The Brain

Yes, Freddie Francis had used us to so many excellent horror yarns, that this one - another version of Curt Siodmak's DONOVAN'S BRAIN - could not bring anything new to the prestigious career of this director, the only one that could be compared to Terence Fisher; even more than Roy Ward Baker or John Gilling, in terms of horror Hammer or Amicus Productions. But it is OK; a good time waster, thanks to Peter Van Eyck's performance. So, don't despise it either, but if you have the choice among Freddie Francis' filmography choose PARANOIAC, NIGHTMARE, HYSTERIA, and all the Amicus productions such as DR TERROR'S HOUSE OF HORROR.

Back in 1944, Hollywood produced "Lady and the Monster". Not even a decade later, they remade the film as "Donovan's Brain". Now, less than a decade after that, the British remade the film yet again as "The Brain"! I've seen the other two films and decided to see if the British version is any better. And, after seeing it, I am not sure I'd say it was better...more very different.

Dr. Corrie (Peter van Eyck) is one of those researchers whose humanity and ethics take a back seat to his research. He's been working on trying to keep brains alive after the rest of the monkey has died and he's longing to try his experiments out on humans. Soon, an opportunity practically drops in his lap when an airplane crashes nearby. Everyone on board is dead or dying and the one living victim is nearly dead. So, Corrie decides to try out his experiment and he ends up keeping the brain of a cruel industrialist alive.

This brain apparently is from a man with a strong will, as soon it begins controlling Corrie and makes him investigate the airplane crash. Soon, folks are alarmed that Corrie keeps declaring that it was murder and that he seemed to know details of the case he shouldn't have known. How long until the murderer decides that Corrie is a liability and needs to be gotten out of the way?

This film, unlike the other two, is less a horror film and more a murder mystery. Van Eyck's acting is very nice and the story held my interest. Very good and different enough from the others that it's still worth seeing.

By the way, the prop brain they used in the film was too big...more like an elephant's brain than a human one!

While 'Donovan's Brain' wasn't the first movie version of Curt Siodmak's sci fi shocker, it is by far the best known and best remembered of the three adaptations (so far). As a corny but entertaining b-grade movie it is hard to beat, and wonderful fun. 'The Brain', an overlooked German/English remake, doesn't try to outdo it, it instead approaches the source material in a very different way. The sensationalistic thrills and mind control horror of the 1953 movie are replaced by a calmer, more atmospheric style which adds a mystery element not seen in the earlier version. The basic premise is the same (though the names have been changed). This time around the scientist experimenting with keeping monkey's brains alive outside the body is played by Peter van Eyck ('Wages Of Fear'). He is assisted by his beautiful wife (well, I think it's his wife) Ella (Ellen Schwiers, who is positively stunning, and a lot easier on the eye than Nancy Davis!), and his trustworthy alcoholic sidekick (Bernard Lee, 'M' of James Bond fame). Once again a plane crashes nearby and the sole survivor is taken back to their lab. Once again the man cannot be saved but the scientist decides to keep his brain. As in 'Donovan's Brain' the brain survives and begins to exert control over the scientist. But it isn't in the same way, it is much subtler, and instead of domination, the brain wants something else - justice. For in 'The Brain' the millionaire has been murdered, and most of his family and associates are suspects. This interesting twist, plus the superior cast, makes this movie a rarity - a worthwhile remake. However, I wouldn't go so far as to say it surpasses the earlier movie. It is less silly and more intelligent, but not necessarily more entertaining. I enjoy both movies in different ways, and recommend them both.

There's a certain class of genre flick, seen especially but not exclusively in the 40s or 50s, that ably presents ideas of horror and science fiction but is less able to evoke any strong feelings about the material. Such fare can still be enjoyable on its own merits provided that one is receptive to genre elements that are more thematic than they are actualized. Even with iconic director Freddie Francis on board, I don't think there's much mistaking that 1962's 'The brain' can be described in such terms. We're treated to notions of unsanctioned experimentation, consciousness separated from corporeality, metaphysical communication and manipulation, and questions of identity and ethics - in addition to, of course, murder. And all of it is made to be scarcely more compelling than if we were reading the screenplay itself. I do actually like this, but it definitely reflects a more restrained sensibility of film-making that somewhat limits its potential and the size of its audience.

Or maybe we modern viewers are just too cynical and jaded, or so desensitized to ever-increasing intensity and violence that the storytelling older titles have to offer just can't faze us. After all, there's a delightful aspect of mystery to the proceedings as protagonist Dr. Corrie undertakes an investigation of sorts into the death of millionaire Holt. All those notions that comprise the genre elements do come to bear at different times, to different degrees. Between the effects and art direction, the admirable acting, some smart scene writing and dialogue, and Kenneth V. Jones' music that accentuates select beats, the creepy edge of the story does lightly shine through, and the greater vibrancy that some moments bear. Why, one way or another some scenes are kind of brilliant, and there is much to appreciate here on its own merits. 'The brain' is well made in every regard, including not just those facets I've already mentioned but also Francis' direction, Robert Huke's cinematography, and Oswald Hafenrichter's editing.

While Bernard Lee(!) is the cast member who enjoyed the most broad visibility, Peter van Eyck's role as protagonist Corrie easily gives him the biggest spotlight, and he takes fine advantage of it to illustrate his skills. That's hardly to count out the other actors, all of whom capably help to bring the tale to life. There is perhaps a point to be made that the picture mostly carries itself as a fairly straight crime thriller and mystery, with noir tinges, and the titular organ and subsequent story ideas are just flavoring. Moreover, even at under ninety minutes, it starts to feel before it's all over as if the whole experience has run a little long. Be that as it may the narrative is compelling, with splendid scene writing - and the reveals at the climax, and the ending, are unexpectedly gratifying. No matter how you look at it this is no exemplar by any standard, and it's nothing one needs to go out of their way to see. Modern viewers who have a harder time engaging with older flicks can probably just pass this right on by. Still, 'The brain' is suitably entertaining, and if you do have the chance to watch, it's not a bad way to spend a quiet afternoon.

One of my sci-fi/horror/fantasy reviews written 50 years ago: Directed by Freddie Francis; Screenplay by Robert Stewart and Philip Mackie, based on Curt Siodmak's novel; Produced by Raymond Stross as a British-German co-production for Raymond Stross Productions and CCC. Released in America by Governor Films. Photography by Bob Huke; Edited by Oswald Hafenrichter; Music by Kenneth Jones. Starring: Anne Heywood, Peter Van Eyck, Bernard Lee, Cecil Parker, Jeremy Spenser and Maxine Audley.

British remake of "Donovan's Brain", with an all-star cast. Suspenseful horror-mystery film in which a dead man's brain is kept alive and seeks to uncover the murderer of its body. One of many overlooked fine movies made by the adventurous team of Anne Heywood and her husband Raymond Stross.