The Black Cat

This early horror film concerns Dr. Vitus (Bela Lugosi) and a couple having an accident . They find shelter into the impressive mansion of architect Poelzig (Boris Karloff) . He built it over the corpses of thousands of dead people in a horrible war whose commander was Poelzig . Karloff followed his success in Frankenstein movie with the title role in this low budget terror classic about the leader of a band of devil-worshippers who wants to steal a gorgeous young woman (Jacqueline Welles : Julie Bishop) from her new husband (David Manners of The mummy).

The movie provides genuine chills , suspense , mystery and is rich and dark , although ludicrous at times . It's an exciting ,bizarre film skillfully paced by Edgar G. Ulmer and results to be one of the most unusual horror film ever made and certainly one of the most unsettling. Suggested by the immortal Edgar Allan Poe novel of the same title which was filmed like as one episode ¨The Black Cat¨ into the ¨Tales of terror¨ by Roger Corman and with Vincent Price and Peter Lorre , however here bears absolutely no resemblance . This gem features sets and production design with standards usually found in movies made by the major studios . The rousing mansion , lounges , rooms get an art nouveau and modernism style , besides the satanic mass is developed in a surrealistic scenario. Art director achieves some remarkable tableaux that could be removed from the movie and hung in art galleries alongside the work of famous painters . A minor classic with outstanding performances from Karloff and Lugosi in their first of many pairing. The picture is today deservedly considered a cult favorite thanks the distinguished teaming.

I can't imaging how this movie would have been without both Bela Lugosi and Boris Karloff, probably very very bad. The chemistry between the two is amazing.

This is one of those movies in which the story absolutely doesn't matter. The story is totally absurd and very simple (The black cat storyline has absolutely nothing to do with the movie and serves no purpose at all) but yet that is what maybe makes this movie extremely fun and easy to watch.

Watching this movie made me realize something; Bela Lugosi actually was a very good actor that was ahead of his time. The way he delivers his lines and his eye for details shows that acting was a great passion for him. Yes I think I can now be considered one of his fans.

Another great thing were the sets that were wonderful and even now 70 years later they still look very modern.

Don't expect a movie with ghouls and monsters, it rather is more fun to watch then it is scary and the Lugosi/Karloff combination is what makes this movie a real classic.

7/10

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Travelling across Eastern Europe, Peter and Joan Allison meet Dr Werdegast on the train. When the bus taking them to their destination crashes, the Allisons go with Werdegast and stay with him at the foreboding castle of Hjalmar Poelzig. However the Allisons find themselves in danger when it becomes apparent that Werdegast and Poelzig have a deadly history with each other.

Although it carries the title of his book and a credit for him on the titles, this film has little to do with Poe's work. In fact, in terms of plotting, it owes very little to anybody because, aside from the actual set up, the plot just goes all to hell very quickly. The set up is interesting and I wanted to know more about the history between these two men, then there is the thing about the black cat and Werdegast, not to mention the fact that Poelzig seems to be very interested in reading about satanic cults! However, none of this is really fully explained - this is partly due to the short run time and so much material, but it must also be blamed on the film not having a strong focus other than atmosphere.

The film still works well as the plot crumbles, but it is a little unsatisfying as it leaves so many half stories and unanswered questions. What it does do well though is atmosphere, the direction is cheap but effective and the lighting works wonders in a cheap set! The cast also contribute to this focus on atmosphere (or style) over plot (or substance). Karloff overdoes things, but he overdoes them very well! There is no real need for him to be as ominous as he is at the start but it is what we have come to expect from him. Lugosi may have tarnished his reputation towards the end of his career, but he is good here. It's hard not to laugh when seeing him convulsed with fear over the cat but he plays it well for the most part. Manners and Wells are both OK but are very much the onscreen representation of the audience and simply have to act shocked by everything and run away lots!

Overall this is a good film but only because of the atmosphere and the influence of two legendary stars in the cast. The plot had potential but not enough time is allowed for it to be explored and the focus is more on the atmosphere than the construction.

I won't comment about the acting or plot -- there's plenty of that here already. What I'd rather do is call attention to the visuals -- the cinematography, lighting, costuming, and especially the set design.

Normally, horror films take place in ancient settings -- crude medieval fortresses and rustic castles that are dark, cluttered and gloomy. But this one is set in a perversely utopian sci-fi fantasy -- the clean lined, impeccably detailed, generously glazed modernistic and (usually) radiantly lit white-and-silver upper floor interiors of the house.

The lower floor is an expressionistic prison, also clean lined, but still dungeon-like with its windowless walls of exposed board-formed concrete. An elegant steel spiral staircase connects the two, and the angular expressionism reaches its culmination in the chamber used for the black mass.

Karloff's costumes recall Oskar Schemmer's Bauhaus-produced work -- angular, broad-shouldered, narrow-waisted and elegant. Even the haircut of this man of the future in sharp and angular. His character is an engineer and architect and is given the name -- Poelzig -- of a famous expressionist German architect and film set designer of the time, who was a colleague of the director on an earlier film. The elegant futurism in carried down to the detail level, including a digital night-table clock and an abstract chess set. Much of the genius of this movie is that it breaks the horror-movie visual mold, and floods it with light, creating a fascinating tension between plot and setting.

There's a lot of story to tell in about 65 minutes, so this movie could be considered perhaps a bit incoherent. But the larger themes -- revenge, lust and innocents caught in the grip of forces beyond their sheltered experience -- have been central themes in horror tales for centuries.

Karloff is a delight as usual, and there are many fine details to his performance -- including a brief but outrageously lustful stare at the half-dressed young wife of the innocent couple and the strangely gentle way his brutal character handles a cat. (Nice tall, dark and handsome kitty in the title role, for the cat people.)

And this movie also shows once again that Bela Lugosi was a better actor than he ever got credit for. He handles his overwrought dialogue with taste and good cheer, and he's a marvel. And he even gets to speak a few rare lines of Hungarian here.