It's June...

... for a few more days, and we're closing out the month with a film that features June Palmer and will make it clear why she was so beloved by the readers of men's magazines. (This is the first film of the 'nudie cutie' soft-core porn short-film genre to be featured here at Shades of Gray. I don't know if that marks a is a high point or a low point in the blog's history.)

Nightmare at Elm Manor (aka "Flesh and Fantasy" and "Nude in Dracula's Castle") (1961)

Starring: June Palmer and Stuart Samuels

Director: George Harrison Marks

Rating: Six of Ten Stars

A young woman (Palmer) is terrorized by a strange man (Samuels) while spending the night at an isolated house.

 "Nightmare at Elm Manor" is a brief, silent horror film that was the screen debut of nude model June Palmer. In it, all of her assets are on prominent display. Her beautiful face and statuesque figure, along with her perfect breasts, make it obvious why she was so beloved by the editors and readers of men's magazines during the late 1950s and early 1960s. She also seems to have decent acting abilities--or at least a talent for showing the sort of fear that is required for distressed damsels in gothic chillers and Old Dark House-type films. 

Based on what I am seeing here, I think it's a shame that she never broke into the mainstream, except for a few bit parts. Aside from a pretty face and a gorgeous body, June Palmer had something a little something extra--that something that causes her to light up the screen, even when fully dressed. If not for that extra bit of charisma on the part of Palmer, the lackluster nature of the villain stalking her would have annoyed me to the point where I might have marked a Star or two off the rating I ultimately settled on. Palmer (and, yes, her boobs) carry this film, almost entirely by themselves.

Palmer's screen presence is probably also why my imagination immediately began filling in holes in what passes for the film's storyline and/or explaining stupid actions on the part of her character. Why she was walking to the manor at the beginning of the film, why she is sitting around naked and putting on make-up before going to bed, why she goes looking for a drink of water in the middle of the night... all these things, I have thought up explanations for. I even have an idea for what the true nature of the creepy butler/vampire is. And I don't even feel like I should knock the film for the blanks and incongruities, because it entertained me in other ways. Or maybe I was just mesmerized by Palmer's big, beautiful breasts.

But maybe you can tell me if it was the nudity or something else about the film that sparked my imagination. If you're in the mood for an Old Dark House-style quickie, and not offended by lots of nudity, check out "Nightmare at Elm Manor" by clicking below. This is very much a "not safe for work" film, so don't make a mistake and open it there! Also, you will have to open the film on YouTube (as well as be logged into an account there, because it's for mature audiences only.

(But, hey, since you're going to be on YouTube anyway, that's a perfect time to check out my channel. If you like what you see, please subscribe and perhaps even come back every now and then. Sometimes, we watch cartoons or short films during live streams that ultimately end up being reviewed here!)

'The Indian Scarf' will entertain fans of a variety of old-time movies

The Indian Scarf (aka "Das Indische Tuch") (1963)
Starring: Heinz Drache , Corny Collins, Klaus Kinski, Ady Berber, Gisela Uhlen, Hans Nielsen, Hans Clarin, and Elisabeth Flickenschildt
Director: Alfred Vohrer
Rating: Seven of Ten Stars

After a wealthy man is strangled to death, his greedy relatives gather at home for the reading of his will. Here, they learn, they must spend a week together and that anyone who leaves early does not get a share of the inheritance. Within hours, family members start dying, each strangled with Indian silk scarves. The estate's executor, Tanner (Drache), sets out to match wits with the killer, hoping to discover his identity before he (or she) completes the murder spree.

"The Indian Scarf" is a film that mixes attempts at capturing the tongue-in-cheek feel of the "dark old house" mysteries of the late 1930s and early 1940s, and a bone-chilling brutality that predicts the murder scenes that became a hallmark of early Dario Argento and 1970s B-movies. It's an interesting attempt putting disparate elements together in a single story, and it mostly works because even in the goofy sections we're treated to stylish cinematography and film-norish lighting that takes full advantage of the black-and-white medium. The outdoor scenes, of which the film has quite a few more than is the norm for pictures like this

Another strength of the film is its cast. Their look and the characters they play reflect the "dark, old house" vibe the film is going for, and this goes a long way toward "The Indian Scarf"'s effectiveness. I particularly appreciated Heinz Drache as Tanner, who is both the romantic lead and co-comic relief with Ady Berber as the obligatory creepy man-servant character. The jokes don't always land, but a running gag involving Tanner's detective work is fun, and Drache's plays it up perfectly as the film progresses. Corny Collins and Gisela Uhlen, meanwhile, are both fine as the pretty (but possibly murderous) feminine/love interest presence in the film, while Klaus Kinski serves as a perfect (perhaps too perfect) possible killer. The second half of the film is really driven by the actors and their performances, with every cast-member getting a turn in the spotlight and making a good showing of themselves.

Perhaps one of the most remarkable things about "The Indian Scarf" is its strong ending, one which I didn't see coming, and I'm certain you won't either. Too many old mystery films seem to run out of steam at the end, sputtering to a close, or just stopping rather than ending with a proper denouement. Here, we get a wrap-up that's both punchy and a punch-line. Although there are several humorous misfires, the film goes out strong.

I think fans of directors like Mario Bava and Dario Argento, as well as those who enjoy 1940s mysteries and the "old dark house" genre will enjoy this one.

'Secret of the Blue Room' is a lesser effort from the Golden Age of Universal Horror flicks

Secret of the Blue Room (1933)
Starring: Paul Lukas, Gloria Stuart, Lionel Atwilll, Edward Arnold, William Janney, Onslow Stevens, and Robert Barrat
Director: Kurt Neumann
Rating: Six of Ten Stars

On the night Irene (Stuart) turns 21, three men hoping to marry her (Janney, Lukas, and Stevens) agree to prove their bravery and worthiness of her hand by each spending successive nights in the supposedly haunted Blue Room of her castle home. Their actions seem to awaken a deadly curse that has been dormant since shortly after Irene's birth... a curse that has already claimed three lives and will soon claim more.

"Secret of the Blue Room" is a locked room mystery crossed with the "dark old house" sub-genre of thrillers/horror that flourished during the 1930s and into the mid-1940s--and it was filmed on the same sets used for the 1932 film of the same genre "The Old Dark House.". It was made during what was a Golden Age for Universal and horror films, although it is one of the lesser efforts.

While this is a far more workman-like picture than "Frankenstein" or "The Invisible Man" or "Werewolf of London", I have a hard time judging how much of what seems flawed in this picture is a result of the passage of time, and how much is weakness that was present from the beginning. This kind of story has been told and retold so many times since 1933, so it could be that what was effective then is less so now.

From a story perspective, the film suffers from the mystery at its core not being much of  a mystery. I had the broad strokes of the story figured out once the three suitors agreed to prove their courage by braving the possibility of death by sleeping in a cursed room. When Bad Things started happening, I was proven right... and although attempts were made at misdirection--a creepy stranger who is somehow in cahoots with the shady butler; the lord of the manor (played by Lionel Atwill) obviously trying to hide something; and a sleazy chauffeur and the nosy maid who may or may not be up to something--none really presented anything close to an alternate explanation to the mysterious events in the Blue Room. Although everything played out in a predictable fashion, the film at least unfolded at a rapid pace, and features such an excellent cast of actors that it wasn't dull. I felt the climactic chase and running gun-battle in a secret basement under the castle went on a bit too long, but otherwise I felt the pacing was spot on.

When it comes to the films cast, I feel like they all gave excellent performances. I particularly enjoyed Paul Lukas, who at the beginning of the film felt to me like a poor man's Bela Lugosi, but by the end I wanted to see what might be in store next for his character. On the other hand, I enjoyed Gloria Stuart from the beginning, but became disappointed  as the film wore on. It wasn't that she gave a bad performance, she just wasn't as good as she was in "The Old Dark House", where she basically outshone all the other cast members. Here, she has less to do from the outset and she fades into the background as the movie continues. This film is a prime example of why Stuart's film career never really got off the ground; she just didn't get enough interesting roles to play.

Speaking of Paul Lukas and Gloria Stuart, as much as I liked them in the film, their characters have a very creepy relationship. As mentioned above, the film opens on a young lady's 21st birthday... and there are four men in attendance: Her father (Lionel Atwill), a would-be suitor her age, a would-be suitor five or ten years older (Oslow Stevens), and a would-be suitor old enough to be her father (Paul Lukas). It's slightly gross to think of Lukas's character wanting to marry and bed a woman less than half his age... and for her father to be sitting right there and approving of the idea. It tainted the character--who is otherwise honorable and heroic--for me, and the movie in general.

"Secret of the Blue Room" is an adequate picture that I think hasn't weathered the passage of time as well as others in the same genre. If you like "it was a dark and stormy night"-type mysteries, I think you'll enjoy it... but at the same time, you should now there are better entries in the genre out there. (You can click on the Old Dark House tag at the bottom of this post to see my reviews of some of them.)

'Haunted Spooks' is among Lloyd's best

Haunted Spooks (1920)
Starring: Harold Lloyd, Mildred Davis, Ernest Morrison, Blue Washington, Marie Benson, and Wallace Howe
Directors: Alf Goulding and Hal Roach
Rating: Nine of Ten Stars

After she inherits the entirety of her uncle's estate Mildred Hillary (Davis), is swiftly married to a young man with nothing to lose (Lloyd), because the will states she must live in the main house with her husband for a year or everything goes to her other uncle (Howe). Meanwhile, said other uncle comes up with a scheme to scare the newlyweds off the property by making them think the house is haunted.

I sat down to watch "Haunted Spooks" with some trepidation--given its age and its title, I feared I may be in for a movie that hadn't aged well. Turns out, my fears were unfounded. While the film does feature "superstitious negroes", they are no more or less rediculous than the white characters who run around the old house while panicking after being confronted by the fake ghosts. Further, the black butler (played by Blue Washington) gets to redeem himself by throwing the greedy hoaxers by throwing them out of the house as the movie is coming to an end (come on, that's not a spoiler... does anyone watching this film a century later really think there was ever any chance the bad guys would be successful?) while our skeptic hero, Harold Lloyd, has one last moment of panic when it appears the house really might be haunted after all.

As for the rest of the movie, everything flows smoothly, and while the team here comes dangerously close to making the same mistakes that sank "Captain Kidd's Kids" (1919). Like "Captain Kidd's Kids", this film takes a long time getting to the spooks we're promised in the title and on the poster; the film is more than half over before Harold and his new bride arrive at the supposedly haunted house. However, unlike "Captain Kidd's Kids", the long journey to the pay-off is one that we share with likable and rediculous characters, so it's a fun ride all the way. (In the other film, there was little to nothing to like about the lead characters.)

The ending to this film is also one of the most satisfying of any of the ones to a Harold Lloyd film I've seen so far. Often, even when it's a generally happy ending for most of the characters in the film, they've involved Harold running for the hills to escape disaster, or him going off to wallow in self-pitiying misery. Here, we get a happy ending all around (except for those dastardly relatives who were trying to steal Mildred's inheritence), and the writers even get in one final joke that I found to be among the funniest in the whole picture.

There's an excellent version of "Haunted Spooks" that can be watched on YouTube. There are a few missing frames here and there, but the image is constently clear and the music isn't half-bad. I've embedded it below, so you can take a few minutes out of your day to enjoy yourself right now! (I should note that fans of romances and Scooby-Doo cartoons will probably like this alot: The first half of the film is a highly amusing send-up of common gothic romance tropes while the second half could well be a Scooby-Doo plotline.)

'The Haunted House' is a treat full of tricks

The Haunted House (1921)
Starring: Buster Keaton, Virginia Fox, Joe Roberts, and Mark Hamilton
Directors: Buster Keaton and Eddie Cline
Rating: Eight of Ten Stars

On the run from the law, a bank teller (Keaton) who has been wrongfully accused of counterfeiting and trying to rob his place of employment, takes refuge in a house seemingly haunted by ghosts and demons.

"The Haunted House" is fun, funny, but most of all, good-natured and cute. Sure, it's the story of crooks (led by the towering Joe Roberts) who are using a small-town bank to exchange their counterfiet dollars for real ones; and sure, an innocent, if mishap-prone, bank teller (Buster Keaton) ends up blamed for their crimes; and, yeah, Roberts and his gang end up kidnapping the bank president's daughter (Virginia Fox)... but, despite all of that, this movie has a jovial air about it that makes it breeze by while you're watching. You even forget how fundamentally silly it is that Keaton, an adult, is scared and confused by men in devil and skeleton costumes, or by people wearing sheets pretending to be ghosts. (And as is my habit when reviewing these short films, I'm not going to go into too man details about the jokes and gags, because that would ruin the film for you. It's established up front that the hauntings and demonic infestations are

High points of the film include a series of gags involving paper currency, glue, and a botched bank robbery; Keaton's character first reacting with fear to the fake hauntings and then with marked sarcasm once he discovers it's just a bunch of guys in costumes; Keaton's interactions with the "devil" in the house; and Keaton's adventures in the Afterlife following a last-minute dramatic twist. There are also some really funny slapstick bits involving a trick staircase, and a very clever--and surprisinglyspecial effects sequence that is actually the film's single truly unnerving moment. (It's also completely out of place with everything else in the picture, but I suspect it was just too good a concept to not use.)


Aside from the out-of-place special effects gag (which is still excellent, just out of place), the only other real complaint I can mount about the film is that Virginia Fox's character needed a little more screen time and development. What we get is a very perfunctory "this is our damsel in distress" and not much else, and the film would have benefitted greatly if just a little more time had been devoted to her. These weaknesses still result in me rating the film a very high Eight on my Ten-star scale rather than a Nine.

But just don't take my word for how fun "The Haunted House" is. I've embedded it below, via YouTube, for your viewing pleasure!


Trivia: Buster Keaton liked the stair gags so much that he developed further routines and included a similar idea in "The Electric House" (1922).

'The Tin Man' is a so-so comedy that ends strong

The Tin Man (1935)
Starring: Thelma Todd, Patsy Kelly, Clarence Wilson, and Matthew Betz
Director: James Parrott
Rating: Six of Ten Stars


After getting lost on their to a party, Thelma and Patsy (Todd and Kelly) stop to ask for direction at a creepy old mansion. Unfortunately for them, it's home to a woman-hating mad scientist (Wilson) who decides to sic his robot on them. To complicate matters, a killer who escaped police custody (Betz) also sneaks into the house.

If "The Tin Man" shows us anything, it's that the who notion of making fun of "InCels" has existed for many, many years... even if some cute term hadn't been invented for it. Eighty-five years ago, they were poking fun at bitter, socially maladjusted men who lived alone and blamed women for their inability to get dates rather than their own failings, so this is a comedy that has stood the passage of time. It might even be one that both your Social Justice Warrior types and Right Wing whackadoodles can both find entertaining and amusing.

But that's about all they'll be--amused and entertained. While the script is a workmanlike send-up of the Old Dark House and Mad Scientist subgenres of horror films, there aren't a whole lot of jokes and gags will have viewers laughing out loud. For me, the film is at its funniest when the escaped killer (Matthew Betz) is repeatedly subjected to unintentional abuse because he is caught in the crossfire between the girls and the robot sent to menace them. It's not that any of the jokes weren't amusing... they just weren't spectacular. (The funniest bits come toward the end, after the robot goes bezerk due to rash actions by Patsy, meaning the film closes at its best. It's worth your while to stick with it.)

I think this film succeeds primarily on the tightly written story and the strong performances of its cast members. Despite the weak jokes, all four actors are in top form. Additionally, there isn't the sense that Thelma Todd's character looks down upon or otherwise views Patsy Kelly's character with contempt, as it has seemed in some of their other pairings. In "The Tin Man", while Todd is visibly frustrated with Kelly's dimwittedness at times, it seems perfectly believable that they're friends who would want to go to a party together.

"The Tin Man" is one of the short films included in Complete Hal Roach Thelma Todd & Patsy Kelly three-disc DVD collection. It's also one of the films that will make you feel the set is worth your time and money.

'Sealskins' is greater than its parts

Sealskins (1932)
Starring: Thelma Todd, ZaSu Pitts, Bert Sprotte, Charlie Hall, Frank Austin, and Billy Gilbert
Directors: Morey Lightfoot and Gil Pratt
Rating: Eight of Ten Stars

The Royal Seal of Siberia has been stolen, and a secretary with dreams of being a newspaper reporter (Todd) thinks she has a lead on where the thieves are hiding it. With her reluctant friend (Pitts) in tow, she sets out to crack the case and get the scoop. Unfortunately, the trail leads them to a creepy boarding house full of even creepier characters...

"Sealskins" is a comedy of errors, a spoof of the 'old dark house genre' and a spoof of the 'newspaper reporter detective' B-movie genre, all wrapped into a single package. Individually, the jokes and bits in the film aren't all that great--some are outright duds--but the way they are blended together add up to a very cute and highly amusing film.

What makes this work, first and foremost, is the sense of warmth and friendship between the two main characters; it's fully believable that ZaSu Pitts' character would let herself be dragged along on what is at best a fool's errand and at worst truly dangerous, because of this sense of camaraderie between them. If this same story had been done with Thelma Todd and Patsy Kelly (who would replace Pitts as co-star in this series when Pitts' contract expired and producer Roach didn't want to meet her demand for more pay in order to re-up), it would have been an absolute disaster.

Another element that puts this film among the better Thelma Todd-starring shorts is the script. Unlike so many of these films, it's a complete story, with a begging, a middle, and an end. Also, it stays focused on Thelma and ZaSu, instead of letting them get crowded out of their own story by the wide array of interesting characters and subplots crammed in. (And there are plenty of interesting characters in this one--from the seal-nappes, to Thelma's rival at the newspaper, to any one of the residents of the spooky boarding house--that could easily been given more schtick to do.)

The only incidental character I wish had been given a little more screen-time is a circus sideshow Voodoo Doctor whom our heroines encounter while running around the house and inexplicably frightened by. I would have loved to see him out of costume and be somehow involved with the film's resolution to show that he was just a guy in a costume before. (But that could be my 21st century mindset shining through.)

"Sealskins" is one of 17 films that Thelma Todd and ZaSu Pitts starred in together, and they can all be had on in a single two-disc DVD collection. The print from which it was taken is a bit more worn than most (or maybe not as much effort was put into restoring it?), but the imperfections are no so bad so as to make the action hard to follow. I have three more films left to watch before I've seen every one in the set, but I already feel like I've gotten more than my money's worth out the collection.



Trivia: Toward the end of film, the newspaper editor calls Thelma Todd's character "Toddy". This was Todd's real-life nickname.

'The Maze': Fine gothic tale with a weak ending

The Maze (1953)
Starring: Veronica Hurst. Richard Carlson, Katherine Emery, Michael Pate, Robin Hughes, John Dodsworth, Hillary Brooke, Lilian Bond, and Stanley Fraser
Director: William Cameron Menzies
Rating: Seven of Ten Stars

Kitty (Hurst) and her Aunt Edith (Emery) travel to Scotland to learn why Kitty's fiance, Gerald (Carlson) abruptly cancelled the wedding plans after inheriting his family estate and title.

Although "The Maze" was made and released in the early 1950s, it has an aura about it that feels like a horror film from Warner Bros. or Universal from the 1930s. It's soaked in a gothic sensibility from beginning to end, and it presents a nice, serious-minded spin on the "Old Dark House" genre to the degree that it's almost surprising the filmmakers pulled it off as successfully as they did.

Another key to this film's success is that it embraces the full spectrum of gothic tropes, including that of a young woman who, driven by love, ends up uncovering dark secrets. While Kitty's fiance is not a dark, brooding man at the beginning of the film, he rapidly turns into one once he is ensconced in his ancestral home of Craven Castle. Young Kitty and her aunt Edith (however reluctantly the latter is drawn into the shadows) spend the majority of the movie trying to outsmart the servants in the creepy castle and to force its secrets into the light--all in the service of saving Gerald from whatever mysterious fate he has apparently surrendered himself to. The film hits almost every gothic note, except that Kitty never gets to run down corridors in a filmy nightgown (even if she does carry a candle abound quite a bit). 

Kitty's quest to uncover the mystery of Craven Castle, and what has seemingly aged Gerald a decade or more in the space of a few weeks, is one that I found to be engaging. It became even moreso when it became clear that there indeed was some sort of monster creeping around the castle at night--and that there might well be some solid justification for why visitors were locked in their rooms at night. My curiosity became even stronger when the level headed Aunt Edith came face-to-face with the creature (after devising a way to not get locked in her room), but whatever she saw was alien and strange that her mind could not process whatever it was that she saw. This encounter thickened the atmosphere of gothic horror in film by adding a Lovecraftian touch to the proceedings. 

The film is further buoyed by strong performances by all cast members. Gerald's two creepy man servants (Stanley Fraser and Michael Pate) give the sense of being equally willing to keep the unwelcome guests at Craven Castle under control until they leave, or to kill them if they prove to be too much trouble. Meanwhile, Veronica Hurst, the film's real star despite Richard Carlson's top billing, gives an excellent performance as a strong-willed young woman who wants to redeem and recover the virile, kind and personable man viewers met during the film's first few minutes, or at least discover what caused him to change into a prematurely aged, bitter and loveless hermit. 

Speaking of Richard Carlson--the warmth with which he portrays Gerald McTeam in the early scenes of the film go a long way to making viewers invested in Kitty's success. The only flaw in Carlson's performance is that his transformation from Kitty's perfect husband-to-be into the haunted lord of a creepy castle in the Scottish highlands isn't sharp enough--there needed to be more menace in his performance during the middle part of the film. It would have made his transformation more shocking, and it would have made the scenes where Gerald is rejecting Kitty's pleas for him to let her help, as well as his interactions with old friends (whom Kitty contrives to get to the castle in hopes of snapping him out of whatever has gotten hold of him) more dramatic and moving. (A few years later, Carlson would give an amazing performance as a truly vile character in "Tormented"; if he could have tapped into a little of that for this role, he would have been amazing instead of merely good.

Carlson's good-but-not-perfect performance wasn't what made me knock this film down from a High Eight to a Low Seven on my Ten-Star rating scale. As strong as this film is for most of its running time, it starts to sputter toward the end, as Kitty and Aunt Edith follow Gerald, his servants, and some thing into the film's titular maze.

First, there's a ridiculous bit where Gerald & Company are escorting the thing through the castle, but are hiding it behind a sheet for no reason other than to keep it from the view of the film's audience. Secondly, the ladies' attempt to find their way to its center (where strange splashing sounds can be heard) starts to drag quickly, and soon becomes boring. The moment where they uncover the horror that the men of Craven Castle were trying to hide is extremely well done, as is the dramatic and fast-moving aftermath... but this is ultimately squandered during the film's denouement where the filmmakers went a little too far in capturing that old-time horror movie feel: Instead of letting Craven Castle's secret be something supernatural, we're treated to some pseudo-scientific, weak sci-fi babble when "curse" would have been far more effective. (In fairness, though, I am led to understand that the film is true to the novel upon which the script was based in this sense... but a bad ending is a bad ending.)

If you like gothic horror tales, as well as horror movies from the 1930s, I think you'll enjoy this film, despite the ending not being what it could have been.

Read the Review, Watch the Movie: 'Seven Footprints to Satan'

The subject of the following review was released to movie theaters exactly 90 years ago today! (The Year of the Hot Toddy is truly a year of happy coincidences. When I initially chose this movie from among the many Thelma Todd-featuring films I'll be writing about during 2019, to watch at this point, I didn't realize I would have the opportunity to post the review to coincide with such an anniversary!)


Seven Footprints to Satan (aka "Satan's Stairwell") (1929)
Starring: Creighton Hale, Thelma Todd, Laska Winter,  Sheldon Lewis, Sojin Kamiyama, William V. Mong, Angelo Rossitto, Nora Cecil, Dewitt Jennings, Loretta Young, and Charles Gemora
Director: Benjamin Christensen
Rating: Eight of Ten Stars

While he is deep in the throes of a midlife crisis (Hale) and his girlfriend (Todd) are find themselves victims of a kidnapping during an elaborate heist at an exclusive  art auction... and then things go from bad to nightmarish.

"Seven Footsteps to Satan" is one of those films that's hard to review without spoiling it. I think it really works best if you come to it cold, not knowing really what to expect... because the impact of the film revealing what it's really about and begins to spiral into fantastic and creepy weirdness is all the greater. (You THINK you're watching a crime drama, but then....)

With that in mind, all I can say about the film is that in addition to an impressive, fast-moving and twist-laden storyline, the film sports creative camera work and editing (I especially like the way wipes are used), spectacularly elaborate sets, elegant costumes (mostly evening gowns and tuxes but the other outfits that show up are really neat), excellent monster make-up jobs, and some really fine acting from the principals in the cast.

I thought the performance by star Creighton Hale, who, once again, is a bespecled and unlikely hero, was excellent. Unlike the comedic character he played in "The Cat and the Canary", here he's quite competent and extremely brave at every turn. Actress Thelma Todd, also impresses, showing that she was as good a dramatic actress as she was a comedienne.

By the way, The film has a very large supporting cast (so large, in fact, that it sometimes feels like costar Todd is just another face in the  crowd), but among them we have Loretta Young standing out with a memorable performance in one of the film's most intense and frightening scenes, and an honest-to-god Asian actor playing a sinister Oriental Mystice, Sojin Kamiyama. (Maybe someone forgot to tell the Danish director that he should use white guys in make-up for the Asian characters.)

"Seven Footprints to Satan" was one of three silent thrillers/horror films directed by Benjamin Christensen for American studios, and until just a few years ago, it was believed to be lost. Now, however, several versions are available to watch online. None are of stellar quality, but given how many of these great old movies are gone forever (or hard to access because they've not yet been digitized and released online or on DVD), lovers of this sort of material are lucky we're getting this much.

If you like silent movies, especially ones of the more "trippy" variety, you need to watch "Seven Footprints to Satan". I highly recommend the version I've embedded below: It's the complete film, it's it was digitized from filmstock that was in relatively good shape, and it features an all-new, modern musical score that adds greatly to the experience.



By the way, if there's a film that could do with a remake, it's this one. It's got all KINDS of elements that would appeal to modern audiences, especially lovers of horror films. (Hell, I think this film may even be an ancient ancestor of the Torture Porn subgenre!)

The heroes and villains of "Seven Footprints to Satan"

Paradoxically, the parts of this movie that haven't aged well are among its best parts

The Smiling Ghost (1941)
Starring: Wayne Morris, Willie Best, Brenda Marshall, Alexis Smith, and Alan Hale
Director: Lewis Seller
Rating: Five of Ten Stars

Lucky Downing (Morris), a down-on-his-luck business-owner receives financial salvation when he is offered $1,000 to become and stay engaged to heiress Elinor Fairchilde (Smith) for one month.. When he arrives for his strange assignment, he finds himself the target of a supposed ghost that has eliminated Elinor's previous two fiances, as well as one point in a love triangle between the chilly-demeanored heiress and the sassy newspaper reporter Lili Barstow (Marshall).

"The Smiling Ghost" is an example of the "dark old house" genre where an assembly of strange characters surrounding an innocent young woman are stalked and killed by a mysterious killer. This being, first and foremost, a comedy, it picks apart and mocks the conventions of the genre, but it does so with a mischievous smile rather than a malicious one.

The story is bit uneven, with some sections being so predictable they're not interesting (let alone funny), and others being clever enough to have been included in a straight-laced thriller. The one thing that's consistent throughout, however, is the witty and finely tuned dialogue throughout the film. The jokes are funny, and each character has their own unique way of talking. Unfortunately, some of the actors and actresses delivering the lines are in some cases not up to the task.

The film's hero, for example, is a dead spot throughout. Wayne Morris is good looking and has a charming air about him, but he is absolutely, totally bland. He's present and delivers his lines, and he's obviously trying, but he just doesn't have the presence to carry the lead in the film. The same is true of Alexis Smith, who probably never should have  been cast in the role of a character who is either the victim of a haunting or some sort of lunatic who's bumping off her would-be husbands. I think she was trying ti give her character a wounded, aristocratic air, but she mostly comes off as detached and bored with being in the film. Morris and Smith drag the film down, I think, because they were cast in parts beyond their ability to manage.

On the other hand, Morris is outshined in every scene by his sidekick, Willie Best. Best is energetic, funny, in in perfect pitch with the mostly zany tone of the picture. What's more, the film makes it clear that Best isn't Morris's servant or employee, but instead a loyal friend and partner. Best masquerades as a servant, because, by the standards of the time it would be unseemly for a white "man of business" to be best friends with a black man--something which itself becomes a source of humor in the film--and the warm relationship between the two makes Morris's character more interesting. Unfortunately, as the film progresses, Best's character slips further and further into the "superstitious panicky darkie" that was a mainstay of films back then. Even while portraying this obnoxious stereotype, Best is lots of fun to watch, and, given the way the character was established, I can't help but wonder if the shift wasn't born from what audiences expected from their comedies back then. (As I observed in my review of "Lucky Ghost", even films made expressly for black audiences contained these stereotypes which cause so much indignation in modern viewers.)

"The Smiling Ghost" is one of eight obscure B-movies found in the eclectic "Warner Bros. Horror/Mystery Double Features" collection. Some of the films in the set are better than this, others are worse. I'll get around to covering all over them in this space, eventually.

A case of murder most funny!

The Laurel-Hardy Murder Case (1930)
Starring: Stan Laurel, Oliver Hardy, Fred Kelsey, Frank Austin, Dell Henderson, Bobby Burns, and Dorothy Granger
Director: James Parrott
Rating: Five of Ten Stars

When Ollie (Hardy) concocts a scheme to pass Stan (Laurel) off as the to a recently deceased millionaire, the two find themselves trapped in a creepy house with a killer and incompetent cops.

During the silent movie era and well into the 1940s, the "dark old house" sub-genre was very popular, both in straight-up mystery and horror films, and as the target of lampooning. With "The Laurel-Hardy Murder Case", the popular comedy team got their piece of that action.

The result is a mixed bag. The film features spot-on satirical takes on the genre's standards--stormy weather, creepy servants, overly complicated murder methods, and "big reveals" that don't make much sense and often have no foundation in the story--but the various set-piece gags mostly meander and peter out instead of coming to a comedic crescendo. What's worse, the film comes to one of the lamest endings I have come across.

Laurel & Hardy are excellent as usual. The strongest part of the film is its opening scene where they are sitting on a pier, Hardy taking a nap and Laurel doing a little fishing. It's also the most traditional "Laurel & Hardy"-esque part of the film. The bits where they arrive at the house in the rain, and later when they are chased by a "ghost" are also highlights of the film, but everything else is a little shaky. Nothing in this film is all that bad, but I feel that part of the problem is that the underlying plot was too big for its 30-minute runtime. I think, ultimately, the filmmakers felt the same way, which accounts for the fizzling gags, scant story (there's a gathering of heirs but hardly anything is done with them), and an abrupt and awful ending. I usually complain about films being too long, but this one could have benefitted from an additional 10 minutes spent on Laurel & Hardy interacting with the greedy family members and the creepy servants.

In the final analysis, "The Laurel-Hardy Murder Case" is worth checking out if you LOVE Laurel & Hardy or the "dark old house"-type movies. More casual fans of either can find far better instances of either to check out. That said, if you're an Amazon Prime member, you can watch it for free as part of your subscription package, and others can rent it (and two other Laurel & Hardy films) for a very reasonable price.

Good idea, lousy execution in "Castle of Evil"

Castle of Evil (1966)
Starring: Scott Brady, Virginia Mayo, David Brian, Lisa Gaye and William Thourlby
Director: Francis D. Lyon
Rating: Four of Ten Stars

A mad scientist (Thourlby) invites his relatives to his remote estate where his robot double proceeds to stalk and kill them in order to avenge a disfiguring accident he suffered years before.


I don't usually give away story twists in my teaser summaries, but in the case of "Castle of Evil", it doesn't matter. Despite the rating of 4, I don't recommend that you waste your time with this movie.

Which is too bad, because the script for this film is actually pretty good. It's a great retro-fusion of the "dark old house" and "mad scientist" film genres that flourished in the 1930s and 1940s, and the featured actors all give respectable performances in their various parts.

Unfortunately, the writer and cast are let down by an incompetent director. The staging of every scene is flat and lifeless, no opportunity for padding is left untapped--except for the ending that is inexplicably sudden and abrupt--and all the bad choices sap every bit of life from the film, driving even the most friendly-minded viewer into a stupour of boredom.

I love the "mad scientist" and "dark old house" movies--as the countless reviews of films in those genres here attest to--and I really wanted to like "Castle of Evil". But, it's just too incompently done. That is a terrible shame, because there's an excellent script that went to waste here.

(THIS is the kind of movie that Hollywood big shots sould be remaking, not "Karate Kid" and other movies that were already good. They should show themselves to be REAL artists and filmmakers who, if they are so devoid of creativity that they can't make original films, should at the very least take misfires and give them second chances.)

'Hold That Ghost' has flaws but Lou Costello makes it lots of fun

Hold That Ghost (1941)
Starring: Lou Costello, Bud Abbott, Joan Davis, Richard Carlson, and Evelyn Ankers
Director: Arthur Lubin
Rating: Six of Ten Stars

Two friends (Abbott and Costello) inherit a derelict roadhouse within which a gangster may have hidden a large fortune. Upon being stranded there one stormy night with several strangers (inlcuding Ankers, Carlson, and Davis), they discover it may be haunted by murderous ghosts as well.

"Hold That Ghost" is a spoof of once popular 'dark old house' thriller genre, which included such great early films as the original "The Cat and the Canary" and the straight-forwardly named "The Old Dark House". It is sort of a precursor to the many horror spoofs Abbott & Costello would make a decade or later involving the various iconic Universal Monsters.


Unfortunately, this film is flawed at its foundation. While all the actors are clearly game and do the best they can with the material, almost every character in this film feels flat and entirely too much of the plot only works because the characters are stupid even by comedy standards, or very forgetful. Even worse, while Abbott's character is often brusque and even mean toward Costello's character, he is often excessively so in this film. I think this may be the first Abbott & Costello film I've seen where I don't understand why the two main characters want anything to do with each other.

On the positive side, the weaknesses mentioned above are largely made up for by Lou Costello giving some really funny performances, especially relating to the running gag that he is almost always the only person who happens to see the mysterious going-ons in the creepy roadhouse the characters are stuck in. He also has a cute dance routine with Joan Davis, who, in an unusual twist for an A&B film, shows romantic interest in Costello without having an ulterior motive. Another positive of the film is the elaborate sets that make up the dilapited roadhouse and the moody lighting within it.

In the final analysis, "Hold That Ghost" isn't be best of Abbott & Costello's films, but it is still well worth your time, especially if you enjoy the creepy house horror/mystery films.

'Murder by Invitation' is a fine effort from Monogram

Murder by Invitation (1941)
Starring: Sarah Padden, Wallace Ford, Marian Marsh, Gavin Gordon, and J. Arthur Young
Director: Phil Rosen
Rating: Seven of Ten Stars

After her scheming relatives fail to have her committed to a mental hospital, eccentric millionaire Cassie Denham (Padden) invites them to her remote mansion, ostensibly to show she forgives them and to determine who is worthy to inherit her wealth. Within hours of their arrival, the guests start to disappear, and it falls upon reporters Bob White (Ford) and Nora O'Brien (Marsh) to identify the killer before they fall victim themselves.

"Murder by Invitation" is a fast-paced comedy-mystery with all the Old Dark House tropes. The acting is solid from all performers, the dialogue is sharp and quippy, and even the buffoonish cops act logically in the steps they take to capture the murderer. The plot is also above average, as screenwriter George Bricker actually took the time to present several viable suspects and a few credible twists that made it hard to guess who the killer was, but not impossible because enough clues were provided to let the viewer play along.

Of special note in this film is Marian Marsh, who was at the end of her ten-year rollercoaster acting career. She gives an excellent performance as a sharp-tongued newspaper woman who can stand toe-to-toe with the boys that is different from the damsel-in-distress parts she was most-often cast in. It's a shame that marriage and burn-out caused her to, in her words, "drift away from the acting profession."

The only true weak spot of the film is the opening courtroom scene... and I may think of it as such because of changes in American culture. The allegedly mentally incompetent Cassie Denham is put on the stand to testify in her own defense, and almost every response she gives is met with gales of laughter from the gallery. The problem is that she's not all that funny; she's being a smart-ass and she's putting her obnoxious relatives in their places, but she's not being fall-out-of-your-chair laughing like the courtroom audience seems to think. Given the skillful way the rest of the film is put together, I can only assume that some banter that was hilarious in 1941 isn't in 2018.

'Tomorrow at Seven' is a one-suspect mystery

Tomorrow at Seven (1933)
Starring: Chester Morris, Vivienne Osborne, Frank McHugh, Allen Jenkins, and Henry Stephenson
Director: Ray Enright
Rating: Five of Ten Stars

A writer (Morris), working on a book about the serial killer known as the Black Ace, gets close to his subject while onboard a chartered flight where another passenger becomes the maniac's latest victim.

"Tomorrow at Seven" is one of those films that needs to be remade. It's a story with TONS of potenial that is mostly unrealized because no risks are taken in the way the plot develops... and what is set up as the ultimate locked room mystery (a murder takes place with all suspects and potential victims together, in the air, in an airplane!) instead unfolds as a mildly interesting comedy with some dramatic moments and romantic overtones.

Maybe it's because it's 85 years since this film was made, but all the characters had barely been introduced when I settled upon who I thought was the Black Ace. I turned out I was right, despite the fact there was a second character who could just as easily have been the killer (and a third who would have been slightly more far-fetched but still plausible)... and I was right, because the cast of characters are the stock figures you expect them to be based on their roles at the beginning of the story and the physical appearance of the actors playing them; once the handsome, romantic male lead is crossed off the list as the murderer, there's really only one suspect left. (That said, there are some nice steps taken to cast suspicion around on a couple different characters... and what a great movie this could have been if more bravery had been shown in the plotting.)

As it stands, "Tomorrow at Seven" isn't a bad movie... it's just unremarkable. All the actors are good in the parts, the film moves along a good pace, and there's never a dull moment. Even the comic relief characters--a pair of bumbling police detectives (portrayed with great charm by Jenkins and McHugh)--are good, because they are actually funny instead of just annoying or stupid as is often the case in films from this period.

If you like "old dark house" flicks, or light mystery films from the early 1930s, "Tomorrow at Seven" is worth checking out if you dont' have to go out of your way for it.

(For my part, I think "Tomorrow at Seven" has inspired me to do another random mystery plot generator for the NUELOW Games blog, like "Who Killed Buck Robin?" and "Who Killed Major Payne?")

'The Cat and the Canary' is a cool silent flick

The Cat and the Canary (1927)
Starring: Laura La Plante, Creighton Hale, Martha Mattox, Tully Marshall, Gertrude Astor, Flora Finch, Forrest Stanley, Arthur Edmund Carewe, George Siegmann, and Lucien Littlefield
Director: Paul Leni
Rating: Seven of Ten Stars

Twenty years to the hour after the death of millionaire Cyrus West, his relatives gather for the reading of his will; West loathed all of them, and he was determined to make them wait to pick at his dead reamins. His strange will leaves everything to his niece (La Plante) but only if she is certified sane by a doctor before dawn. If she is not declared mentally fit, a back-up heir--supposedly unknown to any living soul as the name is on a paper in a sealed envelope--will receive West's estate. As the relatives spend the night, soon the mansion becomes filled with strange and terrifying events... which may or may nt be in the mind of the young heiress--or perhaps even caused by her! Is she insane, or is someone attempting to drive her insane, so that they might gain the West fortune?

The grand-daddy of all Dark Old House mystery films and a collection of what would become standard fare in 1930s horror flicks and B-thrillers--gnarled grasping hands, masked killers, vanishing bodies, secret doors and passages, stylish damsels in distress, inept leading men, and just about anything else you can think of--this film is great fun and a must-see for anyone with a serious interest in the horror genre as an art form, or just a love for the gothic horror genre.

Your level of enjoyment of the early part of the picture will be dictated by your tolerance for the acting style of silent movies, but once the will has been read things start revving into high gear and the tension and action keeps building until the "big reveal" of the villain at the end. What's more, the bits that were supposed to be suspenseful in 1927 remain so today, and the same goes for the bits that were supposed to be funny.

There are a couple of disconnects story-wise--such as the point where one character talks another out of going for the police by saying that she'll do it and then never goes anywhere--but those are more than made up for by scenes such as the one with the main character fleeing in terror down a curtain-lined hallway, the stylish arrival of the police on the scene, and the action-filled climax that is equal-parts funny and frightening and which cuts back and forth between a milk-cart speeding through the night and a furious battle between the comic relief character who's emerged as the film's hero and the caped, murdering madman.

If you enjoyed just about any horror film from Monogram Pictures or "The Old Dark House", you should check out this flick, even if you have yourself convinced you "hate silent movies."

'The Black Raven' is an inn to avoid

The Black Raven (1943)
Starring: George Zucco, Glenn Strange, Noel Madison, Byron Foulger, Wanda McKay, Robert Livingston and Robert Middlemass
Director: Sam Newfield
Rating: Four of Ten Stars

The Black Raven Inn has a reputation only slightly more shady than its owner (Zucco), but on one dark and very stormy night, it plays host to more than the usual share of crooks and creeps when someone starts murdering the men and women who have been trapped there because the bridges have been washed out.

"The Black Raven" starts strong, playing like a straight-forward cross between a "dark old house" film and an Agatha Christie-style murder mystery. However, by the time the first murder occurs, the movie has already descended into a meandering morass of filler... and when it starts getting good again--right around the time where George Zucco's character begins to show he's more than just a villainous innkeeper who makes his real living by smuggling criminals across the border to Canada--viewers are so bored they hardly notice or care.

Everything about this film is substandard, and it seems pretty clear that most everyone invovled was just there to collect a paycheck... or they're terribly miscast. Zucco, who usually seems to give a movie his all, seems to be sleepwalking through most his scenes, and I don't think Glenn Strange has a comedic bone in his body; he never should have been cast in the role as the comic relief character. Even as a murder mystery the film is fairly lazy (although it does have one minor twist to it, a twist that makes it harder than usual to guess who the killer is because it's someone that is so obvious that the character is dismissed as a suspect in the minds of experienced mystery watchers/readers).This film might be of interest if you're the world's biggest fan of George Zucco, but even then I think you might feel as if you've wasted your time when your done watching it, even at its brief 61-minutes.

'The Old Dark House' is a classic that failed at the box office

Many great masterpieces started out as commercial product, made by all involved as part of the everyday grind of making a living, just like a carpenter makes a table. They were also rarely seen as little different than the carpenter making the table. It therefore is not surprising that no matter how good the end product, if it doesn't catch on in the marketplace, it will be tossed aside for items that will bring in more money and pay those ever-voracious creditors.

One such product is "The Old Dark House," one of a number of nearly forgotten early horror films from Universal. Like other obscure films, it didn't do well at the box office... in fact, this one bombed so badly both on its initial release and re-release that it left craters. (While it broke box-office records in the UK, the film was a financial disaster in the US. It was also slammed by most American film critics when it was first released, with only the New York City critics seeming to like it.)

It's only natural that Universal Pictures and all those involved with the film tossed it aside and instead focused on things that put helped them keep up with the bills. The film was considered so worthless that it was believed to have been destroyed until it was rediscovered and restored in the late 1960s. At that time, Boris Karloff is reported to have seemed bemused when the man who saved the film from oblivion told him of the restoration effort; I imagine Karloff couldn't conceive of why anyone would spend money and time to preserve a failed movie.

Truth is, "The Dark Old House" was only a failure in a commercial sense. Anyone with a taste for classic movies who watches it now will recognize it as a film that should be held in equal regard to the other landmark Karloff features like "Frankenstein" and "The Mummy." Like those, it's a true classic that is exciting to watch even today.


It was, ironically, the invoking of Karloff that probably helped doom this movie during both its initial 1932 release and its 1939 re-released in the United States. Universal's marketing material so emphasized the fact that Karloff of "Frankenstein" fame was in it that one is left with the impression that he is not only the star but that this is another monster-driven fright fest.

Both of those impressions are false, so it's no surprise that negative word-of-mouth killed the box office even in New York where the papers were praising the film.

Truth is, "The Dark Old House" is more of a mystery/comedy film than a horror movie. It's also a far more "British" film than "American" as far as the humor and characters go, so it's no surprise it was better received in the UK.

I assume most of you reading this have already seen "The Dark Old House," so you know what a treasure it is--as for me, the DVD was in my "To Watch" pile for about a year, until this Blogaton gave me the perfect opportunity to watch and write about it. Now I wish I'd seen it the very moment it arrived in the post!

If you haven't seen "The Old Dark House," you absolutely must check it out. It's available on an excellent DVD from Kino Video. Read on for my review of the film, and then use the Amazon.com link to get yourself a copy; it'll cost you about the same as a movie ticket these days, but it's a film far superior to most of the garbage polluting the cinema now.


The Old Dark House (1932)
Starring: Gloria Stuart, Melvyn Douglas, Raymond Massey, Lilian Bond, Charles Laughton, Ernest Thesiger, Eva Moore, Bremer Wills and Boris Karloff
Director: James Whale
Rating: Nine of Ten Stars

A violent storm forces five travelers to take shelter in an isolated house in the Welsh mountains. Before the night is over, love will come to some of the inhabitants of the house while death will come for others.


"The Old Dark House" is a quirky horror film from the days when the genre was still taking shape. It features an even mix of romance, dark comedy and melodramatic horror action in a household so riddled with insanity that even the House of Usher looks like the Cleavers by comparison. It's a tone and mixture of elements that has only rarely been achieved, with films like "Drag Me to Hell" and "Dead Alive" coming closest in the past decade.

When it was first released, it failed to appeal to the public nor to most critics, due in a large part to a marketing campaign that centered on Boris Karloff, who had just been featured in the mega-hit "Frankenstein." Karloff's role in this film is actually very minor, and he is more red herring than monster. He was also, strangely, more easy to recognize in the monster make-up than he is under the beard and facial scars of Morgan, the alcoholic and mute butler he portrays in this film.

The true star of the film is actually Gloria Stuart. Although it is a definite ensemble piece, Stuart appears in all the key scenes and hers is the character that is threatened in turn by each of the menacing figures in the old dark house. She gives an excellent performance throughout the film, It's a shame that this would be the only truly good part she would play in her film career, and the only decent role the casting directors at Universal chose to give her. (Interestingly, Universal executives wanted Stuart for the part of a "female Tarzan," and it was possibly her adamant refusal to even consider it that doomed her chances of ever playing a decent role at the studio again.)

Aside from Stuart, the two other standout performers are Melvyn Douglas, whose roguish war veteran character is the heroic and romantic center of the film; and Bremer Wills, whose character arrives late in the picture, but whose chilling performance is nonetheless one of the most memorable things about the film.

Also of particular note are Lillian Bond, who is perhaps better here than in any other film she would make; Charles Laughton, who actually sympathetic for once; and Ernest Thesiger, who manages to be funny and scary at the same time.

The staging of each shot is also remarkable, as is the attention paid both to the visual composition of each scene, as well as the careful deployment of sound throughout. There is no music score for the film, but the sounds generated by the storm raging outside the house provide far more drama than any orchestra could do.

Because the film was a commercial disaster both in 1932 and during its re-release in 1939, Universal Pictures considered it a worthless property. They eventually let all rights revert to estate of the novelist whose work the film had been based on and the negatives were left to rot in storage in New York City. If not for a concerted effort on the part of filmmaker Curtis Harrington--a fan of the film and friend of director James Whale--it might have been lost forever by the late 1960s. Even the best available print shows some damage, despite the restoration efforts.

"The Old Dark House" is a film worth seeing again and again for the excellent performances and careful staging; you are guaranteed to notice something new each time you watch it. It's particularly worth watching for Gloria Stuart's performance. Karloff is, as usual, excellent, doing what he can with a part that doesn't give him very much to do.


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Top talent, bargain-basement comedy and thrills in 'The Black Cat'

The Black Cat (1941)
Starring: Broderick Crawford, Hugh Herbert, Anne Gwynne, Basil Rathbone, Gale Sondergaard, Gladys Cooper and Bela Lugosi
Director: Albert S. Rogell
Rating: Five of Ten Stars

When one of greedy relatives on an unpleasant--but exceedingly wealthy--old woman decides to help her into the grave through murder, it's up to a family friend and greasy real estate broker (Crawford) to unmaks the killer. But he better hurry, because it's a dark and stormy night, and the killer has more lives to claim....


Universal sure does love to throw random films into their DVD collections. In the marketed-as-a-horror-films "Boris Karloff Collection" there was the light mystery "The Night Key" and the historical drama "Tower of London," while the "Universal Horror: Classic Archive" features "The Black Cat." Sure, the film includes horror film regulars like Basil Rathbone, Anne Gwynn and Bela Lugosi, but it is actually a comedy that spoofs the Dark Old House genre that flourished in the early 1930s.

"The Black Cat" was the second film that the famous Poe short story "suggested" to Universal Pictures. It has more in common with the source material than the 1934 picture the story "suggested"--this one at least features a black cat that ends up unmasking a killer with its yowling--but it's nowhere near as good.

As comedies go, it's below average. The behavior of the comic characters--a real estate agent played by Broderick Crawford and a dishonested and scatterbrained dealer of antiques played by Hugh Herbert--is rarely all that funny, although the comparisons I've seen made to Abbott and Costello are unfair. Crawford's more-often-than-not straight man is far more respectable than most characters portrayed by Abbott, and Herbert's "Costello imitation" is more a reflection of the fact that both men started their carrers as comedians on the Vaudeville stage. It's not that Crawford and Herbert are ripping anyone off that viewers should be upset with, it's that they have such poor material and badly written lines to work with.

The overall thrust of the story is decent enough, although it is full of logic holes. I have the senese that someone, somewhere said, "Screw it... it's a comedy being made to just fill the release schedule; who cares the story doen't hang together?"

So, as is always the case when producers don't bother to get the foundation fo their film solid, we end up with an end product that is little more than a waste of talent and time. We have a comedy that's only mildly funny, featuring a mystery that's badly put together because the writers didn't put enough tought into it, and a film that squanders great talent like Rathbone, Gwynn and Lugosi.

In fact, no one is wasted more in this picture than Lugosi. He is relegated to a small and pointless role as the Italian groundskeeper, a role so small and pointless that he doesn't get to show his talent for dramatic or comedic acting. In fact, the role is so pointless that I think not even Lugosi took it seriously--or if he did, he added an attempt to do an Italian accent on top of his Hungarian one late in the shooting schedule because his accent is inconsistent between scenes. It has been written that Universal executives either did not respect Lugosi or didn't know what to do with him... and it's films like this that prove the truth of that. I still have to see one or two of Lugosi's Universal films, but this one has got to be close to the low point of his appearances in them.

That said, Gale Sondergaard does play one of the creepiest house keepers to ever grace the silver screen. Also, the scenes leading up to the end after the murderer has been revealed are very suspenseful and well paced. One can also add that the film is fast-paced, so no matter how dumb it gets at times, it never gets boring.

'The Monster Walks' is a mediocre early talkie

The Monster Walks (1932)
Starring: Rex Lease, Sidney Bracy, Mischa Auer, Vera Reynolds and Willie Best ("Sleep 'n' Eat")
Director: Frank Strayer
Rating: Five of Ten Stars

The night following the death of Earlton Manor's master, those gathered for the reading of his will are menaced by a killer who seems to move unseen through the sprawling house's shadow-filled rooms. Will Dr. Clayton (Lease) discover the identity of the killer in time to save the prime target, his fiance, Ruth (Reynolds)?


A slightly dull example of the "Dark Old House" mystery films that flourished in the early days of the talkies, "The Monster Walks" has a couple of respectable twists and tense moments. It's not the strongest example of this faded film sub-genre, but it's decent enough.

I wonder: Is this one of the first examples of an ape being the possible killer in a mystery film? It seems like by the late 30s, every fourth low-budget thriller or comedy featured an ape (or a guy in a gorilla suit). Is this where the trend started? (One of the sources of dread of the film is a large, violent chimp that's kept in a cage in the house's basement.)