When I'd first viewed this as part of my effective introduction to the other Universal Studios horror classics, my initial reaction was pretty much along the lines of, "Whunh?" Talky, not in the least scary or even teasingly explicit, and where were the monsters?
A little further on I'd asked a sage who in hindsight resembled Bill D. Cat and loved the odd turn of phrase for his opinion on the movie. "Aah, yes," he answered, "a movie that desperately tries to show you what it isn't and not show you what it truly is." "Ooooookaaaaaay," was my then-youthful yet studied response.
Fast forward some decades and a relatively unimpeded view of a far cleaner print. I don't think I can spoil this movie for you even if I wanted to. But, perhaps with the benefit of hindsight, I'll offer the following for the uninitiated.
Bela Lugosi is outstanding. In the blink of an eye he transitions from "I vahnt you" to someone sympathetic, susceptible, and vulnerable. This takes chops (no pun intended), and here you see them all.
Boris Karloff plays a character who is, in the simplest meaning of the word, a sadist. I get the distinct impression he himself didn't like the role, but consummate professional and studio-contract player that he was, Karloff delivered the goods, sometimes like a cat.
The plot is incidental but keeps you involved and has just as much as it takes to disturb you but not compel you to know more. The production design is a cross between German Expressionism, American Art Deco and downright Dada. The musical score is indeed Name That (Classical) Tune with more than a little Schubert. And other reviews correctly point out that the Motion Picture Production ("Hays") Code was just then getting enforced across the board.
So, if you've not viewed this, or not viewed this in quite the while, have something vinous handy and keep the ambient lighting low but full-spectrum. Here there be monsters.
A little further on I'd asked a sage who in hindsight resembled Bill D. Cat and loved the odd turn of phrase for his opinion on the movie. "Aah, yes," he answered, "a movie that desperately tries to show you what it isn't and not show you what it truly is." "Ooooookaaaaaay," was my then-youthful yet studied response.
Fast forward some decades and a relatively unimpeded view of a far cleaner print. I don't think I can spoil this movie for you even if I wanted to. But, perhaps with the benefit of hindsight, I'll offer the following for the uninitiated.
Bela Lugosi is outstanding. In the blink of an eye he transitions from "I vahnt you" to someone sympathetic, susceptible, and vulnerable. This takes chops (no pun intended), and here you see them all.
Boris Karloff plays a character who is, in the simplest meaning of the word, a sadist. I get the distinct impression he himself didn't like the role, but consummate professional and studio-contract player that he was, Karloff delivered the goods, sometimes like a cat.
The plot is incidental but keeps you involved and has just as much as it takes to disturb you but not compel you to know more. The production design is a cross between German Expressionism, American Art Deco and downright Dada. The musical score is indeed Name That (Classical) Tune with more than a little Schubert. And other reviews correctly point out that the Motion Picture Production ("Hays") Code was just then getting enforced across the board.
So, if you've not viewed this, or not viewed this in quite the while, have something vinous handy and keep the ambient lighting low but full-spectrum. Here there be monsters.