The Brain

An adaptation of film noir legend Curt Siodmak's novel, Donovan's Brain, The Brain offers up a murder mystery narrative to go with the mad science angle. It's not particularly thrilling but it does tick along nicely and director Freddie Francis has a keen eye for scene staging. Cast features Peter Van Eyck, Anne Heywood, Cecil Parker and Bernard Lee, and they all do what is required to make the material work. Stand out moments involve some delightfully monstrous paintings, a lie detector scene and all the sequences where Van Eyck is possessed by the brain of the powerful industrialist who was murdered by person or persons unknown. Good and safe "B" schlocky fare for the so inclined. 6/10

I just got myself an old issue of FANGORIA and they had an interview with Freddie Francis inside. It had been quite a while since I had watched a Francis horror film, so I figured why not try one of his films. I watched this one, which was his first horror film (2nd to date) he ever directed. Is it good? Not really. I would say that Francis' work does get leaps and bounds better after his initial horror film. Like TALES FROM THE CRYPT (1972) or THE DOCTOR AND THE DEVILS (1985). Maybe any true Freddie Francis fans might enjoy it more.

Brilliant Dr. Peter Corrie (Peter van Eyck) is conducting experiments on brains to try and further his knowledge in the field. He is working on a monkey's brain in the beginning of the film, which in one shot kind of looks like a watermelon. With the assistance of Dr. Frank Shears (Bernard Lee's next role after he had played M in DR. NO) he gets a hold of a still working brain within a dead body. Turns out it belongs to tyrannical tycoon Max Holt. During the film Holt and Dr. Corrie's brain are on the same wavelength, so Dr. Corrie knows things he shouldn't. In the end it turns into a murder mystery to solve his murder.

Sadly a mixture of good ideas with some kooky ones, which may have to do with it being a B-Movie from the early 60s, so it adds some silly sci-fi angles to things which are not believable. The whole murder mystery element when added really does suck a lot of the horror out of the picture. A blend of two genres that does not really work.

Also starring JacK MacGowran as Furber, who may be the most interesting character in the whole movie. He is aware of Dr. Corrie's theft of Max Holt's brain and is looking for payment to keep quiet.

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.

This Anglo-German co-production by Raymond Stross based on the novel by Kurt Siodmak represented an early film by Freddie Francis, when he still had serious ambitions to establish himself as a director.

As befits a man who had recently been an Oscar-winning black & white cinematographer Francis provides the film with a vivid visual style. Among the cast comprising Ango-Saxons and Teutons in fairly equal measure Peter Van Eyck as usual gives a sound dramatic performance as Dr Corrie both before and after coming under the control of the recently deceased megalomaniac Max Holt. The producer's wife provides a memorably glacial femme fatale, while a surprisingly large number of actors associated with comedy - including Miles Malleson - fleetingly appear in straight roles.

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.