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The absolute most positive comment I can write about "Dominique" is that director Michael Anderson and his entire cast & crew remained 100% faithful to their initial intention of making an old-fashioned convoluted and atmosphere-driven "vengeance-from-beyond-the-grave" mystery thriller/horror. "Dominique" undeniably relies on plot clichés, stereotype characters and predictable jump-scares, but somehow it still stands as a respectable and potent semi-classic of the late 70s, and (correct me if I'm wrong) no true horror fanatic would ever criticize it entirely.

It's quite easy to list all the minor and less minor defaults of this production. Heck, I'm also guilty of jokingly referring to the title as "Dominique is Dull" instead of "Dominique is Dead". The pacing is incredibly slow, often on the verge of comatose even. Almost a third of the footage easily could have been cut as well, notably all Cliff Robertson's snail-paced trips through the corridor and down to the greenhouse to check whether or not his supposedly dead wife is bungling from the ceiling. Most of the supernatural gimmicks and tension builders are pretty weak and transparent (especially the self-playing piano) and the denouement honestly is quite easy to foretell, even if you haven't seen "Diabolique" and its four dozen of inferior imitations.

And yet ... it's utmost admirable, I think, that "Dominique" stubbornly and wholeheartedly persists in trying to disquiet you with minimal resources. Contrary to many other, similarly themed films, this one didn't cause me to go eye-rolling or hit the fast-forward button. A handful of sequences really are effectively uncanny, like the arrogant husband suddenly getting confronted with his own date of death on a tombstone, and some sub plots really are clever, like what's the dubious role of the doctor. It also helps, of course, that the cast exclusively contains extremely professional and experienced names. Cliff Robertson is terrific, and he receives qualitative support from Jenny Agutter, Simon Ward, Jean Simmons and even that lovely elderly Flora Robson. "Dominique" may be routine horror guff, but I daresay that I'm proud to have it in my collection nonetheless!

To call a film about a crippled ghost taking revenge from beyond the grave lame and lifeless would be too ironical but this here is an undeniably undistinguished combination of GASLIGHT (1939 & 1944) via LES DIABOLIQUES (1954); while still watchable in itself, it's so cliché-ridden as to provoke chuckles instead of the intended chills. However, thanks to the dire straits in which the British film industry found itself in the late 1970s, even a mediocre script such as this one was able to attract 10 star names - Cliff Robertson (as the conniving husband), Jean Simmons (in the title role), Jenny Agutter (as Robertson's artist half-sister), Simon Ward (as the enigmatic chauffeur), Ron Moody (as an ill-fated doctor), Michael Jayston (as Robertson's business partner), Judy Geeson (as Simmons' best friend and Jayston's wife), Flora Robson (as the housekeeper), David Tomlinson (as the notary reading Simmons' will) and, most surprisingly perhaps, Jack Warner (as a gravestone sculptor) - although most of them actually have nothing parts, I'm sorry to say!

It begins with a well to do couple (Robertson and Simmons) at their home in Britain. Through the first portion of the film, you see that the wife seems to be having some memory lapses and might be headed for a nervous breakdown. However, you are unsure if what is really happening or if, perhaps, the husband is orchestrating it—like in the movie "Gaslight". In fact, for quite a while, I thought the film was a remake of this story. However, unlike "Gaslight", the wife kills herself and you realize this cannot be that classic film's plot. From here on, the husband suddenly begins experiencing many of the same manifestations that the wife experienced—and he, too, might slowly be going mad. What's next?

This film is a great example of a movie that is simply over-written. In other words, there are too many plot elements and twists. Because of this, the plot to drive the couple mad is overly complicated and presents MANY opportunities to establish that an outside person or persons are manipulating them. The plot depended too many times on the people reacting one way and if they'd reacted another (which was very plausible) the plan would have quickly come unraveled. As a result, there were several obvious plot holes that kept me second-guessing the writer. Additionally, at the end, there is a murder that simply made little sense. Add to that the amazingly over-restrained performances by everyone (especially Robertson) and you get a movie that should have been excellent but in actuality was only a time-passer. Not terrible but simplicity would have made this one so much better.

Creepy thriller concerning a selfish American businessman (Robertson) supporting his interests through a marriage of convenience to his wealthy English wife (Simmons), until she commits suicide as a result of his emotional bullying. Her instructions are for her will to be read on their wedding anniversary in a few weeks' time, and as that day draws nearer, visions, apparent apparitions and strange goings-on haunt Robertson to the point of virtual insanity. Convinced that his wife has returned from the dead, he enlists his new chauffeur (Ward) to exhume her body, not once, but twice, where he makes a shocking discovery.

Atmospheric, tense and suspenseful throughout, I found Simmons' portrayal of the emotionally crippled wife compelling and her 'resurrection' even more stirring. Gaping plot holes, contrivances and other poetic conveniences while no means forgiven, are somewhat disguised by director Anderson's flair for creating tension out of the limited material. The cast however has considerable depth, with veterans David Tomlinson, Jack Warner, Dame Flora Robson, and Ron Moody in a pivotal supporting role. Jenny Agutter, Judy Geeson and Michael Jayston are also prominent.

There's Hitchockian moments and more than just a little reminiscence of the similarly titled French classic "Les diaboliques" (1955), and yet despite the somewhat borrowed theme, I still found myself in the grip of "Dominique" and was rewarded with some heart-pounding moments. Not perfect, but entertaining nonetheless.

I was pleasantly surprised at this movie. Expecting B-rate 70's schlock (not that there is anything wrong with that) I witnessed a movie that actually held my attention without me having to snipe at it for entertainment. My major complaint - this movie was too long by half. We got a few too many scenes of Ballard waking up, putting on his house coat, and walking to somewhere. Something else happens - Ballard puts his housecoat on again and walks. Acting was stiff at best, and it looks as if somebody forgot to pay the light bill, but those could be overcome by a somewhat interesting plot line, a unexpectedly brilliant ending, and some psych. intrigue I didn't think possible in the 70's. I just wish somebody would talk more than 1 sentence somewhere in the movie.

This movie was o.k. but it could have been much better. There are some spooky moments but there aren't enough of them to make me ever want to see this movie again. There are some scenes you could fast forward through & not miss anything. The biggest flaw is that it is so predictable, & that is the reason why I rated it so low. It's watchable but don't expect anything great.

**SPOILERS** Cliff Robertson looks like he just walked on the set without knowing what the movie's all about and without a script to cue him in this vary slow and and dark,the movie makers must have saved a mint on the low electricity bill, Ghost/Suspense/Thriller "Dominique is Dead".

Stock-broker David Ballard, Cliff Robertson, is on the verge of going bankrupt in his stock picking and investing business and needs loads of ready cash fast to avoid it. With David's wife Dominique, Jean Simmons, in control of the family fortune he has to work fast to either drive her insane or to suicide in order to inherit her estate and rigs up all kinds of gimmicks to do it.

After a while Dominique is totally unsure if she's losing her mind or if what she's been seeing and hearing in the dead of night are real. Before you know it David finds her hanging in the greenhouse dead, an obvious suicide. Things now seem to look up for the scheming and maniacal David with Dominique's dead and him to be the one to get his hands on her money, and keep his stock business from going under, but instead the exact opposite begins to happen. Strange sounds in the night with the piano playing Dominique's favorite musical piece all by itself and even Dominique herself appearing out of nowhere and haunting David driving him out of his mind like he did to her.

David really gets shaken up when he's called by the cemetery manager where Dominique is buried to find his own headstone next to her's stating that he'll be joining her very soon. At his office David sees this women in black outside in the street watching him, the same woman that was supposed to have paid for his headstone, all hours of the day. The man completely freaks out when later there's an inscription carved on his headstone born. June 14, 1931 and died. October 25, 1977 which is just a few days hence!

Going to the cemetery and digging up Dominique's coffin with his faithful limo-driver Tony Calvert, Simon Ward, both David and Tony are shocked to find the coffin empty! Is Dominique dead or is she really alive? Later having Dominique officially exhumed it's found to the shock of David and Tony that her body is really there! what did Dominique do? go back in her grave after David and Tony dug it up? David gets so crazy that he starts to accuse his housemaid old Mrs. Davis, Flora Robson, of being behind all these ghostly incidents that's appearing to him which makes her leave the mansion in both fear and disgust.

With Dominique popping up every night and spooking him has David empty a fully loaded handgun on her only to find, later with Tony,that the bullets not only went through her but ended up embedded in the walls and door of the house! Now totally insane David is driven to the edge of a balcony of his house and falls to his death in the greenhouse; the very place where Dominique's body was found on the early morning of October 25, 1977! the date of his death inscribed on his tombstone.

With Dominique's last Will & Testament read by her lawyer at the end of the movie we get an idea to who was behind this scam to drive David to his death like he did to Dominique. We have to sit through another ten minutes or so for the culprits to reveal themselves and at the same time fall out by double-crossing each other.

Overlong and at times boring "Dominique is Dead" should have ended some ten minutes earlier leaving the audience up in the air to what really was behind all the strange and unexplained happening in the movie. By awkwardly trying to explain them, very unconvincingly, away the film muddled the plot even more and just self-destructed like the tape-recorder in the TV series "Mission Impossible".

A man drives his wife Dominique to suicide so he can claim her inheritance, she returns from the grave to enact a richly deserved revenge.

This British chiller is a film that clearly seems to have something of a bad reputation. I have to stand against the crowd here though because I personally find this flick somewhat entertaining and even thrilling in places. The story may be a little predictable and it may also require the audience to stretch their credibility at times. But, seriously, so what? Many films of this type have these types of issues. It may be no coincidence that its title resembles the French classic Les Diaboliques a little because Dominique is essentially a reworking of a few core ideas from that one but with a few different angles of its own. Its director is Michael Anderson who not long before had made the impressive sci-fi film Logan's Run. Also from that film was actress Jenny Agutter who has a small but important role in this one. There is a smattering of other familiar faces from British films too. But mainly this works as a spooky horror-thriller. It really is nowhere near as bad as it's made out to be.

The story is decent you have the unhappy wife of a millionaire who is concerned her husband is setting her up to appear she's losing her mind. She hangs herself in the garden and her will isn't to be read until her anniversary on Halloween. In the meantime her husband hears the piano and sees her multiple times and begins to question is she really dead. After viewing this, wasn't sure how to critique it. It is a flawed film with numerous scenes shot so dark you can't see what's going on, what no lights in set? The other drawback is it's 1hr 40 min. It crawls at a snail pace until the first pov murder scene 1 hour in. The good though is the beautiful piece of music you hear on piano throughout the film, the acting by all played is well done, and the ending is quite good as you don't anticipate it. Decent one time watch 3/5.

I sussed out who was in it from the start (no spoilers) but then watching whodunnits is almost never about who done it.

It's about atmosphere and acting: in these two departments the film, though dated, is very effective. The acting is particularly excellent with the cast of stars assembled, with Simmons and Agutter absolutely stealing every scene they're in. And Ward is pretty much off the scale.

Some particularly impressive atmospherics involving gravestones and exhumations communicating the terror felt increasingly by the male protagonist very well.

But the pace (editing) is so slow, it puts a bit of a spanner into the whole works.

I adore Jean Simmons and Jenny Agutter, and don't mind Cliff Robertson's masculinity hogging the screen.

But it's Simon Ward here who is the most successful piece of casting for the role. He has a unique facial structure, the eyes naturally conveying depths of hidden emotion and thought, and a sense of disdain for everything and everyone around him, and here they are deployed with deadly effect in the role.

Not the greatest thriller, but definitely worth a look for the performances alone.

Thanks Tubi for extending your range of classic offerings constantly.

Ridiculous, cheesy, noir 'thriller'.

It's comical that so many suspenseful scenes only call for a light switch to be turned on - but that rarely happens.

Robertson's broody/moody character is quite laughable. In fact, the more he becomes unhinged the more he seems to channel Basil Fawlty's mannerisms.

I'm not usually good at whodunnits, but I picked this one early on, which is not so much a reflection of my skills but a judgement on this poor effort.

A disappointment given Michael Anderson's directing credentials.

A wealthy wife is convinced that his equally wealthy husband tries to drive her mad by scary voices and haunting portents at their country mansion. After her sudden death, she seems to return to haunt the husband.

Predictable and fairly restricted all-star suspense shocker on the lines of "Les Diaboliques" with very occasional moments of "frisson".

Maybe it's the lo-fi versions of this on YouTube. Maybe it's the fact that everyone whispers their lines throughout the film. Either way, this is one moody movie. I'm pretty sure the only exterior day shots are when Cliff is at the cemetery. It's actually pretty good. The story is good. The acting is good. It's got an above average twist. It's actually pretty good. Also, the main musical theme is very haunting and it is used effectively throughout. Cliff Robertson is great as usual. Jenny Agutter is at her cutest. Cool, underrated film that is free on YouTube. These are the reasons why I like to fall asleep to this movie.

This is actually rather better than I was expecting - though by no means can it really be called good. Cliff Robertson is the avaricious "Ballard" whose wife "Dominique" is the object of his rather terminal desires. After repeated attempts to do away with her, she finally saves him the trouble and does the job herself. Thing is, once she has reached the safety of the "other side" she determines that he is not about to enjoy her fortune, so she returns to haunt the living daylights out of him! We've a top drawer full of supporting operators - Dame Flora Robson, Judy Gleeson, Ron Moody and Jenny Agutter delivering well to keep up the mystique. It's probably all the more enjoyable because we must all be on the side of the avenging spectre, nobody could ever like "Ballard" and so a plentiful helping of just desserts seems eminently well deserved. Simmons isn't really challenged by either the part, or the script, nor does the overpowering score allow the acting to crystallise properly either but it is still a decent effort based on stories we have all seen before, and to see two Hollywood stars still holding their own as the technology-driven 1980s loom, is still worth watching.

Take a bit of Gaslight and a shred of Diabolique and you might have some idea what you're getting yourself into with Dominique - a well made and, at times, painfully tedious chiller that never really rises to the occasion.

You have a wealthy woman named, you guessed it, Dominique who recently had an accident and is having trouble getting back to normal. She believes her home is haunted and everyone around her thinks she's just being silly. Things heat up a bit when Dominique is found having, apparently, committed suicide, but what happens when her body disappears from the grave? Is she out for revenge?

Dominique at least has a stellar cast between Jean Simmons, Jenny Agutter, Cliff Robertson and many other well known faces. There's also a good deal of atmosphere and mood, but there aren't many scares or genuinely thrilling moments mainly because it's hard to care about most of the characters. One immediately suspects Robertson's husband character of foul play from the start, so making him the center of the film without humanizing him seems like a major mistake.

I have not seen Dominique in years... watching it again after years of no see I find the movie extremely good. If you want a fast-paced, bloody ghost story then this film is not for you. This film is what you might call 'slow' and written well instead of 'fast' and all bloody eye-candy with no solid story. Dominique is my kind of a ghost story - just a damned good story with quality acting.

The story is exactly like the plot summery. Basically, a money-hungry husband and the 'ghost' of a vengeful wife. There is more to this story but I will not tell it because it would ruin the film for those who have not seen it yet. It's a must watch for lovers of older ghost stories.

I remembered the film to be good - but it is so much better than I recalled it to be. This might be a 'boring' ghost story for some - for others, like myself, this is a quality haunting film.

8.5/10

Michael Anderson's sporadically spooky 'Dominique' is a rather creaky, supernaturally slight British Gothic melodrama blessed with a quality cast that, quite frankly, readily outshines the rather prosaic text. All that being said, I actively remain an avid fan of doomy, generously smoke-slathered haunted house horror films, and the fitfully atmospheric 'Dominique' still proved to be a marginally entertaining affair; even though the formulaic plot is wholly derivative, and the twists prove to be somewhat more linear than the writer may have initially intended! The main faults reside in the hackneyed, uninspired writing, since the film-making is really first rate, with the exquisitely expressive lighting being quite exceptional, frequently reminding one of Mario Bava's sublimely sinister 'Kill, Baby Kill'. For those more forgiving Brit Horror completists seeking some late night supernatural horror hokum, you certainly could do a lot worse than the admittedly tame terror titbit 'Dominique'. File under 'Tales of The Expected'.

Potentially unstable wife of a stockbroker suspects her husband of trying to drive her mad; after she commits suicide, he begins acting unhinged himself after sensing her ghostly presence in their house. British theatrical release went straight to video in the States, and it's easy to see why: this is nothing more than a television-styled melodrama (with a budget to match). Cliff Robertson is so stoic, he barely reacts after his wife's coffin is exhumed (twice); Jean Simmons adds a bit of class in the early scenes, but supporting players Simon Ward and Jenny Agutter are just plot-tools. Director Michael Anderson complained the film was edited without his approval--so Hollywood doesn't have the market cornered on disgruntled filmmakers. *1/2 from ****