A group of people terrorized in a desolate house, cut phone lines and a faceless murderer; none of these elements are new to a horror film. They are all featured in the story of THE BAT (‘59), which by the time of its release, wasn’t new to audiences either. However, the modernized 1959 version of the horror thriller has a new and refreshing feel today.

The story originated as a stage play that premiered in August 1920, written by Mary Roberts Rinehart and Avery Hopwood. Five film versions of the story were then released over the years: THE BAT (‘26), THE BAT WHISPERS (‘30), SH! THE OCTOPUS (‘37), THE GORILLA (‘39) and this version. Some of the stories change “The Bat” to a gorilla or another animal, but the premise is still the same in each — a group of people in a house terrorized by an animal-like murderer.

Agnes Moorehead stars in this version as mystery writer Cornelia van Gorder, who rents the Oaks mansion from a small-town bank president in order to write her next novel. But soon after moving in, all of her servants quit, and she and her maid Lizzie, played by Lenita Lane, are the only ones left in the house. Rumors of a murderer named “The Bat” circulate — a killer that slits throats with long talons and is said to have no face.

Adding a complication to the plot, the bank president embezzles millions and he is killed shortly after. Only one person knows the bank president committed the crime, but a newly married bank clerk, Vic Bailey (Mike Steele), is arrested on suspicion.

Others involved in the plot include:

• Local doctor, coroner and bat expert, Dr. Malcolm Wells (Vincent Price)
• Chief detective, Lt. Andy Anderson (Gavin Gordon)
• Cornelia’s house guests: Judy (Darla Hood), who can testify in the embezzlement case, and Dale Bailey (Elaine Edwards), the wife of Vic who is in jail
• The mysterious chauffeur, Warner (John Sutton)
• Mark Fleming (John Bryant), the nephew and heir of the bank president

With multiple characters all behaving suspiciously, THE BAT weaves a web of intrigue and keeps you guessing about who the murderer is.

By 1959, Vincent Price’s career was largely dedicated to horror films. But while Price stars here, he isn’t the main focus of the film — instead Agnes Moorehead is the star.

Chameleon-like in the versatility of her film roles, some of Moorehead’s characters have included the glamorous but catty best friend in SINCE YOU WENT AWAY (’44); the fragile Aunt Fanny in THE MAGNIFICENT AMBERSONS (’42); and the strange, sloppy maid to a reclusive Southern belle in HUSH…HUSH, SWEET CHARLOTTE (’64). Even at the time THE BAT was being filmed, Moorehead was preparing for her role in Disney’s POLLYANNA (’60) and a Broadway musical co-starring Ginger Rogers called The Pink Jungle.

Her varied performances have made Moorehead well-remembered, and her image lives on today, particularly because of roles like Endora in the television show Bewitched. Because she could adapt to any character or personality type, many of Moorehead’s film roles were supporting character actors. THE BAT was one of Moorehead’s few leading lady roles. Her character of Cornelia van Gorder is a smart and savvy writer, who doesn’t have a love interest, nor does she need one. The men Cornelia calls on to help solve the crime are barely useful and she takes matters into her own hands. While Cornelia and her maid Lizzie may be frightened by the idea of the Bat, they take charge of the situation and uncover the secrets that break the case.

The maid in this film, Lizzie, is portrayed by Lenita Lane, who was also the wife of Crane Wilbur, who directed and wrote the screenplay for THE BAT. Lane was a supporting actress in the 1930s and early 1940s, and by the time THE BAT was released, her film career had slowed. This was Lane’s first film in five years as she was already in semi-retirement and this was Lane’s last film. While Lane’s character of Lizzie is Cornelia’s maid, she is treated as Cornelia’s equal and is the only other levelheaded individual in the case. Audiences will also see former child star of the Our Gang series, Darla Hood, in the role of Judy.

Though this isn’t a new story, I feel like the modernized, 1959 version of THE BAT is more noteworthy than its predecessors. Film reviews from 1959 and today aren’t always complimentary of THE BAT, saying it lacked momentum or scares. But the dry wit and humor brought into the story give the movie an offbeat, quirky feel and its overall more fun than the other versions.

The characters also set this 1959 film apart. In many horror films of the 1950s and early-1960s, women are terrorized and a man saves the day. But the men in THE BAT are either killed, suspicious or useless. There are certainly a few damsels in distress in this film, but it’s the women — particularly Cornelia and Lizzie — who solve the crime and wrap up the case.

Adding to the quirky vibe is a score featuring jazz guitarist Alvino Rey with his steel guitar. Each time the Bat enters, we hear a twang of the unique sounding instrument, which has a sinister Hawaiian guitar sound to it.

But what really makes this movie is Agnes Moorehead. The film left me wishing that Agnes Moorehead had her own film or television detective series.