Well, it's that time of year again! My brother and I have once again set out to watch a horror film every day this month. This week week continued our watch-through of the Universal horror cycle (you can read my thoughts on the films up to this point here, and here).
1. Son of Frankenstein (1939)
The third in Universal's Frankenstein cycle, and the last to feature Boris Karloff as the legendary monster, Son of Frankenstein sees Basil Rathbone as the titular son of the mad scientist from the original film returning to the family estate to complete his father's work. Though lacking deeper themes of the first two movies, this film retains the gothic visuals and slick production value associated with this middle era of Universal horror. One of the more memorable images is of the monster, seen only in silhouette, throttling an unsuspecting victim. The monster's "death" scene is probably the most dramatic up to this point, as it is thrown into a pit of molten sulfur and dies an excruciating death which anticipates that of the T-1000 in Terminator 2. It also has a great cast. Karloff is magnificent as usual, even if his role is less juicy this time around. Rathbone makes for a cool-headed contrast to Colin Clive's neurotic portrayal in the earlier films. Bela Lugosi steals the show as Igor, a now iconic character introduced for the first time in this picture (the original film had a similar character whose name was Fritz). Lionel Atwill is also featured in a memorable role as the shrewd, one-armed Inspector Krogh. On the other hand, American actors Josephine Hutchinson and Donnie Dunagan feel slightly out-of-place in the 18th century German setting. Nevertheless, it's a solid sequel overall.
Score: 7.8/10
2. Tower of London (1939)
A fairly faithful B-movie version of Shakespeare's Richard III, Tower of London is not really a horror film in the conventional sense. As in the play that inspired it, there is plenty of murder and, added here, a good does of macabre imaginary courtesy of Boris Karloff's fictional, club footed executioner, Mord. The role of Richard III was offered to Brian Donlevy and George Sanders but ultimately went to Basil Rathbone, an obvious choice in retrospect. The cast is excellent all around especially Vincent Price, who impresses in one of his first roles as the drunken, cowardly Duke of Clarence. The film also impresses visually, which is not surprising considering that director Rowland V. Lee went over budget in order to complete it. Art director Jack Otterson consulted historical records to recreate the titular tower and the studio hired over 300 extras to recreate the battles of Bosworth and Tewkesbury. The film's use of traditional Latin hymns contributes to its historical verisimilitude and George Robinson's atmospheric cinematography captures the action with great aplomb.
Score: 8.5/10
3. The Invisible Man Returns (1940)
Vincent Price steps into Claude Raine's shoes in this sequel to the 1933 classic. His character, Geoffrey Radcliffe, (a different invisible man from the one portrayed by Raines) is decidedly more sympathetic then his predecessor. Convicted of the murder, Radcliffe is saved from death row by the brother of the original invisible man (John Sutton), who, convinced of Radcliffe's innocence, gives him the invisibility potion to allow him to escape. Sir Cedric Hardwicke plays the real murderer while Nan Grey is Radcliffe's patient and loyal fiancé. The film plays on the plot of the first film by having Radcliffe struggle to keep at bay the megalomania which consumed the first invisible man and Price elevates what is otherwise a fairly by-the-numbers sequel, lacking the witty, darkly comedic script of the original.
Score: 7.5/10
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4. Black Friday (1940)
Uniting Boris Karloff and Bela Lugosi for the fifth time, Black Friday is another quasi-horror film, wtih elements of science fiction and film noir. Karloff stars as Dr. Ernest Sovac, a scientist who uses his experimental brain transplant procedure to save his friend Professor George Kingsley (Stanley Ridges) after he is fatally injured in a traffic accident. Unfortunately for Kingsley, Sovac was forced to use part of a criminal's brain to rehabilitate him, leading the professor to develop an alternate personality. There are clear shades of Jekyll and Hyde here but also of Frankenstein as Sovac allows his ambition and desire for fame to get the better of him and puts his friend in danger for his own aggrandizement. Lugosi is featured in a minor role as a gangster but, sadly, shares no screentime with Karloff.
Score: 7.4/10
5. The Mummy's Hand (1940)
The Mummy's Hand is not really a sequel in the conventional sense as none of the characters from the first film return, but it set the standard for the series moving forward, introducing Kharis, the iconic mummy wrapped in bandages (portrayed here by Tom Tyler) in contrast to the more regal figure played by Boris Karloff in the 1932 original. Dick Foran (best known for his singing cowboy roles) is the lead, playing an archeologist named Steve Banning who is convinced that he has discovered the location of Princess Ananka's tomb. Peggy Moran is his love interest while Wallace Ford and Cecil Kellaway provide the (occasionally out-of-place) comic relief. Eduardo Ciannelli rounds out the cast as the Egyptian priest tasked with keeping Kharis alive. The characters are likable and there's some really creepy imagery, but the film is held back by its inconsistent tone and slow pacing (the monster doesn't show up until the half-way mark).
Score: 7.5/10
6. The Invisible Woman (1940)
Completely unrelated to the films the preceded it, The Invisible Woman features Virginia Bruce as Kitty Carroll, who volunteers for Professor Gibbs' (John Barrymore) invisibility experiments in order to get revenge on her overbearing boss. Essentially a screwball comedy, Woman is certainly the funniest film in the series and features some truly memorable gags. It also features some of the more impressive special effects in the series. On the other hand the plot is rather unfocused at times and the romance between Carol and Dick Russell (a rich playboy portrayed by John Howard) is underdeveloped. The film also feels more than a little exploitive in its treatment of Carol, particularly in any scene where she takes her clothes off (there's no nudity of course, as she's invisible).
Score: 7/10
We also re-watched:
The Evil Dead (1981)
Though easily the weakest of the trilogy on a technical level, I've always been drawn to the first film for its creative ingenuity. Sam Raimi basically went out with a few friends and a 16mm camera and made the film on a shoe string budget. The grotesque effects are incredibly impressive considering the film's budget and Raimi's camerawork is deservedly the stuff of legend. It's not a great film by any means (the plot is confusing, the performances hokey, and the characters paper thin) but I find it endlessly rewatchable. The fact that Raimi was a Michigan native and choose the historic Redford Theater (which I've been to many times) for the film's premiere also makes it more endearing (if such a term can be used to describe a film where a character is raped by tree).
Score: 6.8/10
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