The Dark at the Top of the Stairs (1960)

It's no definitive masterpiece but it's damn close.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

The film may be flawed, but its message is not.

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

I was fortunate to find someone who'd saved this film on videotape so I could archive it on DVD. It is one of the more profound films to come out of that period and one which stands the test of time.Rubin Flood (Robert Preston) is a victim of progress. At middle-age, he finds himself losing his job because his boss faces bankruptcy. With the coming of automobiles, no one wants the horse-related leather goods he used to sell. Cora Flood (Dorothy McGuire), his wife, is a victim too. Forced to 'make due' with little money even before Rubin lost his job, she must also face the problems of a her daughter, Reenie (Shirley Knight), as she transitions from adolescence to young adulthood ... and the problems of her son, Sonny (Robert Eyer), as he transitions from childhood to adolescence.Times are tough for the entire Flood family. But, they must come to terms with their problems of love, timidity, suspected infidelity, religious prejudices and the changing times in which they live. While the gadgets may have changed, the problems modern families face are no different than theirs ... making this film one that I think should be 'required' of all high school students to view.I rate this film 10 out of 10 ... and rate Warner Brothers 'zero' for taking a 'dog-in-the-manger' attitude toward releasing this gem on home video. Preston, McGuire, Knight, and Eyer ... not to mention Lee Kinsolving (Sammy Golden), Eve Arden (Aunt Lottie) and Angela Lansbury (Mavis Pruitt) all turn in stellar performances in their roles. Kudos go to Shirley Knight who was nominated for an Oscar in the film and Lee Kinsolving, who only appeared in one more film and a handful of TV shows before his untimely death at age 36. And special kudos go to William Inge (stage play writer), Harriet Frank, Jr. (screenplay writer) and Delbert Mann for his masterful direction of an enduring work.

I've only seen this film two times. The first one was when I was a teenager, in the early 60s, and the other one was on TV, not so long ago. As it had happened in the first time, viewing "The Dark at the Top of the Stairs" again gave me the same feeling: in spite of being a very American movie in all its aspects, it has a strong and universal appeal because it deals with people with flesh and blood, not puppets or flat characters. But what I consider appalling is the callousness of movie distributors who haven't so far given us the chance to see and buy this little gem either in VHS or DVD. According to the reliable Halliwell's Film Guide, this was produced by Warner Bros. Why don't they release it now in either of these formats, or, better still, in both? Maybe they lack what this movie is plentifully supplied with, that is, "a real feeling for the people and the place", in Halliwell's words.

Robert Preston will be forever remembered as "The Music Man"-and well he should be. However, he gave many other fine performances, and one of the best was as Rubin Flood in The Dark at the Top of the Stairs.Dwight McDonald once wrote an essay mocking "Ingeland and Kazanistan", and he may have had a point. At the same time, the series of films based on William Inges plays includes some of the best dramas of the fifties and early sixties..still, perhaps the most underrated period of Amnerican film.This film is not just an example of sentimental "americana". Though set in the past, it is not an exercise in simplistic nostalgia. Instead it reveals the sexual repression, Anti-Semitism,and snobbery which poisoned American life in the early part of this century.However, it does not simply look at the past from a standpoint of smug superiority. Instead, it suggests the dignity and inner strength of these people, as they struggled with economic and moral uncertainty.It has a superficially "happy' ending', yet it is still a sad and troubling portrait of the fragility of quotidian existence.

Angela tends to play baddies - and she is good at it. In the Manchurian Candidate she was a black widow spider and praying mantis combined - with lipstick. In this movie, she is young and plump and wholesome and pretty - and in one scene with Robert Preston where they share a single kiss, she is more desirable than all the millions of boobs on the Internet.