User Reviews

As Christmas approaches, this series is always a must watch, and The Stalls of Barchester is a great start to a fantastic series. This one feels like a delicious starter for a few episodes which soon follow. I've always considered this a classy production, glorious production values, a wonderful setting and a truly reliable cast. Psychological fears in this one as opposed to out and out scares, but the focus more so here is on the story.

It's wonderfully gothic, even though it's set inside a Cathedral, with wonderful carvings and tales of a hanging tree. Robert Hardy is excellent as the tortured Archdeacon Haynes, there are fine performances all round.

Subtle horror that's definitely worth your time. m 8/10

The second M.R. James adaptation I have set up for this Halloween marathon emerges a marked improvement on the cerebral and rather uneventful WHISTLE AND I'LL COME TO YOU (1968). The horror is still subtly deployed throughout, but it creates the right kind of frisson and a distinct aura of unease (thanks largely to the remote wintry locale, also incorporating the obligatory vast mansion) for this intrinsically low-key and character-driven piece. The setting is a school run by the Church – and, apparently, James had himself toyed with the idea of taking the cloth (and would actually become a teacher, among whose pupils was a certain Christopher Lee!); it involves jealousy and machinations among the staff, particularly when the current Dean 'refuses' to relinquish his position to the ambitious Robert Hardy (later of Hammer's DEMONS OF THE MIND [1972]). After he resorts to murder to obtain his wish, however, he begins to be haunted by the old man – via whispering disembodied voices and manifestations as either a black cat or a caped figure bearing a ghoulish hand with creepy talons! The predictable (but still effective) ironic climax, then, sees Hardy expiring in the exact same fashion as the fate he had planned for his doddering predecessor.

'The Stalls of Barchester (1971)' was the first entry in BBC's wonderful "Ghost Story for Christmas" series, but unfortunately it fails to attain the dizzying heights of creepiness reached by 'A Warning to the Curious (1972)' and 'The Signalman (1976).' The short film was adapted from a tale by author M.R. James – who provided many of the "Ghost Stories for Christmas" – and was directed by Lawrence Gordon Clarke, who likewise helmed most of BBC's ghost-story adaptations. The story concerns Archdeacon Haynes (Robert Hardy), who inherits his title following the "accidental" death of his 92-year-old predecessor, whose demise Haynes had awaited rather impatiently. Though it's never explicitly spoken, we all know what evil the Archdeacon has orchestrated, and so punishment is gradual yet inevitable. The recording of the story that I watched (taped, I estimate, around 1999) had an interesting introduction from Christopher Lee, who briefly describes meeting M.R. James in 1935 at Eton College.

If I had to name one reason why 'The Stalls of Barchester' isn't quite as scary as its successors, it would be the storytelling structure. Though telling the story through Dr. Black's (Clive Swift) library research was likely staying faithful to James' original story (I haven't read it myself, but he constructed many of his ghost-stories as third-person tellings), it also disrupted the rhythm of the narrative at regular intervals, and removed the immediacy of Archdeacon Haynes' otherworldly experiences. Hardy, in the main role, was oddly distant and unidentifiable as a character, and so we don't particularly hang onto his every breath as we might otherwise have done. For what it's worth, I associated mostly closely with Dr. Black, and it's unfortunate that his part in the tale was merely that of a curious and belated observer. The first half of the film, merely a set-up completely devoid of the supernatural, was something of a chore to sit through, though the eventual pay-off provided adequate compensation in the form of creepy night-time happenings.

Perusing my previous review of 'A Warning to the Curious,' I was interested to recall that Clive Swift there reprised his role as Dr. Black, playing the holiday companion to Peter Vaughan's haunted treasure-hunter. The success of that M.R. James adaptation underlines my earlier point: by placing our narrator in the midst of the paranormal, and placing his own life on the line, there is a more immediate sense of threat that translates directly towards the viewer's insecurities. 'The Stalls of Barchester,' by its very structure, encourages detachment from its doomed subject, and Hardy's aloof portrayal only broadened this emotional gulf. Nevertheless, this Ghost Story for Christmas has enough creepy moments to warrant interest from fans of the series: a disembodied hand, gaunt and knotted, reaches for Haynes' shoulder; an unseen voice whisperingly requests permission to enter the bedroom; a shadow, swathed in darkness, retreats from the scene of a murder, a chilling hybrid of human and feline features. Sinners beware, for there are those who will always be able to recognise that blood on your hands.

While cataloguing the library of Barchester cathedral, Dr Black comes across the personal diary of Archdeacon Haynes among the rather lacklustre and poorly maintained books. Black reads about how Haynes rose to the position of Archdeacon when his predecessor, the elderly Pulteney, took a fatal fall in his home. The diary tells of admin and clerical responsibilities but gradually the personal musings of Haynes about noises, feelings and other impressions that Haynes starts to have about his new home.

As well as many other strengths, BBC4 recently also provided an opportunity to dip back into some old versions of ghost stories made back in the seventies, adapting the writing of MR James. Of what I have seen of the series, The Stalls of Barchester is pretty good despite not being as creepy as I would have liked. The story itself offers creepy moments without ever totally revealing itself and in this regard I did find it quite engaging, however the delivery doesn't work to the favour of these moments. The story is told in retrospect via the reading of Dr Black and this technique does rather distance the viewer from the material because, instead of being with Haynes, we are actually with Black. This doesn't matter too much when the Haynes scenes are longer and run together but Black does fragment the telling and, despite bookending the story, Black is mostly remote from it.

The construction of the Haynes scenes is good though and the film does produce some genuinely creepy moments with minimal effects. Not brilliant perhaps, but still nicely creepy – just a shame the rest of the delivery doesn't support it. The acting is solid in the key role; Hardy convinces in his increasing bewilderment and inability to accept what he is experiencing. Bennett, Barlow and others all fill in around him. Swift and Leighton are fine but the script keeping them away from the main story means their performances do likewise.

At heart this is a nice little ghost story with some effective chills but the structure and manner of delivery does rather prevent the viewer getting lost in it and also breaks up the flow. Worth seeing but there are much better similar films shown on BBC4 recently.

A cleric goes a step too far to satisfy his career ambitions and finds himself the target of a ghostly revenge.

The story is framed by a scholarly investigation after the event, which some reviewers feel detracts from the immediacy of the story, and I think the problem is that the narrator has no connection with the plot. Otherwise the story is well told, with the protagonist forbiddingly aloof and the spookiness delivered subtly in shadowy sets with intimate little sound effects. Also a nice strand of humour runs through the early scenes, as the dogged old archdeacon clings to his position.

One flaw in the story is the loose end of the collaborator in the fatal deed - once the blackmail note was produced it had to become part of the plot, but was just left dangling.

M R James is perhaps the most celebrated author of ghost stories in the English language, but only one feature film has ever been based on his work, the 1957 British horror movie "Night of the Demon", loosely adapted from his "Casting the Runes". His stories have, however, occasionally appeared on television. I remember from my childhood that between 1971 and 1975 the BBC used to dramatise one every year under the title "A Ghost Story for Christmas". "The Stalls of Barchester", first shown in 1971, was the first of these. Three more entries were added between 1976 and 1978, based on stories by other writers.

It has been said that the classic Jamesian tale generally includes the following key elements:

1. An atmospheric setting, often in a historic town or remote part of the countryside 2. A gentleman-scholar as protagonist 3. The discovery of an antiquarian object that acts as the focus for supernatural forces.

Here the setting is an English cathedral, about as atmospheric and historic as one can get. (James borrowed the name "Barchester" from Trollope; Norwich was used for the exterior shots). The "antiquarian object" is a mysterious carving in the choir stalls. The "gentleman-scholar", however, does not appear in the main story, although he plays a role in the "framework" within which that story is set. In the 1930s that scholar, Dr Black, is cataloguing the Cathedral library when he comes across the diary of Dr Haynes, who held the position of Archdeacon in the 1870s. The diary contains some shocking revelations. We learn that the ambitious Haynes, coveting the position of Archdeacon, engineered the death of his elderly predecessor Dr Pulteney, but was subsequently plagued by visitations of a possibly supernatural nature. These visitations may be connected with some strange carvings in the Cathedral choir stalls, said to have been carved from the wood of a "hanging tree" once used for executions.

The last entry in the "A Ghost Story..." series which I watched was the second, "A Warning to the Curious". Like all the collection, both "A Warning..." and "The Stalls of Barchester" were written and directed by director Lawrence Gordon Clark, but there are some interesting differences between the two films. In "The Stalls of Barchester", Clark was to stick more closely to James's story than he was to do in the following year's film. He keeps the "framework story" in "The Stalls...", while dispensing with it in "A Warning..."; the main change he makes is to the date of the action. (In James's original the main story takes place in the 1810s rather than the 1870s and the framework story around 1900). Clark also invents the name "Dr Black" for the gentleman scholar, who was nameless in the original. (Black, played by Clive Swift, also makes an appearance in Clark's version of "A Warning...").

The visual look of the two films is also different. "A Warning to the Curious" was mostly shot outdoors, against the background of the wide open, wintry Norfolk countryside; it is the lighter of the two films, but the light is a bleak, harsh one. "The Stalls of Barchester", by contrast, is more enclosed and intimate, with most scenes taking place in a dimly lit indoors, either in the Cathedral itself or in the Archdeacon's residence.

Another difference lies in the way the protagonists are presented. Dr Haynes, as played in a good performance from Robert Hardy, is an unctuous hypocrite, a supposed man of God who has no scruples about committing murder in order to further his earthly ambitions. In "A Warning to the Curious", however, the main character, the amateur archaeologist Mr Paxton, is portrayed as highly sympathetic, probably more so than he was in James's story. (Another fine performance from Peter Vaughan). He is a man in late middle age, from a working-class background, and has recently lost his job. He is, however, a man with a genuine passion for history and hopes to make a find of real significance which will allow him to make a living as a professional archaeologist.

Although "The Stalls of Barchester" is officially called a "ghost story", there is no identifiable ghost; James presumably rejected the idea of having Haynes visited by the spirit of the deceased Pulteney. The possibility is left open (perhaps to a greater extent than in James's story) that Haynes is the victim not of vengeful supernatural entities but of his own tormented imagination and guilty conscience. The unearthly forces which confront Paxton are all too real.

"The Stalls of Barchester" is certainly atmospheric, but I didn't really enjoy it as much as "A Warning to the Curious". I think that the reason is that there is no character with whom the viewer can identify, unlike Vaughan's Paxton, a working-class Everyman who comes so close to success but who is unfairly struck down at the moment of what should have been his greatest triumph. If Archdeacon Haynes is struck down by malign forces it is no more than he deserves; it is difficult for the viewer to feel either sympathy or pity for such a man. Not so much a warning to the curious as a warning to the murderous. 7/10.

One need not have any familiarity with the short story on which this is based to quickly grasp the thrust of where this adaptation will go. I think the framing, narration, and voiceovers work against the storytelling in some measure, or at least the extent to which these are employed, for they add a layer of artifice that dampens the inherent value of the tale. On the other hand, the gothic primary setting and musical selections - organ and choral - help to add a tinge of uneasy atmosphere to the proceedings, not least in those select instances when the audio is slyly manipulated. Then again, even within the abbreviated television airtime of forty-five minutes, the pacing feels weirdly slow and stilted: not taking ideal advantage of the length it has, needing to be more drawn out to allow for more detail and progression, yet also advancing the tale in a halting manner that's not fully convincing. This is in addition to the flat, extremely subdued tone that the presentation constantly maintains. In fairness, this was the first writing credit of filmmaker Lawrence Gordon Clark, and only his third outing as director including other television credits; 'The stalls of Barchester' further represents only the first of the BBC's "Ghost story for Christmas" series. There is no expectation that the result would be perfect. Even at that, however, it's a little sleepy.

By all means, the narrative in and of itself is firm and interesting. It might be more actively engaging if not for the heavy use of the flourishes noted above, which in part make for the cinematic equivalent of a man sitting in front of a fire and reading a story to us. Indeed, the narrative in and of itself is rather diminished as we see it for just that reason. I would also observe that the telling is rather vague about the minutiae of the course of events; it doesn't so much relate the tale as it does provide insinuations and possible hints. Granted, I don't doubt that this approach was intentional - laying out a mystery, above all else, as to the life and fate of Archdeacon Haynes; moreover, not being familiar with M. R. James' short story I can only assume that either these matters are a fault of adaptation, or perhaps James was also just as stalwart in putting the mystery first. In any event, I can only remark on the TV movie, and what I see is storytelling that's nonspecific and imperfect. Adding this to the majorly restrained, understated tone (so understated that it's barely stated at all) that Clark sustains throughout, it's safe to say that this doesn't make for the most robust and captivating of viewing experiences. And I say that as someone who often appreciates the quieter, subtler side of genre fare, or even prefers it.

It's broadly well made, certainly, including the modest stunts and effects; the production design is admirable. The manner in which some lines are delivered feel off to me, which I chalk up to Clark's direction as well, but mostly the acting is fine. I did, in fact, enjoy watching. I just think James' story perhaps deserved better treatment than what it got, with more substantive elucidation of - well, if not the truths behind the mystery, then at least the pieces of the mystery, so that the mystery could be more absorbing and impactful. The picture as it presents rather keeps itself so low-key and ambiguous that maybe the framing was necessary after all just to provide in some capacity a plot that was more concrete and tangible. Suffice to say that 'The stalls of Barchester' will not appeal to all; this is best reserved for those who like the softer and more muted side of horror, and mystery, and even then favor will surely vary significantly from one viewer to the next. I see what Clark was doing here; I'm just not convinced that it entirely works. By the strength of the underlying tale, however questionably realized on film, this earns enough esteem in my book to help it stay afloat, but one should be well aware of the nature of the material before they consider watching.

I am an enormous fan of the BBC's Ghost Stories For Christmas but this is by far my favourite. It manages to pull off the seemingly impossible feet of being both very scary and also very amusing. Personally I love the antiquarian setting of this and most other M R James stories because it makes the following supernatural happenings all the more unexpected coming as they do into a world that deals with fact. The Stalls of Barchester has a wonderfully light touch as can be seen in how it illustrates the continued survival of the aged Archdeacon (much to his ambitious subordinate's chagrin) by the decreasing number of guests at his birthday drinks. The reason why this short film remains so scary is because right up until the last moment it's 'ghosts' come only in the form of noises and the odd movement out of the corner of the eye and have thus not aged at all. I cannot really do justice to the beauty of this programme's photography and production design and I urge everyone to see it and then write to the BBC and demand it's release on DVD.

The Stalls of Barchester properly launched the BBCs Christmas ghost stories of the 1970s. They were directed by Lawrence Gordon Clark who had previously been a documentary maker.

The story is framed in 1932. The scholarly Dr Black (Clive Swift) is cataloguing the library of Barchester Cathedral, an uninteresting duty. Until he comes across a trunk containing the papers of Dr Haynes (Robert Hardy) the former Archdeacon of the cathedral.

Dr Haynes arrived with his sister Letitia (Thelma Barlow) as a junior Deacon. Hoping to swiftly replace the aged Archdeacon Dr Pulteney (Harold Bennett). However he was blessed with good health and Dr Pulteney had no intention to retire even though he had now reached his 90s.

As the years went past, Haynes patience finally ran out. Along with the housemaid Jane Lee (Penny Service) an accidental death of Dr Pulteney is arranged. Dr Black later notes that regular payments were made to Jane Lee by Haynes, which seems to imply that he was being blackmailed.

Once Haynes becomes Archdeacon. Blackmail is the least of his problems, he feels he is being haunted. Hearing cat noises, the wood carvings of the cathedral might be alive. Haynes is a tormented man.

Maybe Haynes mysterious death was some sort of avenger from beyond the grave.

Clark had a low budget to work with. He still managed to male the drama in 16mm film. The spookiness was a bit too subtle, a lot is relied on light, shadows and Robert Hardy's acting.

There is a nod to folk horror. As Dr Black discovers where the wood came from for the church's intricate carvings.

The first entry in the BBC's A Ghost Story for Christmas films. Like many others its an adaption of an M. R. James story. In this case its about an Archdeacon of a cathedral who died mysteriously. Throw in a black cat and wood carving made from a tree historically used for hangings and you have the makings of a gothic ghost story. The story is fairly routine but there is plenty of atmosphere, helped by the gloomy authentic locations.

Whilst there's a beautifully spooky atmosphere throughout, scares are very thin on the ground.

Cinematography is superb, and there's nothing wrong with the performances either, but at the end, I was left with a feeling of 'is that it'?

Whilst at least it doesn't resolve in an obvious way, you're still left with a lot of questions, as to exactly what's gone on.

I think it's fair to say with it being the start of the Ghost Stories for Christmas proper, they were still finding their feet, as the following years story was far, far superior to this.

Worth a watch, just to see the start of it all, but don't expect a fully formed, satisfying, ghost story.

Fun to see this. A Warning to the Curious and Lost Hearts were the masterpieces of the series. This entry is dour and a little plodding but has a palpable tension and dread. It boasts a memorable shock a good five years before DePalma's Carrie, although my memory of it was a little different. It will still make you jump and your blood run cold. 'Stalls' was the series finding its feet. The structure, with two lots of voice-overs is somewhat awkward and unwieldy. The academic inquiry is dry and your attention may wander, forcing you to backtrack. It is the antecedent of The Treasure Of Abbott Thomas, which was similarly scholarly, although not ruinously. It is M R James approach and you can take it or leave it.

Continuing with the M. R James adaptations, I decided to move on to "The Stalls of Barchester" which again was released originally on the BBC, in 1971. Interestingly, this was another adaptation with Clive Swift playing the role of Doctor Black, last seen (by me) failing to help Peter Vaughn on the Norfolk Coast (although I believe that this was actually the earlier production). Again, the 45-minute episode is currently available on Youtube.

Dr Black (Clive Swift) is cataloguing the papers of a cathedral library when he's offered access to a sealed collection from a former archdeacon of the site, who died in mysterious circumstances some 50 years earlier. Deacon Haynes (Robert Hardy) is eager to take the Archdeacon role and get to work on restoring the cathedral to it's former glory, but his way is blocked by the incumbent Archdeacon Pulteney (Harold Bennet) who lives to his 90's. When he finally passes, following an apparent accident at home, Haynes is promoted and though he's successful and studious, his private diaries tell Dr Black of a man haunted by unseen voices and figures in the dark corners of his home and the transepts of the cathedral.

Like "A Warning to the Curious" I was expecting "The Stalls of Barchester" to be mostly atmospheric, and indeed it is, though this has more effects work than the following years entry. A spectral hand falls on Haynes shoulder, and there's a relatively gruesome effect in the story's finale. Overall though, I don't think the sound design was quite as good as with "Curious" and it hurt the credibility a bit for me, as it's not quite as easy to dismiss a whispered voice, than just general speaking coming from another part of the house.

That said, it's another good story. I love that there's an aspect of the plot that the show trusts you to work out for yourself and doesn't explicitly show you. There's no way that would be the case if the show was made today. I'm starting to get a feel for the M. R James themes now, ecclesiastical libraries, appraisers and historians, a quiet English village. I like the performances from Robert Hardy and Clive Swift and from Thelma Barlow, who plays Haynes spinster sister.

Decent, though a touch below "A Warning to the Curious" for me.

This short 'ghost story' film still delights and intrigues me even after several viewings over the years. Wonderful creation of atmosphere,from the dark interior of the archdeacons house to the misty cathedral grounds.I agree that some may find it a little 'plodding'but this is not a slasher/effects movie and I think the build up of the macabre moments and outcome are to be savored and maybe the 'ghost stories' series strong point. I also enjoyed the subtle moments of humor in this story. All in all a very enjoyable winters afternoon or evening viewing.

Roy

One of my fondest memories of my primary school days was when our wise old English teacher would arrive on the last day of term carrying a worn book with a green cover, gathered the class around and read us a story by M. R. James as an end of term treat.

During the same period this deceptively low-keyed BBC adaptation of 'The Stalls of Barchester Cathedral' completely wrecked my Christmas by spooking me so thoroughly it kept me awake all night and I spent the Big Day in a haze.

It proved to be the first of a series of tv adaptions collectively titled 'A Ghost Story for Christmas' and for the next couple of years with the approach of the festive season I anticipated each new instalment with a mixture of eagerness and trepidation.

MR James's stories are among my favourites. They are bleak, dark and solitary - but also with a deep and persistent moral to them. The dangers of pride and hubris, and how those who have wronged will receive their comeuppance - however otherworldly. The Stalls of Barchester is one of the best of these, along with A Warning to the Curious. (Charles Dickens's The Signalman was also a solid 10/10).

The storytelling is shudder-inducing. Lawrence Gordon Clark's writing and directing are sublime, with eerie shadows, innovative use of light and dark, and clipped, sinister characterisations.

The acting is also among the best of these adaptations. Robert Hardy is magnificently grim as Haynes. He imbues the role with such force and gravitas that you can sense a gradual alteration in his characterisation as he slowly realises he is being hunted down. Clive Swift also adds a lovely tone as Dr Black, although his tour de force would come in A Warning to the Curious. The remaining cast are all excellent, though Thelma Barlow deserves special mention for her delightful cameo as Haynes's gossiping sister.

The Stalls of Barchester is among the best of the Ghost Stories for Christmas. The original story is one of my favourite reads, and this adaptation will remain one of my favourite watches year after year. 10/10.

I really didn't care for this, I love the rest of the M R James series, but this one had no tension, no terror, no dread. The effects were extremely fake. The way the story was told was boring and monotonous. To be perfectly honest I found it an embarrassment to be associated with the BBC's other great adaptations of M R James. The main character was so emotionless and flat that i was left not caring what was going to happen to him, (although he may have been meant to be played this way). Prehaps it just wasn't a good choice of story.

With some things you can say, "well it wasn't scary but I still enjoyed watching it", well not with this.