The Man Who Cheated Himself (1950) Starring: Lee J. Cobb, John Dall and Jane Wyatt Director: Felix E. Feist Rating: Six of Ten Stars
Homicide detective Ed Cullen (Cobb) puts his skills to use to cover for a killer when his married girlfriend, Lois (Wyatt), guns down her husband. But will he be able to keep the deceit hdden from his new partner, a bright rookie detective who also happens to be his brother (Dall)?
"The Man Who Cheated Himself" is a very well-done movie. It's got a nice, dramatic script of the film-noir variety that unfolds in a mostly believable fashion and at a perfect pace; it's got well-crafted dialogue being delivered be competent actors giving believable performances; and it's got a detective who actually works a mystery without the aid of plot-aided leaps of logic. It might be worth an 8-rating if the set-up didn't feel a bit forced.
Perhaps it's misplaced gallantry on the part of Cullen, but given the cirucmstances of the killing he witnesses, the smart (and even the only rational) thing for him to have done was to report the shooting Yes, there would have been scandal, but even as soon as immediately after the shooting, Cullen could provide all the evidence a competent lawyer would need to get Lois off scott-free: The husband was planning to kill her and the shooting was a cross between accidental and self-defense... and Cullen should have been smart enough to let things stand as they truly were.
But, if Cullen didn't try to disconnect Lois from the crime, there wouldn't be a movie (or, at least, there would have been a very different movie). Despite its shaky foundation, "The Man Who Cheated Himself" delivers plenty of entertainment for fans of film-noir and classic crime dramas. (The cat-and-mouse sequence near the Golden Gate Bridge--and the use of San Francisco as a backdrop in general--goes a long way to make up for the main character's odd behavior to get the story going.)
"The Man Who Cheated Himself" is one of a couple dozen classic thrillers and detective films included in the "Dark Crimes Collection," a box of 50 black-and-white movies. It has, sadly, been discontinued by the manufacturer, so if you know someone who's just recently discovered the magic of old films, you might want to give him or her an instant collection of them before it's completely off the market.
Blackmail (1929)
Starring: Anny Ondra, Sara Allgood, Charles Paton, and John Longden
Director: Alfred Hitchcock
Rating: Nine of Ten Stars
In "Blackmail", Alice (Ondra) kills a man as he attempts to rape her. A unscrupulous witness (Paton) tries to blackmail her, as she wants to keep the incident secret for the obvious reasons. Matters are complicated even further by the fact that she is in a relationship with a police detective (Longden).
"Blackmail" is recognized as Britain's first "talkie." It started as a silent flick, but director Alfred Hitchcock reworked it in midshoot to take advantage of the new technological advancements. What's truly remarkable about "Blackmail" is that it seems more modern in nature that some films that started as talkies yet still seemed stuck in the silent movie era (such as the Lugosi-starring "Murders in the Rue Morgue" from Universal, which I review here).
The acting in the film is excellent, and actually rather unusual for the time. Further, the use of sound is fantastic. Hitchcock does far more than simply add voices to his actors... he uses sound to advance the story and the mood of the film. (There's a particularly impressive breakfast scene where the traumatized Anna hears only incoherent babble--except the words that remind her of the murder she committed standing out with crystal clarity).
Visually, the film is also worth seeing for its climax. There's a chase scene in a library that is so stylistically impressive that I'm surprised it hasn't been mimicked more. It's on par with the famous "steps scene" from "Battleship Potemkin".
"Blackmail" is a thrilling movie that was well ahead of its time. I think it's worth seeing for any movie buff.
The Essential Monster of Frankenstein (Marvel Comics, 2005)
Writers: Gary Friedrich, Doug Moench and Bill Mantlo
Artists: Mike Ploog, John Buscema, Val Mayerik, et.al.
Rating: Seven of Ten Stars
I suspect that most people reading this first came to Frankenstein's Monster through the movies, be they the Hammer films or the ones from Universal Pictures. Myself, my first exposure to Frankenstein's Monster was in the pages of a comic books where in one issue I read about him fighting a giant spider while looking for the man who created him, and then later fought vampires and ultimately did come face-to-face with his maker.
These two issues helped fuel my love of comics, as random as they were in the overall placement of the Marvel Comics' version of Frankenstein's Monster, so when I saw Marvel was collection ALL the stories in one big fat book, I had to have it, so I could read the rest of the story, even if it was three decades later.
This mammoth black-and-white reprint volume features some of very best comics published by Marvel... and some of the very worst. It collects all the early of Frankenstein's Monster as seen through the prism of the House of Ideas, presenting material that original appeared in "Monster of Frankenstein," "The Frankenstein Monster," Legion of Monsters," and "Monsters Unleashed."
The tales within its pages that have Gary Friedrich credited as writer are true gems of comic story-telling. From the fabulous adaptation of Mary Shelley's novel, to the inevitable battle between gothic horror titans Dracula and Frankenstein's Monster, through the tragic conclusion of the monster's quest to find the Last Frankenstein, the first 11 issues of the Monster of Frankenstein comic book are indeed "essential" reading. Friedrich's stories are well-crafted, the 19th century setting refreshing, the characters all interesting, and the illustrations for those tales, primarily by Mike Ploog and John Buscema, are also among some of the finest work those artists ever did.
The same is true of the first few reprints featuring Frankenstein's Monster from the pages of Monsters Unleashed. The saga of Frankenstien's Monster is moved into the modern day as an obsessive mad scientist discovers the inert creature in a traveling sideshow and revives him with bizarre and tragic consequences. The first few of these stories were written by Gary Friedrich and illustrated by John Buscema, and these, again, are true comic-book classics. But once Friedrich leaves as writer, the quality goes down the drain.
With the exception of the final story in the collection, the episodes penned by Doug Moench are just plain awful, with Frankenstien's Monster facing off against a silly secret criminal organization and even sillier by-products of the efforts of modern-day monster-builders. I hate to say that Moench turned in bad work for the series, as he has written some of my favorite comics ("Master of Kung-Fu," "Six From Sirius," his run on "Catwoman"), but there is just nothing redeeming about his efforts on the Frankenstien series. (Except the very last story reprinted from "Legion of Monsters". Moench and the artist he was teamed with on the strip, Val Mayerik, do their only decent work for the entire series on that one.)
In the final anaylsis, about 1/3rd of this book is trash, but the good parts are really good and this makes "Essential Monster of Frankenstein" a worthy addition to any fan of horror comics' bookshelf. Just skip the material that originally appeared in The Frankenstein Monster issues 12-18 and Monsters Unleashed issues 6-9.
Unfortunately, Marvel Comics has chosen not to keep the book in print. It's too bad, because, although flawed, It's worth seeking out, and I recommend getting a copy from some source before "collector prices" truly start kicking in.
Scream of Fear (aka "Taste of Fear") (1961) Starring: Susan Strasberg, Ronald Lewis, Ann Todd and Christopher Lee Director: Seth Holt Rating: Eight of Ten Stars
Wheelchair-bound Penny (Strasberg) returns to her wealthy father's house for the first time in ten years, only to be told by his new wife Jane (Todd) that he has gone away suddenly on a business trip. When her father's corpse starts to appear and disappear around the property, Penny enlists the help of hunky chauffeur Robert (Lewis) to help her prove her sanity.
"Scream of Fear" is a plot any fan of suspense and horror movies has encountered at least twice--a vulnerable woman seems to be losing her mind but in truth someone is trying to drive her insane--but it's rarely been done as well as it is here. This is truly one Hammer Films' great films and it's a crime that it took so long to get it on DVD.
Extremely well-acted and brilliantly cast, every performer and every line they deliver in the film plays into the fact that no one in the household is quite who they seem and everyone is keeping at least one secret. Take Christopher Lee for example. He plays a French doctor who is a very insensitive cold fish, but is he cohoots with the bad guys or is he just a jerk? Or is there something going on under the surface that has yet to be revealed? With Lee, who split his screen time evenly between playing heroes and villains, it's impossible to guess until the Big Reveal at the end.
The film is also very well constructed and finely paced from a story perspective. From the opening scene to the twist-laden climactic final few minutes, "Scream of Fear" builds the tension and terror not with the "gotcha!" scares that are so popular with filmmakers these days, but through storytelling methods that are almost entirely relegated to the written medium these days; it builds its tension through character development and by continuially deeping the film's mysteries and by reversing, double-reversing and triple reversing the audience's expectations about exactly what is going on in the film. (I've seen a dozen or so movies built around the same formula as this one, so I thought I had the story figured out fairly early on, but then a twist made me doubt my conclusion... the a little seemingly throwaway detail made me think I'd been right... and another twist showed I was completely wrong... but then a third twist got me thinking I had been right from the outset... and so on, right up to the point where various plots, schemes and deceptions of the film's characters are revealed. (Although even after that, the film has one more twist to deliver....)
Too many writers these days are turning out suspense and horror scripts with "twist endings" that they think show how clever they are. Instead, all they end up showing is how little talent or how lazy they are, because their twist endings are hardly ever based in the story and their stories are weak and badly structured. Perhaps, if these hacks would use "Scream of Fear" instead of simply "Scream" as the film to emulate, they might be able to turn out decent work.
"Scream of Fear" is only available on DVD as part of the "Icons of Horror: Hammer Films" four movie pack, a collection of excellent movies that is well-worth the asking price.
My Man Godfrey (1936)
Starring: William Powell, Carole Lombard, Alice Brady, Gail Patrick, Mischa Auer, Jean Dixon, Eugene Pallette and Alan Mobray
Director: Gregory La Cava
Rating: Eight of Ten Stars
When a down-and-out man with a secret past (Powell) is hired as the butler for the most dysfunctional family of New York City's wealthy elite, what starts as a cruel joke ultimately ends up transforming the lives of everyone involved.
"My Man Godfrey" is one of the great comedies of the 1930s. Its fast-paced script, hilarious gags, and the top-notch cast that performs them with impeccable comic timing, makes it a movie that should still entertain all but the most brain-damaged members of Generation XBox. If you've seen William Powell in the more famous "Thin Man" series and you liked him there, you definitely need to see this movie as he gives an even better performance as the mysterious Godfrey Smith--a man retrieved from the city dump by a pair of flighty and drunken socialites, yet who has more class, polish and social grace in his left hand than they have in their entire family.
Another reason to watch the film is that the social commentary within it remains as relevant today as it was in 1936. It's particularly worth watching if you're a filmmaker or writer who wants to create a "message movie", as this film shows how to do it the RIGHT way.
Michael Moore, David Zucker and any number of other modern filmmakers who think they have important messages worth listening to should be forced to watch and write a 5,000 essay on "My Man Godfrey" before they are let anywhere near a film production again.
(And on a different note, I am hereby offering a public admission of being wrong. I told a fellow film enthusiast that I didn't think it mattered if comedies were colorized--dramas were ruined by the colorization process because it leaches the blackness from the shadows and dampens the brightness of the lit areas--and he told me that I was mistaken. Naturally, I disagreed. But the version of "My Man Godfrey" that I saw had both the original and a very well done colorized version on the same disk. However, despite the fact that the colorization job was excellent, the end result was still one that was flat and visually uninteresting. So, I have to admit that colorization hurts any kind of film that was originally filmed in black-and-white.)
Bury the Living (1958) Starring: Richard Boone, Theodore Bikel and Peggy Mauer Director: Albert Band Rating: Seven of Ten Stars
When Robert Kraft (Boone) takes his turn as chairman of the town's cemetary (a duty that all of the leading citizens eventually end up with), he approaches the job in a blase fashion. What does it matter if he marks vacant (yet spoken-for) grave sites with white pins and occupied graves with black pins on the large map in the chairman's office? Well, it matters a great deal, because Kraft discovers that when he inserts a black pin in a vacant grave, its owner is soon killed so as to make the map accurate.
"I Bury the Living" is an atmospheric horror film that captures the best elements of a Hichcock film and a Rod Serling-scripted episode of "The Twilight Zone." Although the script is a bit weak at times--some characters seem to be here for no reason other than someone thought they should be, because they are traditional genre standards, such as the Love Interest and Scoop-Hungry Reporter--the way it and the director manage to evoke a growing sense of dread, and the way the twist ending is set up and implimented are expertly done. I also love the way the map of the cemetary becomes a character unto itself as the film progresses.
This is another one of those overlooked gems that's worth a look by horror fans and mordern filmmakers. Yes, it plays a lot like a "Twilight Zone" episode, but it can show all those people out there producing brainless horror movies what can be done with just one room--the best and spookiest parts of the film happens entirely in Kraft's little office on the cemetery grounds.
(Trivia: Director Albert Band was the father of Charles Band, producer/director of hundreds of movies from the late 1970s through today. You can read my reviews of films from both father and son at The Charles Band Collection.)
Welcome to the Boris Karloff Blogathon, a week-long celebration that spans over 100 blogs. To experience its full scope, click here.
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Ask me to name three stars of black-and-white movies, and the first names that come to my mind are Katherine Hepburn, Boris Karloff and Bela Lugosi. I will eventually be posting reviews of Hepburn films, but I had not intended to write about Karloff or Lugosi in this forum as I have already covered their work in The Boris Karloff Collection, The Bela Lugosi Collection, and The Universal Horror Archive.
[UPDATE (July 2010): Since writing that paragraph, most of the posts from the Lugosi and Karloff blogs have been replicated in "Shades of Gray," for ease of reference.]
However, the Franksteinia blog is serving as a hub this week for the Boris Karloff Blogathon, an event that is proving to be a fabulous source of views and reviews on one of the horror genres greatest figures. I wanted to call attention to the blogathon (in case anyone out there is checking out these posts)... and that, in turn, inspired me to take the opportunity to highlight some films where Boris Karloff is playing very different characters than he is famous for.
To any fan of classic movies and to most Americans over 45, the name "Boris Karloff" evokes images of monsters, creepy bad guys, and shadowy, fog-draped cemeteries. However, Karloff's career spanned many genres and while he admittedly mostly played creepy bad guys, he did occassionally break from that character. Here are three examples of such roles--three films I think everyone who has ever admired Karloff should see. They are "Night Key" (Universal, 1937), where Karloff plays a grandfatherly inventor whose momentary desire for revenge gets him caught up in the schemes of a bunch of gangsters; "Mr. Wong, Detective" (Monogram, 1938), where he takes a turn as a mild-mannered Chinese-American private investigator; and "Lured," ("Hunt Stromberg, 1947) where he plays a part like one he wouldn't play again until he dressed in drag on an episode of "The Girl From U.N.C.L.E."
Night Key (1937)
Starring: Boris Karloff, Hobart Cavanaugh, Jean Rogers, Warren Hull, Samuel S. Hinds, Alan Baxter and Ward Bond
Director: Lloyd Corrigan
Rating: Seven of Ten Stars
After being cheated out his latest security system by his former business partner, Steve Ranger (Hinds), inventor and security expert Dave Mallory (Karloff) sets out to gain revenge and force the crooked business man to change the deal to a fair one. Together with a petty thief (Cavanaugh), Mallory sets about using another invention--the Night Key--to override the alarm system he created and cause harmless mischief in places protected by it. But, before Mallory manages to embarrass Ranger into submission, a ruthless gangster (Baxter) learn of his device and forces him to assist them in a major heist.
"Night Key" is a fun, fast-paced 1930s techno-thriller--it's like a "Firewall" or "Mission Impossible II" of its day, only with humor replacing the violence and a script written by someone who actually knew how to write and properly develop characters in a very short space. Of course, it also helps that the film features a fabulous cast, with everyone being perfect in their parts and everyone giving top-of-the-line performances.
Boris Karloff is particularly fun in this film, as he plays a character of a sort that he hardly ever got to play: A fundamentally nice person who is as kindhearted as Karloff reportedly was in real life. (Although one assumes that Karloff was not as naive and scatterbrained as the grandfatherly Dave Mallory is.)
Thanks to good direction and even better acting, the film provides many moments of touching comedy (such as the scene where Mallory and his criminal associate have fun opening every umbrella in an umbrella store) and intense excitement (such as when Mallory devises a way to escape the clutches of the gangsters who have kidnapped him and are holding his daughter for ransom). Everything in the film works perfectly, except for a rather pointless romance between Mallory's daughter and a security guard. However, this is such a minor part of the overall movie that it hardly has an impact.
Mr. Wong, Detective (1938)
Starring: Boris Karloff, Grant Withers, John St. Polis, Maxine Jennings, Lucien Prival and Evelyn Brent
Director: William Nigh
Rating: Eight of Ten Stars
When a powerful captain of industry is found dead inside his locked office moments after police detective Sam Street (Withers) saw him standing at the window, renowned private James Lee Wong (Karloff) joins forces with the homicide squad to interpret the only clues found at the scene--tiny fragments of delicate glass. When Dayton's business partners start dying under equally mysterious circumstances, and sinister agents of foreign powers start appearing in the shadows, Wong and Street have to race against time to prevent more murders, including, possibly, their own.
"Mr. Wong, Detective" is a fast-paced, well-scripted, complex mystery with lots of twists, turns, and misdirections. The array of suspects and the way suspicion moves on and off them, the way motives come into focus and blur again, the clever way the murder weapon is triggered, and the way Wong ultimately unmasks the very clever murderer, all add up to a mystery movie that deserves more attention than it gets.
Another element that adds to the film's quality is the acting. Boris Karloff is excellent as Wong, playing a more subdued and refined character than in just about any other role he played before or after, with the way Wong sarcastically offers stereotypical "Oriental humbleness" to the face of the bad guys adding flavor to the character and comedy to the film. Grant Withers as Street is likewise excellent in his part, shining particularly brightly in the scenes with Maxine Jennings, who brings effective comic relief to the picture as his feisty girlfriend, Myra. The supporting cast and co-stars also all turn in top-quality performances.
"Mr. Wong, Detective" is a film well worth the time a fan of 1930s mysteries should devote to watching it.
Lured (aka "Personal Column") (1947)
Starring: Lucille Ball, Charles Coburn, George Sanders, George Zucco, Cedrick Hardwicke, and Boris Karloff
Director: Douglas Sirk
Rating: Seven of Ten Stars
Scotland Yard's Inspector Temple (Coburn) hires sharp-eyed, sharp-witted, and sharp-tongued down-and-out American actress Sandra Carpenter (Ball) to serve as a lure for a serial killer who has been prowling through London's shadows, murdering young women he contacts through personal ads. With her Scotland Yard "guardian angel" Barrett (Zucco) watching over her, she undertakes the dangerous task of drawing out the insane killer.
"Lured" is a well-done, light-touch police procedural thriller (with touches of romance and melodrama along the way) that features an all-star cast of 1940s B-movie actors (and a respected stage actor thrown in for good measure), all of whom deliver great performances.
The dialogue is snappy, the tense moments genuinely tense, the funny moments genuinely funny, and the many red herrings tasty. Boris Karloff's character serves as the oddest and funniest fish of them all--and it's not a spoiler to say that he isn't the serial killer. Yes, it's the sort of part he often plays, but not here, and it will be obvious to viewers almost immediately. (Some might say he's WORSE than a serial killer here... he plays an eccentric fashion designer!)
I think this is a film that will be enjoyed by anyone who likes classic mystery movies. I also think that fans of Lucille Ball will enjoy seeing her in her pre-screwball comedy days. (Speaking of comedy, George Zucco's scenes with Ball are always amusing, as Sandra repeatedly inadvertently helps Barrett solve the crossword puzzles he's constantly working on with stray comments.)
The Walking Dead (1936)
Starring: Boris Karloff, Edmund Gwenn, Marguerite Churchill and Ricardo Cortez
Director: Michael Curtiz
Rating: Eight of Ten Stars
Ex-con and all-around sad sack John Ellman (Karloff) is framed for murder by racketeers, he is unjustily executed in the electric chair, dying even as the governor is trying to reach the prison to stay the execution when a witness (Churchill) comes forward with evidence that clears him. The innocent man is given a second chance at life when Dr. Beaumont (Gwenn) brings him back to life with an experimental technique, but death has changed Ellman. Initially, he seems to be mentally disabled, but an encounter with the racketeer-allied attorney who helped frame him (Cortez) reveals that Ellman has changed in ways no mortal will ever be able to comprehend.
"The Walking Dead" is an early genre-bending effort from Warner Brothers that mixes mad science, horror, and crime drama with a deftness that I wouldn't have thought possible. Although a naked attempt to cash in on the horror genre that was doing so well for other studios--but still hewing close to the crime films that were Warners' specialty--it has an intelligent and multi-layered script full of unpredictable twists and turns; excellent pacing and beautiful, moody photography; sympathetic heroes you will be rooting for, and villains that you have no problem hating and won't mind seeing come to bad ends.
One of the most important factors making this film such compelling viewing is the excellent performances by its cast.
Edmund Gwynn plays a doctor who is more interested in first proving that he can bring the dead back to life and later interested in learning what happens to the soul after death than he is in John Ellman's health or sanity, He portrays the character with such likability that its impossible not to like him despite it all.
On the flipside, there is Ricardo Cortez, who plays an absolutely destible mob attorney who through the picture pretends to be looking out for Ellway's interests but who is really trying to see him put to death so he and his fellow criminals remain untouchable by the law. It's a character so slimy that we can't wait to see him get his just rewards, mostly because Cortez plays him with such a cool and detached grace.
And then there's Boris Karloff as John Ellway. Just like Karloff brought humanity to Frankenstein's Monster with a few gestures and body language, so does he convey the deep pain and confusion suffered by Ellway once he is restored to life. It's a confusion that's doubly fascinating, because as the film unfolds, it becomes apparent to the viewer that Ellway has returned from the Other Side with a limited sort of omnicience that allows him to know who the conspirators were that framed him for murder, but not why.
Without spoiling too much of the movie while discussing the aspect that I found the most interesting about it, I will reveal that Ellway spends the second half of the movie looking for the answer to his fate, but never receiving it, as there are other forces that are swirling around him, forces that are making the "untouchables" pay for their crime. And with each denied attempt at discovering why he was marked for death, his pain grows, and it's a pain that Karloff conveys with absolute perfection.
But Ellway's search for answers raises an interesting question about whatever forces govern life, death, and whatever comes after. Whatever they are in this film's world, they seem to have the ability to observe everything that happens with absolute clarity, but have no understanding of why something happens. Ellway recognizes the men who conspired to kill him when he sees them, but their motivation eludes him. Further, whatever the forces are, they also seem not to care about the whys of events... or at least they don't care whether Ellway gets his answers or not.
In the end, the film leaves all the characters wondering about life and death and fate (well, the ones who are still alive at the end of the film), and it will also give the audience members a little food for thought. The final scene is a bit maudelin, but it maintains the mysterious air that surrounded Ellway from the moment he was brought back to life and it really couldn't be more perfect.
"The Walking Dead" is an overlooked classic that every fan of Boris Karloff should see. He gives a performance that is on par with whatever of his more celebrated roles you care to mention. The film has recently once again become easily accessible to the public as part of the "Karloff & Lugosi Horror Classics" four-movie DVD pack. "The Walking Dead" is the only real classic in the bunch, but the price for the set is worth it for this film alone, so you can view the other included pictures as "bonus features." (None of them are outright bad, but they're not exactly great either.)
Strange Illusion (aka "Out of the Dark") (1945) Starring: James Lydon, William Warren, Sally Eilers, and Regis Toomey Director: Edgar G. Ulmer Rating: Six of Ten Stars
A college student (Lydon) is suspicious of the man (Warren) his widowed mother (Eilers) is about to marry. Evidence mounts that the boyfriend may actually be a shadowy serial killer who has been eluding police for years... but is the "evidence" merely coincidences that are being exagerrated in the young man's jealous mind, or is his mother truly in danger?
"Strange Illusion" is a thriller with sinister villians, and an interesting plot that's part Shakespeare and part Hitchcock. It's also got an unsual hero for a crime drama--young college kids weren't typically the protagonists in these sorts of films from the 1930s and 1940s--although that's another similarity to both Shakespeare and Hitchcock's films that this one exhibits. The dialogue is well-done, and the performances by the actors are all decent enough.
Despite all those positive points, this film is far from perfect. It could have benefitted immensely from another script rewrite or two before filming wrapped.
Our hero's suspicion of his mother's new love arises from a recurring dream he has. In fact, most of the increasingly damning clues he finds also originate with the recurring dream. I don't have the feeling the film is implying the young man is psychic, but that instead the clues are somehow being delivered to him by his subconcious mind. However, the dream reveals things to him that he couldn't possibly have known, subconscious or otherwise, and this overuse of the plot device drags the movie down to the point where it almost slips to the lower end of average. Then there's a few bits of sloppy filmmaking--such as when the vantage point upon a scene viewed through binoculars changes dramatically between two uses to look at the same spot from the same location--that don't exactly help to enhance the film's quality.
Nonetheless, this is an unusual entry in the thriller/film-noir genre, and it's worth a look. It's not as good as Ulmer's Lugosi/Karloff vehicle "The Black Cat," but it's still damn good.
(I also think that William Warren plays one of the slimiest characters I've yet to see in a movie. Whether or not he's the serial killer Our Hero believes him to be--and I won't say that he is, because I try not to spoil movies in this space--he is definately a Bad Guy who no-one would want to see their mother marry!)
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