The Roof: An Old Mystery That Might Just Hold Up (Barely)

Alright, so 'The Roof.' Is it worth digging up today? Look, if you’re into those *really* old, kind of creaky British mysteries, the ones where everyone talks in hushed tones and the biggest action sequence is someone looking intently at a teacup, then maybe. It's got that specific charm. But if you need anything faster than a snail’s pace or expect your detectives to be charming rogues, you'll probably find yourself checking your watch more than the plot. 🤷‍♀️

The whole setup is pretty classic: a wealthy man, Mr. Travers, is found dead in his study. Inspector Darrow (Leslie Perrins) shows up to poke around. Everyone says it was a heart attack, but you know how these movies go. Nobody *really* believes it.

What struck me first was how… contained everything felt. Almost the entire film takes place in this one big, slightly gloomy house. You get a real sense of everyone being trapped together, eyeing each other up. It’s effective, actually, even if it feels a little claustrophobic sometimes.

Darrow himself is a bit of a blank slate. He doesn’t have many quirks. He just asks questions, looks thoughtful, and occasionally paces a bit. You won’t get a charismatic lead here, which is fine, but it does make him fade into the background against some of the more *colorful* suspects.

And boy, are there suspects. You've got Travers' young, slightly shifty wife, Judy Gunn, who doesn't seem all that broken up. Then there's his secretary, played by Barbara Everest, who has this quietly intense thing going on. You can almost feel her trying to keep a lid on something.

The film *really* takes its time. There are long stretches where Darrow just interviews people, one after another. Sometimes the conversations go on about 20 seconds too long, and the silence starts to feel awkward rather than emotional. You just want someone to *do* something, anything! 😴

One scene I recall vividly is when Darrow is examining a small, almost insignificant object on a mantelpiece. The camera just holds on it, then on Darrow's face, for what feels like an eternity. It makes you lean in, trying to figure out what *he's* seeing. It’s a nice touch, even if it could’ve been trimmed a touch.

Cinematic perspective: Exploring the visual vocabulary of The Roof (1933) through its definitive frames.

Ivor Barnard, playing some kind of anxious family solicitor, really stood out. He’s always wringing his hands, looking like he’s swallowed a lemon. His nervousness is almost infectious. You immediately suspect him, but also feel a little sorry for him.

There are a few moments where the film tries to build tension, like a creaking door or a shadow passing a window. They’re not exactly jump-scares, but they add to the general sense of unease. It’s subtle, which fits the overall vibe.

The dialogue is very much of its era. Proper, a bit formal. Nobody cracks a joke, ever. It’s all very serious business. This adds to the authenticity for an old film, but also means you have to pay attention to every little turn of phrase to catch the clues.

The movie gets noticeably better once it stops trying to be so perfectly polite and actually lets a few of the characters show their true colors. There's a particular confrontation later on where the polite facade drops, and that’s when things finally start to feel *alive*.

There's also a strange little subplot involving a will, of course. It feels a bit tacked on, almost like they needed another reason for everyone to be suspicious of each other. But hey, it works to muddy the waters a bit.

The resolution, when it comes, is… satisfying enough. It ties things up, but it doesn't leave you gasping. More of a gentle nod of understanding. It's a mystery that plays by the rules.

One thing I couldn’t quite shake was how often characters would just *appear* in a room without any clear entrance. Like they just materialized. It’s a small thing, but it made me chuckle a couple of times. 👻

So, should you watch 'The Roof'? If you’re a purist for early cinema, or someone who loves a good old-fashioned drawing-room mystery and doesn’t mind the slow burn, then yes. It's a solid, if unspectacular, example of its kind. Just be ready for a quiet evening. Don’t expect any fireworks, just a lot of quiet suspicion and careful detective work.