By
Kristin Battestella
Forever
typecast thanks to his unforgettable turn in Dracula, Bela Lugosi actually appeared in over one hundred
films. Fortunately for horror fans, most
of his appearances lend themselves to the mystery, macabre, ghoulish, and
ghastly. So here’s another batch of juicy and demented from Mr. Lugosi!
The
Death Kiss - This 1932 murder
mystery reteams Lugosi with David Manners and Edward Van Sloan from Dracula the year before and adds some
glorious fashions, fur, feathers, sparkle, and top hats. Oh, did I forget to
mention the superb Art Deco designs and backdrops? The early onscreen filmmaking
and behind the scenes plots make for some interesting angles in the case, and
great set deaths, smart editing, and trick photography keep up the suspense. The
video, unfortunately, seems poor, with runtime and/or speed issues during the
70 plus minutes. Certain scenes have an odd stilted pace and it makes some of
the darker action scenes tough. There’s also not a lot of Our Man Lugosi,
either. Though his delivery is fine- no explanation is given for his name or
accent- and Bela looks sharp in executive suits, it seems his Dracula
better-scary-subterfuge-seen and not heard is the reason for his presence. Thankfully,
the scandal, reporters, cops, and hysteria are a lot of fun- no one is upset at
the victim’s demise and everyone’s pointing a finger. There’s a feeling of a
Roxie Hart cashing-in, too, for the scorned women in the deceased thespian’s
wake are immediately suspected. It’s a touch of taboo- lady murderers and
divorce to match the witty dialogue and supporting crew ensemble. Folks who enjoy analyzing early film ways or
those interested in deduction’s birth onscreen can delight here.
The
Devil Bat – Good Doctor Bela experiments
with bats, cosmetics, and the latest SF machinery in this 1940 hour. A sweet
laboratory with secret passages, cobwebs, great lighting, and buzzing sound
effects counteract the goofy killer bat flying scenery and deadly prop shots-
it’s all laughable and yet so charming.
There isn’t a lot of dialogue to start, but Bela’s quick to create his evil
aftershave and bat with horns bait and switch, oh yes. His little lab goggles and hair brained
scheme- it’s so preposterous and yet so good!
Some of the intentional comedy falls a little flat in a few scenes, but
those accustomed to this type of swift talking badumpbumpbump will be bemused.
The rest of the cast is typical reporters and bumbling folks on the
investigation with a pretty dame there just for the sake of it. Several poor quality
prints also hamper a viewing, but thankfully, there are some new video releases
and even an updated colorization. This was a poverty rock bottom production at
the time, and it’s amazing how Lugosi can film the more ridiculous material
here with such glee and character zest. Despite the fun, I find it a bit sad to
see this desperate work and waste of his talent- but at least we get to see him
drive a car! Sigh, there’s just
something about Bela Lugosi in a fedora, cruising along behind the wheel,
smiling, and up to no good!
Invisible
Ghost –Joseph H. Lewis (The Rifleman) directs Our Man Bela in
the steady moving 65 minutes here. The 1941 sets and décor are simply excellent,
with lush candle works, fireplaces, and gothic looks to accent the pre-war
setting. Lugosi is wonderfully off kilter to start, too. He talks to a wife who
isn’t there and insists her plate be served, for “After dinner, we’re taking a
long walk!” He’s kooky and yet a seemingly loveable father. It’s delightful to
see him kind and warm hearted- but come on, its Bela Lugosi! We should know better, shouldn’t we? The supporting
cast is decent as well, even if the investigations are somewhat of the time
typical. However, nothing is what it
seems thanks to the murderous twists, deceiving staff, extra-marital affairs, hypnosis,
courtroom escapades, vengeful twins, and more. Both thrilling sounds and ironic
music cues underline a scare or two, and it’s all makes for a very entertaining
little piece. I’d like to say more, but I don’t want to spoil anything!
(Awl...)
One
Body Too Many – Humor and crime
cross again in this 1944 inheritance twister. It’s a little hackneyed to start
and tough to hear in some spots, yes. I’m not so sure the fish out of water
insurance salesman plot was needed, either. Though familiar, the suspense pace
and spooky plot of folks forced to live together in a perilous mansion in
accordance of a mysterious will feels demented enough for these 75 minutes. And what makes a locked down house even creepier?
When Bela Lugosi’s the butler! His scenes are brief but Big B has a few great
subtle and classic zingers: “There are too many rats in this house, they should
be done away with…I assure you, this coffee will not keep you awake!” This
ongoing gag would have been enough wit, and the astrology and mysticisms are
made bemusing, too. The more obvious comedy isn’t bad- some of the jokes really
work. However, the style is too dated and when combined with the low budget
production, this mixed humor might be off putting to some. The music is also a
bit more whimsical than scary, but fortunately, the old décor and shadowed
photography work nicely with the critical burial tricks and wonderfully
worthwhile deceptions.
Revolt
of the Zombies – So I’m cheating
a bit by listing this 1936 supposed sequel to White Zombie in our Bela spotlight, as he technically does not star
in this hour-long focus on French Zombies and World War I. Yes, you read all
that right. Stock footage of Lugosi’s hypnotic eyes is used here as part of the
undead brainwashing- or rather on the “robot soldiers” as they are called. The
sound is poor, but any innate flaws can be forgiven thanks to this very unique interwar
look and Cambodian setting. Who would have thought someone would make a movie
about the fictitious horrors of one war whilst on the brink of the next? The
black and white shots of Angkor are also
glorious and worth the viewing alone for scholars. Granted the men are wooden, the
women stereotypical, and there’s some kind of love triangle if you can tell
which guy is which. Ironically, there aren’t even that many scares or zombies
to speak of, either. Thankfully, this one has enough novelty going for it to earn
an audience. Who knew?
Scared
to Death – What can I say; it’s
Bela Lugosi in color! George Zucco (Dead
Men Walk) and Molly Lamont (The Awful
Truth) join The Man of the Hour for this 1947 flashback crime caper.
Although the continuous transitions back and forth become somewhat comical- it
really should have gone back once instead of shifting every few moments for
just one dead sentence- a fun battle of wits unfolds amid the creepy autopsy talk
and final moments of death debates. There are even hints of war intrigue in this
quick 65 minutes, too. Some plot points, however, can be confusing- Lamont gets
hysterical and afraid, but vows fearlessness and won’t leave nor grant a divorce.
How would she know all the things that happened when she was locked in her room
anyway? This wishy washy is probably the worst aspect of the film, along with
its unavoidable faded color and poor print quality. There’s also an inappropriate use of a little
person as a silent prop complete with funny music announcing his presence, but the
rest of the supporting cast is quite decent. A crazy maid, dumb cop, and
annoying reporter combine for plenty of droll and make this one funnier than
the supposed horror comedies of the day. It’s all so seriously deadpan, and in
living color Lugosi is quite the charlatan! Fans young and old who enjoy escapades such as
Dracula: Dead and Loving It or Clue can have a romp here.
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