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Such a frustrating disappointment

best movie i've ever seen.

A Masterpiece!

Exactly the movie you think it is, but not the movie you want it to be.

Devil Doll is one of those movies that, while it will never be confused with a masterpiece of horror, is effective in its on little way. Though the story is often predictable, it's creepy enough to provide a few chills along the way – not scary, just creepy. Ventriloquist dummies like Hugo have always given me the heebie-jeebies and when you give them a soul, a mind of their own, and the ability to move (not to mention a knife), it's the stuff of nightmares as far as I'm concerned. Finally, in the case of Devil Doll, the ending really works as the villainous Great Vorelli gets what he deserves. Though nowhere near as effective as the ending of Freaks, it's very reminiscent of that film's finale. On the downside, Devil Doll would have probably worked better at 60 minutes instead of 81. Not that there's an abundance of obvious padding, but there's hardly enough material to fill the extra 20 minutes. The acting is nothing to write home about. While Bryant Haliday is effectively villainous, William Sylvester is a complete bore as the film's hero. One thing that I really don't understand is the need for Vorelli to wear the fake beard. I mean no one was chasing him so why the need for a disguise? It's not really a criticism, just an odd observation. Lastly, it would have helped Devil Doll had the script given Yvonne Romain a little more to do. Her talents are wasted walking around in a trance for most of the movie.Devil Doll is another of those films that I've seen both with and without the Mystery Science Theater 3000 commentary. And while I enjoy the movie on its own, it makes for a really good MST3K episode. Some very funny riffs and some solid host segments. I'll rate the movie a 5/10 but give it a 4/5 on my MST3k rating scale.

Hey, what's with the ridiculously low and miserable rating of not even 3 out of 10? I ventured into this film without checking its title page on IMDb, which is something I rarely ever do, but now I'm glad, otherwise I probably would have passed an missed out on a fairly engaging, original and chilling little 60's gem. Perhaps the low rating is linked to the fact that this is another film that undeservedly received the feared and notorious MST3K-treatment, which tends to hugely influence viewers opinions, but it really isn't such a bad film albeit admittedly a bit derivative and suffering from a lack of budgetary means. But at least the film is atmospheric. Like clowns, ventriloquist dummies have some sort of uncanny aura surrounding them and the more you look at them, the scarier they become. Director Lindsay Shonteff ("The Million Eyes of Sumuru") clearly realized this as well, because he stuffed his film with extended still shots of dummy. It's strangely unsettling because you're staring at something lifeless, yet you somehow feel like he's staring back at you. The script of "Devil Doll" also centers on another eerie surreal phenomenon apart from ventriloquism, namely hypnotism. The Great Vorelli has a successful act where he hypnotizes people on stage and then ends with his dummy Hugo, a dummy that can not only talk and pull menacing grimaces, but also walk all by himself! The skeptical journalist Mark English is intrigued with the act, and whilst he's trying to unravel the mystery of Hugo's ability to walk, Vorelli has set his mind on conquering the heart and soul of Mark's enchanting fiancée Marianne, whether she wants to or not. The revelation of the mysterious dummy's secret is ingenious and I don't think I've seen this type of twist in any other movie ever before. The acting performances are good, notably Bryant Haliday's sinister role of the Great Vorelli is memorable, there's a constant atmosphere of tension and Hugo is one scary Pinocchio! If you come across this film, please do ignore the bashing reviews and low scores and give it a chance. It may be not nearly as good as other wicked-dummy movies, like "The Great Gabbo" and the downright brilliant short segment in the horror anthology "Dead of Night", but it's unquestionably a worthwhile 60's horror effort.

This is one of my favorite British films that was released in the year 1964. The plot features some people named Marianne Horn (Yvonne Romain), her boyfriend and reporter Mark English (William Sylvester) investigating this hypnotist named The Great Vorelli (Bryant Haliday) that they believe is really using mirrors and smoke for his shows. What Mark is really wondering about is Vorelli's walking talking Dummy named Hugo (whom really did live and was portrayed by actor David Charlesworth).To make a story short, Vorelli keeps his dummy in a cage and basically has sex with his assistant. Afterwards he tells Hugo to kill her, which he does, and then Mark goes to find out what really is Vorelli's deal. He finds out that the dummy had a human soul, from this guy named Hugo Novick (David Charlesworth), in the 1940's. Mark races to save his girlfriend, only to find out that the dummy, having had it with not being able to eat ham and drink wine, has attacked and transpired his soul into Vorelli's body and Vorelli's soul went into the dummy body.Very good film that was made in the 60's, even if it was black and white it was good cheesy fun. Just as good as Dead of Night (1945) and it spawned a great beginning for Magic (1978), Child's Play (1988) and Puppet Master (1989). It's a good Saturday night movie. Devil Doll isn't to be confused with the similarly titled film Devil-Doll, which was made in 1936. Devil Doll 1964 was directed by Linsey Shonteff.

Movie is an Associated Film Dist. Corp. release of a Galaworld Ldfilm-Gordon Films production, directed by Lindsey Shonteff, and tells the story of a ventriloquist who is outwitted by his dummy. This plot has been done better many times before including the "Twilight Zone's" version, "The Dummy," The Great Gabbo (1929)," and "Michael Redgrave's segment in the chilling, "Dead Of Night" from 1949. You know it's going to be bad, though, because picture takes place in England, and the headliner is the pale, gaunt, pock-mocked loser from "The Projected Man," Bryant Haliday, the poor man's Anthony Cardoza. Also on the menu is the pudgy, laconic William Sylvester, who has appeared "Riding With Death" and "Gorgo," as well as "2001: A Space Odyssey." Haliday plays "The Great Vorelli," a ventriloquist with a tacky beard and a dummy named Hugo that can perform amazing routines, such as walk towards the audience and eat ham. The act basically consists of Vorelli berating the dummy and arguing with it like a second-grader (saying things like "The sawdust in your stomach will explode," and "You're ugly."). Vorelli then ingratiates himself into a rich family with an above-average-looking daughter (for Britain), Marianne (Yvonne Romain). He hypnotizes her to fall in love with him, which makes her "boyfriend," reporter Sylvester, pout like a little baby. Here's my gripe with that. It seems in a lot of these films, the hero is someone who doesn't deserve it. Like the reporter is "Teenagers From Outer Space," among others. They get the girl with no effort, while the villain, or alien, in some cases, in much more interesting. Here, Vorelli is homely, deeply disturbed and psychotic, but he's light years more intriguing than the dullard Sylvester - which makes me wonder what a normal-looking woman would see in him in the first place. And as much pawing and groping as Vorelli does to his assistant, the brief make out scene between Sylvester and Romain is nauseating beyond description. Anyway, Sylvester, with the help of several pug-ugly Brits, discovers that Hugo is embodied with the spirit of a murder victim from Berlin. However, Sylvester's obsession with Hugo borders on the perverted and makes you want to slap him around, especially during the scene where he sneaks in a room to fondle it. A lame fight at the end (not unlike the one that concludes "Santa Claus Conquers The Martians"), however, causes Hugo to become "alive" and take Vorelli's place, while the audience is left feeling sad and empty, not unlike Vorelli's sex life or Hugo's cranium.