THE BLACK ROOM

THE BLACK ROOM (1935). Director: Roy William Neill.

A dire prophecy hangs over a feudal kingdom: the younger brother will murder the older in the infamous "black room" of the castle. To prevent this from occurring, the black room is sealed up, but the evil twin Gregor finds another way in. When the good twin Anton - both are played by Boris Karloff -- returns to the kingdom he learns that Gregor is suspected of doing away with several women who have completely disappeared. Although the movie doesn't make nearly enough of its horrific sequences, this is a very interesting macabre thriller with Karloff in top form -- both of him! Marian Marsh is lovely as the pretty Thea, who ignites romantic interest in the twins and others, but Robert Allen is pretty bad as her heroic lover, Lt. Lussan. Thor the dog gets high marks for his spirited performance as a hound who harasses Gregor.

Verdict: 2 Karloffs for the price of one! ***.

BLACK ANGEL

Dan Duryea and June Vincent

BLACK ANGEL (1946). Director: Roy William Neill. Based on a novel by Cornell Woolrich.

When sexy singer Mavis Marlowe (Constance Dowling) is murdered, the chief suspect is her lover, Kirk Bennett (John Phillips), who was being blackmailed by her. In spite of his affair, his wife, Catherine (June Vincent), remains loyal, as well as convinced that he is innocent. When he winds up convicted and on death row, with time running out, she makes up her mind to uncover the real murderer, and winds up working with the victim's ex-husband, Martin Blair (Dan Duryea of Terror Street), who was investigated by police and cleared. Catherine and Martin get a job as a singer and accompanist at a night spot owned by Mr. Marko (Peter Lorre of The Verdict), whom Martin swears he saw at Mavis' apartment house the night she was killed. Can the couple uncover the truth before they become more of his victims ,..? Black Angel is an absorbing, nominal film noir with some fine performances and a degree of suspense. Although June Vincent [Shed No Tears] is better cast as a bad girl and at first seems out of place in the movie, she has her typically sharp and unusual delivery to set her apart from the standard heroine. Duryea is, as ever, first-rate for the most part, and Lorre, in another in a long line of supporting roles that wasted his talent, is effortlessly excellent. Broderick Crawford plays the investigator on the case and is about as usual. There's a good score by Frank Skinner, and a snappy number called "I Wanna be Talked About" warbled by a dubbed Vincent. The ending is strangely moving, but you may be scratching your head at a couple of loose ends that make the denouement a bit suspect.

Verdict: Credible mystery with interesting cast. ***. 

THE NINTH GUEST

Genevieve Tobin and Hardie Albright

THE NINTH GUEST (1934). Director: Roy William Neill.

A group of people who know and who often vehemently dislike one another receive telegrams inviting them to a party in a penthouse. Once there, they wait to find out who the host is, but -- before you can say *Ten Little Indians or And Then There Were None -- they hear a strange voice on a recording telling of past misdeeds and warning that they are all going to die. The phone lines are cut, and the gate leading to the elevator is wired for electricity. The frantic arguing guests include Jean (Genevieve Tobin), who once was the lover of newspaper man, Jim (Donald Cook); Sylvia (Helen Flint), who has marital secrets; disgraced Mayoral candidate Burke (Charles C. Wilson); Henry Abbott (Hardie Albright), who was thrown out of school by Dr. Reid (Samuel S. Hinds); and several others. What's especially remarkable about The Ninth Guest is that it actually *pre-dates the publication  of Agatha Christie's Ten Little Indians by five years. The Ninth Guest boasts a very fast pace, not too much comedy relief to spoil the tense atmosphere, a very generous amount of suspense, some interesting psychological aspects, and good acting, especially from Flint [Give Me Your Heart] and Albright [The Crash]. Roy William Neill also directed a whole host of wonderful Sherlock Holmes films. NOTE: You can find this movie at Free Classic Movies.

Verdict: Worthwhile and quite entertaining suspense film -- possibly an influence on Christie -- with some "shocking" sequences. ***.

DRESSED TO KILL (1946)

DRESSED TO KILL (1946). Director: Roy William Neill. 

This was the last of 12 "modern-day" Sherlock Holmes films done by Universal, and the 14th and final film in which Basil Rathbone starred as the great sleuth. It's an entertaining mystery in which Holmes matches wits with another female foe, Hilda Courtney (Patricia Morison). The plot has to do with a tune played on music boxes made by the inmates of a prison, and the secret held by the boxes and the tune. Morison isn't bad, although she can't compare to Gale Sondergaard in The Spider Woman. Edmond Breon is great as Dr. Watson's old friend Julian "Stinky" Emery -- what a likable performer! Ian Wolfe, who plays the Commissioner of Scotland Yard, later was the old blind man Burton White in the 1960 Lost World. 

Verdict: His Last Bow. Fast-paced and quite entertaining. ***.

PURSUIT TO ALGIERS

PURSUIT TO ALGIERS (1945). Director: Roy William Neill. 

"My dear Watson, musical talent is no proof of innocence. The late Professor Moriarty was a virtuoso on the bassoon." 

Sherlock Holmes (Basil Rathbone), along with Watson (Nigel Bruce), is importuned to help scurry Prince Nikolas (Leslie Vincent) out of England before he can be assassinated after his father the king dies in an "accident." With the prince in tow, Holmes and Watson travel by boat, wondering which of the seemingly innocent -- and not so innocent -- passengers may be assassins. Of course, the minute Martin Kosleck shows up you know he's not on the side of the angels, but the film still holds quite a few surprises. At a dinner party Watson makes reference to Holmes' adventure with "The Giant Rat of Sumatra," which Doyle referred to in his stories but which was never revealed in one of his original tales. Marjorie Riordan plays Sheila Woodbury, whom the prince admires and who has a very lovely voice; she sings a couple of charming numbers. The huge mute Gubek is played by an actor billed as "Wee Willie Davis" and Morton Lowry, who played Stapleton in The Hound of the Baskervilles (1939), is the helpful ship's steward. Very suspenseful, entertaining, and well-acted to boot. Rathbone is as marvelous as ever. Although Riordan was attractive and competent she had few credits, preferring other pursuits to acting. Despite his good looks, Leslie Vincent was uncredited in most of his film appearances. Twenty-four years after his last film credit he appeared on TV's Hawaii Five-O in 1972. 

Verdict: Great fun! ***.

THE WOMAN IN GREEN

THE WOMAN IN GREEN (1945). Director: Roy William Neill. 

"By the way, you may have noticed all through time that prominent men have prominent noses." 

Sherlock Holmes (Basil Rathbone) is called in when Scotland Yard is stymied by a series of "finger murders," in which young woman are killed and then have one of their fingers removed and taken away. Today we would think a serial killer is at work, carrying off "trophies," but there's a more fiendish motive to the murders which Holmes, of course, uncovers. This is an entertaining modern-dress Holmes outing, but it's less atmospheric than others in the series. Rathbone and Nigel Bruce as Watson are excellent, but Hillary Brooke makes a comparatively colorless villainess. Henry Daniell is a fine actor, but his portrayal of Moriarty doesn't compare to that of Lionel Atwill or George Zucco. Paul Cavanagh is as solid as ever as Sir George Fenwick, who comes afoul of the villains. Tense climax on a roof top and many amusing sequences. Brooke appeared on My Little Margie for several years. 

Verdict: Watson to the rescue! ***

THE HOUSE OF FEAR

THE HOUSE OF FEAR (1945). Director: Roy William Neill.

"No man goes whole to his grave."

Sherlock Holmes (Basil Rathbone) is called in when members of a club in Scotland called the Good Comrades are being murdered off one by one. The bodies are always found in a deplorable condition as the victims are crushed or burned and so on. Loosely based on Doyle's story The Adventure of the Five Orange Pips -- which was about the revenge of the Ku Klux Klan -- this is basically an original screenplay which is bizarre and intriguing [even if today it might not hold up forensically]. Paul Cavanagh may not have appeared in every Sherlock Holmes movie, but it certainly seems as if he did -- in this he's Dr. Simon Merrivale, who may have gotten away with murdering his wife. Sally Shepherd is creepy as the cook and housekeeper Mrs. Monteith. Rathbone and Bruce are as wonderful as ever.

Verdict: Eerie and quite entertaining. ***.

THE PEARL OF DEATH

THE PEARL OF DEATH (1944). Director: Roy William Neill. 

Very loosely based on Doyle's The Adventure of the Six Napoleons, this is the seventh of Universal's "modern-day" Sherlock Holmes films and the 9th in which Basil Rathbone plays Holmes. The great sleuth finds himself temporarily embarrassed when the famous Borgia Pearl is purloined after he disconnects the electric alarms for a demonstration of how ineffective the security for the pearl is. Holmes' main opponent in this is Giles Conover, played by Miles Mander. Scream Queen Evelyn Ankers is Conover's associate Naomi Drake. The plot has a hideous fellow named the Oxton Creeper (Rondo Hatton) running around stealing busts of Napoleon and breaking the backs of their owners. [This Creeper fellow was decidedly not in Doyle's original story. Rondo Hatton later starred in a film called House of Horrors where he again played a "Creeper."] Nigel Bruce as Watson had become dithery comedy relief by this point. Despite its "modern" setting, this still has that old-style flavor, and is quite entertaining, even if you may feel you're one step ahead of everyone in the movie throughout. 

Verdict: Creepy and well-done. ***.

THE SCARLET CLAW

THE SCARLET CLAW (1944). Director: Roy William Neill. 

"For the first time we've been retained by a corpse." 

After learning of the murder of Lord Penrose's (Paul Cavanagh) wife, supposedly at supernatural hands, Sherlock Holmes (Basil Rathbone) receives a note from the very same woman telling him of her fears and apprehensions. Holmes and Watson then head to the small Canadian village of Le Morte Rouge [The Red Death] to investigate the series of mysterious deaths that have occurred there, including that of Lady Penrose. Creepy and suspenseful, with those great Universal sets and that certain atmosphere, The Scarlet Claw emerges as one of the best of the "modern-dress" Holmes films. This was not based on any of Doyle's original stories. Rathbone and Nigel Bruce are as wonderful as ever, as is the ever-reliable Cavanagh, and there's fine support from Gerald Hamer, Miles Mander, Kay Harding, Ian Wolfe and Arthur Hohl. Very well-directed by Neill. Watson makes an interesting reference to a famous "Father Brown" story by Chesterton. 

Verdict: Spellbinding. ***1/2.

THE SPIDER WOMAN

THE SPIDER WOMAN (1944). Director: Roy William Neill. 

This is one of the best of Universal's "modern-dress" Sherlock Holmes movies. Holmes (the always wonderful Basil Rathbone) investigates when there is a series of "pajama suicides" of prominent men. A mysterious if somewhat familiar Indian Prince turns up at the gambling houses where some of the dead men interacted with Adrea [sic] Spedding (Gale Sondergaard), who sometimes goes about with a little mute boy named Larry. [There's a fascinating scene with this boy in Holmes' office. Although he has no dialogue, the kid is marvelous but, unfortunately, uncredited.] Sondergaard, who is outstanding, makes an excellent sparring partner for Rathbone. And watch out for one of the most hideous spiders you've ever seen! Supposedly based [very loosely I'm sure] on a story by Doyle. 

Verdict: Creepy and very entertaining, with a great cast. ***1/2.

SHERLOCK HOLMES FACES DEATH

SHERLOCK HOLMES FACES DEATH (1943). Director: Roy William Neill. 

Dr. Watson: "Ghosts don't stab people in the neck, do they?" Sherlock Holmes: "Not well-bred ghosts." 

 In this very loose adaptation of Doyle's story "The Musgrave Ritual," Holmes (Basil Rathbone) and Dr. Watson (Nigel Bruce) investigate murders at Musgrave Manor, which has been opened for convalescent war patients and staff. There are hidden treasures, secret passages, and a floor that resembles a chessboard. Although this is another of Universal's "modern-dress" Holmes films, it retains the old-style atmosphere that is so crucial to the success of these mysteries. Hillary Brooke plays the sister of the murdered men and she isn't too terrible. Her boyfriend is played by Milburn Stone, who also appeared in The Great Alaskan Mystery, Roadblock, and Captive Wild Woman. Dennis Hoey is great as Inspector Lestrade, a role he repeated in most of these films, and which served chiefly as comedy relief. Halliwell Hobbes and Minna Phillips make an impression as the butler, Brunton, and his wife. 

Verdict: Crackling good fun! ***.

SHERLOCK HOLMES IN WASHINGTON

SHERLOCK HOLMES IN WASHINGTON (1943). Director: Roy William Neill.
The third of Universal's "modern-dress" Holmes films presents the absurdity of United States intelligence officers calling in the British Holmes when certain documents on microfilm go missing. (Despite Holmes' genius, surely there are smart and swift U.S. agents to do the job?) Holmes and Watson take their first trip to the United States, where they cross swords with both Henry Daniell and George Zucco. Zucco had been a famous British spy and is now head of an international spy ring. Marjorie Lord is the doll, and Thurston Hall plays the lovable Senator Babcock. This is not without entertainment value -- and as usual Basil Rathbone and Nigel Bruce are marvelous -- but this just doesn't have that certain Holmesian atmosphere. While not exactly a fish out of water, Holmes really isn't in his element in this, either.
Verdict: Better the moors than Washington. **1/2

SHERLOCK HOLMES AND THE SECRET WEAPON

SHERLOCK HOLMES AND THE SECRET WEAPON (1943). Director: Roy William Neill. 

"The needle to the last, eh, Holmes?" 

This is the second of the "modern-day" Universal Sherlock Holmes films [and the fourth film in which Basil Rathbone played Holmes], following Sherlock Holmes and the Voice of Terror. It is very, very loosely based on Doyle's story The Adventure of the Dancing Men, which refers to a code (which is used in the film). Frankly, Holmes really didn't fit into the WW2 milieu, and the only "modern" SH films which work are ones that more or less ignore the war and don't feature references to Nazis. The basic plot has to do with a scientist, Dr. Tobel (William Post Jr.) whose new weapon is coveted by the Germans. Frankly, the film doesn't really get interesting until we learn that the dreaded Professor Moriarty (Lionel Atwill) is involved in the plot. Rathbone is, as usual, excellent (although the odd comb-over he sports is a bit disconcerting) and his sparring with the equally great Atwill provides the film's highlights. The quoted line above comes about when Holmes suggests that an imaginative means of death would be to drain every drop of blood from a person's body. 

Verdict: If only there had been more of Moriarty and less of Dr. Tobel. **1/2.

BLACK MOON

BLACK MOON (1934). Director: Roy William Neill. 

"The natives are restless." 

A wife and mother, Juanita Lane (Dorothy Burgess), becomes a little too involved with the voodoo culture on the island of San Christopher to the point where she's prepared to sacrifice her own child. People around her, such as a telegraph operator and the child's nurse, Anna (Eleanor Wesselhoeft) are murdered. There are interesting elements to the movie to be sure, but despite all the activity and running around, it generates more tedium than thrills or horror. Fay Wray is secretary Gail Hamilton, and Jack Holt is Juanita's husband. The movie is inherently racist, but at least Clarence Muse portrays "Lunch" McClaren, a sympathetic and likable black character. Ruva, the sinister voodoo lady, is portrayed by Madame Sul-Te-Wan. 

Verdict: A possible cure for insomnia. * 1/2.

THE CIRCUS QUEEN MURDER

THE CIRCUS QUEEN MURDER (1933). Director: Roy William Neill.

New York police commissioner Thatcher Colt (Adolphe Menjou) takes his efficient secretary off for a quiet, restful vacation in the bucolic town of Gilliad, but instead of balm he finds murder. There are sexy circus queens, angry husbands, illicit affairs, a troupe of cannibals, not to mention the usual lions, tigers and gorillas, but none of it saves the movie from being dull, dull, dull. Dwight Frye is his usual intense self as the jealous hubby of the high-wire circus queen (Greta Nissen). Ruthelma Stevens is Colt's lip-reading secretary, Miss Kelly. Colt has an admirably modern attitude toward women and even thinks that Miss Kelly would make a great police commissioner when he retires. Alas, the movie has no real snap to it and the plot isn't terribly interesting. The pic only runs 63 minutes but seems much longer. Menjou is fine, however. He played the same role in one other movie.

Verdict: Not as much fun as a barrel of monkeys.

FRANKENSTEIN MEETS THE WOLF MAN

FRANKENSTEIN MEETS THE WOLF MAN (1943). Director: Roy William Neill.

Although we never learn why, two grave robbers try to remove Larry Talbot's body from its resting place in the Talbot family crypt, bringing The Wolf Man back to life. Talbot (Lon Chaney Jr.) gets it into his head that Dr. Frankenstein might be able to help him, and he seems to be referring to Henry, but most of the story takes place in Vasaria and the dead Frankenstein's daughter Elsa (now played by Ilona Massey) makes a reference to her "father and grandfather" -- presumably she's the grand-daughter of Henry -- and there is also a reference to the sanitarium that burned down at the end of The Ghost of Frankenstein. However, Vasaria now has a Frankenstein castle as well. (Presumably the producers figured nobody would clearly remember everything, this being long before the days of VCRs, DVDs, and instant replay). As Ygor's brain was transferred into the monster's body at the end of Ghost, it's only fitting that Bela Lugosi, who played Ygor, would now play the monster. His approach is to make the creature sneering, and even a bit haughty (supposedly his dialogue was cut, even though he spoke through the monster's mouth in Ghost). Maria Ouspenkaya reprises her role as Maleva from The Wolf Man. Patric Knowles is stalwart as the doctor who wants to help Talbot but seems more intrigued by the monster. Ilona Massey looks as if she wandered into the wrong movie. Frankenstein Meets The Wolf Man is highly contrived and illogical, although it moves fast and is pretty entertaining. Still it's a cut below the previous entries in the series. The climax features a not-so-epic battle between the title monsters. Lionel Atwill is the Mayor and Dwight Frye again plays a distinctive villager. Followed by House of Frankenstein.

Verdict: Still fun. **1/2.

TERROR BY NIGHT

TERROR BY NIGHT (1946). Director: Roy William Neill.

Sherlock Holmes is hired to prevent the theft of the incredible Star of Rhodesia jewel owned by the haughty Lady Carstairs (Mary Forbes). This film isn't even an hour long, so it would be criminal to give away any of the surprises, but it involves skullduggery on board a train going from London to Edinburgh. On board are Lady Carstairs, her son Roland (Geoffrey Steele), Inspector Lestrade (Dennis Hoey), the femme fatale Vivan Vedder (Renee Godfrey), and of course Sherlock Holmes (Basil Rathbone) and Watson (Nigel Bruce). Other passengers include Watson's friend Major Duncan-Bleek (Alan Mowbray). Holmes wonders if his antagonist could be none other than Sebastian Moran, an associate of the late Professor Moriarty. Very fast-paced and engaging with generally good performances from all.

Verdict: Entertaining mystery-thriller is clever if on the slight side. **1/2.