The Death Kiss (1932)

A reunion for Lugosi, Manners, and Van Sloan, 29 April 2009

It's a plot device that's been used many times since, but The Death Kiss may have been the first time an actor was killed on set when someone fired a real bullet instead of blanks (at least it's the first I know of). Studio writer Franklyn Drew (David Manners) takes it upon himself to "help" the police find the killer – whether they actually want him snooping around or not. It seems that Drew has a thing for the film's leading lady, Marcia Lane (Adrienne Ames), a prime suspect because of her past relationship with the dead man. With lots of clues, red herrings, and no shortage of suspects, Drew's got his work cut out for him.

The Death Kiss is far from being a great movie, but for a low budget poverty row thriller/mystery, it's not half bad. One of the more interesting aspects of the film is the reuniting of Dracula alums Manners, Bela Lugosi, and Edward Van Sloan. Unlike Dracula, however, this is Manners' film with his scenes and importance far out-stripping his better known co-stars. In fact Lugosi is given very little to actually do other than stare suspiciously and mysteriously at anyone who gets within his gaze. Another positive aspect is the relationship between Manners and Ames. They work well together and make a very believable couple. First time director Edwin L. Marin does a more than adequate job with this early talkie. He seems to have an understanding of the medium and how to use it. The plot includes plenty of twists and turns to keep the viewer's interest. And the final outcome and reveal, though dependent upon coincidence and a bit of dumb luck, is more than satisfactory.

5/10

The Old Dark House (1932)

"They used to bring their women here - brazen, lolling creatures in silks and satins.", 30 March 2006

With a classic like The Old Dark House, it's all but impossible to come up with something new and unique to say about the film that hasn't already been said a thousand times. I won't even try. Instead, I'll focus on a few of the things that make the film so special to me. First, it's the acting and the characters that bring such life to The Old Dark House and make me want to revisit it time after time. The cast is possibly the finest ensemble gathered for a horror movie in the 30s. Notables such as Charles Laughton, Boris Karloff, Melvyn Douglas, and Gloria Stewart each make the film a joy to watch. Each gives a great performance. But it's Ernest Thesiger that I enjoy the most. His portrayal of the eccentric Horace Femm surpasses, in my mind, his better known role of Dr. Pretorius from Bride of Frankenstein. I realize that this will seem almost blasphemous to some, but it's honestly the way I feel. It's one of the more memorable performances from the early 30s.

I'm also a fan of the way James Whale filmed The Old Dark House. A lot of the early talkies feel "stagey" when viewed today. But even though The Old Dark House is in reality "stagey", it never feels like that. Whale does an admirable job of keeping the action flowing given such a small set to work with. Filming from different angles and keeping the exact size of the set hidden in the shadows add to the feeling of more space than is actually there. It's quite an achievement for a film made over 70 years ago.

Finally, and this is more of a personal thing, I've always been a fan of the old, dark house mystery genre. In The Old Dark House, the mystery of the nutty Femm family replaces the more standard murder mystery. I consider The Old Dark House the standard barrier for this kind of movie. A spooky old house with mysterious locked rooms, a raging thunderstorm of epic proportions, a group of stranded travelers, and a family of off-the-wall inhabitants are among the films highlights.

9/10

Horse Feathers (1932)

"I was gonna get a flat bottom but the girl at the boat house didn't have one.", 5 March 2006

While I enjoy almost everything the Marx Brothers made (Love Happy being the exception), Horse Feathers is a particularly good example of their comedy. The plot, such as it is, has Professor Quincy Adams Wagstaff (Groucho) becoming the president of Huxley College. Being more interested in football than academics, Prof. Wagstaff lures two would be football players (Chico and Harpo) from the local speakeasy to play for his team. The boys set about beating their arch-rival with their unique brand of football. In reality, the plot is little more than a device used to string together a series of some of the Marx Brothers' best gags. The Swordfish scene at the speakeasy and the Introduction of Wagstaff scene are two of my favorites.

The boys were at the top of their game in 1932. The comedy was fresh, irreverent, risqué, and hilarious. If you're a fan, you'll note a few bits that were recycled in later Marx Brothers' films. And, if you're a fan, Horse Feathers is one that shouldn't be missed.

9/10

Murders in the Rue Morgue (1932)

Bela may be good, but the rest of the cast isn't, 10 September 2005

While at first glance Dr. Mirakle (Bela Lugosi) appears to be like many of the other sideshow charlatans, there's something very sinister about the man. It seems that he has been experimenting with the relationship between human and ape blood to prove their mutual lineage. But his experiments require a healthy human body with which to inject gorilla blood. And Dr. Mirakle will stop at nothing to get "volunteers" to assist him with his work.

What Works:

- Bela. I don't care how bad or dull the material, Bela Lugosi always appears to be having the time of his life and is somehow able to transmit that feeling to the viewer. It's difficult to watch one of his performances and not be drawn to the man. His Dr. Mirakle is another in the long line of characters given life by Bela. He is just so devilishly demented that it's impossible not to enjoy the character or the actor playing the character. Good job, Bela.

- Cinematography. I've made no secret over the years of my fondness for Karl Freund. Many of the movies where he credited for the cinematography (or directed) are among my favorites. His work on Murders in the Rue Morgue does not disappoint. Many of the scenes are shot like works of art. One of my favorites (and not just in this movie, but when compared with other movies) is the scene where Bela's prostitute victim is tied to the cross in his laboratory. The lighting, staging, and use of shadows make it one of the most beautiful scenes I've ever seen.

What Doesn't Work:

- Stagey. While this is a common complaint with some of the older films, I think I have only used the term twice before - Dracula and The Cocoanuts. But the term "stagey" fits many scenes in Murders in the Rue Morgue quite nicely. The unnatural feel caused by this took away from the atmosphere the movie was going for in many of these scenes.

- The Rest of the Cast. As good as Bela is, many of the other members of the cast have trouble meeting the standard set by Bela. The actor who immediately comes to mind is Leon Ames. On more than one occasion I found myself groaning out loud at his ludicrous performance.

- That's No Gorilla. This may seem picky, but I was bothered almost the entire movie by the close-ups of the gorilla that obviously wasn't a gorilla. In long shots, it's easy to tell that it's a man in a gorilla suit. But in the tight shots, the gorilla suddenly transforms into a chimpanzee. It's very distracting.

If for no other reason than Bela Lugosi's performance and the incredible cinematography of Karl Freund, I will re-watch this movie. While Murders in the Rue Morgue may never become a favorite of mine, the work of these two men easily makes the movie better than average. If you're a fan of either, I'm sure you will agree.

6/10

The Mummy (1932)

"He went for a little walk!", 7 August 2005

Throughout the great length of his career, Boris Karloff played a number of horror cinema's most memorable characters. But I've always been of the opinion that his work in Universal's The Mummy is his best.

The story in The Mummy is, in many respects, almost identical to Universal's earlier Dracula movie. Exchange a mummy for a vampire and Cairo for Transylvania and the rest is quite comparable. Both movies are basically love stories - regardless of how twisted the "love" may seem. Ardath Bay's sole purpose in life (or should that be afterlife) is to resurrect the spirit of his long dead love, Princess Anckesen-Amon. His 3,000 year obsession and devotion is demonstrated in the line, "Anckesen-Amon, my love has lasted longer than the temple of our gods. No man ever suffered as I did for you." The response he receives a few scenes later, "No. No, I'm alive. I'm young. I won't die. I loved you once, but now you belong with the dead. I am Anckesen-Amon, but I'm somebody else too. I want to live, even in this strange new world", is heartbreaking.

Other obvious and less obvious examples of how the two movies are similar include: the use of religious symbols to repel the monsters, the use of hypnosis, the close-up shots of the eyes, and cast members who play basically the same roles (Edward Van Sloan and David Manners appear in both films in almost identical roles). Finally, a similarity that I've always noticed that I've not read anywhere else concerns the Renfield character from Dracula and poor Ralph Norton in The Mummy. Both become stark-raving, hysterical-laughing, mad lunatics. And whether intentional or not, both assist their respective monsters with their plans – Renfield by actively helping Dracula and Norton by accidentally bringing the mummy back to life.

Karloff is perfect as Imhotep/Ardath Bay. I've said a number of times that Karloff was born to play this role. His slim, long body looks like what I imagine a mummy might look like after 3,000 years in the hot, drying desert. Karloff's face, with the help of Jack Pierce's make-up, looks like it would turn to dust at the slightest touch. And, as most would agree, Karloff's voice has an otherworldly quality that sounds as if it were coming from the grave. Karloff's acting abilities also add to the illusion that he is the mummy. Whether his decision or that of director Karl Freund I don't know, but Karloff gives a very understated performance that is necessary if he is to be believed. The understated performance without wild, exaggerated movements is perfect for a 3,000 year old mummy. His carriage suggests a very fragile being that fears crumbling with any strenuous action. To me, Karloff simply is The Mummy.

Every time I watch The Mummy, I'm amazed at how little screen time Karloff has as Imhotep. To think that he spent 8 hours a day getting the full-body mummy treatment only to appear for a few minutes in the final film (and never a full body shot) shows an amazing amount of restraint on the part of Freund. If you're a believer in the "what's not shown is more frightening that what is" theory of horror, you'll appreciate Freund's decision. But the few shots where Imhotep does appear are, for me, the definition of movie magic. I'll never forget the first time I saw The Mummy. The scene where Imhotep slowly opens his eye to reveal for the first time that he is alive immediately became (and remains) for me one of the most memorable moments in horror history.

9/10

Island of Lost Souls (1932)

Brilliant performance by Laughton, 5 February 2005

For those unfamiliar, Island of Lost Souls (1933) is the earliest and easily the superior version of H.G. Wells' Dr. Moreau. This is a beautifully filmed movie that still supplies the creepy moments almost 70 years after being made.

The basic story: A man rescued at sea is dropped off at an uncharted island owned by Dr. Moreau. The island is filled with strange "natives". The man soon learns that the natives are actually the creations of Dr. Moreau. Dr. Moreau is a god to his creations. But, once the "natives" learn that Dr. Moreau is not a god, they turn on him with horrifying consequences.

Charles Laughton delivers one of the best performances in the history of horror as the mad Dr. Moreau. Dressed head-to-toe in white, he is as sinister as you get. A brilliant acting job. The rest of the cast is fine. Bela Lugosi, in a very small supporting role, is quite good. Kathleen Burke (Lota the Panther Woman) is also a stand out. But, this is Laughton's film and he makes the most of it.

The very simple creature makeup is effective. The cinematography, etc. are also quite good. For example, there are several scenes with Moreau standing in the shadows that are especially effective.

This is a film not to be missed. While it may not appeal to the hack and slash crowd, Island of Lost Souls is a wonderful horror movie. For what it's worth, I'll give this one 10/10. (It's a shame Paramount didn't make more horror films in the 30s.) One final thought, the ending of the film is very reminiscent of the ending of Freaks (1932) with the same savagery on display.

10/10

Doctor X (1932)

Dr. X meets the Moon Killer, 4 February 2005

I just love these old, dark house style horror/mystery/thrillers from the 30s. In this one, Lionel Atwill plays Dr. Xavier, the head of a surgical research institute. A series of brutal killings committed by a gruesome figure, nicknamed the 'Moon Killer', points to someone within the institute. The police allow Dr. X the chance to perform an experiment to uncover the killer. Dr. X decides to move the experiment to an old, dark house in order to avoid the prying eyes of the press. The 'press' is played by Lee Tracy in that 30s wise-cracking, fast-talking way that all newspaper men were portrayed. (I was immediately reminded of Glenda Farrell from The Mystery of the Wax Museum, only in this case Lee Tracy is even more annoying.) As the experiment begins, it soon become apparent that the police were right. Someone within the house is a killer, but who? Any more of the story would be too much.

Although the movie is not without flaws, I found Doctor X very enjoyable. The supporting cast includes Fay Wray as Dr. X's daughter. She does her best to prove she was the original 'scream queen'. Also, the staff members/suspects are all wonderfully played in eccentric fashion.

Other things I enjoyed and found to be above average were the set design and the makeup. The set design is impressive. The manor house has everything one comes to expect in this kind of movie. It only adds to the wonderful atmosphere. Also, I felt the makeup (done by Max Factor) was ahead of its time. I found it far more frightening than most movies from this period.

The director, Michael Curtiz, does a wonderful job of building the tension in the final scenes. Very impressive. I really can't say enough about how well he pulled this together with the seemingly limited budget he was working with. (BTW, Curtiz went on to direct such a variety of movies that it really boggles the mind. Included on his resume are the previously mention Mystery of the Wax Museum, The Walking Dead with Boris Karloff, Casablanca, and Elvis in King Creole.)

7/10