The Cat and the Canary (1927 film)

The Cat and the Canary is a 1927 American silent

comedy horror film directed by the German Expressionist
The Cat and the Canary
filmmaker Paul Leni. An adaptation of John Willard's
1922 black-comedy play of the same name, the film stars
Laura La Plante as Annabelle West, Forrest Stanley as
Charlie Wilder, and Creighton Hale as Paul Jones. The
plot revolves around the death of Cyrus West, who is
Annabelle, Charlie, and Paul's uncle, and the reading of
his will twenty years later. Annabelle inherits her uncle's
fortune, but when she and her family spend the night in
his haunted mansion they are stalked by a mysterious
figure. Meanwhile, a lunatic known as the Cat escapes
from an asylum and hides in the mansion.

The film is part of the genre of comedy horror films

inspired by 1920s Broadway stage plays. Leni's
adaptation of Willard's play blended expressionism with
humor, a style for which Leni was notable and recognized
Theatrical release poster
by critics as unique. His directing style made The Cat and
the Canary influential in the "old dark house" genre of Directed by Paul Leni
films popular from the 1930s through the 1950s. The film Screenplay by Alfred A. Cohn
was one of Universal's early horror productions and is
considered "the cornerstone of Universal's school of Walter Anthony
horror".[1] The play has been filmed five other times, Story by Alfred A. Cohn
most notably in 1939, starring Bob Hope and Paulette
Robert F. Hill
Goddard.
Based on The Cat and the
Canary
by John Willard
Contents
Produced by Paul Kohner
Plot Starring Laura La Plante
Cast Forrest Stanley
Production Creighton Hale
Casting
Flora Finch
Directing
Cinematography Gilbert Warrenton
Reception and influence
Edited by Martin G. Cohn
Other film versions
Music by Hugo Riesenfeld
References
Distributed by Universal Pictures
Further reading
Release date September 9, 1927
External links
Running time 82 minutes
Country United States
Plot
In a decaying mansion overlooking the Hudson River, Language Silent film / English
millionaire Cyrus West approaches death. His greedy intertitles
family descends upon him like "cats around a
canary", causing him to become insane. West
orders that his last will and testament remain
locked in a safe and go unread until the 20th
anniversary of his death. As the appointed
time arrives, West's lawyer, Roger Crosby
(Tully Marshall), discovers that a second will
mysteriously appeared in the safe. The second
will may only be opened if the terms of the
first will are not fulfilled. The caretaker of the
West mansion, Mammy Pleasant (Martha
Mattox), blames the manifestation of the
second will on the ghost of Cyrus West, a 1:24:00
notion that the astonished Crosby quickly
rejects. The Cat and the Canary

As midnight approaches, West's relatives

arrive at the mansion: nephews Harry Blythe (Arthur Edmund Carewe), Charles "Charlie"
Wilder (Forrest Stanley), Paul Jones (Creighton Hale), his sister Susan Sillsby (Flora Finch) and
her niece Cecily Young (Gertrude Astor), and niece Annabelle West (Laura La Plante). Cyrus
West's fortune is bequeathed to the most distant relative bearing the name "West": Annabelle.
The will, however, stipulates that to inherit the fortune, she must be judged sane by a doctor, Ira
Lazar (Lucien Littlefield). If she is deemed insane, the fortune is passed to the person named in
the second will. The fortune includes the West diamonds which her uncle hid years ago.
Annabelle realizes that she is now like her uncle, "in a cage surrounded by cats."

While the family prepares for dinner, a guard (George Siegmann) barges in and announces that
an escaped lunatic called the Cat is either in the house or on the grounds. The guard tells Cecily,
"He's a maniac who thinks he's a cat, and tears his victims like they were canaries!" Meanwhile,
Crosby suspects someone in the family might try to harm Annabelle and decides to inform her
of her successor. Before he speaks the person's name, a hairy hand with long nails emerges from
a secret passage in a bookshelf and pulls him in, terrifying Annabelle. When she explains what
happened to Crosby, the family immediately concludes that she is insane.

Alone in her assigned room, Annabelle examines a note slipped to her which reveals the location
of the family jewels, fashioned into an elaborate necklace. She follows the note's instructions
and soon discovers the hiding place, in a secret panel above the fireplace. She retires for the
night, wearing the diamond-encrusted necklace and begins to toss and turn.

While Annabelle sleeps, the same mysterious hand emerges

from the wall behind her bed and snatches the diamonds
from her neck. Once again, her sanity is questioned, but as
Harry and Annabelle search the room, they discover a
hidden passage in the wall and in it the corpse of Roger
Crosby. Mammy Pleasant leaves to call the police, while
Harry searches for the guard; Susan runs away in hysterics
and hitches a ride with a milkman (Joe Murphy). Paul and
A hand reaches for the necklace Annabelle return to her room to search for the missing
worn by Annabelle West. envelope, and discover that Crosby's body is missing. Paul
vanishes as the secret passage closes behind him.
Wandering in the hidden passages, Paul is attacked by the
Cat and left for dead. He regains consciousness in time to rescue Annabelle. The police arrive
and arrest the Cat, who is Charlie Wilder in disguise; the guard is his accomplice. Wilder is the
person named in the second will; he hoped to drive Annabelle insane so that he could receive
the inheritance.

Cast
Laura La Plante as Annabelle West
Creighton Hale as Paul Jones
Forrest Stanley as Charles Wilder
Tully Marshall as Roger Crosby
Gertrude Astor as Cecily
Flora Finch as Susan
Arthur Edmund Carewe as Harry
Martha Mattox as Mammy Pleasant, housekeeper
George Siegmann as the Guard
Lucien Littlefield as Dr. Ira Lazar
Hal Craig as Policeman
Billy Engle as Taxi Driver
Joe Murphy as Milkman

Production
The Cat and the Canary is the product of early 20th-century German Expressionism. According
to art historian Joan Weinstein, expressionism includes the art styles of Die Brücke and Der
Blaue Reiter, cubism, futurism, and abstraction. The key element that connects these styles is
the concern for the expression of inner feelings over verisimilitude to nature.[2] Film historian
Richard Peterson notes that "German cinema became famous for stories of psychological horror
and for uncanny moods generated through lighting, set design and camera angles." Such
filmmaking techniques drew on expressionist themes. Influential examples of German
expressionist film include Robert Wiene's The Cabinet of Dr. Caligari (1920) about a deranged
doctor and Paul Leni's Waxworks (1925) about a wax figure display at a fair.[3]

Waxworks impressed Carl Laemmle, the German-born president of Universal Pictures.

Laemmle was struck by Leni's departure from expressionism by the inclusion of humor and
playfulness during grotesque scenes.[3] Meanwhile, in the United States, D. W. Griffith's One
Exciting Night (1922) began a Gothic horror film trend that Laemmle wanted to capitalize on;
subsequent films in the genre like Alfred E. Green's now lost The Ghost Breaker (1922), Frank
Tuttle's Puritan Passions (1923), Roland West's The Monster (1925) and The Bat (1926), and
Alfred Santell's The Gorilla (1927)—all comedy horror film adaptations of Broadway stage
plays—proved successful.[4][5]

Laemmle turned to John Willard's popular play The Cat and the Canary, which centered on an
heiress whose family tries to drive her insane to steal her inheritance. Willard hesitated in
permitting Laemmle to film his play because, as historian Douglas Brode explains, "that would
have exposed to virtually everyone the trick ending, ... destroying the play's potential as an
ongoing moneymaker." Nevertheless, Willard was convinced and the play was adapted into a
screenplay by Alfred A. Cohn and Robert F. Hill.[6]

Casting
The Cat and the Canary features veteran silent film stars Laura La Plante, Creighton Hale, and
Forrest Stanley. According to film historian Gary Don Rhodes, La Plante's part in The Cat and
the Canary was typical for women in horror and mystery films: "The female in the horror film ...
becomes the hunted, the quarry. She has little to do, and so the question becomes 'What will be
done with her?'" Rhodes adds, "The heroines are young and beautiful, but represent more a
prize to be possessed—whether "stolen" by a villain or "owned" by a young hero at the films'
conclusions."[7] Following The Cat and the Canary, La Plante maintained a career with
Universal, but she is described as a "victim of talkies."[8] She received a star on the Hollywood
Walk of Fame before her death in 1996 from Alzheimer's disease.[9]

Universal chose Irish actor Creighton Hale to play hero Paul

Jones, Annabelle's cousin. Hale had appeared in 64 silent
films before The Cat and the Canary, notably the 1914 serial
The Exploits of Elaine and D. W. Griffith's Way Down East
(1920) and Orphans of the Storm (1921).[10] Hale's role in
The Cat and the Canary was to provide comedic relief.
According to critic John Howard Reid, "He is forever
backing into furniture or finding himself in a risqué position
under a bed or wrestling with stray objects like falling books
Cast of the film (from the left): Flora or enormous bed-springs."[11] Hale had trouble finding a
Finch, Gertrude Astor, Creighton solid career in sound film. Many of his parts were minor and
Hale, Forrest Stanley, Laura La uncredited.[12]
Plante, and Arthur Edmund Carewe
The villain Charles Wilder was played by Forrest Stanley, an
actor who had been cast in films such as When Knighthood
Was in Flower (1922), Bavu (1923), Through the Dark (1924) and Shadow of the Law (1926).
After his performance in The Cat and the Canary, Stanley played lesser roles in films such as
Show Boat (1936) and Curse of the Undead (1959) and the television series Alfred Hitchcock
Presents, Studio 57, and Gunsmoke.[13]

The film contained a supporting cast referred to by one film historian as "second-rate"[14] and
"excellent" by another.[11] Tully Marshall played the suspicious lawyer Roger Crosby, Martha
Mattox was cast as the sinister and superstitious housekeeper Mammy Pleasant, and Gertrude
Astor and Flora Finch played greedy relatives Cecily Young and Aunt Susan Sillsby,
respectively.[11] Lucien Littlefield was cast as deranged psychiatrist Dr. Ira Lazar who bore an
eerie resemblance to Werner Krauss's title character in The Cabinet of Dr. Caligari.[15]

Directing

As Universal anticipated, director Paul Leni turned Willard's play into an expressionist film
suited to an American audience. Historian Bernard F. Dick observes that "Leni reduced German
expressionism, with its weird chiaroscuro, asymmetric sets, and excessive stylization, to a
format compatible with American film practice."[16] Jenn Dlugos argues that "many stage play
movie adaptations [of the 1920s] fall into the trap of looking like 'a stage play taped for the big
screen' with minimal emphasis on the environment and plenty of stage play overacting."[17]
This, however, was not the case for Leni's film. Richard Scheib notes that "Leni's style is
something that lifts The Cat and the Canary up and away from being merely a filmed stage play
and gives it an amazing visual dynamism."[18]

Leni used similar camera effects found in German expressionist films such as The Cabinet of Dr.
Caligari to set the atmosphere of The Cat and the Canary. The film opens with a hand wiping
cobwebs away to reveal the title credits. Other effects include "dramatic shadows, portentous
superimpositions and moody sequences in which the camera glides through corridors with
billowing curtains."[3] Film historian Jan-Christopher Horak explains that a "matched dissolve
from an image of the mansion and its oddly shaped towers to the oversized bottles of medicine
that the dearly departed has been forced to consume functions as a double image of a prison,
dwarfing the old man who sits alive with his will in a corner of the frame."[19] Leni worked with
the cast to add to the mood created by lighting and camera angles. Cinematographer Gilbert
Warrenton recalled that Leni used a gong to startle the actors. Warrenton mused, "He beat that
thing worse than the Salvation Army beat a drum."[20]

While the film contains elements of horror, according to film historian Dennis L. White it "is
structured with an end other than horror in mind. Some scenes may achieve horror, and some
characters dramatically experience horror, but for these films conventional clues and a logical
explanation, at least an explanation plausible in hindsight, are usually crucial, and are of
necessity their makers' first concern."[21]

Besides directing, Leni was a painter and set designer. The sets of the film were designed by
Leni and fabricated by Charles D. Hall, who later designed the sets of Dracula (1931) and
Frankenstein (1931).[22] Leni hoped to eschew realism for visual designs that reflected the
emotions of characters. He wrote, "It is not extreme reality that the camera perceives, but the
reality of the inner event, which is more profound, effective and moving than what we see
through everyday eyes ...."[3] Leni went on to direct the Charlie Chan film The Chinese Parrot
(1927), The Man Who Laughs (1928), and The Last Warning (1929) before his death in 1929
from blood poisoning.[23]

Reception and influence

The Cat and the Canary debuted in New York City's Colony
Theatre on September 9, 1927,[11][24] and was a "box office
success".[19] Variety opined, "What distinguishes
Universal's film version of the ... play is Paul Leni's
intelligent handling of a weird theme, introducing some of
his novel settings and ideas with which he became identified
.... The film runs a bit overlong .... Otherwise it's a more than
average satisfying feature ...."[25] A New York Times review
expounded, "This is a film which ought to be exhibited
before many other directors to show them how a story
should be told, for in all that he does Mr. Leni does not seem
to strain at a point. He does it as naturally as a man twisting
the ends of his mustache in thought."[26] Nonetheless, as
film historian Bernard F. Dick points out, "[e]xponents of
Caligarisme, expressionism in the extreme ... naturally Theatrical poster emphasizing
thought Leni had vulgarized the conventions [of aspects of the film, particularly the
expressionism]". Dick, however, notes that Leni had only "cat and the canary" and the
"lighten[ed] [expressionist themes] so they could enter mysterious, sinister hand
American cinema without the baggage of a movement that
had spiraled out of control."[16]

Modern critics address the film's impact and influence. Michael Atkinson of The Village Voice
remarks, "[Leni's] adroitly atmospheric film is virtually an ideogram of narrative suspension
and impact";[27] Chris Dashiell states that "[e]verything is so exaggerated, so lacking in subtlety,
that we soon stop caring what happens, despite a few mildly scary effects", although he admits
that the film "had a great effect on the horror genre, and even Hitchcock cited it as an
influence."[28] Tony Rayns has called the film "the definitive 'haunted house' movie .... Leni
wisely plays it mainly for laughs, but his prowling, Murnau-like camera work generates a frisson
or two along the way. It is, in fact, hugely entertaining ...."[29] John Calhoun feels that what
makes the film both "important and influential" was "Leni's uncanny ability to bring out the
period's slapstick elements in the story's hackneyed conventions: the sliding panels and
disappearing acts are so fast paced and expertly timed that the picture looks like a first-rate
door-slamming farce .... At the same time, Leni didn't short-circuit the horrific aspects ...."[30]

Although not the first film set in a supposed haunted house, The Cat and the Canary started the
pattern for the "old dark house" genre.[31] The term is derived from English director James
Whale's The Old Dark House (1932), which was heavily influenced by Leni's film,[15] and refers
to "films in which murders are committed by masked killers in old mansions."[32] Supernatural
events in the film are all explained at the film's conclusion as the work of a criminal. Other films
in this genre influenced by The Cat and the Canary include The Last Warning, House on
Haunted Hill (1959), and the monster films of Abbott and Costello and Laurel and Hardy.
[33][34]

In 2001, the American Film Institute nominated this film for AFI's 100 Years...100 Thrills.[35]
On Rotten Tomatoes, the film holds a rating of 96% based on 25 reviews.[36]

Other film versions

The Cat and the Canary has been filmed five other times. Rupert Julian's The Cat Creeps
(1930) and the Spanish language La Voluntad del muerto (The Will of the Dead Man) directed
by George Melford and Enrique Tovar Ávalos were the first talkie versions of the play; they were
produced and distributed by Universal Pictures in 1930.[3] Although the first sound films
produced by Universal, neither was as influential on the genre as the first film and The Cat
Creeps is lost.[37]

The plot had become too familiar, as film historian Douglas Brode notes, and it "seemed likely
the play would be put away in a drawer [indefinitely]."[6] Yet Elliott Nugent's film, The Cat and
the Canary (1939), proved successful.[38][39] Nugent "had the inspired idea to openly play the
piece for laughs."[6] The film was produced by Paramount and starred comedic actor Bob Hope.
Hope played Wally Campbell, a character based on Creighton Hale's performance as Paul Jones.
One critic suggests that Hope developed the character better than Hale and was funnier and
more engaging.[11]

Other film adaptations include Katten och kanariefågeln (The Cat and the Canary), a 1961
Swedish television film directed by Jan Molander and The Cat and the Canary (1978), a British
film directed by Radley Metzger. The 1978 version was produced by Richard Gordon, who
explains why he and Metzger made their film version: "Well, it hadn't been done since the Bob
Hope version, it had never been done in colour, it was a well-known title, had a certain
reputation, and it was something that logically could or in fact should be made in England."[40]

References
1. Carlos Clarens, An Illustrated History of Horror and Science-Fiction Films: The Classic Era,
1895–1967 (New York: Da Capo Press, 1997), p. 56, ISBN 0-306-80800-5.
2. Joan Weinstein, The End of Expressionism: Art and the November Revolution in Germany,
1918–1919 (Chicago: University of Chicago Press, 1990), p. 3, ISBN 0-226-89059-7.
3. Richard Peterson, liner notes, The Cat and the Canary (DVD, Image Entertainment, 2005).
 4. Steve Neale, Genre and Hollywood (London: Routledge, 2000), p. 95, ISBN 0-415-02606-7.
5. Ian Conrich, "Before Sound: Universal, Silent Cinema, and the Last of the Horror
Spectaculars", in The Horror Film, ed. Stephen Price, (New Brunswick, N.J.: Rutgers
University Press, 2004), p. 47, ISBN 0-8135-3363-5.
6. Douglas Brode, Edge of Your Seat: The 100 Greatest Movie Thrillers (New York: Citadel
Press, 2003), p. 32, ISBN 0-8065-2382-4.
7. Rhodes, Gary Don (2001). White Zombie. Anatomy of a Horror Film (https://books.google.co
m/books?id=oHApAwAAQBAJ). Jefferson, North Carolina: McFarland. p. 19 (https://books.g
oogle.com/books?id=oHApAwAAQBAJ&pg=PA19). ISBN 978-1-4766-0491-6.
8. Hans J. Wollstein, Laura La Plante biography at AllMovie (http://www.allmovie.com/cg/avg.dl
l?p=avg&sql=2:39772) Archived (https://web.archive.org/web/20060426195934/http://www.a
llmovie.com/cg/avg.dll?p=avg) April 26, 2006, at the Wayback Machine. Retrieved January
12, 2007.
9. Robert McG. Thomas Jr. (October 17, 1996). "Laura La Plante Dies at 92; Archetypal
Damsel in Distress" (https://www.nytimes.com/1996/10/17/arts/laura-la-plante-dies-at-92-arc
hetypal-damsel-in-distress.html). New York Times. p. B14.
10. Hal Erickson, Creighton Hale biography at AllMovie (http://www.allmovie.com/cg/avg.dll?p=a
vg&sql=2:29669~T1) Archived (https://web.archive.org/web/20060426195934/http://www.all
movie.com/cg/avg.dll?p=avg) April 26, 2006, at the Wayback Machine. Retrieved January
12, 2007.
11. John Howard Reid, These Movies Won No Hollywood Awards (Lulu Press, 2005), p. 39,
ISBN 1-4116-5846-9.
12. Joseph M. Curran, Hibernian Green on the Silver Screen: The Irish and American Movies
(Westport, Conn: Greenwood Press, 1989), p. 27, ISBN 0-313-26491-0.
13. Hans J. Wollstein, Forrest Stanley biography at AllMovie (http://www.allmovie.com/cg/avg.dl
l?p=avg&sql=2:67592) Archived (https://web.archive.org/web/20060426195934/http://www.a
llmovie.com/cg/avg.dll?p=avg) April 26, 2006, at the Wayback Machine. Retrieved January
12, 2004.
14. Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (New
York: Owl Books, 1996), p. 89, ISBN 0-8050-4666-6.
15. Clarens, Illustrated History of Horror, p. 57.
16. Bernard F. Dick, City of Dreams: The Making and Remaking of Universal Pictures
(Lexington: University Press of Kentucky, 1997), p. 56, ISBN 0-8131-2016-0.
17. Jenn Dlugos, review of The Cat and the Canary DVD, at Classic-Horror (http://classic-horro
r.com/reviews/catcanary27.shtml); last accessed January 4, 2007.
18. Richard Scheib, review of The Cat and the Canary, at The SF, Horror and Fantasy Film
Review (http://www.moria.co.nz/horror/cat&canary27.htm) Archived (https://web.archive.org/
web/20061110005018/http://www.moria.co.nz/horror/cat%26canary27.htm) November 10,
2006, at the Wayback Machine; last accessed January 4, 2007.
19. Jan-Christopher Horak, "Sauerkraut and Sausages with a Little Goulash: Germans in
Hollywood, 1927." Film History 17 (2005): pp. 241.
20. Gilbert Warrenton, quoted in Kevin Brownlow, "Annus Mirabilis: The Film in 1927", Film
History 17 (2005): p. 173.
21. Dennis L. White, "The Poetics of Horror: More than Meets the Eye", Cinema Journal 10 (No.
2, Spring 1971): p. 5.
22. John T. Soister, Up from the Vault: Rare Thrillers of the 1920s and 1930s (Jefferson, N.C.:
McFarland, 2004), p. 69, ISBN 0-7864-1745-5.
23. Graham Petrie, Hollywood Destinies: European Directors in America, 1922–1931 (Detroit:
Wayne State University Press, 2002), pp. 186–189 ISBN 0-8143-2958-6.
24. "Projection Jottings", New York Times, May 15, 1927, p. X5.
25. Variety review of The Cat and the Canary, quoted in Roy Kinnard, Horror in Silent Films: A
Filmography, 1896–1929 (Jefferson, N.C.: McFarland, 1995), p. 200, ISBN 0-7864-0751-4.
26. Mourdant Hall, "Mr. Leni's Clever Film; 'Cat and Canary' an Exception to the Rule in Mystery
Pictures", New York Times, September 18, 1927, p. X5.
27. Michael Atkinson, review of The Cat and the Canary DVD, The Village Voice (New York),
March 3, 2005, available here (http://www.villagevoice.com/screens/0510,dvd2,61786,28.ht
ml) Archived (https://web.archive.org/web/20061105174013/http://www.villagevoice.com/scr
eens/0510%2Cdvd2%2C61786%2C28.html) November 5, 2006, at the Wayback Machine.
28. Chris Dashiell, review of The Cat and the Canary, at CineScene.com (http://www.cinescene.
com/dash/flicks.html) Archived (https://web.archive.org/web/20061205020453/http://cinesce
ne.com/dash/flicks.html) December 5, 2006, at the Wayback Machine; last accessed
January 4, 2007.
29. Tony Rayns, The Time Out Film Guide, Second Edition, Edited by Tom Milne (London:
Penguin Books, 1991), p. 106, ISBN 0-14-014592-3.
30. John Calhoun, The Penguin Encyclopedia of Horror and the Supernatural, edited by Jack
Sullivan (New York: Viking, 1986), p. 73, ISBN 0-670-80902-0.
31. Schatz, Genius of the System, p. 88.
32. Jeffrey S. Miller, Horror Spoofs of Abbott and Costello: A Critical Assessment of the Comedy
Team's Monster Films (Jefferson, N.C.: McFarland, 2004), p. 2, ISBN 0-7864-1922-9.
33. Miller, Horror Spoofs, pp. 2–3.
34. Joseph Maddrey, Nightmares in Red, White, and Blue: The Evolution of the American
Horror Film (Jefferson, N.C.: McFarland, 2004), p. 40, ISBN 0-7864-1860-5.
35. "AFI's 100 Years...100 Thrills Nominees" (http://www.afi.com/Docs/100Years/thrills400.pdf)
(PDF). Retrieved August 20, 2016.
36. "The Cat and the Canary (1927)" (http://www.rottentomatoes.com/m/1003747-cat_and_the_
canary). Rotten Tomatoes.
37. Soister, Up from the Vault, p. 74.
38. Douglas W. McCaffrey, The Road to Comedy: The Films of Bob Hope, (Westport, Conn.:
Greenwood Press, 2005), pp. 28–29, ISBN 0-275-98257-2.
39. Alan Jones, The Rough Guide to Horror Movies (New York: Rough Guides, 2005), p. 77,
ISBN 1-84353-521-1.
40. Interview with Richard Gordon, in Tom Weaver, Return of the B Science Fiction and Horror
Heroes: The Mutant Melding of Two Volumes of Classic Interviews (Jefferson, N.C.:
McFarland, 2000), p. 192, ISBN 0-7864-0755-7.

Further reading
Bock, Hans-Michael (Ed.) Paul Leni: Grafik, Theater, Film. Frankfurt am Main: Deutsches
Filmmuseum, 1986. ISBN 978388799008-4
Everson, William K. American Silent Film. New York: Da Capo Press, 1998.
ISBN 0-306-80876-5.
Hogan, David. Dark Romance: Sexuality in the Horror Film. Jefferson, N.C.: McFarland,
1997. ISBN 0-7864-0474-4.
MacCaffrey, Donald W., and Christopher P. Jacobs. Guide to the Silent Years of American
Cinema. Westport, Conn.: Greenwood Press, 1999. ISBN 0-313-30345-2.
Prawer, S. S. Caligari's Children: The Film as Tale of Terror. New York: Da Capo Press,
1989. ISBN 0-306-80347-X.
Worland, Rick. The Horror Film: A Brief Introduction. Malden, Massachusetts: Blackwell
Publishing, 2007. ISBN 1-4051-3902-1.
External links
The Cat and the Canary (https://www.imdb.com/title/tt0017739/) at IMDb
The Cat and the Canary (https://www.rottentomatoes.com/m/1003747-cat_and_the_canary)
at Rotten Tomatoes
The Cat and the Canary (https://www.allmovie.com/movie/v8584) at AllMovie
The Cat and the Canary (https://archive.org/details/The_Cat_and_the_Canary) is available
for free download at the Internet Archive

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