User reviews

Although I did like my two viewings of Felix E. Feist's 1953 film version of Curt Siodmak's DONOVAN'S BRAIN (with Lew Ayres and Gene Evans), somehow I have yet to acquire it for my home video collection; besides, I am also familiar (from an age-old Italian TV screening) with the later Freddie Francis version entitled VENGEANCE aka THE BRAIN (1962) where Peter Van Eyck and Anne Heywood had the leading roles. What I did acquire very recently, however, is the even rarer original version directed by the reliable George Sherman and starring the great Erich von Stroheim, Contrary to expectations, the latter is neither the monster of the title nor (for the initiated) the man taken over by the dead financial wizard's brain; that unlucky guy is Richard Arlen – the hero of ISLAND OF LOST SOULS (1932) no less – who, as Stroheim's unlikely assistant in his underground experiments, gets to become even more obsessed with their celebrated cerebral specimen than his crazed mentor! From the rest of the cast, Vera Hruba Ralston may have later become Mrs. Herbart J. Yates (when she married the head of Republic Pictures, the studio behind this film) but, frankly, she brought very little to this particular film; on the other hand, it was nice to see Sidney Blackmer – best-known for portraying Adrian Marcato in Roman Polanski's ROSEMARY'S BABY (1968) – albeit in a supporting role of the suspicious attorney. Incidentally, the sequences depicting the blooming romance between Arlen and Ralston and those between Blackmer and Donovan's wife can mostly be written off as mere padding; small wonder, therefore, that the film was shorn of 19 whole minutes (cut down from 86 to 67!) for a later re-release…not to mention being saddled with the highly ludicrous (and utterly misleading) alternate titles of TIGER MAN and MONSTER AND TIGER MAN!! Speaking of titles, despite the sheer similarity to the earlier Paramount horror entry THE MONSTER AND THE GIRL (1941), as can be gleaned from my own reviews of both films, they have nothing whatsoever in content (other than being of the same era and genre). Despite these flaws, I generally liked the film more than I was expecting to and that fact is mostly down to two simple factors: the presence of Erich von Stroheim in front of the cameras and that of celebrated cinematographer John Alton behind them! Even though the quality of the copy I acquired was fairly fuzzy at best, Alton's atmospheric lighting came through just the same – particularly during the atmospheric laboratory sequences and the eerie scenes showing Arlen's 'possession'.

1944's "The Lady and the Monster" was among the few Republic examples of the horror genre (serials and outdoor pictures were their bread and butter), unfortunately tainted by the godawful presence of Czech skating star Vera Hruba Ralston, sweetheart and later bride of studio president Herbert J. Yates, who spent 14 years spending extravagant amounts on her box office failures until the Poverty Row outfit finally collapsed at the same time as RKO. This was the first of three adaptations of the 1942 novel "Donovan's Brain," the first penned by screenwriter Curt Siodmak, so popular that he conceived a 1968 sequel called "Hauser's Memory," earning its lone adaptation as a 1970 TV movie, followed by 1991's "Gabriel's Body." The original title graced the 1953 version with Lew Ayres, while the second remake, 1962's British-German "Vengeance," was branded "The Brain" for American audiences. Yates only decided on the final moniker to signify Vera's importance to this initial screen version (no relation to George Zucco's "The Monster and the Girl"), shooting titles including "The Monster," "The Monster's Castle," "The Monster and the Lady," and "The Brute" (a later reissue earned yet another title, "The Tiger Man"). When cutting away from the intrigue to return to her attractive yet superfluous character the film only grinds to a halt, spending the entire first half on exposition before finally getting down to business. Erich von Stroheim enjoys one of his best remembered leading roles as Dr. Franz Mueller, whose isolated home outside Phoenix is an impressive castle where he conducts experiments on the brains of animals to see how long they survive when the body is deceased. Just as he and assistant Patrick Cory (Richard Arlen) pine for the use of a human specimen a nearby plane crash claims the life of renowned financier William H. Donovan, perhaps the most distinguished brain that any mab lab could want, pronounced dead by the local coroner to allow easier access to what lies inside the skull. Only at the midway point do we finally receive the novel's plot in more detail, Cory (the actual protagonist on the written page) encouraged by Mueller to continue the experiment through a telepathic link, sending the unwitting guinea pig west to Los Angeles to try to free a convicted killer from federal prison. Also taking an interest in Cory's every move are Donovan's scheming attorney (Sidney Blackmer) and faithless wife (Helen Vinson), left penniless by her husband's cleverness, multiple bank accounts set up only by an odd signature. The mystery holds up until the finale, where Cory explains all in a sadly perfunctory dialogue session, Mueller receiving his comeuppance from an unexpected source.

THE LADY AND THE MONSTER is the first version of Curt Siodmak's often filmed novel "Donovan's Brain". This first version is largely forgotten, and those that recall it usually dis-miss it as inferior to the 1953 version DONOVAN'S BRAIN with Lew Ayres. While the 1953 version is superior in almost every way, THE LADY AND THE MONSTER is still an entertaining, atmospheric 1940's thriller.

The plot is basically the same, but in this version the living brain of Donovan possesses the mind of scientist Richard Arlen to clear his illegitimate son who has been wrongly convicted of murder. The brain also wants to get revenge on his daughter, whom is just as money hungry and ruthless as Donovan was in "life." Even though Donovan's goals are good, his disembodied brain is still ruthless; he orders the possessed Arlen to kill a girl who gave false testimony at his son's trial.

We can always tell when Donovan is about to possess Arlen, the lighting and Arlen's make-up changes. The 1953 version employed no such tricks, and relied entirely on the acting skills of Lew Ayers. (See my entry on that version). Erich Von Stroheim plays the elder scientist, and as with any film he was in, he was always a commanding presence. There are hints of him having an unhealthy infatuation with Vera Ralston, but this doesn't lead anywhere.

Overall, LADY AND THE MONSTER isn't as good as the later 1953 version, but it is still a decent 1940's horror thriller.

Science fiction/horror from Republic Pictures and director George Sherman. Dr. Patrick Corey (Richard Arlen) and Professor Franz Mueller (Erich von Stroheim) are conducting scientific experiments involving the preservation of life and the mind. When they get the chance to test out a new preservation process on the brain of dying millionaire Mr. Donovan, they take it. They manage to keep his brain alive in tank filled with liquids and electrodes, and soon the brain begins telepathically communicating with Dr. Corey, eventually taking over his mind completely as Donovan attempts to see to unfinished business.

I don't think that I'd ever heard that 1953's Donovan's Brain was a remake, but here's the original. It has some nice ambiance thanks to good set work and some interesting lighting. Von Stroheim seems born to play megalomaniac mad scientists, while leading man Arlen gets to stretch his limited acting chops in what is essentially a dual role. The film's biggest weakness is Czech ice skating champ Vera Ralston, making her lead acting debut. Her command of English was so poor at the time that she learned her lines phonetically, and she really seems to be struggling with her performance.

There is a completely misleading movie poster that made this film look like it was a vampire movie, probably because they were more popular with audiences at the time.

A short way into this film I realized that it is the same film that remade as "Donovan's Brain" (with Lew Ayers)--a very good movie. "The Lady and the Monster" is the original version of this story but based on the title you'd never know it--after all, there really is no monster in the film and it's not exactly a horror film...not exactly.

Erich Von Stroheim of all people plays the lead in this film. He's a not exactly mad scientist who has weird theories about keeping a brain alive after death--on the other hand, he sure ain't normal! He is a guardian for a rather hysterical young lady who is a bad actress (Vera Ralston--who was apparently sleeping with the head of the studio). And, he has an assistant (Richard Arlen) who can't make up his mind about the ethics of Von Stroheim's work.

One day, an actual human subject falls into Von Stroheim's lap, so to speak. There was an accident and he was called in to treat the victims--one of which was a rich and powerful man, Mr. Donovan. He and Arlen 'borrow' the brain when Donovan dies--unethical, sure, but probably not a bad thing...or is it?! The experiment turns out to be a great success--the brain is kept alive for many days. However, something weird happens--the brain begins to show amazing powers--powers to control Arlen and Von Stroheim!

As I said above, this isn't exactly a horror film. While it has some elements, the story is a but more understated and the scientists aren't quite mad enough to qualify it as a horror film. I think of it more as 'horror lite'. I enjoyed the film, for the most part, but also think the film needed a bit more polish and a few changes. The biggest problem was Ralston's character. Throughout much of the early part of the film she seemed really high-strung and went on and on about how horrible Von Stroheim was---even though he hadn't really done anything yet! It just made little sense--nor did her usual bizarre delivery of her lines. Apart from that the film was good but did seem to meander a bit here and there. As a result, and I RARELY say this, I really think the remake was a better film--and with a much more appropriate title.

Let's start with the great things. Direction and cinematography are top notch. Pacing is great, exciting. Fantastic Gothic atmosphere at the Castle. Set design and construction were superb; not just the stupendous Gothic castle and mad scientist laboratory, but the creamy art-deco nightclub straight out of a Fred Astaire/Busby Berkeley musical, and the fancy lawyer's office that oozed money. Gorgeous matte paintings and model work. Specialized lighting effects were used liberally and effectively. Good job to all those technicians on all their hard work.

Now to the bad things. Putting aside the way-out concept, I can accept that. After all, this is a science fiction story. But some of the writing is just atrocious. Badly phrased dialog abounds. And why a Gothic castle in the Arizona desert? What was that all about? And ye Gods, Vera Hruba Ralston is just a TERRIBLE actress. I don't see the appeal at all. She's not even really THAT pretty. Richard Arlen is a little stiff. Erich Von Stroheim is awesome at what he does, but certainly no one will ever praise him for his versatile range as an actor.

Yes, much less effective and respectable than the 1953 version, "Donovan's Brain." Check that one out first if you haven't seen it. This movie is a fun little low budget genre flick that does have some advantages to it, but it's certainly not hall of fame material.

The Lady And The Monster is a misnomer of a title in that no other world or unearthly creatures will be found here. The monster in this film is the brain of a malignant and vicious millionaire who is killed in a plane crash and has his brain removed by scientist Erich Von Stroheim. Von Stroheim and his assistant Richard Arlen put the brain in a saline solution and keep it alive with electricity. Just the brain mind you, they're not reconstructing human beings as Dr. Frankenstein was.

But Walter Donovan was a real piece of work even for a miser. He's got his assets carefully hidden so that wife Helen Vinson and her lawyer Sidney Blackmer don't know where they are. And he's got a son in William Henry in prison who doesn't know he's Donovan's kid.

In fact everyone has an agenda here. Vera Hruba Ralston who is Von Stroheim's nurse wants Arlen. But Arlen is taken over by the brain which through Von Stroheim's experiments has developed tremendous telepathic powers and as it grows stronger controls Arlen more and more.

This film is the first one based on Curt Siodmark's novel Donovan's Brain. It's been remade twice since. In the version with Lew Ayres in Arlen's part, the brain has a truly ambitious plan for world domination with stock and currency manipulation. Here the brain is just working on settling some old scores.

Just the fact that Von Stroheim is cast as the evil scientist meant that audiences knew exactly what to expect when they bought their tickets. He's his usual hateful self as he always was except in Sunset Boulevard.

The Lady And The Monster is one of Republic Pictures better products from the Forties, a real nice low budget thriller. By the way take note of Mary Nash as Von Stroheim's housekeeper. She's the one who saves the world from Donovan's Brain.

Erich von Stroheim dons his Mad Doctor/Scientist tunic once more in the first adaptation of the much-filmed Donovan's Brain, and finds that his reluctant assistant has become enslaved to the will of the brain they removed from the body of a ruthless industrialist. A strange mix of SF horror and Noir that is only fitfully successful. It isn't helped by the presence of Czech ice skater Vera Hruba Ralston, whom Republic head Herbert Yates was determined to make into a star even though she could barely speak a word of English and had to learn her lines phonetically.

Despite the title, there is no monster, unless you count Vera Hruba Ralston's horrific attempt at acting. Beyond that, this is a pretty good B-flick, the first filming of "Donovan's Brain."

Erich Von Stroheim plays a scientist (you know where this is going already) who experiments on animal brains ... and now he is looking for a human subject. So when a plane crashes nearby, he dispatches his assistant (Richard Arlen). Arlen finds one guy barely alive and takes him back to Erich's "Castle." The guy then croaks, and we find out he was a rich dude named Donovan. Stroheim manages to remove his brain and start the ball rolling. In short order, Arlen begins to get subliminal messages from Donovan, like "if you build it, he will come."

The film gets steadily better, and Arlen does a good job transforming himself into a ruthless scumbag. The effect is heightened by what I presume was a special kind of makeup reacting to the lighting, which brought out shadows under Arlen's eyes and gave him a menacing forehead. At times, I expected him to turn into a werewolf.

Ralston is pretty much along for the ride. She looks good, but she may as well have been a mannequin that the director rolled onto the set. Von Stroheim is remarkably sedate in his role, even though he apparently sleeps with a gun.

The film's weakest aspect is the unnecessary narration.

After four nights of trying to decipher a transfer from actual film to a home-made DVD, with dark lighting and noir-styled settings, my adventure into the world of "The Lady and the Monster" was finally complete. This suddenly became a very difficult film to discuss. With nearly 20% of the film being lost to a dismal transfer (actually a decent transfer for what was available, but difficult to experience the film as a whole), would I be able to fully understand the filmmaker's tones, themes, and characters to the fullest extent? Continuing my horror/mystery binge, the basis of this 1944 sleeper begins very simply with a mad scientist and a plan, but then, as the paranormal begins our story goes from the strange to the confusing. As our characters are asked to do more than just turn knobs and scream, their strengths and weaknesses become more prevalent on the screen. As our story becomes more sinister, the ability to contain opportunity slowly gets devoured. "The Lady and the Monster" then transforms from an original sci-fi storyline, to a chaotic mess, leaving you eager to see how the 1953 remake "Donovan's Brain" may have learned from these mistakes.

Perhaps it was the way films in the 40s were made, or maybe it was just the filmmaker's way of attempting to move the plot forward, but instances occurred in this film that seemed to carry no consequences. Easily our limpy mad scientist and his assistance were able to find a brain, confuse the local medical practitioner, keep the brain alive, hear thoughts, and perhaps solve a five year crime. Consequences were handed down at the end, but instead of reason it felt rushed and foolish. What begins as a film based on science fiction and horror, easily changes to this CSI-style of storytelling. "The Lady and the Monster" teeters on the border of noir and B-grade film-making. It felt like a hybrid, or a mistake by science gone horribly wrong. To begin, the hints given by Donovan's brain to help Patrick Cory (played devilishly by Richard Arlen) are executed well, making the viewer strain to hear what or where these planted words may take Cory. The switch from right to left handing writing seemed kitschy, but ultimately effective in witnessing the transformation. Alas, these were the only two "special effects" within the whole story, so they were used over and over and over again, making it fun to guess which of the two tricks would be used in each scene. It became tedious and boring to see any plot hurdles crossed by merely these two tricks. If it weren't for Arlen, his menacing face, this would have taken another four days to plow through. Secondly, the addition of Vera Ralston as not only the love interest, but also the damsel in distress was out of place. Perhaps Ralston couldn't control her character, discover her true-self, or maybe she just didn't feel like memorizing her lines, but each scene she walked into was dry and emotionless. Even as the tension builds, she is unable to give us a glimpse as to who Janice Farrell was; how she fell into this world, and why love conquered all. Finally, the ending was absurd. Stringing together several different ideas, none of which were developed at all, to give us a climax that was more based on the first half of the film than the second seemed random.

Despite my gruff nature towards Ralston and the repetitive nature of the film, the science behind this feature was actually…quite fun. The idea that a brain could be kept alive has been used in dozens of sci-fi films over the ages, and this was a uniquely new way to see it. Thinking of the infamous "The Brain that Wouldn't Die" made in 1968, one should question the originality of that story penned with the concept behind this one. The notion that, with a blank slate (aka mind), that the brain could control another person was exhilarating. While the execution wasn't up to par, it was enjoyable to see the science behind it. I also liked the cliché mad scientist known as Franz Mueller (played diabolically by Erich Von Stroheim), who fit into every mold created since this film. There were fun parts to this film, elements that were conceived as a good idea, but failed because ill-development and lack of detailed story forced it to go south. Parts were enjoyable, but "The Lady and the Monster" as a whole seemed to fail.

Overall, I liked certain elements to this film, but others just failed completely. The repetition of one idea failed, and the introduction to the millionaire's world as a "who-dun-it" instead of a straight forward sci-fi felt cheap. There were also huge bombs of twists dropped on us near the end without any warning to excitement. There were two moments I had to rewind to make sure that I didn't miss something earlier, because these plot twists came out of nowhere. "The Lady and the Monster" was enjoyable to watch once, but a second viewing would be overkill.

Grade: * ½ out of ****

A mad scientist called Professor Franz Mueller and his assistants keep alive the brain of a dead, crooked finance magnet called WH Donovan, who was killed in a nearby 'plane crash. However the brain has telepathic powers and takes control of scientist Patrick Cory. Mueller lives in a "castle" in the Arizona desert, the wind howls outside whilst inside his lab equipment buzzes and bubbles away, the sets are impressive and the camera work is good. Film noir, Gothic horror and science fiction. Erich von Stroheim puts in a good performance as Franz but the Lady, Janice, was played by Vera Rolston, originally from Czechoslovakia, she looks glamorous but her delivery of lines in English is quite wooden. I enjoyed this movie, despite being a bit plodding at times ,and would consider watching it again. The title is rather misleading, there is no monster as such, but that original poster artwork is very cool. This was the first filmed version of the novel "Donovan's Brain", on this basis I would like to see the others too.

I don't get into the "science" of these types of films or even begin to question things that might not make sense, but I simply found the movie not very engaging. It had a pretty good start, but after about half an hour it began to drag. The "hero" wasn't very appealing, and the less said about the leading lady, the better. (According to some of the comments she wasn't simply a terribly wooden actress with zero ability to deliver her lines with any conviction whatsoever, she was a non-English-speaker and reciting her lines phonetically... this perhaps explains her performance, but not why anyone would hire her in the first place.) By contrast, Erich Von Stroheim was very entertaining and perfectly filled the bill for a driven, slightly-demented German-esque scientist.

The narration present throughout almost the entire film suggests to me that the screenwriters could have done a better job... to have a disembodied narrator explaining what's going on from start to finish is intrusive and didn't help me to engage with the picture. Exposition kills pacing, and a well-written script will eliminate the need for it.

I would say "don't bother" unless you like Von Stroheim and would enjoy watching him chew a little scenery. He was easily the best thing about the film and I likely wouldn't have finished it if it weren't for him.

This amazing little Republic Pictures movie is awesome, because crazy, fun, incredible, thanks a lot to Erich Von Stroheim's presence in a role that seemed to have been made for him. And as far as I know this is the only science fiction movie that director George Sherman offered us. Maybe it is a shame, because it's not so bad for a western dude. I don't compare it with Felix Feist's DONOVAN'S BRAIN, because this kind of topic is not really my cup of tea, so I won't give my opinion to say which is the best. Both movies are from a Curt Siodmak's novel. Watch it mainly for Von Stroheim's character. But not only.

Based on the novel by Curt Siodmak, this solid, engaging feature from Republic Pictures spins a good yarn of psychological horror. Doctors Franz Mueller (Erich von Stroheim, "Sunset Blvd.") and Patrick Cory (Richard Arlen, "Island of Lost Souls") are experimenting with keeping brains intact & working even after the rest of a body has expired. One night, the body of tyrannical millionaire W. H. Donovan (who died in a plane crash) is brought to them, and their continued efforts result in Donovan "living" on after death to exert an enormous influence on Mueller and *especially* Cory. Unfortunately, Donovan was a patently *awful* individual who makes Cory do a bunch of sleazy things.

"The Lady and the Monster" is mainly notable for the superb performance by the handsome Arlen, who is able to make the complete personality change required by the script. You go from liking him to hating him (or, at least, feeling bad about his situation) in record time. I wouldn't say that the story, however, is a particularly *great* one, as its plot twists are easily guessable. But it still offers a decent amount of fun, with the cast delivering the goods. Von Stroheim, in particular, is a hoot as a classic mad scientist who will do pretty much *anything* to make sure the experiments carry on & succeed. The Czech-born beauty Vera Ralston ("Murder in the Music Hall") is less satisfactory, if undeniably sincere and quite easy to watch. What I enjoyed most about the story was that Donovan wasn't the only sleazeball on hand: there are other characters here acting out of pure self-interest.

Overall, good entertainment for people looking for a tale of science run amok. It's capably directed by George Sherman ("Big Jake"), who incidentally supposedly found working with Ralston to be so unpleasant that he quit working for Republic, out of fear that he would have to work with her again!

The same story was filmed again in 1953 as "Donovan's Brain" and in 1962 as "The Brain".

Seven out of 10.

After his career as a director ended in 1933 with the re-shot and heavily re-edited HELLO SISTER, Erich von Stroheim turned exclusively to acting where he was still much in demand. He had some good roles in the 1930s most notably in Jean Renoir's GRAND ILLUSION but by the early 1940s he was typecast as Nazi villains in movies like THE NORTH STAR (1943). One year later he returned to playing a mad doctor as he had done in THE CRIME OF DR. CRESPI back in 1935. The movie was THE LADY AND THE MONSTER and it was made for the same studio, Republic Pictures.

The story by Curt Siodmak , who wrote and directed 1940s monster movies for Universal, concerns the brain of a dead millionaire which is kept alive after a plane crash by a crippled scientist and his young couple assistants. Slowly the brain takes over the personality of the male assistant who is then compelled to carry out the dead man's evil plans. Instead of trying to stop it, von Stroheim keeps the brain alive "in the name of science" allowing its influence to grow. When it begins to threaten the female assistant, something must be done before it's too late.

Erich von Stroheim is his usual imperious self as the crippled scientist. Richard Arlen (WINGS, ISLAND OF LOST SOULS) plays the assistant who gets taken over while perennial Republic Pictures leading lady Vera Ralston is the endangered heroine. The film is beautifully photographed by Noir specialist John Alton and successfully directed by George Sherman. Although later remade as the better known DONOVAN'S BRAIN (1953) with Lew Ayers and Nancy Davis (later Reagen), this version is just as engaging. Seven years later von Stroheim would play the butler in SUNSET BOULEVARD...For more reviews visit The Capsule Critic.

Prof. Franz Mueller (Erich Von Stroheim) is experimenting with keeping the human brain alive after death. A nearby plane crash gives him the perfect test subject in a dying man named Donovan. Mueller and his assistant, Dr. Cory (Richard Arlen) plop Donovan's brain into a tank full of chemicals and strange, unexpected things start happening.

As you might have noticed, this is the original version of the story that would become the 1950's sci-fi classic, DONOVAN'S BRAIN by Curt Siodmak. Personally, I prefer this version, since it has a deeper story and more interesting characters. After all, it's hard to beat Von Stroheim practicing mad science!...

Lady and the Monster, The (1944)

** (out of 4)

Professor Franz Mueller (Erich von Stroheim) and his assistant Dr. Cory (Richard Arlen) are doing experiments on keeping the brain of an animal alive but they get their chance at a human one after a rich man named Donovan dies. They end up saving Donovan's brain but soon it begins to take control of Cory and sends him out to finish his bad deeds. Curt Siodmak's novel "Donovan's Brain" has been filmed countless times over the years and there have been even more rip-offs. I've never been a huge fan of the story because none of the film versions have really worked. This includes the first version, which is this Republic chiller that has a few good performances but sadly the end result just isn't all that good. One of the biggest problems is the incredibly slow pace by director George Sherman who never gets anything going. The entire movie runs 86-minutes but it feels nearly twice as long because we just get one boring sequence after another. A lot of the problems are long dialogue sequences that really don't add up to anything. This includes just about everything dealing with the dead man's widow who is trying to figure out where he late husband hid all of his money. The stuff dealing with Cory trying to close out various deals of Donovan's just don't work. Even worse is the silly love connection between Cory and another assistant (Vera Ralston), which really slows the movie down. It's funny to see that the movie would be re-released in 1949 but with nearly nineteen-minutes worth of footage cut out. I'm not one who supports studios cutting down movies but there have been many times where a shorter version helped and I'm going to guess that this is such a case. There are some good elements here and they're mainly the performances. I was really surprised to see how effective Arlen (ISLAND OF LOST SOULS) was. Not only was he very believable as the scientist but his turn as the bad guy was also well handled. The actor did a very good job at mixing the good and the bad and he certainly made the film much better. von Stroheim is also fun in his part, although at the same time you can't help but shake your head when seeing such a great talent playing in a film like this. Ralston is quite annoying in her part but perhaps that was on purpose. THE LADY AND THE MONSTER hasn't had a wide release since it first came out and after finally seeing it I can't say that it was worth the wait.