'The Lady and the Monster' has both good and bad

The Lady and the Monster (1944)
Starring: Vera Ralston, Richard Arlen, Erich von Stroheim, and Helen Vinson
Director: George Sherman

Rating: Six of Ten Stars

A millionaire's mind is preserved after death through weird science... and he soon begins to telepathically force his will upon others in revenge and to carry on with his evil ways. 

"The Lady and the Monster" is a great-looking film, with stylish sets and beautiful cinematography that takes full advantage of the black-and-white format. The excellent cast--headed by Erich von Stroheim, Vera Ralston, and Richard Arlen--give decent performances despite the fact that they are delivering some truly awful dialogue at times. The film is further undermined slightly by something of a tone-shift at the halfway point, but all in all, the good outweighs the bad here and it's a film that's worth your time. 

And speaking of your time, we are happy to make it easy for you to watch "The Lady and the Monster" by embedding it in this very post, via The Screening Room on YouTube.

(If elements of the story and some of the characters seem familiar, it's possible you'll either read the novel upon which it was based, or seen one of the other two films based upon the same source--"Donovan's Brain" by Curt Siodmak. This was the first screen adaptation, however.)

'The Great Flamarion' is a tale of lust and tragedy

The Great Flamarion (1946)
Starring: Erich von Stroheim, Mary Beth Hughes, Dan Duryea and Stephen Barclay
Director; Anthony Mann
Rating: Five of Ten Stars

Reclusive marksman and vaudeville entertainer (von Stroheim) comes out of his shell when he believes the beautiful assistant in his act (Hughes) loves him and wants to be with him instead of her husband (Duryea). However, the coldhearted, manipulative woman simply wants the Great Flamarion to "accidentally" shoot her husband during the act, so she can run off with yet another man.


"The Great Flamarion" is an utterly predictable film, although it might not have been so in 1946 when it was made. The story never misses a chance to go exactly where you'd expect it to go, and the characters never move beyond complete and total cliches.

However, there is still a degree of enjoyment to be derived from this film if you just sit back and go with it. Hughes' performance as the black widow who should make black widows feel uneasy is so over-the-top that it fits perfectly with the nature of the script, while Von Stroheim takes an interesting term as a man who moves from an obsession with lethal guns to a lethal obsession with the woman who took his self-respect and his honor.