Tod Slaughter reached the peak of his career on film with his two films for British Lion, The Face at the Window and Crimes at the Dark House. Although the full-blooded and semi-burlesque formula remained the same, the added production values provided by increased budgets-particularly in the fields of photography and lighting-gave these two films a gloss denied to his earlier, and later, independent films. Tod has the time of his life with this particular plot, which in addition to the customary villainy and lechery has a colorful Paris background, a mildly science-fiction-inclined subplot, a caged dwarf, and sundry other niceties. Raymond Massey made a presumably more restrained version of the same melodrama in 1932. William K. Everson