THE HAT BOX MYSTERY

Allen Jenkins, Virginia Sale, Pamela Blake, Tom Neal

THE HAT BOX MYSTERY (1947). Director: Lambert Hillyer.

Russ Ashton (Tom Neal of Detour) isn't doing too well as a private investigator, but he has an assistant-fiancee named Susan (Pamela Blake of Highway 13) and another associate named 'Harvard" (Allen Jenkins). The three of them are kept in hamburgers by Harvard's restaurant-owning girlfriend, Veronica (Virginia Sale of Those We Love), who also loans Russ money to go to Washington on a case. Meanwhile Susan takes an assignment herself, to photograph a straying wife as she exits a building for her husband (Leonard Penn) to use in a divorce case. The husband supposedly conceals a camera in a hat box for Susan to use, but she winds up shooting the woman for real -- as it's actually a gun that is hidden in the hat box! Susan finds herself in pretty hot water with the police, while the "husband" disappears ... The Hat Box Mystery is mediocre filler with a mystery that poses no threat to Agatha Christie but it does benefit from the enthusiastic playing of the main quartet of actors -- Sale is especially appealing in this.

Verdict: At least it's only 44 minutes long! **.

BATMAN SERIAL

BATMAN (15-chapter Columbia serial/1943). Director: Lambert Hillyer. 

"Don't be absurd! That simpering idiot could never be the Batman!" -- Dr. Daka. 

"Another Batman killed, eh? I hope that is the last of them." -- Ditto. 

Batman (Lewis Wilson) and Robin (Douglas Croft) tangle with the members of the League of the New Order, who are after supplies of radium for their special gun -- and worse -- an atom disintegrator. The League consists of American traitors being led by Japanese spy Dr. Tito Daka (J. Carrol Naish), who has a brain machine that turns men -- and women -- into slaves, as well as two pet gators [Nojo-nojo and Soko-soko] waiting hungrily beneath a trap door in his interesting headquarters (which is located inside a chamber of horrors). The league has a getaway car that cleverly changes color via the use of a special gas, and at one point Daka employs poisoned cigarettes to off some of his enemies. An amusing scene has a Japanese man in suspended animation arrive in a case to deliver a brief message and then die. Bruce Wayne's friend Linda Page (Shirley Patterson) gets involved when her wrongly accused Uncle Marty (Gus Glassmire) gets out of jail and becomes one of Daka's first mind-slaves. The Batman -- the article is always used in classic fashion -- works out of a "Bat's Cave" and leaves a bat insignia on the foreheads of thugs in the manner of pulp [and serial hero] the Spider. Wilson and Croft are fine as Bruce/Batman and Dick/Robin, and William Austin is excellent and amusing as their plucky butler Alfred. Charles Middleton -- Ming the Merciless himself -- shows up in a sympathetic role of the old miner, Ken Colton, illustrating Middleton's versatility. Shirley Patterson is swell; under the name Shawn Smith she appeared in such nifty items as It, The Terror from Beyond Space, World Without End and The Land Unknown. While it may not be considered his best performance and he is hardly Japanese, J. Carrol Naish is terrific as Daka and seems to be having a lot of fun as well. The fisticuffs in the film don't compare to the well-choreographed fight scenes in Republic's cliffhangers, but they get better as the serial proceeds. There are some nifty cliffhangers, including a descending freight elevator in chapter 7, and closing walls with spikes -- even as Linda faces a mind-blowout -- in chapter 13. Lee Zahler's dramatic theme music is also memorable. The "Bat's Cave" of this serial was later carried over and put in the comics, as was the secret entrance to it inside a grandfather's clock. Alfred in the comics was made thinner to look more like William Austin. 

Verdict: Fast-paced and atmospheric for the most part, this captures some of the flavor of the comics of the period. ***.

DRACULA'S DAUGHTER

DRACULA'S DAUGHTER (1936). Director: Lambert Hillyer.

This first sequel to the Bela Lugosi Dracula has Van Helsing (Edward Van Sloane) trying to explain why he drove a stake through Count Dracula's heart and in danger of either being put on trial for murder or institutionalized as insane. [A similar situation occurred in Columbia's entry into the vampire sweepstakes, Return of the Vampire.] Otto Kruger plays Jeffrey Garth, a psychiatrist who tries to help his friend Van Helsing, and Marguerite Churchill is his busy-body secretary. But the main attraction is Countess Marya Zaleska, who claims to be Dracula's daughter, and is played by one of the most fascinating screen presences of the period, Gloria Holden. Holden is very effective as a tormented woman who hopes that Dracula's death means she is free from his curse of vampirism, which turns out (luckily for the audience) not to be the case. Irving Pichel, who also directed many films, plays Sandor, the countess' major domo. Nan Grey is effective as a pretty young would-be suicide, Lily, who becomes a victim of the she-vampire, and Hedda Hopper appears as a high society acquaintance of Garth's.

(Some have seen a supposedly "sapphic" tone to Dracula's Daughter because of the scene in which she hypnotizes Lily and then drinks her blood. But she also hunts and attacks a man earlier in the film, and wants to turn Otto Kruger into one of the undead so that he can spend eternity with her. Besides, in the Lugosi Dracula his victim Lucy, once undead, stalks children, which doesn't necessarily make her a pedophile.) The film doesn't quite make it clear if Holden is actually Dracula's daughter (can the undead impregnate?) or simply someone he turned into a vampire via his curse of blood. In any case, it seems clear that the countess wants to be cured so that she can enter the world of light and laughter, not because she cares about her victims, making her selfish and ultimately unsympathetic. Dracula's Daughter is an entertaining picture, but there's too much comedy and romance in the film, and not enough horror. Even so, it's better than the original. Although Holden appeared in quite a few films after Dracula's Daughter, and played the wife of Emile Zola, her promise was never fulfilled.

Verdict: Flawed but fascinating. ***.

THE INVISIBLE RAY

THE INVISIBLE RAY (1936). Universal. Directed by Lambert Hillyer. Screenplay by John Colton.

For some reason this picture – although I've always wanted to see it – has eluded me for decades until I came across something called the “Bela Lugosi Collection” on DVD. The movie is hardly a great showcase for Bela, however, because – even though he's billed above the title with [Boris] Karloff – he isn't given much to do in the film, which is pretty much a stinker despite some interesting elements. In an early sequence Janos Rukh (Karloff) demonstrates an invention that can offer glimpses into the distant past by bringing back light waves from Andromeda. This alone would make for an interesting feature – think of the possibilities – but instead the movie inexplicably veers into a completely different direction. Rukh has somehow come to the conclusion that a unknown element -- Radium X – has fallen to Earth from a meteorite and can be found in Africa [sure]. He joins an expedition to find this element, and from it eventually fashions a ray that can both heal and cure. As a side effect, he also winds up with a poisonous touch which drives him mad [actually madder] and he sets out to kill virtually all of his associates, including his wife, who's fallen for a younger, if duller, man. There are some arresting scenes – Karloff using the ray to give his mother back her sight, for instance – but generally the picture is tedious and predictable. Although Karloff isn't bad in the film, Lugosi – who plays another, sympathetic scientist – would have given the role more bite and vigor. Lugosi tries to imbue his characterization with a sinister quality for the sake of his fans, but it's a losing battle. The script completely fails to develop the story's many sub-texts. Violet Kemble Cooper adds a note of grace as Karloff's dignified mother, and it's always a pleasure to see Beulah Bondi [a friend of Lugosi's], although her reaction after her husband is found dead is a bit too muted.

Verdict: Forgettable. *1/2.