I like the storyline of this show,it attract me so much

Good concept, poorly executed.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

I enjoyed this unusual B movie, it's basically 75% domestic murder story, 25% supernatural thriller. Jean inherits a house, moves her drunken no good partner David in, and he meets someone else, a voluptuous blonde, Valerie Stockley. Valerie persuades David to kill his wife, but Jean is protected by a poltergheist, wonderfully named Patrick by the potty Irish maid Mrs O'Brien.It's unusual to say the least, I can't think of many supernatural murder mysteries, but it works. Patricia Bainton appeared in some cracking films in the 50's and 60's, my favourite being The Third Alibi, and once again she's pretty good. Sandra Dorne is pretty fabulous it has to be said.I'm struggling to believe it was made in 1960, it looks like it was should in the forties, production values are pretty poor, although the fire is pretty well done.

THE HOUSE IN MARSH ROAD is a low budget British potboiler with a supernatural edge. The storyline is a predictable one about a seemingly normal husband and wife who move into a new home. Unbeknownst to the wife, the husband has a jealous lover who plans to murder the wife so that she can take her place. However, a supernatural force in the house has other ideas.It's quite unusual to see a film like this which plays up the thriller aspects of the storyline while downplaying the supernatural elements. Certainly there are no special effects or anything here, just a few spooky scenes of plates smashing and the like. As a film, THE HOUSE IN MARSH ROAD feels quite dated in comparison to the likes of THE HAUNTING which came out three years later, but it has elements of interest for the British genre fan. Patricia Dainton gives a typically assured performance as the put-upon wife, and Sam Kydd is reliable in support as always. Hardworking director Montgomery Tully keeps things moving nicely along as well, so at least you can say that it's never boring.

This sort of film was quite popular in the fifties and sixties.A poltergeist or ghost making its presence felt.The whole effect here is quite successful up to a point.Unfortunately this point is the climax.The poltergeist decides that it has had enough of Tony wright and his dalliance with Sandra Dorne and rolls a burning coal from an unguarded fire.It conveniently ensures that the fire creeps upstairs to where they are having a fun time in the marital bedroom.The door and windows wont open till its too late and eventually Wright and Dorne and the house are reduced to ashes.I was hoping for a rather more chilling climax.

This nicely scary little ghost story is pretty straight-forward = in plot. A husband with a sexy mistress is trying to murder his wife, and a protect= ive (family-owned) poltergeist blocks him at every attempt. But the brief summary fails to convey some fine performances and lovely atmospherics t= hat rise above what is basically a "B" - level thriller. The women take act= ing honors -- Sandra Dorne is probably at her most-enticing ripeness as the buxom blonde divorcée who lures David Linton to his doom, and she pani= cs beautifully when trapped with her lover in the doomed house; Patricia Dainton is convincing, too, as the long-suffering wife of the promiscuou= s David. Third, for comic relief, Anita Sharp-Bolster is hilarious as the Irish housekeeper, who complains about "Patrick," whom she's named after her husband "because she never sees him" either! The black and white photography is moody and penetrating, as is the haunting music of John Veale (though it gets too loud and overrides the dialogue once or twice.= ) A hard-to-find video is available from several U.S. sources, both as "Invisible Creature" and "The House in Marsh Road."