It would be best to be informed that this is a comedic parody of a melodrama prior to viewing this film, which is why this film provides a master of ceremonies! This black and white gem is filmed and presented as almost a stage play. Watch the overplayed roles, corny mannerisms, off-stage audience applause for the hero, as well as playing straight into the camera shots. Filmed in 1940, it features a huge cast of character actors/actresses popular at the time. Each actor/actress really shine in the continuation of the type roles that they previously had made them famous. Toss in a touch of slapstick pie-throwing fun, too! It is brilliant in it's subtle humor. Margaret Hamilton's facial expressions are priceless - and even SINGS. Charming and half-witty fun!
15 Reviews
Go ahead and twirl that mustache. You know you want to!
mark.waltz28 July 2015
Warning: Spoilers
Off-screen audiences hiss. Cats arch their back and hiss. Even a skunk turns its back on the villain and hisses. (I can just imagine the skunk thinking, "I'm not going to waste my spray on the likes of you since you already stink enough!") That won't stop the nefarious Alan Mowbray (appropriately named Silas Cribbs) from wearing all black and doing his best Tod Slaughter impression in being deliciously nasty. "I was born a villain and shall die a villain!", he exclaims, and certainly, he is. This is the type of comedy that must be taken with a grain of salt. If you know nothing about it going in other than its cast of excellent character performers, you will be reluctant to embrace it. But if you are familiar with those ancient melodramatic plays known as "barn stormers", various "Penelope Pitstop" style villains and Tod Slaughter movies, you will have a grand old guignol time.
In "Murder in the Red Barn", the cast of characters were introduced before the movie started, ending with Slaughter's introduction as an evil squire who murdered a lovely farm girl whose virginity he had just taken away from her. Mowbray's Squire Cribbs is not a murderous fiend, but he has the same look about him, and the lecherous way he looks upon sweet, poor Anita Louise is not without evil intentions. Her widowed mother (Margaret Hamilton) takes the last of their savings to try and pay off as much of the mortgage has she can, but Mowbray has swindled their late landlord's son (Richard Cromwell) out of his rightful ownership of the property. After Cromwell and Louise are married, Mowbray nefariously manipulates Cromwell into becoming a drunk. Years later, the poor and now motherless Louise (raising a daughter on her own while Cromwell travels from town to town, from tavern to tavern as "the drunkard") while Mowbray continues to make his move to do more nefarious deeds before the law catches up with him.
Played with tongue in cheek, this also includes a pie throwing sequence with Buster Keaton, Hugh Herbert, a couple of wacky cops and pie vendor Charles Judels thrown in. Everybody is directed to speak their lines in a stagy manner that was the norm in theater before the advent of talking pictures. The acting isn't believable, but in keeping in line with the film's theme, it is totally appropriate. Watch Hamilton's opening scene on the rocking chair (complete with swishing cat's tale) and her reaction to Cromwell who has taken a drink thanks to Mowbray's insistence. Introduction by comical Billy Gilbert gets the audience into the swing of things, but unfortunately, there isn't a curtain call which would have been perfect for this style of storytelling.
In "Murder in the Red Barn", the cast of characters were introduced before the movie started, ending with Slaughter's introduction as an evil squire who murdered a lovely farm girl whose virginity he had just taken away from her. Mowbray's Squire Cribbs is not a murderous fiend, but he has the same look about him, and the lecherous way he looks upon sweet, poor Anita Louise is not without evil intentions. Her widowed mother (Margaret Hamilton) takes the last of their savings to try and pay off as much of the mortgage has she can, but Mowbray has swindled their late landlord's son (Richard Cromwell) out of his rightful ownership of the property. After Cromwell and Louise are married, Mowbray nefariously manipulates Cromwell into becoming a drunk. Years later, the poor and now motherless Louise (raising a daughter on her own while Cromwell travels from town to town, from tavern to tavern as "the drunkard") while Mowbray continues to make his move to do more nefarious deeds before the law catches up with him.
Played with tongue in cheek, this also includes a pie throwing sequence with Buster Keaton, Hugh Herbert, a couple of wacky cops and pie vendor Charles Judels thrown in. Everybody is directed to speak their lines in a stagy manner that was the norm in theater before the advent of talking pictures. The acting isn't believable, but in keeping in line with the film's theme, it is totally appropriate. Watch Hamilton's opening scene on the rocking chair (complete with swishing cat's tale) and her reaction to Cromwell who has taken a drink thanks to Mowbray's insistence. Introduction by comical Billy Gilbert gets the audience into the swing of things, but unfortunately, there isn't a curtain call which would have been perfect for this style of storytelling.
Old-fashioned send-up!
JohnHowardReid21 November 2017
Warning: Spoilers
This send-up of an old-fashioned morality play, way out-stays its welcome, despite the fact that it only runs for 67 minutes. There is a limit to how many custard pies can be thrown into how many faces before the whole idea loses its appeal, even if it actually had conjured up some appeal in the first place. It failed to conjure up very little in the way of impact with me from the very start.
Extremely broad and way-over-the-top "acting" did not help either. The whole cast is infected, but the worst offenders were Alan Mowbray, Billy Gilbert, Buster Keaton and Hugh Herbert. All of them played on just the one over-the-top note and believe me, it got rather tiresome when repeated over and over for 67 minutes. Dull, totally uninspired direction by Edward F. Cline did not help either.
The movie is no longer protected by copyright and is available on a number of DVDs. The best, both for quality and price is easily the Alpha disc, although the Grapevine Video includes a short bonus, "Two Lame Ducks", starring a spluttering Billy Gilbert and Vince Barnett. This two-realer is also over the top, but it does present one or two mildly amusing moments.
Extremely broad and way-over-the-top "acting" did not help either. The whole cast is infected, but the worst offenders were Alan Mowbray, Billy Gilbert, Buster Keaton and Hugh Herbert. All of them played on just the one over-the-top note and believe me, it got rather tiresome when repeated over and over for 67 minutes. Dull, totally uninspired direction by Edward F. Cline did not help either.
The movie is no longer protected by copyright and is available on a number of DVDs. The best, both for quality and price is easily the Alpha disc, although the Grapevine Video includes a short bonus, "Two Lame Ducks", starring a spluttering Billy Gilbert and Vince Barnett. This two-realer is also over the top, but it does present one or two mildly amusing moments.
Solid Parody Feature
Snow Leopard21 March 2005
This is a solid, if often silly, parody feature that spoofs the conventional melodrama genre. Most of it is played in a style that is far from subtle, and not all of it works smoothly, but it has a decent cast and some other good features. The broad parody works well most of the time, almost poking fun at itself as it pokes fun at melodrama conventions.
The story has the familiar setup of a helpless widow and her daughter who find themselves at the mercy of an unscrupulous villain, played by Alan Mowbray, and who seek help from a virtuous but naive young heir. Mowbray does a pretty good job of parodying melodrama villains, and Buster Keaton has some very good moments, although his role is smaller. Keaton's timing and his appreciation of gag possibilities are still there. Some of the other performances are a little plain, but at least some of the time that may have been by design.
There are some slower stretches, but there are also some sequences that are pretty amusing. It builds up to a suitably tangled finale that has some good moments, although it is unfortunately marred by one inappropriate gag. Overall, it's uneven, but at least worth seeing for those who have an interest in its era and genre.
The story has the familiar setup of a helpless widow and her daughter who find themselves at the mercy of an unscrupulous villain, played by Alan Mowbray, and who seek help from a virtuous but naive young heir. Mowbray does a pretty good job of parodying melodrama villains, and Buster Keaton has some very good moments, although his role is smaller. Keaton's timing and his appreciation of gag possibilities are still there. Some of the other performances are a little plain, but at least some of the time that may have been by design.
There are some slower stretches, but there are also some sequences that are pretty amusing. It builds up to a suitably tangled finale that has some good moments, although it is unfortunately marred by one inappropriate gag. Overall, it's uneven, but at least worth seeing for those who have an interest in its era and genre.
Tod Slaughter was Funnier
richardchatten19 October 2020
This review will be roundly slapped down as 'Not Helpful'. But with the best will in the world this teaming of the director of 'Never Give a Sucker an Even Break' and the cameraman of 'The Wild Bunch' with a dream cast never takes flight, and sadly outstays it's welcome. 'Hellzapoppin' managed the same idea with far more success the following year.
Had it been just part of a longer film - like the melodrama 'The Drunkard' in 'The Old Fashioned Way' - it might have been quite diverting; but doesn't sustain a full-length feature, even one clocking in at barely an hour. Buster Keaton is utterly wasted, again, although Margaret Hamilton is briefly permitted to display a surprisingly attractive singing voice.
Had it been just part of a longer film - like the melodrama 'The Drunkard' in 'The Old Fashioned Way' - it might have been quite diverting; but doesn't sustain a full-length feature, even one clocking in at barely an hour. Buster Keaton is utterly wasted, again, although Margaret Hamilton is briefly permitted to display a surprisingly attractive singing voice.
Utterly silly and that's the point
jjnxn-131 December 2013
This absurd parody of Victorian melodramas watched in the right frame of mind is very enjoyable. The cast attacks the material with the proper degree of whimsy playing it broadly, the only reasonable approach to something designed to be this silly.
The director and studio were wise to cast character actors with a talent for either farce or slapstick and then give them free rein to dig into the ridiculous situations with aplomb. The biggest surprise is probably Anita Louise, an busy and very lovely actress until her retirement but not especially known for her comedic skills. In this she jumps right into the mood of the proceedings playing a character that can only be described as an imbecile in her naiveté. By playing it straight and never winking at the audience she makes the woman an object of sympathy no matter how dumb she seems.
If you start watching this expecting anything but an overblown bit of ridiculousness you will either be disappointed or irritated.
The director and studio were wise to cast character actors with a talent for either farce or slapstick and then give them free rein to dig into the ridiculous situations with aplomb. The biggest surprise is probably Anita Louise, an busy and very lovely actress until her retirement but not especially known for her comedic skills. In this she jumps right into the mood of the proceedings playing a character that can only be described as an imbecile in her naiveté. By playing it straight and never winking at the audience she makes the woman an object of sympathy no matter how dumb she seems.
If you start watching this expecting anything but an overblown bit of ridiculousness you will either be disappointed or irritated.
Not a bad idea...if the movie was only about 15 minutes long....
planktonrules23 October 2011
"The Villain Still Pursued Her" is a clever idea. It's a parody of the very old fashioned morality plays that were popular in traveling shows and early silent movies. It all is an attempt to indoctrinate the viewer about the evils of liquor and the characters are very one-dimensional--much like the characters from "Dudley Do-right". It has all the clichés--the evil guy in a top hat who is dressed in black (Alan Mowbray), the sweet fair-haired damsel (Anita Louise) and the good man who is turned bad--all thanks to demon liquor (Richard Cromwell). Along for the ride are Billy Gilbert, Margaret Hamilton and Buster Keaton. As for Keaton, there really is no reason for him to be in this film and he's 99% wasted.
This is a cute idea. BUT, and this is important, it could have worked well as a 10-20 minute short. But after a while, it all becomes VERY tedious because it's a one idea comedy--and the idea just isn't that good and the material is stretched VERY thin. The deliberately broad acting is cute at first--and horribly annoying as the film progresses. Not worth your time. I kept expected a payoff to make it all worthwhile...and it never came. Tedious.
This is a cute idea. BUT, and this is important, it could have worked well as a 10-20 minute short. But after a while, it all becomes VERY tedious because it's a one idea comedy--and the idea just isn't that good and the material is stretched VERY thin. The deliberately broad acting is cute at first--and horribly annoying as the film progresses. Not worth your time. I kept expected a payoff to make it all worthwhile...and it never came. Tedious.
Just an Old-Fashioned Film Spoof
wes-connors4 October 2010
Introduced by bombastic Billy Gilbert, the story begins in old New York, where moustache-twirling lawyer Alan Mowbray (as Silas Cribbs) is trying to get control of the estate recently inherited by handsome young Richard Cromwell (as Edward Middleton). The lascivious Mr. Mowbray is also interested in harp-playing beauty Anita Louise (as Mary Wilson), who finds her true love is Mr. Cromwell. After the lovebirds wed, Mowbray tries to gain control over Cromwell with alcohol...
This broad parody of old-time melodramas may initially be taken as a bad movie, but it's a surprisingly clever spoof, for the time.
Unfortunately, the film stays in a mildly amusing mode for most of the running time, and depends on a mediocre pie-in-the-face for its comedy climax. With their tongues pressed firmly in cheek, Cromwell and Mowbray make swell scenery-chewing, eyebrow-raising impressions. As Ms. Louise's mother, marvelous Margaret Hamilton matches the melodramatics. While miscast as Cromwell's boyhood pal, silent legend Buster Keaton is a bonus. Farm animals offer deadpan counterpoint.
******* The Villain Still Pursued Her (10/11/40) Edward F. Cline ~ Richard Cromwell, Alan Mowbray, Buster Keaton, Anita Louise
This broad parody of old-time melodramas may initially be taken as a bad movie, but it's a surprisingly clever spoof, for the time.
Unfortunately, the film stays in a mildly amusing mode for most of the running time, and depends on a mediocre pie-in-the-face for its comedy climax. With their tongues pressed firmly in cheek, Cromwell and Mowbray make swell scenery-chewing, eyebrow-raising impressions. As Ms. Louise's mother, marvelous Margaret Hamilton matches the melodramatics. While miscast as Cromwell's boyhood pal, silent legend Buster Keaton is a bonus. Farm animals offer deadpan counterpoint.
******* The Villain Still Pursued Her (10/11/40) Edward F. Cline ~ Richard Cromwell, Alan Mowbray, Buster Keaton, Anita Louise
Painful satire of the theatrical melodramas from days of yore
dbborroughs16 January 2006
This movie is a painful viewing experience. I don't know if its because the humor has all been ripped off by later films or because its just awful, either way I can't recommend this film to anyone.
the idea of the film is that its a film version of the melodrama that things like Dudley Do Right makes fun of. With "Boo Hiss Villains" who twirl their mustaches and Heroes you cheer on. Indeed the film begins with Billy Gilbert saying that the audience should feel free to boo and cheer as they see fit. The problem is this sort of thing is so close to parody now (and even then) that making fun of it, unless you're very clever, doesn't work, or rather doesn't work for more than say a 15 minute sketch. This film runs out of steam wall before that and we are left with a film that is neither fish nor, or rather just foul. yes it works occasionally but I'd be hard pressed to tell anyone to sit down and watch this film in order to find them.
Avoid this film.
the idea of the film is that its a film version of the melodrama that things like Dudley Do Right makes fun of. With "Boo Hiss Villains" who twirl their mustaches and Heroes you cheer on. Indeed the film begins with Billy Gilbert saying that the audience should feel free to boo and cheer as they see fit. The problem is this sort of thing is so close to parody now (and even then) that making fun of it, unless you're very clever, doesn't work, or rather doesn't work for more than say a 15 minute sketch. This film runs out of steam wall before that and we are left with a film that is neither fish nor, or rather just foul. yes it works occasionally but I'd be hard pressed to tell anyone to sit down and watch this film in order to find them.
Avoid this film.
Underrated
williamkenny-621292 February 2021
Hollywood killed the Stage Melodrama Too
jayraskin122 June 2012
Hollywood movies killed the type of melodramatic social message play that was popular in American theater at the turn of the 20th century. In the teens and twenties, it had both copied it and satirized it to the point that it lost its audience. It simply could not be appreciated by a more sophisticated audience weened on sophisticated Hollywood productions.
It would seem that 1940 would be too late to be satirizing a style of theater and acting that had gone out of style 15 or 20 years before. Still, the majority of Americans past 30 had grown up with such fare and could appreciate the satire. Today, of course, this style of theater and acting is unknown except for the theater and film buffs. 21st Century audiences can only find this film a bit boring and very bizarre.
There are three ethereal performances in this movie - Anita Louise, Margaret Hamilton and Richard Cromwell look like they are in a trance. Joyce Compton is also hilariously effective as a deranged woman. Billie Gilbert and Hugh Herbert do their typically funny bits.
Like me, most people who watch this movie will probably do so to see Buster Keaton. One has to feel a bit disappointed that Keaton just delivers his lines, but hardly does anything really Keatonesque. Yet the whole film, because it was directed by Keaton's friend, Eddie Cline, has a Keatonesque quality to it.
It is hard to imagine the style of acting portrayed in this movie being a real and popular style. The actors seem to avoid all facial expression after reciting their lines. Yet this was considered good acting before the Stanislavsky Method revolutionized theater at the dawn of the 20th century.
This movie should be especially studied by actors and directors for its record of a long gone acting style. It may not be as funny as it once was, but it is more fascinating with the passage of time.
It would seem that 1940 would be too late to be satirizing a style of theater and acting that had gone out of style 15 or 20 years before. Still, the majority of Americans past 30 had grown up with such fare and could appreciate the satire. Today, of course, this style of theater and acting is unknown except for the theater and film buffs. 21st Century audiences can only find this film a bit boring and very bizarre.
There are three ethereal performances in this movie - Anita Louise, Margaret Hamilton and Richard Cromwell look like they are in a trance. Joyce Compton is also hilariously effective as a deranged woman. Billie Gilbert and Hugh Herbert do their typically funny bits.
Like me, most people who watch this movie will probably do so to see Buster Keaton. One has to feel a bit disappointed that Keaton just delivers his lines, but hardly does anything really Keatonesque. Yet the whole film, because it was directed by Keaton's friend, Eddie Cline, has a Keatonesque quality to it.
It is hard to imagine the style of acting portrayed in this movie being a real and popular style. The actors seem to avoid all facial expression after reciting their lines. Yet this was considered good acting before the Stanislavsky Method revolutionized theater at the dawn of the 20th century.
This movie should be especially studied by actors and directors for its record of a long gone acting style. It may not be as funny as it once was, but it is more fascinating with the passage of time.
A Keaton Classic You May Not Have Seen
joemigliore24 March 2002
I hate melodrama, but had reservations about this satire of the genre nonetheless. I thought it would be one of those films Buster Keaton only appeared in order to garner a paycheck. My qualms quickly diminished as I watched this unheralded classic. I have watched it a few times since I first obtained a copy, and it never fails to make me laugh throughout. Keaton is superb, as is the rest of the cast, and the comedy stands up very well. As long as we have soap operas, "The Villain Still Pursued Her" will always be funny!
W.C. Fields Wrote This!!
lpeterson214 March 2013
Warning: Spoilers
At first viewing, I thought this was the worst film made in history, with the bad acting and mannerisms. But when I watched it it was so similar to W.C Fields a Fatal Glass of Beer. The movie is genius. Once I got past the first 15 minutes i realized it was a parody. All the actors played it like a 10th grade high school play.. When the wife the said the line" lips that touch liquor shall never touch mine, i knew they weren't putting down the use of alcohol, they were making fun of prohibitionists. Maybe because i love classic movies - i get it. and if i lived during that time I would probably be howling with laughter like audiences back then were.
Poor Buster
Michael_Elliott10 March 2008
Villain Still Pursued Her, The (1940)
** (out of 4)
Strange but dull comedy about a villain who's in love with a married woman. In order to steal her he turns the husband into an alcoholic so that he won't be able to support her or their son. It's strange seeing how alcoholism was looked at back in the day but this film gets zero laughs, although the strangeness keeps it watchable. Not even Buster Keaton can get any laughs in his small role.
Sadly Keaton had to appear in a lot of small budget stuff like this and even more sad is that this is one of the better films that he did.
** (out of 4)
Strange but dull comedy about a villain who's in love with a married woman. In order to steal her he turns the husband into an alcoholic so that he won't be able to support her or their son. It's strange seeing how alcoholism was looked at back in the day but this film gets zero laughs, although the strangeness keeps it watchable. Not even Buster Keaton can get any laughs in his small role.
Sadly Keaton had to appear in a lot of small budget stuff like this and even more sad is that this is one of the better films that he did.
Puts the P in Parody
omnipotentbill30 June 2021
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
