The Maze (1953) – Review

The 1950s 3D craze produced some very fun offerings, Vincent Price’s House of Wax being one of the best entries, but one that is often overlooked came out the same year as that Price classic, William Cameron Menzies’ The Maze.

Our tale begins with Gerald MacTeam (Richard Carlson), a dashing Scotsman who is engaged to the lovely Kitty Murray (Veronica Hurst) but after learning of his uncle’s death he is forced to rush off to his ancestral castle in the Scottish Highlands. After hearing nothing back from her absent fiancé for six weeks, and feeling a little jilted, she receives a telegram stating that Gerald is breaking off her engagement. Alas, Kitty is not the type of heroine to take such rejection lying down, so she sets off to the spooky MacTeam ancestral home, Castle Craven, with her aunt, Edith Murray (Katherine Emery), determined to uncover the truth behind Gerald’s baffling behaviour. What unfolds is a spine-tingling adventure through dark corridors, shadowy corners, and, of course, the titular maze. And with this outing, director William Cameron Menzies provides us with all the necessary ingredients for a true Gothic horror movie.

Creepy butler? Check.

Upon arrival at the Craven Castle, Kitty and Edith are met with a series of strange and unsettling events, not only is Gerald incredibly curt and rude, ordering them to leave the very next morning, but he also appears to have aged twenty years since they last saw him. Gerald’s increasingly erratic behaviour and the presence of a bizarre creature roaming the grounds at night compounds the mystery. The castle staff, including the loyal but secretive butler, William (Michael Pate) add to the atmosphere of dread with their cryptic warnings and evasive answers.

Secret Passageway? Check.

As Kitty and Edith delve deeper into the mystery, they discover the true nature of the curse that haunts the MacTeam family. The secret lies within the labyrinthine maze adjacent to the castle. In a dramatic climax, the maze reveals its horrifying secret: a monstrous, amphibious creature that is the result of a centuries-old family curse. It turns out the amphibious creature was the actual 200-year-old master of the castle, transformed by a genetic mutation. Gerald, burdened by his family’s dark legacy, has been trying to protect Kitty from the curse, leading to his strange behaviour and the abrupt ending of their engagement. In the end, Kitty’s love and determination help Gerald break free from the curse, resulting in a disastrous confrontation and a bittersweet ending.

A tale as old as time this is not.

Stray Observations:

• The movie opens with a strange fourth-wall-breaking moment with Aunt Edith addressing the audience directly, and while this sort of thing was utilized in Universal’s Frankenstein, in this film, Edith breaks into the narrative several times throughout the picture.
• When Kitty discovers large wet footprints, that look as if left by a web-footed creature, I half expected her to call in the Scooby gang.
• Richard Carlson’s fear of amphibious menaces will become even more grounded a year later in The Creature from the Black Lagoon.
• In the House of Wax the 3D gimmick utilized a carnival type barker launching paddle-balls into the audience, in this film it is two dudes swinging a woman out at us during a dance routine.
• Gerald claims that all Scottish castles had mazes and while that isn’t exactly true Scotland is home to some truly impressive ones, The Traquair Maze for instance, of course, that one wasn’t planted until 1981.
• Since the story of Bluebeard, women have consistently ignored such directives as “Never go in that room” as well as “The west wing is forbidden” and in this case “Don’t go in the maze.”

I hope Jack Nicholson isn’t in there.

The castle itself is a character in its own right, dripping with atmosphere and secrets that beg to be unearthed. It’s safe to say that The Maze is a visual treat, especially considering it was one of the early films shot in 3D, and director William Cameron Menzies, who is known for his masterful art direction, uses shadows and lighting to create atmospheric tension that permeates the entire film. The castle, with its labyrinthine passages and the eerie, fog-laden maze, is practically a character in itself, adding to the film’s claustrophobic and unsettling mood. Menzies makes sure that every frame is filled with Gothic flair and creeping dread.

Well-lit by candlelight.

On the acting front, Richard Carlson is suitably brooding as the troubled Gerald, delivering a compelling performance of a man tormented by an unknown horror, then there is Veronica Hurst who shines as Kitty, her tenacity and courage driving the narrative forward. The not one of the two lovers, Katherine Emery’s portrayal of Aunt Edith should not be overlooked as she adds depth to the story, providing a counterbalance to Kitty’s youthful determination with her own brand of mature skepticism and strength, adding a touch of sophistication and wit, which all goes toward making for a delightful trio of leads who navigate the film’s peculiar turns with aplomb.

“I hope you’re not here to tell me there’s a frog-like creature in this castle?”

Now, let’s talk about the elephant—or should I say the frog in the room. The twist in The Maze is one for the ages, teetering on the edge of absurdity but delivered with such earnestness that you can’t help but go along for the ride. Does it make any kind of scientific sense? Absolutely not, and while the film’s conclusion does take a giant leap into the bizarre, it will leave you simultaneously baffled and delighted. It should also be noted that this is possibly the first film to mention the scientific discipline of teratology, and perhaps the first to discuss the now-discredited concept of prenatal phylogenetic evolution.

Teratology was definitely left out of my high school curriculum.

The frog creature may look goofy – Menzies does his best to limit its screen-time – but the weakest element of the film has to do with Kitty inviting a bunch of friends and relatives, including a doctor, in the hope of discovering what is wrong with Gerald. Sadly, they don’t add much to the plot and are only around to receive the drawing room explanation as if they’d wandered in from an Agatha Christie mystery. It seems rather unnecessary and seems more like something added to expand the film’s rather short run time.

“The frog did it in the library with a lily pad.”

At its core, The Maze explores themes of curiosity, transformation, and the dark secrets that lie within family legacies, not to mention the chances of you becoming a frog. The film cleverly uses the maze as a metaphor for the twists and turns of uncovering hidden truths, both external and internal, and its final revelation, while surprising, is a bold narrative choice that may divide viewers but undeniably cements the film’s place in cult classic territory. While this entry may not be as widely known as other horror classics from the 1950s, it offers a richly atmospheric experience that showcases Menzies’ directorial prowess. Its unique storyline, combined with strong performances and striking visuals, make it a must-watch for fans of Gothic horror and classic cinema.

“Froggy Went A Courtin.”

In conclusion, The Maze is a delightful slice of vintage horror that’s equal parts eerie and eccentric, it is a fascinating piece of cinematic history that offers a glimpse into the horror and mystery genres of the 1950s. Its strengths lie in its atmospheric setting, suspenseful storytelling, and pioneering 3D effects. While it may show its age in some areas, the film remains a captivating watch for fans of classic cinema and those interested in the evolution of horror.