Derry Herrera Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Dana An old-fashioned movie made with new-fashioned finesse.

Cristal The movie really just wants to entertain people.

Witchfinder General 666 Before seeing "Malpertuis" (1971), I was already a fan of Belgian director Harry Kümel for his mesmerizing Lesbian Vampire film "Les Lèvres Rouges" (Daughters of Darkness) from the same year, which, in my opinion, is the best film of its kind. I had great expectations for "Malpertuis", because of my admiration of Kümel as a true master of atmosphere, because I had heard the film was Kümel's greatest, and because of Orson Welles stared in it. Even so, this instant favorite of mine surpassed my greatest hopes and totally blew me away. "Malpertuis" is a bizarre and hypnotic mixture of surreal Gothic Horror, macabre family Drama, mad science and Mythological Fantasy, that no cineaste should allow himself (or herself) to miss. Actually, I'd like to correct myself. The film cannot really be narrowed down by attributing it to a particular Genre as such, as it is simply one of the most unique films ever made. In one sentence: The film has everything, and more than that. "Malpertuis" tells one of the most fascinating stories ever brought to screen, and does so in a brilliantly moody manner. The film maintains an incomparably rich, eerie and foreboding atmosphere that becomes more intense with each passing minute. The sublime atmosphere comes along with breathtaking settings, brilliant cinematography, complex and demented characters and fantastic acting performances. The most fascinating thing about "Malpertuis", however, is the story, which is one of the most incomparable and gripping I ever saw in a film. "Malpertuis" is not a film that can properly compared to anything else. It is like a macabre, haunting yet incredibly beautiful Fever Dream.The film is an adaptation of a novel by Jean Ray, which I haven't yet read. I sure intend to, though, as the plot of "Malpertuis" is one of the most unique and fascinating stories that have ever been filmed. Great praise therefore also belongs to writer Jean Ferry. Jan (Mathieu Carrière), a young sailor, comes to his hometown and, without wanting to, visits the family mansion owned by his creepy and mysterious uncle Cassavius (Orson Welles). The mansion is named Malpertuis, its inhabitants are (equally creepy) relatives who hate Cassavius, but do everything to brown-nose him in desire of his inheritance. A mysterious palace of a mansion, bears fascinating and terrifying secrets... Though this is only a vague description of the film, I shall stop at this point. I do not want to give too much away, as the story is gripping and fascinating from the very beginning and should be experienced rather than read in a review. The sceneries are some of the greatest, most awe-inspiring I have ever seen. The house Malpertuis alone is one of the most fascinating settings ever in cinema. The atmosphere is overwhelming, rich and uncanny throughout the film. Each character is fascinating, most of them creepy and demented, the performances are sublime. Orson Welles is, of course, great as always, an I would personally even consider "Malpertuis" one of the greatest films this brilliant actor has been part of in his awe-inspiring career. The other performances are also magnificent. Mathieu Carriere is great as Jan, and other actors, such as Jean-Piere Cassel, Victor Rilla, Michel Bouquet and particularly Charles Jenssen are also brilliant in their roles. Particular praise has to go to the stunningly beautiful Susan Hampshire, who is wonderful in her triple role, playing three different female leads. The rich atmosphere profits from the Flamish (Dutch) language and an ingenious score. The film was once reportedly cut to shreds, watching the uncut 126 minute director's cut is absolutely essential. "Malpertuis" is a film that simply cannot be praised enough. This ingenious and absolutely unique masterpiece is one of the most fascinating cinematic experiences one can have, both atmospherically and story-wise, and must not be missed by anybody interested in cinema. As said above: It has everything, and a lot more. 10/10

Paul Andrews Malpertuis starts as a sailor named Jan (Mathieu Carriere) arrives at his home port only to discover his old house has collapsed, he ends up in a seedy bar where a fight breaks out & he is knocked unconscious. When he comes round Jan finds himself being tended to by his sister Nancy (Susan Hampshire) in his Uncle Quentin Cassavius' (Orson Welles) imposing old house called Malpertuis, they are also joined by various other family members & obscure relatives as Cassavius is not far from death & he has ordered a reading of his will. The will states that his immense fortune will be split equally but the inheritors can never leave the grounds of Malpertuis ever again which sounds a bit harsh to me but there you go, anyway it becomes apparent to Jan that all is not right at Malpertuis & that it's hiding some bizarre secrets that Jan finds himself in the center of...This French, Belgium & German co-production was directed by Harry Kumel & didn't do much for me but that could be down to other factors besides the film at hand, you see apparently there's a long 2 hour odd version of Malpertuis & shorter cut down version & since the one I watched yesterday ran for less than 90 minutes I think it's safe to assume I'm missing out on a lot so maybe you should bear that in mind although what the extra footage is & whether it would have improved my viewing experience I don't know. The slightly slow going script by Jean Ferry was based on a novel by Jean Ray & has a certain loose strange bizarre quality to it, while it's an odd film for sure I have to say I always knew what was going on & it's not abstract or weird in that sense but weird in the sense of what's happening on screen. Who was the supposed killer? Is this answered in the longer version? Were little stitched together people really running around in the attic? Again, is this made clear in the longer version? I don't know which is why I feel awkward about either praising or rubbishing the film because I'm not quite sure where the version I saw stands, going by the 90 minute cut alone I thought it was OK & nothing more although I must admit I quite liked the twist 'come out of absolute nowhere' ending which I deify anyone to see coming...Director Kumel does a good job & there are plenty of memorable scenes plus the film has a great atmosphere about it. The house itself is nice & imposing & there's some cool production design. I wouldn't call any of it particularly scary though, there's not much gore apart from a bit when an Eagle eats someone's guts & someone gets a nail through their head although it's off screen.Technically Malpertuis is good, impressive even with decent production values. Since the film was made in Dutch & dubbed into English it's hard to tell about the acting although maybe Welles spoke English during filming & he stands head & shoulders above everyone else in the cast & puts in a memorable performance for the brief screen time he gets.Malpertuis, also known as The Legend of Doom House, is an OK horror/mystery/thriller but I can't help but feel I wish I'd seen the long version because as it stands I think I'm missing out on a potentially better film. However the version I watched is the version I watched & that's all there is to it, as it stands it's a decent enough film but it didn't do much for me & I doubt I'll be in any hurry to see this 90 minute cut again anytime soon.

Bob Taylor My hopes were high for this film. I'd seen Kumel's Le Rouge aux levres/Daughters of Darkness, the most stylish vampire/kinky sex movie ever made, and I love its sly wit and arresting visuals. Malpertuis is not as effective, alas, and I put that down to an overly-complicated story weighed down by too many classical references taken from the novel. Lampernisse, standing in for Prometheus, just doesn't work as a character. Why introduce the Erinyes, the three women who punished offenders against blood kin, when they don't advance the story? It's not an easy thing to watch a movie with a handbook of classical mythology by your side.Having said this, I will add that it is wonderful to watch film that shows a great visual sophistication (crowd shots that evoke an Ensor painting, or that wonderful twisting staircase in the house) and never needs F/X. We have lost a great deal by the subservience to CGI today.

Eponine-6 Based on a novel by Jean Ray, Malpertuis is a "haunted" house, unescapable by those who live in it. Characters hiding their true nature, disguised as a "family" to which sailor Jean-Jacques returns unwillingly. Susan Hampshire plays 3 different characters beautifully, and Orson Welles is the perfect actor to play the dominating shadow. The film has an unreal, nightmarish atmosphere, and goes far beyond the scope of the book. Malpertuis is a labyrinth whose secrets are kept behind locked doors, and reveals itself as the film reaches its climax. We come to realize that the mind has as many labyrinths as the house itself. Full of mythology, dimly lit and spooky as dreams use to be ("what is life but a dream?"), Malpertuis is a cult. Jung would have loved it.