O Estrangulador Assombrado

"Grip of the strangler" or "The Haunted Strangler" is a nice terror movie in which Boris Karloff is a novelist investigating a 20-year-old murder to his own cost who begins copying some of the killer's acts. Then , a series of grisly killings happening and an intelligent Police Inspector : Anthony Dawson investigate the strange events . Their wild beauty marked them for death by... The Haunted Strangler! Karloff King of Monsters in his new picture of 1000 Horrors ! Karloff King of the Monsters in his new Horror Hit !

Eeerie and frrightening story from a script by John Cooper and Jan Read , both of whom contributed efficiently to deliver a really riveting story in "Dr Jekill and Mister Hyde" style that involves a writer investigating an old murder case . Boris Karloff is awesome as the writer investigating past crimes resulting in fateful consequences . An effective and horrifying detective tale in which the great Boris Karloff plays masterfully a novelist who develops the homicidal tendencies of a long-dead murderer he's been writing about and eventually unravelling the mystery at a cemetery at last . This splendid film brought Karloff back to British films after 20 years away , from now on , Boris to play several English horror movies : "The Sorcerers" , "Curse of Red Altar" and other countries as Italy : "Black Sabbath" , Spain : " Cauldron of Bood" and Mexico : " Cult of the Dead" , : The Incredible Invasion" , "Fear Chamber" . For the ocassion Karloff , without makeup , puts weird faces , twisted gestures and terrific manners , causing a deeply creepy impression . Karloff is very well accompanied by a good support cast , such as : Elizabeth Allan , Jean Kent , Tim Turner Vara Day and special mention for Anthony Dawson as police Inspector Burk .

There's a magnificently atmospheric cinematography , heightened by professional cameraman Lionel Banes providing vivid black and white photography . This literate terror thriller was competently directed by Robert Day . This British director was a good artisan who made all kinds of genres as adventures , thriler , terror , such as : "The Big Game" , " Corridors of Blood" , " Click and the dead" , "Initiation of Sarah" , "Man with Bogart's Face" , " Grass is always Greener over the Septic Tank", "She" , "The Way Stretch" . Furthermore , he made TV series episodes from Dallas, Disleyland , The Sixth Sense , Ghost story , Sam Cade , Matt Lincoln , The Bold ones , Ironside, FBI , The Invaders The avengers , among others .

Having been - as was the case with THE TIN DRUM (1979) - the one to 'announce' several years ago the re-release on DVD of 4 Richard/Alex Gordon productions through Criterion on another online Forum (after writing to Image Entertainment to see if their bare-bones OOP editions were going to be re-issued), this set has been a long time coming indeed! As some of you may know, I'd never watched this one prior to purchasing the expensive "Monsters And Madmen" set - or, for that matter, its follow-up CORRIDORS OF BLOOD (1958); however, I knew enough of their reputation as two of Boris Karloff's best latter-day films to make me spring for them regardless.

To be honest, as I lay watching THE HAUNTED STRANGLER, I was somewhat let down by it and my heart actually sank when, in the Audio Commentary, both Richard Gordon and Tom Weaver opine that they prefer this one over CORRIDORS OF BLOOD! Still, going through the film twice in a matter of hours can sometimes work wonders: at first glance, it's a handsome-looking yet rather lurid film - reveling in the permissiveness of the time to include as many (often gratuitous) instances of sleaze and sadism as it possibly could; in that respect, it's similar to THE FLESH AND THE FIENDS (1959) - incidentally, another well-regarded title I had long wanted to watch and been underwhelmed by on a preliminary viewing.

The film actually precedes Hammer's DR. JEKYLL AND SISTER HYDE (1971) in that it mingles the Stevenson perennial with the equally popular exploits of Jack The Ripper; to these it attaches a thriller angle by having Karloff act as a detective investigating an old series of murders, ostensibly to prove a miscarriage of justice, but whose repercussions are far worse - to say nothing of closer to home - than he could have imagined (itself an oft-used device as in, say, THE BIG CLOCK [1947])! While I knew of the twist from reading about the film beforehand (and which is actually revealed fairly early in the game), I feel that it doesn't quite work here because, for one thing, the star was simply too old for the role (though I'll readily admit that he entered with glee into its quite physical attributes, even coming up with the economical make-up design himself!) but also because the character's mental condition and its effect on his backstory is conveniently kept under wraps until the revelation (when it should, at least, bother him equally as much as wanting to prove the innocence of an anonymous and legally convicted serial-killer). Incidentally, though strangulation is involved in the crimes, the film's title is somewhat misleading because it's the scalpel which sets the 'monster' off and, for this reason, the U.S. moniker is rather more accurate!

Anyway, one of the film's major assets is surely Lionel Banes' black-and-white cinematography; the second half of the narrative, then, creates reasonable suspense and excitement with the scenes involving the rampaging 'monster' and his ultimate identity crisis. In the end, I wouldn't really classify THE HAUNTED STRANGLER as one of the star's very best vehicles - but it's undoubtedly among the more satisfying from his later work that I've watched (along with THE RAVEN [1963] and TARGETS [1968]).

The DVD supplements are very adequate: the Audio Commentary featuring genre authority Tom Weaver and the film's producer Richard Gordon (with interjections from his late brother/partner Alex) is especially interesting - apart from the privilege of having Weaver and the two Gordons name their 3 favorite Karloff pictures, amongst many other things I learned that Boris once almost worked with Edward D. Wood Jr. (and Bela Lugosi and Lon Chaney Jr. to boot) on the project which eventually became BRIDE OF THE MONSTER (1955)!

A researcher (Boris Karloff) investigating a notorious serial killer who was hanged 20 years earlier seemingly becomes possessed by the long dead strangler.

I love that this film was given the star treatment by Criterion. It's definitely not one of the better-known Karloff films, which is a bit of a shame, because it's at least as good as anything he did for AIP. Maybe horror fans need to pay more attention to Criterion.

The simplicity of the transformation is great. Apparently the originally script called for more of a "possession" angle, and then it developed into more of a physical thing -- sort of Jack the Ripper meets Jekyll and Hyde. And Karloff nails it. By simply taking out his dentures, he successfully plays two very different people.

... or did he? Ever? In 19th century England Edward Styles, a one-armed man, is being hung, for the murder of several women, with a large crowd watching. Who thinks watching an execution is entertainment anyways? But I digress. Styles is professing that he is innocent up to his death. He is buried in a lonely prison yard grave.

Fast forward twenty years and novelist James Rankin (Boris Karloff) is revisiting the Styles case to prove that if he had an attorney provided he would have likely been acquitted. He is trying to get this policy - the crown paying for an attorney for indigent defendants - to become law in England and use the Styles case as an example. After some digging - and some of that literally - he determines that the case against Styles was not only weak, but that the evidence points to a doctor who did the autopsy on Styles, was at his burial, and was the doctor present when the strangler killed all of his victims. He tries to find this man but his trail goes cold.

As for the rest of it, it has such a unique premise that I will say no more. Karloff is the best thing about this film, and the rest of the actors just seem like props around which he performs. It has great atmosphere, and I can really only say one bad thing about it. That one bad thing is that the scene at the bawdy music hall where The Strangler killed one of his victims is long and tedious. There actually is an entire musical singing number by one of the actresses and it just bored me. It would have been better if Karloff had just asked his questions, and maybe given you a feel for the place, and then have the movie just leave that place never to return.

Some people have asked why Boris Karloff never played a serious version of "Dr. Jekyll and Mr. Hyde" . Well, here it is, even though it is in the form of some "Dr. Tennant / Hyde-like strangler" duality. Once again, Boris Karloff plays the "monster" and like Mr. Hyde in the previous films, he plays a man who degenerates to a rampaging animal which lives to kill. Also like Mr. Hyde, the transformations to the lower form seem to be based on some sort of sexual repression that bursts out in the form of savage attacks on women. In addition, like the "beast" in the "Dr. Jekyll and Mr. Hyde" films, whether one is watching Fredric March, Spencer Tracy, or John Barrymore, the transformation from man to the lower animal state gets uglier with each change. Another thing, the graveyard scenes in the movie are really creepy - kind of a throwback to films such as "Frankenstein", "Bride of Frankenstein", "Return of the Vampire", and "The Body Snatcher". Even though the plot has some strange twists, this is one of the best post-Universal thrillers starring Boris Karloff - one of the last in which he plays both the monster ("Mr. Hyde") and the mad doctor (Tennant). (Karloff did the same thing in "Frankenstein 1970" in which he played both creator and created.) Great hair-raiser.

Watch it in the dark.

Dan Basinger