Reviews (19)

INCREDIBLE FILM
I simply can't believe that this film was made in 1926. My god, it's so stunning, it's impossible to describe. Don't let it being a silent movie steer you away from it. The dialogue and action are more powerful than any actor's voice will ever be. Fred Niblo carved a marvelous film that is at times charming, so exciting, and so moving. It is so beautifully handled, especially in scenes involving Jesus Christ and his encounters with the film's hero, Judah Ben-Hur. Judah struggles to overcome his hardships of being a Jew in a land of Roman rulers, and to find the mother and sister that fate separated him from so long ago. He also seeks revenge on his boyhood friend Messala the Roman, and eventually does in the film's INCREDIBLY exciting chariot race sequence. Just as exciting is a scene that involves two ships in battle. This is a marvelous film, strongly recommendable. Do yourself a favor if you're a real film buff and see this great dramatic masterpiece at least once.

Film at its finest
I am stunned. I am not a fan of silent films, but caught this on PBS (the long version with color). It is simply one of the best films ever made.

Ramon Navarro had to have been one of the greatest actors ever. I have never seen him before, but the honesty he brings to every emotion is as modern as today's actors--if not more so. Especially the scene where he is on a death march in need of water, and his subsequent meeting with a water-giving Jesus, stands out for me. The chariot sequence is fine, and even the heavy-handed melodrama of the mother and sister is enjoyable. The silents are an interesting era, as this film is also given a sexual quality not seen in the Heston version. Here, look for a scene with a femme fatale as she tries to seduce the noble Judah Ben-Hur. Also, I was surprised to see just sitting there in the background of the roman galley slave scene, a naked man seemingly hanging dead. That entire scene, complete with pirates, is most impressive.

The sets, the use of color, the eerie Valley of The Lepers, and the great make-up, help to make this literally a film that has it all. Throw in a nasty Roman ex-friend, and our hero certainly has a lot to deal with--including raising a legion or two to invade Rome to save the life of Jesus (he obviously didn't).

DVD NOW!!!
Wouldn't it be neat if both editions of Ben Hur were availiable in a two pack or even a special edition with extras and compare/contrast commentaries on both? I think these studios are really missing the boat and missing a major moneymaking enterprise by not getting these silent classics out on dvd. I actually prefer this olderr edition. It moves along faster and seems like a greater accomplishment from a filmmaking pov. Both are brilliant, of course, and its just a matter of subtle differences.

Can't Be Topped
Absolutely one of the best films ever made with one of the best action sequences (the chariot race) in film history. Ben Hur is betrayed throughout the film by his supposed best friend and overcomes all odds to regain his humanity and with the help of Jesus, save his sister and mother.

Much superior to the Heston version
Wow! Even if you have little experience with silent movies, even if you erroneously believe that the 1959 Charlton Heston version of this movie surpasses all, you must see this film. It is a cinematic masterpiece, sumptuously photographed, faithful to Lew Wallace's novel and many scenes will quite simply knock your socks off.

Ramon Novarro is handsome, boyish and enchanting as Judah Ben-Hur. His performance is infinitely beyond anything Heston is capable of delivering. He plays Ben-Hur as the character was presented in the novel, devoid of ths histrionics, anger and over-acting which plagued the remake. Francis Bushman does overact and give an excessively bravuro performance as Mesalla, but he's not on screen as much as Stephen Boyd would be later on.

And what about the color sequences? Yes, there was actually color movies made in 1927, a fact I did not know. There are several color sequences which stun and fascinate. The chariot scene is epic and among the most stellar scenes ever shot in movie history; the same can be said for the galley scene, where the slaves sit three in a row and are rammed to death by Pirates on the high seas. Again, the 1959 version cannot hold a candle to this version in the epic, grand scenes.

Get this movie and cherish it. I've watched it three times in the past month and am amazed at its scope, depth and power. Beautiful masterpiece! ... Read more

Reviews (13)

Kharis carries on.
A monster movie jolt from Universal Studios' fright factory, and the film that introduced Kharis the mummy. This foot-dragging monster wrapped in ace bandages became a standard member of Universal's classic monster family. Stalwart Dick Foran and a party of fortune hunters and archaeologists search for the lost tomb of Princess Ananka. The loyal minions of the ancient Egyptian gods, led by George Zucco, seek to thwart their purpose and protect the sacred tomb. Sometime Western actor Tom Tyler makes a one-time appearance as the mummy. As fans of classic horror films know, the mummy has a terrific thirst for tana leaf tea, a lusty 3,000-year-old love affair with Princess Ananka, and strangles everyone that gets in his way. The plot takes some time to really get going. Younger viewers may squirm a little as they await the mummy's first appearance. After the lost tomb is uncovered, however, the story rapidly shifts gears to an exciting suspense mode, and fans of classic horror films rejoice. As the wild jackals howl in the distance and the full moon illumines the Egyptian night, diabolic death holds dominion over those who defiled Ananka's tomb. Some of the exterior scenes of southern California doubling as Egypt are amusing examples of unintended humor. Checkout the primitive special effects of the mummy's glowing eyes. Again, good triumphs over the evil forces of darkness. Relax and enjoy the old-fashioned chills and thrills. ;-)

Perfectly laid out introduction to the mummy films
I think that "The Mummy's Hand" has all it needs to be a perfect introduction into the tales of Kharis. Steve Banning and Babe Jenson are shopping in native artifact stores when they discover a clue that later on leads them to the tomb of Princess Ananka. As they pursue the clue by going to the Cairo Museum to see about preparing and financing an expedition, they meet Professor Andoheb, the mummy's commander in a crude disguise as a professor. As they tell him the fact that the artifact they have, with its unique symbols, may lead to the discovery of the Princess, he starts his response by marveling at the work of the artifact. Unfourtunately, he deduces that it is an imitation made by a clever manufacturer. After Banning says he will be having to seek financial assistance elsewhere, the professor drops the artifact while trying to return it to Banning, and claims it was an act of random clumsiness.

Their artifact gone, they salvage the remains and eventually find another source of financing, only this time, they are in for a big surprise, not with just the mummy, but the financer's daughter. The surprises, however, are yours to find out in this must-have movie which started perhaps the most popular mummy miniseries of all.

The birth of the stereotypical mindless mummy
By 1940 and the reawakening of Universal's classic mummy monster after eight sequel-less years, the original Borlis Karloff-style mummy that could pass for a human as soon as he got his bandages off was long gone, and the mindless, staggering hunk of old bandages was the new norm. Comedy had also found its way into Universal's classic monster movies, perhaps as a counterweight to whatever horror the sight of a filthy shambling mummy supposedly inspired. Still, there are certain elements of 1932's The Mummy to be found here; in fact, a significant amount of footage from that earlier movie is used during some of the early scenes of The Mummy's Hand. We watch the burial of the princess Ananka and witness the horrible fate bestowed upon her lover (Kharis as opposed to Imhotep) for attempting to steal the one thing that could bring the princess back to life. In this case, it is not the Scroll of Thoth that has the power to resurrect the dead, it is the fluid of Tana leaves. Kharis has his tongue cut out and is buried alive, but - and this is a pretty big but - he never really dies. For some unexplained reason, the high priests of Karnak, whose temple stands opposite the mountain tombs of Kharis and Ananka, keep the mummy alive with steady doses of Tana fluid. Thus the mummy waits for the time when someone dares to disturb the tomb of his beloved, in which case the high priest gives him the fluid of nine Tana leaves, enough to give him the strength to dispatch those who defile Ananka's grave but not enough to give him complete strength and true immortality.

As the movie opens, down-on-his-luck archeologist Steve Banning (Dick Foran) and his comic sidekick "Babe" (Wallace Ford) think they have discovered the location of the fabled tomb of Ananka. Despite the subdued hostility of the respected Professor Andoheb (George Zucco), they are determined to investigate the site for themselves. Low on funds, they manage to find an unlikely patron in "The Great Salvoni," a magician whose daughter supplies the required love interest for the story. Work at the excavation site produces unexpected results, including the deaths of a few of the men, and our heroes eventually come to realize that Kharis the mummy is responsible for the attacks. The pretty young lady naturally finds herself in great danger before all is said and done, and the rest is fairly obvious.

The Mummy's Hand offers some new twists of its own to mummy lore, but these twists don't serve its purposes all that well. The story is just a little too far-fetched, I feel, and the ultimate conclusion far from difficult to figure out early on. Still, it's an entertaining film to watch, and the comic relief worked well without ever crossing the line into silliness. I'm not sure why the mummy's hand is so important, though, and it seems to me that the easiest way to avoid the legendary hand is to avoid the mummy altogether. I might add that while I am a George Zucco fan, I really don't think he was a great fit for the part of the high priest of Karnak, but the cast as a whole worked together quite well. While Kharis the mindless mummy (portrayed here by Tom Tyler) lacked the character and menace of the original Karloff mummy, it is this B movie grade mummy who would haunt the dreams of many an impressionable young monster fan back in the day as he shambled his way through this and three additional Kharis the mummy films.

Introducing Kharis!
When Universal dusted off the concept of their mummy, they changed the story quite a bit from the original movie with Boris Karloff. Somehow the reincarnated creature was not quite as menacing as Boris was, but these movies are still a great deal of fun to watch.

With egyptian priests, tanna leaves (which by the way, always looked like an ingredient I use when I make soup...bay leaves!) and a moldy ol' mummy, what else could an old monster movie fan want?

By the way, the longer the mummy series went, the more it became apparent to me that the only way Kharis could get you was if he got the drop on you from behind or snuck up on you. With all those bandages and 3,000 year old joints, he hardly moved faster than a snail's pace. I'm not much of a runner, but I know I could out-run him! But that misses the whole point. Anyone faced with a creature such as Kharis would no doubt be petrified with fright and couldn't move!

Recommended, along with the rest of the movies in the series.

Pleasing first effort in 1940's Mummy cycle
After having rested the saga of the mummy for almost 8 years since the release of the splendid Boris Karloff version Universal launced into a new cycle of Mummy movies to entertain patrons no doubt distracted by the horrors of the fast approaching World War.

On that level "The Mummy's Hand" is a well made and entertaining piece of movie making which never asks you to strain your brain muscles for too long. The saga of the mummy damned to eternal unrest for loving a high priestess and disturbing her burial place provides lots of opportunities for thrills and excitement and this film does not disappoint. While it could never compare with the Karloff classic I still feel it has its merits. Despite being placed in the "B" movie basket "The Mummy's Hand" has some great performers and vivid situations that were used over and over again in later films.

The film can be almost divided into two sections. The first section being almost a comic romp depicting Steve Banning"s (Dick Foran) and Babe's (Wallace Ford) adventures in Cairo and their efforts to set up a team of diggers to find the tomb of the high priestess Anuka. Almost too suddenly it then changes into a chilling drama when the mummy appears and death comes to numerous members of the Banning team. I feel the lead up to this section of the proceedings is too long in coming and really the story does meander too much before the real action around the tomb begins. Nevertheless the second half of the film is a vast improvement and the drama and horror of the proceedings really does involve you totally.

Tom Tyler, a former cowboy star for the first and only time places Kharis (after this film Lon Chaney Jnr took over the role for the remaining 3 films). He is excellent in the role and brings just the right sinister and cruel elements, combined with an almost pathetic longing for the high priestess, to make the character one we can almost feel for in a way. His look as Kharis is also different to Chaney's depiction and I feel he looks the part in a more horrific way. The film certainly benefits from a sterling supporting cast. George Zucco makes his first memorable appearance in this film as the high priest Andoheb. He would return in later films in the mummy series and as always he is most effective playing a sinister character bent on destroying the defilers of Anuka's tomb. His killing of the Dr.Petrie character is in particular very well done with our first sight of Kharis being returned to life with the juice of tanna leaves positively sending chills up one's spine. Peggy Moran makes a suitable heroine for the film and Cecil Kellaway is also on target with his depiction of the great Solvani who gets involved in the expedition to the tomb.

Overraul the look of the film is excellent. Universal had a very unique way of making even their "B" films have an expensive look to them and "The Mummy's Hand" is no exception. It benefits from the reuse of a temple set from an earlier film "Green Hell" which looks effective but unfortunately to the trained eye has Mayan or Aztec decorations rather than ancient Egyptian ones!! Also some of the outdoor locations are obviously Californian and they do have a spoiling effect on the look of the film.

Nevertheless its a good effort and certainly is an entertaining film full of atmosphere and thrills. The next installment in the Kharis/Mummy series "The Mummy's Tomb" which came out in 1942, is in my opinion the best film in the series. Enjoy "The Mummy's Hand" and lap up the old fashioned thrills that it provides. ... Read more

Reviews (2)

Charming little film
This is a charming and humorous western starring Harry Carey. Among the cast is my favorite actor who was the star of 1915's Birth of a Nation, Henry B. Walthall (one of his last roles). He plays the part of former sheriff Cal Yates who has become a victim of modernization. The new sherrif, a young go-getter, has taken over the reigns and Yates is relegated to listening to complaints from old ladies. Famed bank robber Dean Payton (Harry Carey) is released from prison and seeks his old pal Yates, only to be disheartened by the many changes to the town. The best scene is where Payton and Yates are in a movie theatre and Payton encounters the talkies for the first time "Oh, they talk now." After the town bank is hit again by a modern band of robbers, Payton and Yates set out to capture the crooks by recreating Payton's capture 25 years earlier. Oh yes, they also must save Payton's daughter who has been kidnapped. This film has that charming Mayberry humor. The one thing that bothers me is that the murder of the doctor (the man who raised Payton's daughter) by the thugs is completely ignored. The young woman's attitude upon learning that Payton is her real father seems very odd to me. Still, The Last Outlaw is a fun movie.

GREAT! Best B-western ever.
The Last Outlaw is my all-time favorite movie, and I mean that sincerely. Harry Carey turns in the bittersweet performance of a lifetime as aging outlaw Dean Payton, and Hoot Gibson is unbelievably funny as a cynical young cowpoke. This is a smart, greathearted western that will please just about anybody. I have shown it to a score of friends so far and NONE have failed to LOVE it. Based on a story by John Ford. ... Read more

Reviews (5)

Part comedy, part horror, completely ridiculous
Scared to Death is a bad movie, a really painfully bad movie, yet it is not wholly unwatchable (although I daresay I will never watch it a second time). This film is the only color movie Bela Lugosi made, and that is about the only good thing I can say about it. Lugosi was only slightly past his prime in 1947, but his acceptance of a role in this ludicrous waste of celluloid is a sure sign of the problems that plagued him in his final years. At times, he is almost a caricature of himself, running around in a black cape reminiscent of his Dracula attire. In his role as a hypnotist with an unsavory past, he is rather inexplicably accompanied by the same dwarf featured in The Corpse Vanishes-I have no idea what his diminutive associate has to do with this film, though, because he is basically forgotten by the screenwriters, the cast, and the audience halfway through the action.

I will say very little about the plot (such as it is) of this film. The movie starts in an autopsy room, and the corpse of a young lady on the slab serves as the narrator of events; throughout the movie, the music is cut awkwardly cut off and on around return shots of the cadaver, which is most annoying. The whole film suffers from horrible editing. What I found most bothersome about this movie was the fact that the moviemakers apparently couldn't decide if they were making a horror movie or a comedy. There are some horror elements here-a mysterious, unexplained death, the repeated appearance of a figure wearing a green mask outside the windows, a few blows delivered to unsuspecting heads, and the very appearance of Lugosi on the cast list. Then again, the dim-witted family of the deceased, the stereotypical, nosy reporter and his airheaded lady friend, and the shameless antics of the private cop on the premises all come together to make sure the film comes off as utterly foolish. The cop is sort of funny for awhile, but his act gets unbearably tiresome long before the magical and long-awaited words The End appear on the screen.

It's almost impossible to explain this movie; it's one of the most ridiculous films I have ever suffered through. I think the only people who might get a single ounce of enjoyment out of Scared to Death are devoted Bela Lugosi fans such as myself. Even we have to grin and bear it for over an hour, though, as this film represents one of the nadirs of Legosi's career. At least I can take some comfort in the knowledge that Legosi was made to look less foolish than all of his fellow cast members.

Caveat Emptor!!
Buyers should avoid the Republic version of this film, which is sheer butchery. It has been severely edited (the entire opening sequence has been removed), and the original color has been replaced with "digital color", which means that it has been "colorized", with predictably poor results. There are better versions out there, so don't waste your time and money on this hackneyed mess.

Lugosi has hit the cinematic abyss with this one
It's known that Bela Lugosi suffered from heroin addiction as well as mental instability, and if anyone ever had any doubts they would only have to watch this stinker to be wholeheartedly convinced. Granted, due to his drug and mental problems, financial difficulties, declining stardom and lack of A-list parts, he didn't have much choice--but it's still disheartening to see the once-great star sink to this level and even worse later, in his infamous association with the equally notorious Ed Wood ("Glen or Glenda?"). The story unfolds in flashback using the bizarre framing device of a female corpse lying flat on her back on a morgue slab recalling the queer events leading up to her death. In a prime example of horrible miscasting, this pivotal role is played by some unknown actress named Molly Lamont--although referred to in the movie as "beautiful" she's homely with her harsh features and pinched face, and is obviously about 15 or so years too old for the part, or at least looks it! Her character Laura Van Ee is a cold and difficult woman who has made an enemy of her father-in-law Dr. Josef Van Ee (George Zucco, who looks like Albert Dekker in "Dr. Cyclops" with his ridiculous bottle-cap spectacles)--a fatal mistake, for he enlists a strange and mysterious hypnotist to deal with her. Lugosi plays hypnotist Leonide, and appears in typically campy fashion when he arrives wearing an overly dramatic black cape in a cheap and obvious attempt to capitalize upon his long-ago "Dracula" fame, and with his faithful midget sidekick Indigo in tow. Eventually they uncover Laura's shameful secret past and when confronted in a highly ominous "re-created" setting with these revelations, she is literally "scared to death"--hence the simplistic yet catchy title. These revelations at the end I won't reveal so as not to be a spoiler, except to say what a convoluted, muddled mess of an explanation it is! Providing lukewarm comic relief is a bubble-brained, inept detective (Nat Pendelton), his pathetic pursuit of the Van Ee's wisecracking maid (Gladys Blake), and the equally bubble-brained girlfriend of the detective's rival. As if the campy acting, throwaway script, seemingly nonexistent direction, forced gags and weak situations weren't enough, add to the mix the weird music and ghastly colors--this has the distinction of being Lugosi's only color film, but it's a dubious distinction given the appallingly garish hues. Take my advice and don't waste your time or money since there's absolutely nothing of redeeming value here--strictly for hard-core Lugosi fans, fans of so-bad-it's good movies, or if you have nothing better to do with your time!

For determined Bela Lugosi fans only.
Bela Lugosi, the ultimate low-budget grim ghoul, stars in this mild mystery thriller. It is an unusual chance to view Lugosi working with George Zucco. The opportunity is mostly wasted by the script. Zucco, behind over-sized glasses, looks like an owl with indigestion. His interaction with Bela is limited. Lugosi first appears wearing his Dracula cape, complete with crimson lining. Angelo Rossitto, Bela's familiar poverty row homunculus, tags along side. Lugosi grimaces his way through his part. The movie is slightly redeemed by the comic relief of Nat Pendleton as a dim-witted private detective. The plot is a confusing muddle of betrayal, murder, and revenge, told by the dead woman herself! How she manages this astonishing feat of cognitive discourse after death is unknown. The usual low-budget trappings of secret panels, mysterious faces at windows, and secret crimes of the past are present. Other people who comment on this film usually note that it is Lugosi's only appearance in a color movie. More than that, it sadly illustrates Bela's downward career path that eventually led him into the clutches of the infamous Ed Wood. See it, if you must, but tread carefully. ;-)

More confusing than scary
For devotees of "bad movies," this film is a must-have. Despite the presence of horror-film stalwarts Lugosi and Zucco, this one is terribly boring, in large part because the plot is so badly muddled that it is virtually incomprehensible. By this time, both Lugosi and Zucco, despite their impressive acting talents, had become fixtures in third-rate horror features. In addition to the poor scripting and direction, the color is atrocious. It appears as if the entire film was carelessly thrown together, with no regard for continuity or plot progression, and is noteworthy only as Logusi's sole color film. As a serious drama, it fails miserably; however, the illogic and ineptitude which define this production make it a collector's item for those who savor Grade-Z gems like this one, a masterpiece of pure poverty-row hackery. As bad as it is, it deserves one star for the sheer nerve required to film and release it. ... Read more

Reviews (5)

Part comedy, part horror, completely ridiculous
Scared to Death is a bad movie, a really painfully bad movie, yet it is not wholly unwatchable (although I daresay I will never watch it a second time). This film is the only color movie Bela Lugosi made, and that is about the only good thing I can say about it. Lugosi was only slightly past his prime in 1947, but his acceptance of a role in this ludicrous waste of celluloid is a sure sign of the problems that plagued him in his final years. At times, he is almost a caricature of himself, running around in a black cape reminiscent of his Dracula attire. In his role as a hypnotist with an unsavory past, he is rather inexplicably accompanied by the same dwarf featured in The Corpse Vanishes-I have no idea what his diminutive associate has to do with this film, though, because he is basically forgotten by the screenwriters, the cast, and the audience halfway through the action.

I will say very little about the plot (such as it is) of this film. The movie starts in an autopsy room, and the corpse of a young lady on the slab serves as the narrator of events; throughout the movie, the music is cut awkwardly cut off and on around return shots of the cadaver, which is most annoying. The whole film suffers from horrible editing. What I found most bothersome about this movie was the fact that the moviemakers apparently couldn't decide if they were making a horror movie or a comedy. There are some horror elements here-a mysterious, unexplained death, the repeated appearance of a figure wearing a green mask outside the windows, a few blows delivered to unsuspecting heads, and the very appearance of Lugosi on the cast list. Then again, the dim-witted family of the deceased, the stereotypical, nosy reporter and his airheaded lady friend, and the shameless antics of the private cop on the premises all come together to make sure the film comes off as utterly foolish. The cop is sort of funny for awhile, but his act gets unbearably tiresome long before the magical and long-awaited words The End appear on the screen.

It's almost impossible to explain this movie; it's one of the most ridiculous films I have ever suffered through. I think the only people who might get a single ounce of enjoyment out of Scared to Death are devoted Bela Lugosi fans such as myself. Even we have to grin and bear it for over an hour, though, as this film represents one of the nadirs of Legosi's career. At least I can take some comfort in the knowledge that Legosi was made to look less foolish than all of his fellow cast members.

Caveat Emptor!!
Buyers should avoid the Republic version of this film, which is sheer butchery. It has been severely edited (the entire opening sequence has been removed), and the original color has been replaced with "digital color", which means that it has been "colorized", with predictably poor results. There are better versions out there, so don't waste your time and money on this hackneyed mess.

Lugosi has hit the cinematic abyss with this one
It's known that Bela Lugosi suffered from heroin addiction as well as mental instability, and if anyone ever had any doubts they would only have to watch this stinker to be wholeheartedly convinced. Granted, due to his drug and mental problems, financial difficulties, declining stardom and lack of A-list parts, he didn't have much choice--but it's still disheartening to see the once-great star sink to this level and even worse later, in his infamous association with the equally notorious Ed Wood ("Glen or Glenda?"). The story unfolds in flashback using the bizarre framing device of a female corpse lying flat on her back on a morgue slab recalling the queer events leading up to her death. In a prime example of horrible miscasting, this pivotal role is played by some unknown actress named Molly Lamont--although referred to in the movie as "beautiful" she's homely with her harsh features and pinched face, and is obviously about 15 or so years too old for the part, or at least looks it! Her character Laura Van Ee is a cold and difficult woman who has made an enemy of her father-in-law Dr. Josef Van Ee (George Zucco, who looks like Albert Dekker in "Dr. Cyclops" with his ridiculous bottle-cap spectacles)--a fatal mistake, for he enlists a strange and mysterious hypnotist to deal with her. Lugosi plays hypnotist Leonide, and appears in typically campy fashion when he arrives wearing an overly dramatic black cape in a cheap and obvious attempt to capitalize upon his long-ago "Dracula" fame, and with his faithful midget sidekick Indigo in tow. Eventually they uncover Laura's shameful secret past and when confronted in a highly ominous "re-created" setting with these revelations, she is literally "scared to death"--hence the simplistic yet catchy title. These revelations at the end I won't reveal so as not to be a spoiler, except to say what a convoluted, muddled mess of an explanation it is! Providing lukewarm comic relief is a bubble-brained, inept detective (Nat Pendelton), his pathetic pursuit of the Van Ee's wisecracking maid (Gladys Blake), and the equally bubble-brained girlfriend of the detective's rival. As if the campy acting, throwaway script, seemingly nonexistent direction, forced gags and weak situations weren't enough, add to the mix the weird music and ghastly colors--this has the distinction of being Lugosi's only color film, but it's a dubious distinction given the appallingly garish hues. Take my advice and don't waste your time or money since there's absolutely nothing of redeeming value here--strictly for hard-core Lugosi fans, fans of so-bad-it's good movies, or if you have nothing better to do with your time!

For determined Bela Lugosi fans only.
Bela Lugosi, the ultimate low-budget grim ghoul, stars in this mild mystery thriller. It is an unusual chance to view Lugosi working with George Zucco. The opportunity is mostly wasted by the script. Zucco, behind over-sized glasses, looks like an owl with indigestion. His interaction with Bela is limited. Lugosi first appears wearing his Dracula cape, complete with crimson lining. Angelo Rossitto, Bela's familiar poverty row homunculus, tags along side. Lugosi grimaces his way through his part. The movie is slightly redeemed by the comic relief of Nat Pendleton as a dim-witted private detective. The plot is a confusing muddle of betrayal, murder, and revenge, told by the dead woman herself! How she manages this astonishing feat of cognitive discourse after death is unknown. The usual low-budget trappings of secret panels, mysterious faces at windows, and secret crimes of the past are present. Other people who comment on this film usually note that it is Lugosi's only appearance in a color movie. More than that, it sadly illustrates Bela's downward career path that eventually led him into the clutches of the infamous Ed Wood. See it, if you must, but tread carefully. ;-)

More confusing than scary
For devotees of "bad movies," this film is a must-have. Despite the presence of horror-film stalwarts Lugosi and Zucco, this one is terribly boring, in large part because the plot is so badly muddled that it is virtually incomprehensible. By this time, both Lugosi and Zucco, despite their impressive acting talents, had become fixtures in third-rate horror features. In addition to the poor scripting and direction, the color is atrocious. It appears as if the entire film was carelessly thrown together, with no regard for continuity or plot progression, and is noteworthy only as Logusi's sole color film. As a serious drama, it fails miserably; however, the illogic and ineptitude which define this production make it a collector's item for those who savor Grade-Z gems like this one, a masterpiece of pure poverty-row hackery. As bad as it is, it deserves one star for the sheer nerve required to film and release it. ... Read more