THE MAN IN THE IRON MASK

Warren William, Hayward, Joan Bennett, Hayward

THE MAN IN THE IRON MASK (1939). Director: James Whale. Based on the novel by Alexandre Dumas pere.

When it is discovered that the queen has given birth to two identical boys, it is decided one will have to be sent away to be raised by a foster father, D'Artagnan (Warren William), to avoid the in-fighting and sibling rivalry that would undoubtedly result. Alas, things don't work out as planned when the foppish and cruel Louis XIV (Louis Hayward) discovers that he has a twin in Philippe of Gascony (also Hayward), who. along with his "father," D'Artagnan, objects to the salt tax. D'Artagnan and his fellow musketeers are rounded up and put in prison, but it amuses Louis to seemingly allow Philippe the run of the palace (an unlikely development, considering). Philippe takes advantage of Louis' absence to free his father and musketeers and work other wiles. Eventually, however, Louis wises up and imprisons his brother, forcing him to wear an iron mask and hoping his growing beard will eventually suffocate him. But Louis is wrong in thinking that this is the end of his twin just as Philippe is wrong in underestimating his brother. The Man in the Iron Mask had been filmed both before and after this version -- Dumas' story has been filmed many times, in fact -- but this may be the best-known version. At times the verisimilitude of the film is about on the level of an Abbott and Costello feature, but whatever the picture's flaws, it boasts a remarkable lead performance from Louis Hayward [Midnight Intruder], who is superb as he successfully limns two distinct characterizations. There is also fine work from the ever-florid Warren William; from William Royle [Drums of Fu Manchu] as the Commandant of the Bastille; and especially from the marvelous Joseph Schildkraut [Cleopatra] as the utterly loathsome Fouquet, a former tutor who "advises" his majesty. Joan Bennett is a little out-classed in this (not to mention Marion Martin as Louis' French mistress!), as costume dramas were not her forte. There's a very good score by Lucien Moraweck. Albert Dekker, Dwight Frye, and Peter Cushing (in his film debut) are also in the picture, but don't blink or you might miss them!

Verdict: A superb lead performance -- or rather two of them -- is the chief distinction of the picture. **1/2.

WIVES UNDER SUSPICION

Warren William and Gail Patrick

WIVES UNDER SUSPICION (1938). Director: James Whale.

James Stowell (Warren William) is a tough district attorney who rarely sees any side but his own. Ambitious and dedicated, he generally neglects his lovely wife, Lucy (Gail Patrick), going so far as to cancel a vacation at the last minute so that he can prosecute Dr. MacAllen (Ralph Morgan), who has murdered his wife. Stowell is convinced that the murder was premeditated while MacAllen's attorney argues that it was a sudden crime of passion. Stowell is unconvinced, until he thinks that Lucy is carrying on with her handsome friend, Phil (William Lundigan) ... The performances are zesty enough to keep this rather creaky old melodrama entertaining, although the script is fairly obvious and generally superficial. Ralph Morgan [Sleep, My Love] has a great scene when he confesses to Stowell, and the pic benefits from two comic performances from Cecil Cunningham [Daughter of Shanghai] as Stowell's secretary, "Sharpy," and Lillian Yarbo [Presenting Lily Mars] as the maid Creola, although the character is handled in the usual racist fashion of the period. Constance Moore is Phil's girlfriend, Elizabeth, and Milburn Stone is Stowell's assistant. This is a remake of the 1933 A Kiss Before the Mirror, which was also directed by James Whale and is considered to be superior.

Verdict: William performs with his usual flair and the others are fine. **1/2.

WATERLOO BRIDGE (1931)

Kent Douglass (Douglass Montgomery) and Mae Clarke

WATERLOO BRIDGE (1931). Director: James Whale.

"You don't stay boyish very long in this war."

During an air raid by German zeppelins in London during WW 1 a prostitute, Myra (Mae Clarke) meets a soldier, Roy (Kent Douglass), home on leave and realizes somewhat to her dismay that this inexperienced 19-year-old is falling in love with her and has no idea of what or who she really is. This first film version of Robert E. Sherwood's play -- it was remade in 1940 -- is a very affecting and well-acted drama with well-drawn characters. Although it betrays its stage origins in many stage bound sequences, there are also successful attempts at "opening up" the story and the outdoor scenes are well-handled. Douglass, who later changed his name to "Douglass Montgomery," gives a natural, charming, completely convincing and sincere performance as the smitten, sensitive young soldier, and while Clarke is a little less natural, she is also excellent. The supporting cast includes Doris Lloyd as an older friend of Myra's; a snappy Ethel Griffies as her landlady; Frederic Kerr as Roy's father, the major; Enid Bennett as Roy's mother; and even Bette Davis in the small role of Roy's sister, Janet. [Davis is winning, although you wouldn't have imagined she'd become such a big star.] The uncompromising ending packs a wallop and is quite moving.

Verdict: Simply heart-breaking. ***1/2.

SINNERS IN PARADISE

SINNERS IN PARADISE (1938). Director: James Whale.

A motley group of individuals take off for China in a sea plane and wind up crash landing near an island deserted but for Dr. Jim Taylor (John Boles) and his manservant (Willie Fung). The passengers include a nurse, Anne (Madge Evans); an heiress, Iris (Marion Martin); a mobster, Robert (Bruce Cabot), who's running from hit men; a blithering senator (Gene Lockhart); and others. The doctor has a secret and refuses to let the stranded passengers use his boat to get to the mainland; he eventually relents but there's only room on the boat for six people and the bickering turns into fighting and murder. Alas, the movie is not as good as it sounds; with all that's going on it's still a colossal bore. Some of the performances aren't bad, however. Other cast members include Milburn Stone, Morgan Conway, and Don "Red" Barry.

Verdict: One of James Whale's least interesting pictures. **.

THE INVISIBLE MAN (1933)

THE INVISIBLE MAN (1933). Director: James Whale.

The small British town of Iping is visited by one John Griffin (Claude Rains), whose scientific experiments have caused him to become invisible. Even as he desperately tries to find a way back to normalcy, one of the ingredients he used is slowly turning him into an insane megalomaniac. Soon he's not only frightening and terrorizing people, he's committing murders and derailing trains. The Invisible Man is well-made, fast-paced, and has excellent effects by John P. Fulton, but one senses that director James Whale didn't take the material all that seriously. While it's not quite an almost-parody like Bride of Frankenstein, which Whale did two years later, it does have a surplus of comedy (the novel had its humorous passages, of course) and not as much dark atmosphere as it needs. If we're meant to be chilled by Griffin's actions or the very notion of invisibility, Whale fails to work up any sense of dread or horror. Still, the picture is entertaining. Una O'Connor is as loud and hysterical as she was in the later Bride, but Gloria Stuart makes little impression as Griffin's nominal love interest. Claude Rains is excellent, definitely making an impression with his voice, as we never actually see him until the movie's closing scene! Followed by The Invisible Man Returns.

Verdict: Not all that it could have been, but not bad. **1/2.

FRANKENSTEIN

FRANKENSTEIN (1931). Director: James Whale.

Made the same year as Dracula, this is a much more successful and entertaining film, although, like Dracula, it takes great liberties with its source material. The performances are all good, with Colin Clive properly manic and intense as the obsessed Henry Frankenstein, and Mae Clarke appealing as his troubled fiancee. Although his performance mostly consists of pantomime, Boris Karloff is superb as the monster. Dwight Frye is perhaps more effective as the helpful if psychotic hunchback Fritz than he was as Renfield in Dracula. John Boles, Edward Van Sloan, and Frederick Kerr are all good as, respectively, family friend Victor Moritz, Dr. Waldman, and Baron Frankenstein, who serves as a bit of comedy relief (mercifully there isn't too much of it in the film).The scenic design is excellent and atmospheric, and the movie is very fast-paced. Bernhard Kaun's music for the opening and closing credits is good; one wishes there had been music all through the film, which cries out for it. An interesting aspect of the picture is that Henry Frankenstein goes completely unpunished for his grave-robbing and assorted malfeasances as well as the deaths caused by his rampaging monster! Followed by Bride of Frankenstein.

Verdict: Classic Universal horror. ***.