The Crimes of Stephen Hawke

"Stephen Hawke is a moneylender whose compassion for his clients is only outshined by his devotion to his lovely daughter. What she and the rest of the public don't know is that Stephen Hawke is leading a double life. At night, he becomes 'The Spine Breaker', a notorious killer with the habit of viciously killing his victims in the most horrible ways imaginable," according to the DVD sleeve's synopsis. Silly movie, enriched as much as possible by two under-appreciated British stars - murderous Tod Slaughter (as Stephen Hawke) and Shakespearian Eric Portman (as Matthew Trimble) - both deserving better productions.

**** The Crimes of Stephen Hawke (1936) George King ~ Tod Slaughter, Eric Portman, Marjorie Taylor

This time around Tod Slaughter plays Mr. Stephen Hawke, a limping, kind-hearted bespectacled money lender by day with a beautiful, faithful daughter and the friendship of a local shipping agent and son, and by night he is the "spine-breaker," cruelest of all killers as he kills the rich for their money and treasure in a serial-like fashion. As with any Slaughter film, Slaughter is the main focal point of the film. The film is barely over an hour in length, but it has much to offer in plot. We have Slaughter kill a spoiled rich kid, trick a man into bringing an emerald to his home, kill his friend, and run from the vengeance of his son. Throw in some lecherous guy that wants to force Hawke's daughter into marriage and a hunchback for extra measure. The rest of the actors are adequate(or less than so) but they do not detract at all from the presence of Slaughter on film. His build, his speech, his whole demeanor brings life to each and every scene he is in. Is he a great actor? No, but he sure can grab your attention and keep a "grip" on it. As with many other Slaughter films, George King directs in workman-like style if nothing else. The beginning is set up like a radio play with some "entertainers" doing some kind of real bad vocal act prior to Slaughter coming on talking about his "new" old melodrama. Good old-fashioned fun!

Todd Slaughter is at it again folks,, this time playing a well -mannered banker by day, and being a father to his adopted daughter , but by night folks he becomes...... wait for it..... the Spinebreaker.. very gruesome killer. he kills the rich I guess because he figures that they don't need it. In the Daytime he plays a successful banker, and he also protects his adopted daughter from a potential suitor whom he doesn't really like that much,, I really liked this one because it moved quickly , there was very good dialogue between the characters, and there was some action and mystery,, very good film for the time period.. and Todd Slaughter continues to shine in this horror film.

The Crimes of Stephen Hawke kicks off with a tune from Flotsam and Jetsam - sadly, not the '80s thrash band (that would be cool!), but rather a musical comedy duo, Mr. Flotsam sat at the piano singing like George Formby, with Mr. Jetsam, a heftier dude with a deeper voice, standing. They're performing as part of the radio show that is the pre-amble to the film's main story. After Flotsam and Jetsam, we get a comedic butcher called Henry Hopkins, who sells cat meat, followed by an interview with actor Tod Slaughter, who talks about the many murders he has committed on screen, playing characters such as the infamous barber Sweeney Todd, and this film's maniac, crazed 'spine-breaker' Stephen Hawke.

Mr. Hawke is a seemingly affable moneylender who secretly makes extra cash on the side by snapping the backs of the wealthy with his bare hands and stealing their valuables. He is aided in his nefarious work by one of the best sidekicks I have seen in an old black and white horror: the guy not only has a hunchback (standard issue for drooling horror henchmen of the day), but he also has only one leg and one eye. Unlucky for him, but great for fans of cheesy B-movies.

When Hawke's friend Joshua Trimble discovers the terrible truth about the evil moneylender, he also has his spine snapped, leaving Trimble's son Matthew (Eric Portman), who is in love with Hawke's adopted daughter Julia (Marjorie Taylor), to take revenge.

After pursuing Hawke across the country with no success, Matthew gives up and returns to London in time to save Julia from scoundrel Miles Archer, who has blackmailed the poor girl into marrying him. Meanwhile, Hawke returns to London, ready for the film's finalé, which, in time-honoured fashion, sees the villain take to the rooftops and fall to his death - right in front of poor Julia's eyes.

Tod Slaughter, Britain's answer to the likes of Boris Karloff and George Zucco, puts in another wonderful theatrical performance - all wild eyes, evil leers, and exaggerated movements - that is perfect for the occasion. He doesn't have a moustache to twirl or a cape to swish, but if he did, he would. It almost feels mandatory to boo and hiss at the screen whenever he makes an entrance. While not the greatest story ever told, The Crimes of Stephen Hawke is still a lot of fun thanks to its star's special brand of ham/cheeze, the likes of which I doubt we will ever see again, and the rather strange wraparound radio broadcast that is just too bizarre not to be entertaining.

In Victorian England there lives a kindly moneylender called Stephen Hawke. But underneath his public mask he is an underhand cad. Aided by his hunchback henchmen, he is also the serial killer known as The Spine Breaker. He is so evil he even begins the movie by murdering a child!

This film unusually opens at a BBC radio station, where we are introduced to lead actor Tod Slaughter. We also get a song and, of all things, a comedy butcher act. Slaughter pitches up and speaks briefly about the upcoming movie. I am guessing that this extra material was quite typical of its day where we had cinematic programmes that ran for hours encompassing all manner of things beyond the main feature, such as newsreels, cartoons, etc. Whatever the case, it's a strange way to open the movie now but does offer up a time capsule to an earlier era which is quite interesting.

The film itself is one of several British Victorian melodramas directed by George King, starring Slaughter. I have a soft spot for these movies as their lurid plot-lines and period detail make them more interesting than most B-movies from the time. And, most of all, they have the charismatic Slaughter as the villain in the main role. He really is a fun actor to watch and no one chews up the scenery quite like him it has to be said. This one follows a similar template to all the rest of these films where he is a pillar of the community who secretly is a ghastly criminal. While this one is basically the same, I don't think it is among his best. The plot-line is a little too uncoordinated and doesn't make use of Slaughter as well as it could. Nevertheless, it's one that should still appeal to most of his fans and I still liked it.