Tag Archives: Boris Karloff

Movie review: The Invisible Ray (1936)

27 Tuesday Jun 2017

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THE BORIS KARLOFF / Bela Lugosi horror express kept on trucking along for Universal Pictures, but this was definitely Karloff’s showpiece and this lesser known film from the iconic duo probably deserves more recognition than it currently holds.

Karloff plays the eccentric scientist, Dr Janos Rukh, a man with a wild belief that he can use a telescope to reach out to the Andromeda Galaxy and use images of light to capture Earth’s past as seen from space.

Scoffed at by his colleagues, it is only when he is able to present his findings to Dr Benet (Lugosi) and Dr Stevens (Walter Kingsford) and is able to capture when a meteor had crashed into the Earth, that his skeptics sit up and take notice.

An expedition is planned where Rukh is charged with finding the fallen meteor.

When Rukh finds the meteor, he is unwittingly exposed to the radiation, Radium X, which effectively makes him glow in the dark with a fatal touch with skin to skin contact.

He is aided temporarily by Benet who discovers an antidote that can keep the radioactive poison at bay, but it’s not long before it starts to eat away at his mind and Rukh goes on a killer rampage fuelled with jealousy.

By this time, Rukh’s estranged wife has fallen in love with Ronald Drake, the nephew of Dr Stevens.

At first, Rukh reluctantly let’s her go, but this soon turns to hatred and moulds into his vicious plan to rid the world of those responsible (or so he believes) for his downfall.

Rukh succeeds in killing the Stevens’s and then ventures to off the remaining few.

As the film proceeds, it feels certain that the only person who can stop him is Benet, but even he is thwarted in a surprise move considering the casting of Lugosi attached to this character and perhaps more could have been done to play with this encounter.

Instead, it comes down to Rukh’s mother, (who is magnificently played by Violet Kemble Cooper)

to intervene and destroy the antidote, thus rendering Rukh to succumb to the radiation and go out in a blaze.

It’s a painful story, which treads a similar path to The Invisible Man, but in this instance there is more sympathy laid out to the central character, which is a testament to Karloff’s handling of such a role.

Special mention should go to Kemble Cooper, who almost steals the show with every scene that’s she’s in, deftly displaying a balance of eeriness with her psychic ability and blindness combined with the motherly love and protectiveness that she bestows upon Rukh.

Not a lot has been written about this movie and from what I have read, they err on the side of negativity, but I feel that there’s enough of a plot and structure to this movie that it warrants further scrutiny.

I found it a lot more engaging than Karloff and Lugosi’s previous outings and that The Invisible Ray could potentially be a forgotten classic as a result.

  • Paul Farrell

Movie review: The Raven (1935)

26 Monday Jun 2017

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IN THEIR THIRD appearance together for Universal Pictures, Boris Karloff and Bela Lugosi have the routine down pat.

Lugosi oozes maniacal glee as the Poe-obsessed surgeon with a torture chamber in his basement.

And Karloff, (who was billed with just his surname for this picture, which goes to show how symbolic his name had become in the industry) plays a fugitive on the run from the police.

The film begins with an actress, Jean Thatcher (Irene Ware) hanging on for dear life after a car accident.

Her father and her betrothed seek the help of a retired surgeon, Richard Vollin (Lugosi) to pull her through.

Vollin then develops an unhealthy infatuation towards Jean, who is indebted to him for saving her life.

Vollin attempts to sway her much to the reluctance of Jean’s father.

A crazed plan only comes to light for Vollin when a chance encounter with Edmond Bateman (Karloff) seeking refuge with a proposed operation to change his appearance.

Bateman’s words hang firmly in the mind of Vollin when he mentions how being ugly may have led to him doing ugly things.

In what Bateman hopes will be a transformation for good, Vollin seizes upon this and turns him into a disfigure monster followed by a promise that he will aide him in exacting revenge on the Thatchers.

The conclusion of the movie centres on a dinner party which soon descends into the basement of torture, where one by one the guests face the likes of the pit and the pendulum, and the shrinking room.

It is Bateman’s tortured soul that wins the day though, as he searches for a good heart within and turns the tables on the fanatical Vollin, forcing him into the shrinking room and in turn his demise, but not without inflicting a fatal bullet wound in the process.

Upon release the movie received poor box office receipts, which is a shame, as I found the narrative and performances to be one of the strongest outside of the ‘monster’ features.

Both Lugosi and Karloff are particularly strong in their respective rolls, but it was deemed the subject matter of torture and disfigurement (themes that would be welcomed today among cinema-goers) too strong for the audience.

The following year would see Universal Pictures change hands, and the proprietors were less interested in the stories of the macabre and The Raven’s poor performance was evidence enough for them to make this decision. It not for long.

  • Paul Farrell

Movie review: Bride of Frankenstein (1935)

04 Sunday Jun 2017

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I REMEMBER THE first time that I watched this film guided by the critical praise that had been heaped upon it and feeling somewhat bewildered by this.

I couldn’t get beyond Doctor Pretorius’ invention of the little people, which the FX were incredibly convincing for it’s time, but I just found that it threw me out of the picture because it defied logic and reasoning.

The science behind the novel and indeed it’s predecessor were ground in reality, but this felt like it had crossed a line and into the world of fantasy.

Some people out there might suggest that this is a good thing, but despite Bride of Frankenstein being described as James Whale’s masterpiece, I struggled.

Fast forward to today, when I sat down to review the movie once more, I still stinted at Pretorius’ revelation, but pushed this aside to discover a new-found appreciation for the film.

The opening in particular was a refreshing nod to the inspiration, and creator behind the novel, Mary Shelley.

It recounts of the now infamous discussions between Mary Shelley, her husband Percy Shelley, and Lord Byron.

In this instance she recounts how the original story was only the tip of the iceberg and ventured to tell the tale of more monsters lurking within.

It is here that the story picks up where Frankenstein left off, with the supposed demise of the monster within the burning windmill and Dr Frankenstein (Colin Clive resurrecting his role) being rescued from the rubble.

When lo and behold the monster resurfaces and swiftly dispatches a local and his wife along the way.

Our maniacal Doctor Frankenstein has softened, seeing the error of his ways and is hell bent to put an end to his studies, but is lured back into the laboratory by a fellow scientist, the afore-mentioned Pretorius.

Pretorius seeps into a place of darkness, as he journeys into a mad new “world of Gods and Monsters” in order to see through his experiments.

The strength of the movie though doesn’t come from our protagonists but instead by our antagonist, The Monster, who is once more played by Boris Karloff.

This is his movie and his chance to shine, and shine he does as the script allows him to show more of the human, loving, and misrepresented character.

One of the most powerful scenes comes about when The Monster is stumbling around in the woods and happens to come across a blind man.

This man befriends The Monster and is not swayed by judging him by his appearance.

The friendship is a strong one, as they share in the delights of music and smoking, but this world of companionship would soon come crashing down as some passing hunters discover The Monster and he is forced to flee once more.

The subject of companionship is a strong one in this movie, and drives the plot line forward.

Pretorious seeks the companionship of a fellow scientist as he seeks to carry out his experiments; Frankenstein ultimately is willing to end this in favour of the love he has for his wife; and of course The Monster seeks friendship and when he stumbles upon Pretorius, his offer is all too great and he is willing to follow the mad man.

The cruelty would come at full force though, when The Bride (played by Elsa Lanchester, who also doubled up as Mary Shelley in the film’s prologue scene) is ‘awakened’ but finds the sight of The Monster too horrible to comprehend.

All hell breaks loose and the walls come tumbling down, crushing all but Frankenstein and his wife, who manage to escape just in time.

The film is beautifully shot with some of the framework simply stunning, and along the way has heralded some of the most iconic images to fall in the Universal Monsters universe.

Karloff hits the heart with perfect pain and angst, and his harrowing demise (albeit a rushed conclusion) is the only fitting way for his life to find closure…

Forced into a world that wouldn’t accept him and then just as swiftly dispatched from it, with a cold and abrupt end.

It is worthy successor to the original movie and probably one of the finer sequels to ever have been made.

  • Paul Farrell

Movie review: The Black Cat (1934)

30 Tuesday May 2017

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PART OF ME so wanted to connect with this movie due to its strong placement in film history, pairing horror icons Bela Lugosi and Boris Karloff together for the first time.

They would do so again a further 8 times throughout their career.

Both Lugosi and Karloff would find fame through their roles in Dracula and Frankenstein respectively and each had a further outing of their own, with moderate success, so it was inevitable that these two powerhouses of their day would cross paths before too long.

It pains me to say that I really struggled with with watching this movie.

Loosely based on the short novel of the same name by Edgar Allen Poe, The Black Cat had all the hallmarks of a classic horror story.

Our central protagonists Peter and Joan find themselves as unwitting pawns in a game between psychiatrist Hjalmar Poelzig (Lugosi) and architect Dr. Vitus Werdegast (Karloff), both whom flirt with their own sanity throughout the proceedings, although Poelzig is marginally on the ‘right’ side of the tipping point.

He does at one point though try to plead for Peter and Joan’s freedom having been ensnared in Werdergasts abode, by playing a game of chess.

Werdergast certainly takes home the crazy awards though with his collection of dead women that he keeps in glass cases.

The history between these frenemies runs deep, turning all the more bitter when Poelzig is imprisoned during the war, during which time Werdergast settles down with Poelzig’s wife, who is now dead and has become a feature in one of the exhibits.

It’s something of a convoluted mess, with the drama wrenched up to the max that it feels strained and forced.

Both Karloff and Lugosi pull off all the stops as they race to the ultimate showdown between the two for the film’s climax, but by this point I’d gone past caring and simply wanted the movie to find it’s end note.

In fact, were it not for the performances from both its leads, The Black Cat wouldn’t have received the kind of recognition that fell its way upon its release.

This coupled with the music score keeps the audience barely onside and despite this being Universal’s biggest box office hit of the year, The Black Cat ends up looking more like a drowned cat than screeching for the high notes of hysteria and horror that it was clearly aiming for.

Ultimately, something of a disappointment.

  • Paul Farrell

 

Movie review: The Old Dark House (1932)

31 Friday Mar 2017

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Just as Bela Lugosi followed up on his role of Dracula with Murders in the Rue Morgue, Boris Karloff would have his turn in front of the camera after scaring audiences as The Monster in Frankenstein.

Once more he would team up with James Whale, who would be on hand for directorial duties, and his craft is well toned in this cross between light-hearted drama and haunted house horror.

It certainly takes its time to get the wheels moving as it sets up the multiple of characters that descend upon the strange house and its odd occupants to shelter from a passing storm.

There’s the argumentative couple who we first meet and the dialogue feels stilted and all due respect, as thought they are lifting the lines off the page instead of embodying it.

It’s only when Melvyn Douglas arises from the back of the car with his upbeat banter that you start to think, ‘thank fuck for that’, even if it does come across as a little overbearing.

When they arrive at the house, they are greeted by the mute butler ably played by Karloff, who it turns out, does not make a happy drunk.

Boy, we’ve all met one of them, haven’t we?

Alongside Karloff, we also meet a couple of the Femm family, the neurotic Horace and his sister, Rebecca, who is not only partially deaf, but a bit of a grumpy cow.

There is something deliberately off beat about this movie and because of this, the audience play into the hands of the director, who leads through our uneasiness, which can’t seem to shift, despite the presence of the charismatic performance of Charles Laughton in his first Hollywood film, and a romantic interest thrown in for good measure.

Gladys even remarks on how there is something odd about the house and is reluctant to go back inside.

Of course she does, and in doing so, the audience is greeted by more oddities and peculiarities.

Karloff’s Morgan has hit the bottle by this point and has gone on the rampage.

The arguing couple are no longer doing so and appear to show genuine care for each other.

In this state of enlightenment, they meet the patriarch of the Femm household, a bed-ridden Sir Roderick, who despite being billed as John Dudgeon was actually played by Elspeth Dudgeon, because apparently Whale couldn’t find a man who looked old enough to play the 102 year old.

The problem is that it clearly looks like a woman with a few tufts of hair to form the guise of a beard.

Is that supposed to make her look more “manly”?

The result is that it took me further out of the movie than I already was.

What does pull you back in though, is the introduction of another brother, who has been locked in a room upstairs, and for good reason, for he’s clearly insane and is played with clear mania and glee by Brember Wills.

Said brother, Saul is also a pyromaniac and when his appears on the screen, the level of menace and sinister is heightened because of it, a testament to Wills’ performance.

There are some ingredients in here to make the movie a worthwhile viewing and yet, some say that William Castle’s version that came about in 1963 is arguably a better adaptation.

What is strange though is that in a Top 100 horror movie list as conducted by Time Out magazine and selected by authors, directors, actors and critics of the genre, The Old Dark House reached No. 71, a fact that I find hard to believe when there have been so many glorious movies in the horror realm that trump this film.

But it’s our diversity in taste that keeps us united and divided in our love of horror.

It keeps us debating and talking, to challenge each other and find common ground.

And some cases, change our opinions or go back to review those films again.

  • Paul Farrell

Movie review: Frankenstein (1931)

17 Friday Mar 2017

Posted by in Universal Horror

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THE MOMENT the character of Doctor Waldman delivers the opening monologue as a word of warning about what the audience is about to see, a classic novel becomes an iconic film.

Said character is played by Edward Von Sloan who returns after his performance of Van Helsing in Dracula.

Also returning to the Gothic Horror scene for Universal, who played the maniacal Renfield.

He he turns a trick as the hunchback (and aide to Dr Frankenstein) Fritz.

But the film owes testament to Colin Clive’s performance of Frankenstein, Boris Karloff’s awesome transformation as the Monster, a performance that required hours in the make up chair to deliver the signature look for the creature.

Karloff’s name would be forever cemented in film history despite only being credited as “?” in the  titles.

And let’s not forget the directorial duties of James Whale, who’s vision in this movie not only established his rightful place as a master of his craft, but would forever identify him with this time and place in film history.

The story of Frankenstein by Mary Shelley has become so identified with Gothic Literature that it arguably holds the title of being the finest example of that genre.

It was one of the earliest stories used for film back in 1910 with the Edison Manufacturing Company’s short feature and has seen numerous adaptations ever since.

By 1931, Universal Studios had found a successful run in the Gothic genre, particularly after Dracula and were looking to repeat that winning formula.

With the release of Frankenstein, they found that success and a golden era in horror was born.

I hold my hand up and have to declare that I do have a soft spot for these movies that I do identified with the time, but for me they feel ageless as I am easily transported into the setting and delve into the world that has been created, which is a testament to the storytellers and the performances of the cast.

Colin Clive deliberately hams up the role of Dr. Frankenstein, which hangs marginally on the right side of believable as a man driven to the brink of insanity.

Even to this day the scene in which he brings the Monster to life and cries, “It’s alive, It’s alive! Now I know what it’s like to be God!”, has been used or replicated time and time again, most notably in 1985’s Weird Science.

Most of the tragedy in this tale comes from the Monster, who is forced to live in the darkness, fearful of light and fire, and strives to find his place in the world.

With that in mind, praise can not be held highly enough for Karloff, who is still able to deliver heartfelt tenderness under the layers of make up and between the grunts and gruffs.

None more so in the harrowing scene (that has played a significant part in many a thesis written around the movie) when the monster encounters the village girl and is led to believe that all beautiful things should float.

Even to its epic conclusion, when Frankenstein is forced to confront his creation in the now iconic windmill setting as it’s engulfed in flames, taking the Monster with it.

It’s a must watch for true lovers of the the Horror genre as it not only bore witness to one of cinemas greatest horror creations but also gave birth to the Horror film genre as we know it today.

Yes there were horror films before this movie, but In Frankenstein, Universal had created a legend that  impacted audiences to a greater level and would pave the way for more stories of blood and gore that would delight the senses and chill the bone.

  • Paul Farrell

LINKS:
Frankenstein movies on Hammer Horror Productions