Review: "The Black Cat" Offers First Pairing of Karloff and Lugosi (Remembering Bela Lugosi)

TRASH IN MY EYE No. 213 (of 2004) by Leroy Douresseaux

The Black Cat (1934)
Also known as: The Vanishing Body (1953)
Running time:  65 minutes (1 hour, 5 minutes)
DIRECTOR:  Edgar G. Ulmer
WRITERS:  Peter Ruric; from a screen story by Peter Ruric and Edgar G. Ulmer (based upon a story by Edgar Allen Poe)
CINEMATOGRAPHER:  John J. Mescall
EDITOR:  Ray Curtiss

HORROR/MYSTERY/CRIME

Starring:  Boris Karloff, Bela Lugosi, David Manners, Jacqueline Wells, Lucille Lund, Egon Brecher, and Harry Cording

The subject of this movie review is The Black Cat, a 1934 film that blends the genres of crime, horror, and mystery.  The film was released by Universal Pictures and produced by Carl Laemmle, Jr.  The Black Cat was re-released in 1953 as The Vanishing Body.  This was the first of eight movies that paired actors, Bela Lugosi and Boris Karloff.  This is apparently one of the first movies to have an almost continuous movie score, which was composed by Heinz Roemheld.

The Black Cat takes its name from the Edgar Allen Poe short story, “The Black Cat” (first published in 1843), but little else.  Television and screenwriter Tom Kilpatrick contributed to the writing of this movie’s screenplay, but did not receive a screen credit.  The Black Cat the movie follows an American couple, honeymooning in Hungary, who becomes trapped in the home of a Satan- worshiping priest.

Peter Alison (David Manners) and his wife Joan (Jacqueline Wells) are American honeymooners vacationing in Hungary when they encounter a peculiar psychiatrist, Dr. Vitus Werdegast (Bela Lugosi) on a passenger train.  Later, the couple shares a taxi with him.  After the taxi accident is involved in an accident, the trio is trapped in the home of a Satan-worshipping priest, Hjalmar Poelzig (Boris Karloff).  Poelzig, an accomplished architect, desires Joan for a satanic ritual.  Unbeknownst to Peter and Joan, Poelzig and Dr. Werdegast are old acquaintances with a bitter history together.

I love gorgeous black and white movies, especially the beautiful horror films Universal produced in the 1930’s and 40’s.  The Black Cat is a superb example; the photography is excellent and the film has an eerie, but handsome dream-like quality.  A hip hop artist once commented on how films from Hollywood’s golden era of studio films had such class because everyone dressed so well, even the characters who weren’t wealthy.  The cast of this film wear the finest suits, in particular Lugosi’s Werdegast and Manners’ Peter Alison.  Lugosi’s ultra sharp suits add some kind of peculiar quality to his character that I just can’t explain; he looks so good in them that I can call him a mack.  Lugosi’s lounge attire:  smoking jackets, bathrobes, and top quality pajamas defy reason; they fit him like a tuxedo and would seem quite appropriate as formal dinner wear.

The most prominent element of The Black Cat is the art deco flavored art direction.  It does seem out of place in rural Hungary, but the mansion’s interiors add a special quality to movie.  Watching the story unfold in this art deco museum reminded me of a black and white version of a David Lynch creation like “Twin Peaks”.  It’s surreal, real, and dreamy, an atmosphere that I couldn’t ignore.  This is wonderful work by art director Charles D. Hall and set designer, director Edgar G. Ulmer.

Yes, the acting is a bit forced at times, but this kind of movie is special.  No one makes this kind of film anymore.  A kooky story, two famed, cult horror movie stars doing their shtick, exquisite costume design and the sleek designs of an art deco set are things too good to be miss.  This is perfect for Halloween, or just whenever you’re in the mood to see a kind of movie lost in time to us – gone, but not forgotten because quite a few gems like this still exist.  The Black Cat is also the first of eight screen parings of Karloff and Lugosi.

6 of 10
B

Updated:  Friday, August 16, 2013

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Review: "Ninotchka" and Greta Garbo Are Eternally Beautiful (Happy B'day, Greta Garbo)

TRASH IN MY EYE No. 97 (of 2005) by Leroy Douresseaux

Ninotchka (1939) – Black & White
Running time: 108 minutes (1 hour, 48 minutes)
DIRECTOR: Ernst Lubitsch
WRITERS: Charles Brackett, Billy Wilder, and Walter Reisch; from an original story by Melchior Lengyel
PRODUCER: Sidney Franklin (no screen credit) and Ernst Lubitsch
CINEMATOGRAPHER: William (H.) Daniels
EDITOR: Gene Ruggiero
Academy Award nominee

ROMANCE/COMEDY

Starring: Greta Garbo, Melvyn Douglas, Ina Claire, Sig Rumann, Felix Bressart, Alexander Granach, and Bela Lugosi

1939 was a banner year for movies, seeing the release of films such as Goodbye, Mr. Chips, Gone with the Wind, Mr. Smith Goes to Washington, Stagecoach, The Wizard of Oz, and Wuthering Heights, among many, many others. Another film stood out because of a catchy advertising campaign. When ads for the film, Ninotchka, proclaimed “Garbo Laughs!,” film fans knew they were in for a special treat as the legendary actress Greta Garbo starred in her first romantic comedy. The now-famous film slogan was actually created before the screenplay was written, and the film was built around it. Ninotchka, now considered by some to be a classic film about romance in Paris, went on to earn Oscar nominations for Best Picture, Actress, Original Story, and Screenplay.

Three Soviet envoys: Michael Simonavich Iranoff (Sig Rumann), Buljanoff (Felix Bressart), and Kopalski (Alexander Granach) arrive in Paris during springtime to sell some czarist jewels to earn enough money for their government to buy bread for the Russian populace, as the country’s own food production has come up too short to feed the Soviet masses. The trio, however, falls in love with their decadent new capitalist environment and spend their time being wined and dined. Nina Ivanovna Yakushova, known to her friends as Ninotchka (Greta Garbo) is the dour, severe Soviet official sent to straighten out the mess her three comrades have made. However, the special magic of Paris in the spring turns business to pleasure when she meets a suave Frenchman named Count Leon D’Algout (Melvyn Douglas). Leon is a friend of the Russian exile, Grand Duchess Swana (Ina Claire), who is the rightful owner of the czarist jewels in question, as she was a noblewoman before the Bolsheviks overthrew the Czarist Empire in Russia. Initially, Leon’s only thoughts are to reclaim the jewels for his friend and probable lover, the Grand Duchess, but he falls for Ninotchka, who resists at first, but soon succumbs to Leon’s charms. Will their budding romance survive a jealous Grand Duchess and Ninotchka’s Soviet bosses.

The film works on several levels, but its best charms come from Greta Garbo’s great comic performance as the title character and from the hilarious screenplay that wickedly pokes fun at the stuffy and dour Soviet regime of the times. Ms. Garbo is sly and droll as the no-nonsense and no-fun Ninotchka who first arrives in Paris. Her kabuki-like mask of seriousness brings the best out of Melvyn Douglas, and his performance as Leon, trying to woo Ninotchka, to make her laugh. As she finally gives in and laughs at Leon’s jokes, we can see Ms. Garbo’s mask begin to slowly break before she finally erupts in genuine laughter that really turns on this film’s magic.

The screenplay (co-written by the legendary Billy Wilder) is known for all it’s witty asides and sharp jabs at the Soviets, but the writers also take gentle swipes at the overly pampered and spoiled rich who live so lavishly that they don’t really appreciate or notice how well they have it. Directed with flair and finesse by Ernst Lubitsch (The Shop Around the Corner and To Be or Not to Be), a director known for his sophistication, Ninotchka is a film treasure and a great romance for moviegoers who love the enchanting best of that genre.

8 of 10
A

NOTES:
1940: Academy Awards: 4 nominations: “Best Picture,” “Best Actress in a Leading Role” (Greta Garbo), “Best Writing, Original Story” (Melchior Lengyel), and “Best Writing, Screenplay” (Charles Brackett, Walter Reisch, and Billy Wilder)

This film entered the National Film Registry, Library of Congress in 1990.

Tuesday, June 21, 2005

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Review: "Abbott and Costello Meet Frankenstein" is Still Fun

 

TRASH IN MY EYE No. 217 (of 2004) by Leroy Douresseaux

Bud Abbott & Lou Costello Meet Frankenstein (1948) Black and White
Running time: 83 minutes
DIRECTOR: Charles T. Barton
WRITERS: Robert Lees, Frederic I. Rinaldo, and John Grant
PRODUCER: Robert Arthur
CINEMATOGRAPHER: Charles Van Enger
EDITOR: Frank Gross

COMEDY/HORROR

Starring: Bud Abbott, Lou Costello, Lon Chaney, Jr., Bela Lugosi, Glenn Strange, Lenore Aubert, Jane Randolph, Frank Ferguson, and Charles Bradstreet with (uncredited voice) Vincent Price

Bud Abbot and Lou Costello are hapless railroad baggage clerks Chick Young (Abbott) and Wilbur Grey (Costello). They receive a strange shipment meant for a local attraction called the House of Horrors, two crates allegedly supposedly containing the last remains of Dracula (Bela Lugosi) and Frankenstein’s monster (Glenn Strange). However, the infamous creatures are very much alive, and they leave their crates and slip quietly away to a secret island hideaway. Meanwhile, the House of Horrors owner, Mr. McDougal (Frank Ferguson), blames Chick and Wilbur for the disappearance of the crates’ contents, so the duo follows Dracula and the monster’s trail to the secret hideaway island. They discover that Dracula has also joined forces with a mad scientist, Dr. Sondra Mornay (Lenore Aubert), who is determined to transplant Costello’s brain into monster. The problem is that Mornay had been pretending to be in love with Wilbur.

In the intervening time, a strange man named Lawrence “Larry” Talbot (Lon Chaney, Jr.) showed up looking for the crates. Larry Talbot is really the Wolfman, and he joins Chick and Wilbur’s search for Dracula, Dr. Mornay, and Frankenstein’s monster, all the while fighting his transformations into the Wolfman every time the full moon appears (coincidentally several times in this film). Can Chick, Wilbur, and the Wolfman stop Dracula and the scientist before they remove Costello’s brain?

Many people consider Bud Abbott & Lou Costello Meet Frankenstein (also well known as Abbott & Costello Meet Frankenstein) to be the comedy team’s best film outing. The film was a huge hit when it opened in 1948, and it has retained an international cult following. The other thing that the film has going for it is that frequent Abbott & Costello helmsman Charles Barton directed it.

Besides the presence of Barton and one of the 20th century’s finest comedic duos of the stage, film, and television, the other element makes the film a favorite is the fact that the film monsters, Dracula, Frankenstein’s monster, and the Wolfman, are played straight, and the actors: Bela Lugosi as Dracula, Glenn Strange as the monster, and Lon Chaney, Jr. as the Wolfman give inspired performances. They obviously take their roles and performances damn seriously, and it shows. The three classic creatures of Universal Studios’ film line, Universal Horror, are in top form and are as menacing as they ever were in straight horror films.

The blend of Abbott & Costello’s timeless comedy and the Universal Monsters horror creates a peculiar film. The union does show its seams; the flick is more odd than very good. The black and white photography gives it a gentle supernatural aura and lightly spooky atmosphere. Still, that only makes Abbott & Costello Meets Frankenstein unique, which might be the reason it has never grown old or less funny.

6 of 10
B

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