JohnHowardReid Although it suffers from excessive length and too much inconsequential dialogue, "Two on a Guillotine" is a reasonably polished and interesting production. It's true, as more than one contemporary reviewer commented, that the film would be considerably improved by tighter editing, including the elimination of the long, unimportant and unnecessary fun-fair and rock 'n roll sequences. There are a number of holes in the plot too, though once it actually gets underway, the story moves so swiftly and with such suspenseful atmosphere that few viewers are likely to notice.Conrad's direction shows skill and flair. Although over-fond of close-ups, he can also build up tension with fluid camera movement and shrewd cutting when the occasion demands. Leavitt's photography, aided by somber lighting, and Loel's spooky, musty sets also contribute greatly to the increasingly claustrophobic mood. Acting is solid too. The one player I didn't like was Dean Jones. He seems too flip and obviously immature (in manner anyway) to capture much audience sympathy or interest. Fortunately, the weight of carrying the film falls chiefly on the attractive shoulders of Connie Stevens. She has a non-singing role here (she does have one song actually but it is not exactly presented on camera). Although handed more dialogue than she can handle effectively, Connie can look adequately frightened and in need of protection. And she can even scream convincingly. She also brings off the difficult feat of making each of her dual roles into a different personality (aided, of course, by realistic make-up).Cesar Romero makes the best of one of the smallest parts of his career, though he is not helped by the theatrical hamminess he often affects in ill-advised close-ups.As to the rest: The ever-reliable John Hoyt, whose precise manner of speech makes him ideal for the role of the lawyer, is confined, alas, to only the one scene. Virginia Gregg has a sizable role; and Parley Baer puffs away competently enough as a publicity agent; but the best performance in the movie comes from Connie Gilchrist whose talkative and slow-witted housekeeper figures in at least one very amusing episode.Yes, the script does display some occasional flashes of wit which, together with Miss Gilchrist's jest, add up to a fair stretch of welcome comedy relief.Max Steiner was obviously impressed by the rabbit. He has composed an engaging little tune for the rabbit to accompany him/her as he/she hops from place to place. It's unusual to find a musician of Steiner's standing associated with a small-budget program picture like this, but his score is well up to his customary artistic heights. I also particularly admire his attractive yet suitably haunting romantic theme. Indeed, the atmosphere of "Guillotine" throughout is considerably enhanced by Steiner's music (which turned out to be his last contribution to the movies. A fitting conclusion to an illustrious career).

Hitchcoc This is one of those films from 1965 that my friends and I went to in our small-town movie theater. I remember it as being full of those jump-out-at-you moments with people in the theater screaming. Connie Stevens is the heir to her father's estate but must stay in the old house for seven days. He is one of the great magicians of his time and has promised, upon his death, to return to the house. The house itself is great fun, full of remnants of his magic world. There is a cabinet that opens when a switch is flipped, allowing a skeleton on a wire to come face to face with the unwary victim. The guillotine in question is part of the act that killed the man's wife and assistant. Stevens then was farmed out and never saw her father again. She also never knew what happened to her mother. It's full of fun stuff with a plot that shouldn't be too closely evaluated. There are two characters that are left out of the will who become suspects. What they really know is always in doubt. Connie Stevens was a cute TV star at the time and well worth watching and makes a good victim. She is stubborn on the one hand and terrified on the other. She can also scream with the best of them. Dean Jones (a long time Disney staple) plays the love interest.

lost-in-limbo "Two on a Guillotine" is an effective little BW chiller when aiming for the scares, but when that's not the case it becomes ponderous (the budding romance between the leads) and it in end too long-winded when it finally reach it very foreseeable conclusion. Still it's entertainingly solid with able performances by the ever delightful Connie Stevens and a charming Dean Jones. They work off each other rather well and the script stays compelling within its mystery building or trivial exchanges. Some slow spots, but never that distracting.In order to inherit her recently deceased father's fortune, his only daughter (who hadn't seen her father in years after an incident during a magic trick featuring her mother in a guillotine) must stay seven nights in his mansion. If not, the fortune is split between his carer and manager. Things soon get weird, but it hard to tell if it's just games or the house is really haunted. Although he did promise to return from the dead.The plot is a typical haunted house mystery (as nothing seems quite like what it is), but it's well presented and exemplary photographed. Director William Conrad mixes successfully the playful elements (an acceptable light-hearted funny bone) with the creepy moments (where it can draw some intensity). Cesar Romero is quite good as the illusionist too. An earnest little spook drama.

dlp As for the gory movies of today, This movie is not as scary as The Nightmare On Elm Street. I wish this movie could be released to video. I haven't seen it, since I was a child. Please put this movie on tape I likewise wasn't fond of Parley Bear, when he played Mayor Roy Stoner, on The Andy Griffith Show.