Two on a Guillotine


1h 47m 1965
Two on a Guillotine

Brief Synopsis

A magician's estranged daughter must stay in his mansion for seven nights alone to inherit his fortune.

Film Details

Genre
Horror/Science-Fiction
Horror
Thriller
Release Date
Jan 1965
Premiere Information
New York opening: 13 Jan 1965
Production Company
Warner Bros. Pictures
Country
United States

Technical Specs

Duration
1h 47m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
2.35 : 1

Synopsis

Cassie Duquesne, daughter of magician "Duke" Duquesne, whose wife, Melinda, was accidentally beheaded during their act in 1944, returns to Los Angeles 20 years later to attend her father's funeral. She learns that his will stipulates that, in order to receive her inheritance, she must spend seven consecutive nights in his old mansion. Duquesne claimed that he would make his presence known to her on one of those nights. Reporter Val Henderson arrives and is allowed to stay at the old house with her until Cassie learns that he is planning a story on her vigil. That night, after Val has left, Duquesne appears, alive and insane, and attempts his guillotine routine on her. Val returns with the police, however, in time to save her.

Film Details

Genre
Horror/Science-Fiction
Horror
Thriller
Release Date
Jan 1965
Premiere Information
New York opening: 13 Jan 1965
Production Company
Warner Bros. Pictures
Country
United States

Technical Specs

Duration
1h 47m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
2.35 : 1

Articles

Two on a Guillotine -


The success of William Castle's low budget/high impact shockers for Columbia and Universal Pictures spawned a host of imitators looking for the maximum yield from the minimum investment. At Warner Bros., veteran Hollywood actor turned producer/director William Conrad was entrusted with a trio of genre titles making economical use of contract players and standing sets. Two on a Guillotine (1965) was Conrad's second feature as a director-for-hire and tells the story of the orphan daughter (Connie Stevens) of a famed magician (Cesar Romero) who is obliged, in order to collect her inheritance, to spend a week in her dead father's creepy mansion. Fresh from his brief run as TV's Ensign O'Toole and prior to signing on as a regular leading man for Walt Disney, Dean Jones costars as a reporter who keeps Stevens company through her ordeal but who is always out of eye and earshot when things (not the least of which, a severed head) go bump in the night. With the majority of the film confined to the Warners backlot, Conrad maximizes his production value by shooting exteriors at eye-catching area locations, including Riverside, California's Benedict Castle, the Hollywood Bowl, and Santa Monica's Pacific Ocean Amusement Park (where Conrad contributes a Hitchcock-style cameo during a walk through the Mirror Maze). A throwback to the Old Dark House thrillers of the pre-Code era, Two on a Guillotine marked the final feature film credit for three-time Academy Award-winning composer Max Steiner.

By Richard Harland Smith
Two On A Guillotine -

Two on a Guillotine -

The success of William Castle's low budget/high impact shockers for Columbia and Universal Pictures spawned a host of imitators looking for the maximum yield from the minimum investment. At Warner Bros., veteran Hollywood actor turned producer/director William Conrad was entrusted with a trio of genre titles making economical use of contract players and standing sets. Two on a Guillotine (1965) was Conrad's second feature as a director-for-hire and tells the story of the orphan daughter (Connie Stevens) of a famed magician (Cesar Romero) who is obliged, in order to collect her inheritance, to spend a week in her dead father's creepy mansion. Fresh from his brief run as TV's Ensign O'Toole and prior to signing on as a regular leading man for Walt Disney, Dean Jones costars as a reporter who keeps Stevens company through her ordeal but who is always out of eye and earshot when things (not the least of which, a severed head) go bump in the night. With the majority of the film confined to the Warners backlot, Conrad maximizes his production value by shooting exteriors at eye-catching area locations, including Riverside, California's Benedict Castle, the Hollywood Bowl, and Santa Monica's Pacific Ocean Amusement Park (where Conrad contributes a Hitchcock-style cameo during a walk through the Mirror Maze). A throwback to the Old Dark House thrillers of the pre-Code era, Two on a Guillotine marked the final feature film credit for three-time Academy Award-winning composer Max Steiner. By Richard Harland Smith

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Miscellaneous Notes

Released in United States Winter January 1, 1965

Released in United States Winter January 1, 1965