milk, but the doorbells start ringing continuously and extremely loud when she goes to sip from it and causing her to spot that it has been poisoned. She pours it into the plants when David goes to check on the doorbells and, the following day, she visits her lawyer in London but is unable to convince him that her husband is trying to do her in. After all, who would believe her story about a poltergeist intervening to save her life from her husband's machinations? While she is away, David and Valerie make love in the house behind her back and dear old Patrick has even more tricks -and deadly ones - up his sleeve resulting in terrible consequences...A modestly effective little ghost chiller from quota quickie stalwart Montgomery Tully that seems extremely primitive today in terms of its special effects. The hauntings themselves are very basic and would not have stretched the technicians creative skills too much; in part, no doubt, to keep within the constraints of what must have been a very tight budget and hectic shooting schedule. They include a mirror shattering itself when Valerie looks into it to tie her headscarf, an armchair moving by itself (off screen mainly) and ink spilling all over David's paperwork. Hardly marrow freezing stuff although the latter features an effective little moment where David attempts to blame Mrs. O'Brien for the accident and she replies: "He (Patrick) must be very angry with you about something." A nice touch of little oldie worldy superstition there which, in this case, turns about to be frighteningly true. The performances are very good all round, it has to be said, with Tony Wright utterly convincing as the layabout 'writer' who is more interested in making a quick, easy buck than earning a decent living and Sandra Dorne who was a great femme fatale in Wolf Rilla's superior b-pic Marilyn nearly a decade previously is excellent here and works very well with Wright in their scenes together. Patricia Dainton who was the excellent leading lady in Montgomery Tully's outstanding The Third Alibi - released the same year and made by the same production company as this one, Grand National - plays her part as the wife in danger adequately and is believable as the honest, hard working girl who is lumbered with a layabout husband who is content to do nothing except live off her money while having an affair and plotting to kill her so he can get his hands on her valuable property. The climax in which the poltergeist exacts vengeance on Wright and Dorne while they are alone in the house during a thunderstorm is competently done and Tully succeeds in getting some tension and suspense from it. Praise must also go to Philip Martell's excellent music score, which adds production value and a sense of creepiness to the proceedings. All in all, The House In Marsh Road is enjoyable if you don't expect too much and makes for pleasant, undemanding entertainment as well as being a nice reminder of an era of British filmmaking that has long disappeared.

Leofwine_draca THE HOUSE IN MARSH ROAD is a low budget British potboiler with a supernatural edge. The storyline is a predictable one about a seemingly normal husband and wife who move into a new home. Unbeknownst to the wife, the husband has a jealous lover who plans to murder the wife so that she can take her place. However, a supernatural force in the house has other ideas.It's quite unusual to see a film like this which plays up the thriller aspects of the storyline while downplaying the supernatural elements. Certainly there are no special effects or anything here, just a few spooky scenes of plates smashing and the like. As a film, THE HOUSE IN MARSH ROAD feels quite dated in comparison to the likes of THE HAUNTING which came out three years later, but it has elements of interest for the British genre fan. Patricia Dainton gives a typically assured performance as the put-upon wife, and Sam Kydd is reliable in support as always. Hardworking director Montgomery Tully keeps things moving nicely along as well, so at least you can say that it's never boring.

kevin olzak 1960's "Invisible Creature" was one of the numerous foreign titles (British, Japanese, Mexican, West German) issued straight to television in the US by American International Pictures, who even hired home grown talent to supply them with product (Larry Buchanan in particular-"Zontar the Thing from Venus"). The American copyright is 1964, and the film debuted on Pittsburgh's Chiller Theater on May 8 1965 (paired with 1959's "A Bucket of Blood"), shown again July 23 1966 (paired with 1958's "It! The Terror from Beyond Space"), and finally on August 2 1969 (paired with 1958's "Terror in the Haunted House"). Constantly shown throughout that decade, few of these have survived the test of time to be revived anymore. Today, "Invisible Creature" is deservedly obscure, as it is very low key, with a tiny no name cast (Sam Kydd a welcome presence) and nonexistent budget. Also, the new American title rather gives the game away, the original British version called "The House in Marsh Road." Patricia Dainton stars as Jean Linton, the wife of a once successful author (Tony Wright) now drinking more than he writes, who inherits a two story country cottage inhabited by a ghost. Once the husband's wandering eye settles on an attractive widow (Sandra Dorne) who prefers the company of wealth, he begins to plot a way to bump off his unknowing spouse so he can rid himself of her ancestral home. What the pair don't know is that the never seen spectre appreciates Jean far more than they do, watching over her while she remains under its roof. The exotic Sandra Dorne would meet a similar fate in 1963's "Devil Doll." I've always held a certain fondness for this one even though it's fairly predictable, but those who never viewed it back then may find it unrewarding.