British films were beginning to attract more attention from American audiences by the time THE SEVENTH VEIL appeared on U.S. screens, and audiences took to JAMES MASON as the overly possessive guardian of ANN TODD, even though the character he played had some very unpleasant traits--such as using his cane on the woman's fingers when a burst of temper had him out of control. It's the odd love/hate relationship between Mason and Todd that carries the film.

Unfortunately, it carries it into the realm of theatricality when the relationship is shown at its most troubled stages. The film begins with the young woman attempting suicide from a bridge, and then the film becomes a study in psychological terms about the reason for her aversion to the piano with flashbacks serving as the means to unravel the cause of her illness.

Some of it is very effective and certainly it's the reason JAMES MASON was discovered by Hollywood--but it has to be viewed in the context of the time when psychology was being explored by both British and Hollywood filmmakers and audiences apparently embraced such stories.

Mason's effectiveness in what could have been a highly unsympathetic role is what makes the film superior. Todd, while excellent at appearing to be a concert pianist, is less successful as a dramatic actress. A stronger performer in her role might have made the film more convincing than it is--particularly in making the sappy ending more convincing. It appears to have been tacked on solely to please audiences rather than being a truthful outcome to a story involving such strong-willed characters.

If you like melodrama, check this one out. It is well-made and is acted with sincerity by some fine British actors who achieve great dramatic effect.

Piano music is secondary to the story and only small snippets of music are played. You will barely notice the piano because this movie is overwhelmingly a psychological drama. So much so that the psychiatrist is given almost super-human insight and ability. This is not a negative because it is not crackpot or over the top.

James Mason is outstanding and very believable in a cerebral, complex role. Think of the best James Mason performance you ever saw. This equals it, I guarantee. Ann Todd is solid and believable, although somewhat coldly distant from the audience, but that was her style. She stays in character and keeps it interesting.

Herbert Lom must have made a zillion movies, many obscure or trifling. However, this film proves that he was a first-rate actor. His performance here as the psychiatrist is very straight, serious and effective. You won't believe it is the same actor who was in those "Pink Panther" movies.

Note how the cave-like home of the artist ("Leyden") appears claustrophobic in comparison to the spacious comfort of the main mansion set. This, and the deliberate posing of Todd to look uncomfortable in Leyden's home are subtle examples of the high standard of care and planning that must have gone into this production.

This is high-caliber melodrama, not overdone but just interesting and effective.

Psychiatrist Herbert Lom is trying to reach into the lost soul of a suicidal pianist (Ann Todd). Under hypnosis, he learns of how as a young girl she was taken in by a distant relative (James Mason),a brooding man whose mother ran off years ago, leaving him distrustful of all women. Mason soon realizes what a talent Todd has as a piano player and begins to mentor her, softening up, but still remaining a possessive Svengali. When Todd falls in love with Hugh McDermott, Mason does everything he can to end the relationship so he can continue to possess her, but she runs off only to find tragedy that threatens to destroy all of her dreams. It is her inability to play the piano that draws psychiatrist Lom to visit Mason in hopes of snapping her out of her manic depression.

This Gothic drama features some great classical music and is mesmerizing from start to finish. I don't know if I see a romantic potential between Todd and Mason because of his possessiveness, but like Eliza Doolittle and Henry Higgins, they are without meaning when apart. It's nice to see a very Herbert Lom, best known as the harassed Inspector Dreyfeuss (who later went bonkers) in "The Pink Panther" movies. Still years from his Hollywood success, Mason was one of England's brightest actors, and his voice is always refreshing to hear. Todd is perfect as the fragile heroine, a combination Jane Eyre/Mrs. DeWinter ("Rebecca") that makes me wonder how Joan Fontaine would have played this part in an American version. Definitely not to be missed!