LADY WITH RED HAIR

LADY WITH RED HAIR (1940). Director: Curtis Bernhardt. 

The "true" if fictionalized story of Caroline (Mrs. Leslie) Carter (Miriam Hopkins), who goes on the stage after she is divorced by her husband. The film suggests that Carter became an actress only to get money to fight for custody of her son, but in real life the boy actually stayed with his mother and was cut out of his father's will because of it. In the film Carter unrealistically tries to storm Broadway by coming in at the top instead of climbing from the bottom, but it is true that her association with David Belasco (a magnificent Claude Rains) gave an inestimable boost to her career. The film doesn't make clear that she was considered the American Sarah Bernhardt in her day. Richard Ainley plays her second husband, and as the film suggests, their marriage did signal the end of her association with Belasco (although in the film he comes in at the end to help guide her in one last production). Miriam Hopkins gives a solid performance, but up against Claude Rains there is little she can do to steal the picture. The supporting cast includes such sterling players as Laura Hope Crews, John Litel, Victor Jory, and Cecil Kellaway. A very young Cornel Wilde has a small role, and you probably won't notice Alexis Smith or Craig Stevens.

 Verdict: A lady you might like to make the acquaintance of -- on film, at least. ***.

'CHARLOTTE" REVISITED

"Hush ... Hush, Sweet Charlotte"

HUSH...HUSH, SWEET CHARLOTTE (1964). Director: Robert Aldrich.

NOTE: My original review read as follows: 

"She's not really crazy. She just acts that way because people expect it of her."

This film seems to get better with the passage of time. Originally this was meant to be a follow up to What Ever Happened to Baby Jane? re-teaming Bette Davis with Joan Crawford (who would have been great in the picture and should have completed it) but Crawford quit the production and Olivia de Havilland stepped in -- with happy results. As others have noted, watching sweet "Miss Melanie" of Gone With the Wind doing the things that de Havilland does as Miriam gives it all an added kick.

Olivia De Havilland and Joseph Cotten

Charlotte Hollis (Bette Davis) lives alone in a forlorn mansion that is about to be torn down to make way for a bridge. She calls on the only family she has left -- cousin Miriam Deering (de Havilland) -- to come and help her, but Miriam has other things on her mind. For most of her life Charlotte has been the chief suspect in the mutilation murder of her lover, John Mayhew (Bruce Dern), a supposedly sensitive soul who wrote a love song to Charlotte (the title tune) and put it in a music box. Charlotte is haunted by her lost love and by her feeling that it was her father (Victor Buono in a bravura turn) who killed him.

Bette Davis as Charlotte

Hush...Hush, Sweet Charlotte takes a cast of golden age stars and character actors and places them in a classy production with a sop to the teen audience via the graphic, well-executed (pun intended) murder scene that almost opens the picture, and which is actually bloodier than the Psycho murder of 1960 (we never do learn what became of the poor man's head and hand, which were apparently carried off by the murderer). This alone predisposed many 1964 critics to dismiss the film out of hand, although the rest of the film is entirely tasteful. Not only tasteful, but extremely well done. Aldrich's direction and handling of the suspense scenes is far superior to his work on Baby Jane. Joseph Biroc's cinematography is consistently outstanding and the production values first-rate -- this is one good-looking movie. (Frank) DeVol's musical score is extremely effective. One could argue that Baby Jane had a kind of cheapjack feel to it, but that is definitely not true of Charlotte. The screenplay by Henry Farrell and Lukas Heller, while it may at one point borrow a plot gambit from Diabolique, is suspenseful and full of great dialogue. Most scenes, such as a murder on a staircase and the bitter arguments between the neurotic principals, are handled with great dramatic flair.

Olivia de Havilland

And then there's the acting. Davis gives one of her finest latter-day performances, getting across the pathos of the character as well as her mania. (Her pantomime at the end as she reads a letter with tremendously important information in it is marvelous.) As Miriam, Olivia de Havilland is on target from her entrance until the final moments. Witness her wonderful delivery of her rejoinder to Dr. Bayliss. "You were always free with your compliments. It was your ... intentions... that were a little vague." As the charming if reptilian Bayliss Joseph Cotten offers another dead-on characterization. Agnes Moorehead almost walks off with the picture as the unfortunate housekeeper Velma. Mary Astor, Cecil Kellaway, and others offer highly superior supporting performances.

Hush...Hush deserves to be recognized as a certified classic.

Verdict: Fascinating! ****.

2020 UPDATE: Oddly, although the plot line isn't as original as in Baby Jane, Hush ... Hush is, I believe, the better picture, even if I might take one half star away from my verdict. Although she is very good, there is no way Davis would ever have received an Oscar nomination for this film as she did for Baby Jane -- her scene on the staircase when she supposedly descends into gibbering madness is more comical than anything else. It doesn't make much sense that Charlotte would stay in town where everyone thought she was a cleaver-wielding lunatic just to cover up for her father (who she thinks is the real murderer) -- she could have gone anywhere and everyone would have still thought "she done it." Then we have the question of the murder itself. It takes a great deal of strength to cut off a man's hand with a meat cleaver with just one blow, not to mention a head with a few whacks. How could anyone think Charlotte could have done it, let alone the real killer, maniacal strength notwithstanding? (And why on earth did the killer walk off with the head and hand?) Also the two villains of the story had to count on an awful lot happening, on Charlotte falling in with their plans, for things to work out as they do. On close inspection the whole Gaslight plot seems highly suspect. But these are quibbles -- as the movie is extremely entertaining if you just suspend disbelief. A scene with a corpse falling sideways and threatening to reveal itself to a reporter at the door of the mansion is terrific!

Verdict: Diabolical story of resentment and revenge --- lots of classy if ghoulish fun. ***1/2.  

PARIS MODEL

Eva Gabor and Tom Conway 

PARIS MODEL (1953). Director: Alfred E.  Green.

Four women who pick out a fancy dress -- a "Paris model" or a cheaper copy of it -- want to wow their men but wind up getting their comeuppance, except in the last instance. Gogo (Eva Gabor) hopes to hook the wealthy Maharajah of Kim-Kepore (Tom Conway) but her billing the dress to another man may cause a problem -- not to mention the appearance of a gorgeous brunette (Laurette Luez). Betty Barnes (Paulette Goddard) is in love with her boss (Leif Erickson), but his wife, Cora (Gloria Christian), may out-do the grasping secretary in the fancy dress sweepstakes. Marion Parmalee (Marilyn Maxwell) pulls out all of the stops with her husband's flirty boss Sullivan (Cecil Kellaway) in the hopes of getting hubby (Robert Bice of Invasion U.S.A.) the new presidency when the boss retires, but she doesn't reckon with Sullivan's formidable wife (Florence Bates). Marta (Barbara Lawrence) hopes that boyfriend Charlie (Robert Hutton) will propose to her for her 21st birthday dinner at Romanoff's and she may get a little help from "prince" Michael Romanoff [Arch of Triumph] himself.

Secretary vs wife: Paulette Goddard and Gloria Christian

I confess I nearly dumped Paris Model in my latest collection of "Films I Just Couldn't Finish" because the first episode with Gabor and Conway is so lame -- aside from a modestly amusing wind-up -- that I couldn't see spending much more time on it. (One can't imagine either of the Gabor sisters being crazy about having their thunder stolen by another woman.) But once I understood the point of the film, that it dealt with the dress and the stymied manipulations of its wearers -- not to mention that the later segments were more entertaining -- I found this quite enjoyable. The performances are generally good (although Eva Gabor is just plain weird, like a dopey showgirl from another dimension), with Kellaway and Bates taking the acting honors. The film comes full circle with a very funny ending when Tom Conway shows up again as the horny Maharajah. Alfred E. Green directed everything from science fiction (the aforementioned Invasion U.S.A.) to old Bette Davis movies [Dangerous] to Copacabana and everything in-between. Tom Conway's brother, George Sanders, was married to both Zsa Zsa and Magda Gabor, but somehow he never got around to Eva.

Verdict: More fun than you first imagine it will be. ***.

I MARRIED A WITCH

Veronica Lake and Fredric March

I MARRIED A WITCH (1942). Director: Rene Clair.

In the 17th century, the witch Jennifer and her father Daniel are burned at the stake (off-screen), but not before Jennifer places a curse on the family of her chief accuser, Jonathan Wooley (Fredric March): "Each Wooley must marry the wrong woman." A series of funny vignettes illustrates how the curse is working until we are 270 years into the future, and Wallace Wooley (also March), who is running for governor, is about to marry his attractive if harpy-like fiancee, Estelle (Susan Hayward), on election day. A bolt of lightning hits the tree under which the remains of Jennifer and Daniel are buried, and their spirits are immediately freed.

Cecil Kellaway

Eventually father and daughter get bodies (the logistics of this are glossed over), with Jennifer emerging as Veronica Lake and Daniel materializing in the form of Cecil Kellaway [The Beast from 20,000 Fathoms]. Daniel believes that Jennifer had the right idea with her curse, but that it would be better if she made Wallace fall in love with her and then reject him, causing a lifetime of pain. But when she prepares a love potion, she accidentally drinks it herself. Soon father and daughter are pitted against one another as Jennifer fights even harder to get Wally away from Estelle and Daniel has trouble causing mischief because he can't remember the words to his spells. All havoc breaks out during a wedding ceremony, and there are even more complications after that.

Robert Benchley and Fredrick March

I Married a Witch boasts a very funny script and excellent performances, with March (who not only plays Wallace but all of his ancestors) proving a very adept comedian. But Lake is no slouch -- she not only gets across the kittenish sexiness of her character, but successfully plumbs the vulnerabilities and insecurities of Jennifer. Susan Hayward is cast in the thankless role of foil and straight woman, but she delivers, and there are fine turns by Elizabeth Patterson as Wally's scandalized housekeeper; Robert Benchley [Nice Girl?] as Wally's pal; Robert Warwick as Estelle's apoplectic father; and -- right up there with March and Lake -- Kellaway in his impish yet malevolent portrait of the quirkily sinister warlock, Daniel. Rene Clair also directed And Then There Were None.

Verdict: Black comedies like this either work beautifully or they don't work at all. This one works every step of the way. The hilarious wedding sequence is alone worth the price of admission. ***1/2. 

AND NOW TOMORROW

Susan Hayward and Loretta Young

AND NOW TOMORROW (1944). Director: Irving Pichel.

Socialite Emily Blair (Loretta Young) has become deaf due to meningitis, and pursues different doctors to find a cure. Family friend Dr. Weeks (Cecil Kellaway) gets Emily together with Merek Vance (Alan Ladd), who is working on a serum that may cure Emily, but who has a chip on his shoulder regarding her wealth and privilege. Adding to the complications is the fact that Emily's fiance, Jeff (Barry Sullivan), has fallen in love with her somewhat selfish sister, Janice (Susan Hayward), and vice versa. If she gets her hearing back, Emily may be in for a big surprise ... And Now Tomorrow is an entertaining soap opera that probably has little to do with the realities of hearing loss, and might even be considered a heartless fantasy for the deaf. On the other hand, it's very well-acted, with Young, Hayward, and Kellaway [Love Letters] taking the top honors, although Ladd [Boy on a Dolphin] and Sullivan [Jeopardy] also acquit themselves nicely. Beulah Bondi, Grant Mitchell and Helen Mack have smaller roles, and all are fine. The movie borders on the absurd at times but never quite goes overboard. and is well-paced and entertaining. Young is excellent, but Hayward comes close at times to stealing the movie from her.

Verdict: Having a handsome doctor is half of it. ***.

FRENCHMAN'S CREEK

FRENCHMAN'S CREEK (1944). Director: Mitchell Leisen.

Dona St. Columb (Joan Fontaine) is tired of the way her witless husband Harry (Ralph Forbes of Convicts at Large) keeps throwing her at the slimy Lord Rockingham (Basil Rathbone) -- who keeps making passes -- so she takes off with the children to a summer retreat where she finds the cuddly old servant, William (Cecil Kellaway), waiting for her. She also finds a notorious pirate named Jean Aubrey (Arturo de Cordova) who claims he's really not such a bad guy as pirate's go. It isn't long before Dona is smitten with Jean and vice versa and longing for a romantic and adventurous life at sea. But can she forsake her children to go off with the man who has so aroused her fiery passion ...? Fontaine, as good as ever, has probably never looked more gorgeous and indeed the whole movie is expertly filmed in especially ravishing technicolor by George Barnes. Rathbone sparkles in his scenes as Rockingham, and the film's highlight is a rousing battle he has on a staircase not with Jean but with a desperate Dona. Mexican actor Arturo de Cordova is not terrible, but this part needed a sexier fellow, like maybe Errol Flynn, to make it believable; de Cordova was a major star in Mexico and South America, however. Victor Young's score sounds like ersatz Debussy. Based on a novel by Daphne Du Maurier.

Verdict: Stick to Rebecca. **.

HALF ANGEL

Joseph Cotten and Loretta Young

HALF ANGEL (1951). Director: Richard Sale.

"What the night shift has done to what was once irresistible beauty!"  -- Nurse Kay

Now here's a weird one. Nurse Nora Gilpin (Loretta Young) is engaged to her boyfriend Tim (John Ridgely), but at night she enters a trance state and pays lascivious calls on a man she normally hates, a lawyer named John Raymond (Joseph Cotten). John is convinced he knows Nora from somewhere, but when he tries to speak to her during the daytime, she becomes apoplectic, leading to a trial and various complications. Half Angel seems to be using an old screwball script from the 1930's but it just doesn't work twenty years later, even though both Young and Cotten give good performances. Cecil Kellaway is Nora's father, and Irene Ryan of The Beverly Hillbillies adds a slight bit of fun as Nurse Kay. Jim Backus also has a supporting role. As usual in movies of this nature, Ridgely's character is treated very badly.

Verdict: Sleepwalking and multiple personalities given the allegedly comedic approach. **1/2.

FEMALE ON THE BEACH

FEMALE ON THE BEACH (1955). Director: Joseph Pevney.

Drummer: "How do you like your coffee?"

Lynn: "Alone!"

Wealthy widow Lynn Markham (Joan Crawford) moves into a beautiful beach house her husband owned that had formerly been leased to another wealthy widow, Eloise Crandell (Judith Evelyn). Eloise took a header off the deck onto the rocks below, and homicide is suspected, and the chief suspect is a handsome hustler named Drummer (Jeff Chandler), who has now set his sights on Lynn. Drummer has two sleazy associates who pretend to be his aunt and uncle, Osbert (Cecil Kellaway) and Queenie (Natalie Schafer), but Lynn gives the both of them a good dressing down. Unfortunately, Drummer has something the other two don't have, and that's sex appeal, so Lynn finds herself falling for the guy despite her better instincts. But has she stepped out of the frying pan into the fire? Female on the Beach has a workable premise and some good dialogue, but something's missing, and that's veracity and in-depth characterization. As essayed by Crawford, Lynn seems too smart not to walk away from Drummer when he says things like "I don't hate woman -- I just hate the way they are." True, it takes him some time to wear away her resistance, with her telling him initially "You're about as friendly as a suction pump!" The two leads aren't bad, although in some of their scenes talking of the past they seem like college students in an acting class. Kellaway [The Beast from 20,000 Fathoms] and Schafer [Repeat Performance] are fine, as is Jan Sterling [Johnny Belinda] as a real estate lady and former flame of Drummer's. Evelyn [Rear Window] makes an impression despite her limited screen time -- the opening and a couple of flashbacks. Charles Drake shows up now and then as a cop investigating Eloise's suspicious death [one has to wonder how such a tiny, frail thing as Evelyn could cause such damage to a wooden railing even if she were jet-propelled through it?] Female on the Beach is somewhat entertaining, but it's cheap, tawdry, and often unbelievable. Pevney also directed Man of a Thousand Faces with James Cagney. As an actor he appeared in such films as Body and Soul.

Verdict: Flaccid suspenser. **1/2.

LOVE LETTERS

Jennifer Jones, Joseph Cotten and Cecil Kellaway

LOVE LETTERS (1945). Director: William Dieterle.

"Most people aren't happy. They wait all their lives for something to happen to them."

"Women must understand that the returned soldier is not the man she knew and loved before he went away."

Allen Quinton (Joseph Cotten) does a favor for a callow Army buddy, Roger (Robert Sully), by writing love letters to the latter's girl back home, a woman named Victoria. Allen is disturbed because he fears when Victoria marries Roger, she'll be thinking he's an entirely different sort of man because of the letters. Years later Allen hears that Roger was killed by his wife during an argument, and is told that she, too, is dead. But is she? Allen meets a mysterious woman who goes by the one-word name "Singleton" (Jennifer Jones) at a party and at first barely notices her. But who is she really? And will the truth of her identity drive her to a nervous breakdown? Love Letters may sound intriguing, but be warned that it's a deadly bore, very slowly paced as if everyone concerned thought they were summoning up something deeply profound here. There were certainly possibilities in the premise, but Ayn Rand's un-cinematic screenplay fritters them all away with much talk and some truly suspect developments that make little sense -- it's almost as if she was writing a parody of a romantic film! Cotten is excellent, as usual; Jones has to deal with playing a very irritating character [but she received an undeserved Oscar nomination  anyway]; and Cecil Kellaway and Gladys Cooper (in a truly thankless part) are as wonderful as ever. But this is a misfire that even a pleasant score and some good dialogue can't save. File this under "Bad Hollywood Amnesia Movies."

Verdict: Leave "Singleton" to herself! **.

THE POSTMAN ALWAYS RINGS TWICE (1946)

Garfield and Turner

THE POSTMAN ALWAYS RINGS TWICE (1946). Director: Tay Garnett.

Cora Smith (Lana Turner) and her husband Nick (Cecil Kellaway) run a combination gas station and cafe, but their placid lives become unsettled when Nick hires a drifter named Frank (John Garfield) to help around the place. Cora and Frank are attracted to one another, and suddenly she can't see herself spending the rest of her life with her much older and unattractive husband, especially when he abruptly tells her that they're selling the restaurant (for which Cora had a lot of plans), moving in with his sister, and Cora will have to be nursemaid for the paralyzed woman for the rest of her life. (In other words, Nick is almost begging to be killed. His complete disregard for his wife's feelings makes him quite unsympathetic). What happens next is a black comedy of errors, accusations, recriminations -- and murder. Although Lana Turner gave some good performances in later years, such as in A Life of Her Own, she's a little too unseasoned to make the most of Cora, although she isn't terrible. Garfield and Kellaway come off much better, of course (although they're hardly as pretty!) and they have some solid support from the likes of Leon Ames as a D.A., Hume Cronyn as a lawyer, and Audrey Totter as a gal who briefly dallies with Frank. The Postman Always Rings Twice is a good, entertaining picture -- much better than the dreadful remake with Jessica Lange and Jack Nicholson -- but somehow it's not quite a classic like the superior Double Indemnity, which was also taken from a James M. Cain novel. This Hollywood version takes a lot of liberties with the plot and characters, the usual case with Cain. For instance, in the novel the lovers were practically kids.

Verdict: Not the best adaptation of a Cain novel, but certainly not without merit. ***.

THE BEAST FROM 20,000 FATHOMS

Harryhausen's "rhedosaurus" attacks Manhattan

THE BEAST FROM 20,000 FATHOMS (1953). Director: Eugene Lourie. 

Professor Tom Nesbitt (Paul Christian, aka Swiss film star Paul Hubschmind) thinks he's spotted a monster during a blizzard after atomic testing in the Arctic. Of course, he has or there would be no movie. Improbably, Nesbitt is able to convince foremost paleontologist Thurgood Elson (Cecil Kellaway) -- as well as Elson's pretty assistant, Lee (Paula Raymond) -- of the "paleolithic survival's" existence and the hunt for the beast is on. This monster movie, with  stop-motion special effects by Ray Harryhausen, made a ton of money for Warner Brothers, spawned the Japanese imitation Godzilla, and ushered in the dinosaur/bug/creature cycle of the 1950's for better or worse. Despite it's low-budget, it is still a well-made and very entertaining picture. The beast's stomping trek through the streets of downtown Manhattan is impressive, and enough cannot be said regarding the extra impact given the film by David Buttolph's dramatic scoring. Christian, Raymond and especially Kellaway turn in adept performances and Kenneth Tobey and Lee Van Cleef in smaller roles are also solid. Lourie followed this up with The Giant Behemoth and Gorgo. NOTE: For more info on this film and many others like it, read Creature Features: Nature Turned Nasty in the Movies.

Verdict: Maybe not a sexy beast but certainly a lively one! ***.

PERRY MASON SEASON 2

PERRY MASON SEASON 2 (1958).

"It's incompetent, irrelevant, and immaterial."

Perry Mason continued as a solid series for its second season [For season one click here]. One change in the opening was that Perry's secretary Della Street (Barbara Hale) and his P.I. Paul Drake (William Hopper) were not seated in court at the same table with D.A. Hamilton Burger (William Talman) and Lt. Arthur Tragg (Ray Collins), which was the case in the first season opener. Despite a few merely mediocre episodes, the quality of the writing -- and acting-- remained high. Raymond Burr gave a particularly good performance in "The Spanish Cross," which also featured a superb Arthur Space and Josephine Hutchinson and emerged as one of the very best Mason episodes ever. Other excellent episodes include: "The Purple Woman" with a fine turn by Robert H. Harris [this episode has one of the most loathsome murder victims ever]; "The Shattered Dream" with Osa Massen and a huge diamond; "The Borrowed Brunette" with a terrific Paula Raymond; "The Glittering Goldfish" with Cecil Kellaway, as usual, stealing the show; "The Foot-Loose Doll" with a very young James Kirkwoood [who later became a playwright and novelist] and Robert Bray; "The Lost Last Act" with a notable Jerome Cowan and David Lewis; and "The Howling Dog" with Ann Rutherford and Gregory Walcott. With the exception of maybe five episodes, the rest of the bunch are all at least B+. Perry faced other D.A.s in out of town courtrooms in a couple of episodes, and some stories had him roaming about a bit more than usual.

Verdict: Definitely not "incompetent, irrelevant, and immaterial." ***1/2.

ZOTZ

ZOTZ (1962). Producer/director: William Castle. 

A college professor, Jonathan Jones (Tom Poston), discovers that an ancient coin gives him magical powers, such as the ability to "zap" people with his finger, slow down time, and other things according to the screenwriter's wishes. This awful -- and awfully unfunny movie with exactly one laugh [the mouse with the wig on it] -- was scripted by Ray Russell, who wrote the source material for the films Mr. Sardonicus [one of Castle's better films] and Incubus. Jones is a complete idiot who reads a book as he bicycles to work. It doesn't help that he is portrayed by the utterly bland and dull actor Tom Poston. [Poston later wound up as a panelist on game shows, which made better use of his "talents."] The only good thing about the movie is that Cecil Kellaway and Margaret Dumont of Marx Brothers fame have all-too-brief supporting roles. Leading lady Julia Meade is attractive and more than competent, but her appearance in Zotz did her little good. Although it gets some stiff competition from 13 Frightened Girls, Zotz is probably the worst film William Castle ever made. 

Verdict: Atrocious. 1/2* for the presence of Kellaway and Dumont only.

THE MUMMY'S HAND

THE MUMMY'S HAND (1940). Director: Christy Cabanne.

Archaeologist Steve Banning (Dick Foran) and his foolish pal Babe Jenson (Wallace Ford), along with magician The Great Solvani (Cecil Kellaway) and his spirited daughter, Marta (Peggy Moran), travel from Cairo to try to find a tomb and the treasure that goes with it. They come afoul of High Priest Andoheb (George Zucco), who has awakened Kharis, the mummy, by the use of a fluid made from tanna leaves. This film began the tradition of the mummy, still in its bandages, slowly stalking people in the night. There's perhaps a little too much comedy relief, but the performances are good -- especially Zucco and Eduardo Ciannelli as his father -- and there's plenty of atmosphere. Kharis has a similar origin to Im-ho-tep of The Mummy with some differences -- Kharis tried to revive his dead beloved and was buried alive, but his tongue was cut out as well. Frankly, this is much more entertaining and creepier than The Mummy. Marta is not the reincarnation of a princess, thank goodness. Tom Tyler, who was the title hero in The Adventures of Captain Marvel, plays the mummy and plays him well. Followed by The Mummy's Tomb.

Verdict: Minor-league, perhaps, but fun. **1/2.

THE INVISIBLE MAN RETURNS

THE INVISIBLE MAN RETURNS (1940). Director: Joe May.

When Geoffrey Radcliffe (Vincent Price) is wrongly imprisoned for murdering his brother, his friend Dr. Frank Griffin (John Sutton) -- brother of John Griffin, the original Invisible Man -- visits him in prison and gives him a shot of the formula. Voila! Radcliffe is soon free, wandering the countryside, becoming more and more paranoiac and dangerous as he tries to find out who actually murdered his brother. Like Claude Rains before him, Price gives an impressive performance using only his voice -- following the tradition of The Invisible Man he isn't seen until the very end of the picture. John P. Fulton's effects are outstanding; particularly notable is the way Price is seen as a ghostly spectre in smoke and fog and rain, as well as the effect of his emerging capillaries at the end. Nan Grey is nice as the love interest, and Cecil Kellaway and Sir Cedric Hardwicke are excellent support as, respectively, a police inspector and Radcliffe's friend. John Sutton is also quite good and Alan Napier stands out as a nervous, sinister foreman who knows more than he's telling about the murder. Director Joe May covers the action adequately but the film lacks any real style. The Invisible Man Returns is a more serious film than its predecessor, but it, too, cries out for a more exciting musical score.

Verdict: Not bad sequel if you're game. **1/2.