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Strangler of the Swamp

Strangler of the Swamp (1946)

January. 02,1946
|
6.1
|
NR
| Fantasy Horror Science Fiction

A number of swamp land men have died by strangulation and the inhabitants believe that an innocent man they hanged is seeking revenge on all of the male descendants of those responsible for his death. Maria, granddaughter of the innocent ferryman, decides to operate the ferry service. Chris Sanders, a son of one of the men who did the hanging, and Maria fall in love. The "strangler" seizes Chris and Maria offers her life if Chris is spared.

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melvelvit-1
1946/01/02

An innocent man had vowed revenge on the lynch mob who strung him up and two generations of men have been dying along the bayou in mysterious ways ever since. The latest is the village ferryman whose granddaughter takes over his scow and falls for a young man whose father was also involved in the tragedy. Legend has it that the curse can be lifted if a descendant offers their life to the spectre and when it comes for the girl's beau, well... German director Frank Wisbar re-worked his Reich film FAHRMANN MARIA for PRC and, like fellow émigré Edgar G. Ulmer, he knew how to make an atmospheric film on a shoestring budget. Set almost entirely in a fog- enshrouded swamp of gnarled trees and murky waters, the tale visually resembles it's predecessor but the theme has changed from a "love and death" fable to revenge from beyond the grave. In the original, Death itself had come to take Maria's lover but in the re-make, it's a vengeful ghost. Even so, both gals bargain for the life of their man. B-movie bad guy Charles Middleton ("Ming The Merciless") was the vengeful cadaver in the mist and Maria was played by "Miss America 1941" Rosemary La Planche. Although Maria was the real hero, future producer/director Blake Edwards, of all people, played "the hero" and he wasn't a bad-looking guy. As far as Poverty Row chills go, STRANGLER is a cut above the rest thanks to an imaginative director.

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Rainey Dawn
1946/01/03

Well, it was not all that bad of a film.... I've seen better and I've seen worse. Worth watching if you want a different type of a ghost film and like the classics.Easy story to watch: An innocent man was hanged, a confession made and ghost out for revenge. For me, the best part about the film was the fact it is set in the swamp - it has a creepy aura to it. I also liked the ferry - pretty cool way to cross the swamplands. What I was not crazy about the ending nor did I like the "romance" in this flick - wish the "budding romance" was left out and someone else rid the swamps of the ghost. Still an OK movie to watch.6/10

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fwdixon
1946/01/04

This is a PRC quickie that's not bad, not bad at all. The plot revolves around the ghost of titular strangler (Charles "Ming The Merciless" Middleton) who was wrongly executed by the backwoods denizens of the swamp. He out for for revenge, of course, and has already strangled several of the rather dimwitted population. Former Miss America Rosemary La Planche is the descendant of one of the rubes who takes over as ferrywoman after her grandpa is offed by the Strangler. Blake Edwards (!) is her love interest, doomed by the Strangler but saved by the love of Miss La Planche. Most of the picture takes place on the ferry in the soundstage "swamp". Spooky atmosphere and good pacing keep the tension going for the 58 minute running time.

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MARIO GAUCI
1946/01/05

I believe I first heard of this one after reading Michael Elliott's more or less favorable appraisal of it and, by and large, I find myself agreeing with his assessment. The title pretty much explains both the film's theme (horror/thriller) and style (foggy atmosphere). For a PRC effort, I guess it is slightly above-par quality-wise but this does not in any way make it some lost genre classic: this reminds me of Leslie Halliwell's comment about Edgar G. Ulmer's rather splendid 1944 BLUEBEARD: "possibly the most interesting film ever to come from PRC (which isn't saying very much)".The strangler (played, in ghostly form, by Charles Middleton) is a ferry-man who was hung for a crime he did not commit. It transpires that the person to succeed him in that job (which is vital for locals to travel across the swamp to the other side of town) was actually the one whose testimony proved decisive in the eventual conviction – and it is later suggested that he was merely after the post! However, before dying, Middleton curses not only the people who sent him to his death but their descendants as well...and, to be sure, a number of accidental stranglings have been occurring, which the superstitious community obviously blames on this blood-curdling warning! Soon, it is the turn of the new ferry-man to get his just desserts: a trio of intrepid elderly women cross over to cut down the hangman's noose left in place after Middleton's execution and, left alone in the boat to dispose of the rope, the old man throws it up in the air – with the noose then falling squarely around his neck and, as the other end is caught in some brushes, he ends up choking like the others! This latest victim had actually intended retiring since he was getting on in years and, soon after, his replacement – a girl, and his own niece – arrives, as does the son (played by future director Blake Edwards!) of an eminent member there. Naturally, the two youngsters fall for one another and, given that they are related to two of Middleton's 'murderers', he adds them to his list of proposed victims. The elders of the town are convinced that only if one of those involved gives himself willingly to the strangler can the curse be lifted but, needless to say, nobody has the courage for it. When Edwards himself is almost done in, it is up to either his father or his girl to save him – having already been made to take up what is normally a man's task, it is no surprise to find that it is she who comes through for the leading man as well...but rather than giving herself to the former ferry-man, she pleads with him to give up his revenge quest and rest in peace (yes, people in this film can actually converse with the ghost!).In the long run, this emerges as middling but not displeasing fare: the narrative may hardly be original yet it is reasonably engaging and, while the approach comes across as somewhat pedestrian, it nonetheless manages to convey the appropriate mood throughout.

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