Stometer Save your money for something good and enjoyable

Micitype Pretty Good

Glimmerubro It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

capkronos Based on the real life "Red Barn Murder" of 1827, which was something of a sensation at the time that led to a well-publicized trial / execution, popular stage plays and even merchandising of murder scene memorabilia (!), this also introduced film-goers to British (over)actor Tod Slaughter, who'd first made a name for himself playing villains on stage before transitioning over to quota quickies, starting with this low- budget effort. In the small village of Polstead, naive farmer's daughter Maria Marten (Sophie Stewart) is torn between two men; Carlos (Eric Portman) and Squire William Corder (Slaughter). Though Carlos is a gentleman truly in love with Maria, he's also a poor gypsy with low social standing in the community. The Squire, on the other hand, is a respectable magistrate. Maria unwisely chooses the latter option, little realizing the type of guy she's really getting involved with. When she finds herself pregnant, Corder - who has racked up some major gambling debt - rejects her and instead plans to marry a socialite because he'll be getting a large dowry in the process. Maria's father (D.J. Williams) finds out about the pregnancy and kicks her out of the house, forcing her to turn to Corder for help. Instead, he lures her into a barn, shoots her and then buries her. Corder attempts to use Carlos as a scapegoat, but unfortunately he dropped the murder weapon into the grave with the body...I read up on the real case before watching and this actually does seem to stick with the basic facts, though the motive and certain other details have been altered. The performances are pretty good (Slaughter only hams it up in a couple of isolated scenes) and it's well made; albeit entirely predictable. Instead of the usual medium static shots and long takes typical of most low budget films from this time, this surprisingly has a good number of close-ups shots, which are smoothly edited with the master shots. It's also noteworthy for being a bit seedier than what one would see in most Hollywood productions from the era. The heroine isn't some virginal innocent (though apparently she's depicted here as being much more wholesome than the real Maria), but this also has some dialogue ("You think I'd soil my hands with a common village slut?") that'll have you raising your eyebrows.

kai ringler I just found this a joy to watch, first off you have a typical plot of 2 men going for the same girl, but it's different from many other movies because this girl will not live to say who killed her,, she fancies a young Gyspsy, but also an older wealthy gentleman takes a liker to the much younger Maria and is smitten with her, I love the part in the movie where the girl comes home , and she doesn't think that her father is home yet, her mother asks her whats wrong at first the young girl doesn't say , but the all knowing mother get's it out of her, and the young girl starts to confess what's been bothering her,, a man, who she is in love with , but doesn't want her anymore or so she thinks. well then the father walks in just at the right moment and says never-mind I heard everything,, he disowns her .. and kicks her butt to the curb for disgracing the family name... what a lovely movie.. recommend to anyone who likes these old b/w movies.

Chase_Witherspoon Compact, entertaining thriller concerning a pompous aristocrat who, following a brief moment of ecstasy with an impressionable young farmer's girl, discovers he's responsible for an unwanted foetus. Tod Slaughter plays the immoral Mr Corder, under financial pressure due to gambling, being threatened by his dalliance now up the duff and in the mood to tell all to her father, who'll surely kill Corder for sullying the family name. What to do but a murder in the red barn.Well told, straightforward without complications or surprises, just a decent little tale (based on a true event) that showcases stage actor Slaughter's adept villainy, and that of younger Eric Portman in one of his first pictures as the chivalrous Gypsy enamoured by Sophie Stewart's damsel in distress. The cast is immaculate and the inimitable producer George King delivers his usual pint-for-a-pound pulling no punches despite limited resources.While it's 1935, there's no disguising the atrocious nature of the title crime, and this element along with Slaughter's portrayal of the corpulent, depraved and cowardly ogre is more than just a little unsettling at times. The scene in which he's goaded to "dig, dig" is quite chilling, and the conclusion thereafter is entirely fitting. Worth a look.

Woodyanders Caddish, but smooth and charming Squire William Corder (a wonderfully lively and aggressive portrayal by Tod Slaughter) is infatuated with lovely, young, but poor Maria Marten (an appealing performance by the fetching Sophia Stewart). Corder makes love to and impregnates her. Corder than murders Maria and hides her body in a red barn so he can wed an unattractive, but wealthy woman in order to pay off his substantial gambling debts. Director Milton Rosner, working from a simple, yet still absorbing script by Randall Faye, relates the engrossing story at a sturdy enough pace, maintains a grim and serious tone throughout, and delivers a tasty depiction of the period rural setting. Of course, Slaughter's galvanizing four-sheets-to-the-wind unrestrained theatrics are a total rip-snorting blast to behold; he plays the supremely odious, sneaky, and duplicitous Corder with a fiendish lip-licking relish that keeps the picture humming throughout. The supporting cast is likewise solid, with stand-out contributions by Eric Portman as Maria's smitten and passionate gypsy suitor Carlos, D.J. Williams as the stern Farmer Thomas Marten, Gerald Tyrell as the dim-witted Timothy Winterbottom, and Ann Trevor as the sassy Nan. The thrilling climax is staged with real flair and the ending concludes on a satisfying note with harsh justice being properly served. George Stretton's primitive, but passable cinematography boasts a few nice fades and dissolves. Leo T. Croke's spare score also does the trick. Worthwhile viewing for Tod Slaughter fans.