The Mad Doctor

Strangely lacklustre reviews to this quite novel 1940 Noir. Insightful, knowledgeable scripting, wonderful schwartz photography from Ted Tetzlaff. A sinister Rathbone undulating between predator and smitten, with both his male accomplice and the full lips of Ellen Drew on the way to more resolute acting ahead. The opening 10 minute rainstorm introduces the maelstrom perfectly and it continues at a good pace, with a variety of well edited sequences adding to the narrative flow, the high night time shots above 5th Avenue conjured well by subtle SFX. The ubiquitous Ben Hecht had a hand in the screenplay, alongside Harold J. Green, and it shows in this robust, ballsy psycho-drama.

There is something really quite sinister to Basil Rathbone's title performance in this rather intimidating psychological thriller. We know from the outset that he has disposed of his wife "Ida" - ostensibly pneumonia - but the local physician "Dr. Downer" (Ralph Morgan) is suspicious. Shortly after cleaning up on the inheritance, he moves with his friend "Maurice" (Martin Kosleck) to start afresh. Now you don't have to be Einstein to recognise that these two men are more than just roomies, and that causes a bit of consternation when "Dr. Sebastian" finds new prey. This time, in the guise of the deeply troubled "Linda" (Ellen Drew). With a marriage and a trip to Quito on the cards, might history be about to repeat itself? Well, fortunately for "Linda" reporter "Sawyer" (John Howard) is also a bit suspicious of the man, and after a bit of investigation and a chat with "Downer", the two begin to piece together quite a different persona for Rathbone than the one he has been successful peddling thus far. Can they act in time to thwart his malevolent plan? Tim Whelan allows his star to exude menace here. The script is really only adequate, but the pace is good and the gradually accumulating sense of peril - and a wonderfully seedy contribution from the increasingly envious "Maurice" leads us towards a conclusion where nothing is predictable. Actually, on that front I was a little disappointed, but all in all, this is a dark and effective tale of manipulation that is well worth a watch.

"Oh, there's no such thing as sanity. At it's best a heroic and precarious little hiding place in which we try to conceal ourselves from the devils...The devils of time, space, things unknown, and the past."

Although its title suggests conventional horror, "The Mad Doctor" is a pitch black thriller with some with some truly harrowing subject matter. Basil Rathbone plays Dr. Sebastien, a Bluebeard-like psychiatrist who recently killed off his wealthy wife Ida. After arousing the suspicion of local doctor Ralph Morgan, Rathbone leaves town. He soon finds his next mark, a deeply troubled young socialite named Linda that's been suffering with suicidal ideations.

Rathbone is accompanied in his efforts by Martin Kosleck as Maurice, a sort of male secretary. After seeing these two interact, it becomes very clear that they are more than criminal accomplices. When we see Kosleck in Rathbone's home or office, he's variously arranging flowers, spritzing himself with cologne, fussing with Rathbone over a choice of tie, and languorously sketching a black cat while wearing a bathrobe. When Rathbone starts to become genuinely interested in Linda, Kosleck responds with wounded jealousy.

This is very obviously a coded gay relationship, years ahead of the one in Hitchcock's "Rope." The scenes between Rathbone and Kosleck, both superb actors, positively crackle. In one scene, Rathbone gives a bone chilling monologue describing his contempt for dead wife Ida: "These atrocious paintings. This absurd wallpaper. These pathetic antiques. They all breathe her spirit. I can almost see her now coming down those stairs with that foolish smile and the love light in her eyes. I can never forgive her the eight months spent in this cave of romance."

The danger and intensity only ratchet up from there, climaxing in a truly haunting and beautifully executed ending. This is one of Basil Rathbone's most underrated films.

I remember seeing THE MAD DOCTOR on TV back in the early 1960s and although I didn't see it again until the release of this Blu-Ray half a century later, parts of it, especially the ending, had remained with me. Why this film has not made its bow on home video until now is beyond me. It's an A Movie, as can be seen by the big budget, but with B Movie sensibilities regarding its use of character players outside of Rathbone and its overall Film Noir look which is due to cinematographer Ted Tetzlaff. Even the title sounds like a B Movie. However the strongest element in the whole mix is the screenplay. More about that later.

The plot concerns a suave Svengali-like psychiatrist played by Rathbone who marries wealthy women and then disposes of them. He meets a wealthy socialite who has suicidal tendencies (Ellen Drew) and plans to make her his next victim. Can her reporter boyfriend (John Howard), whom she has rejected, save her in time? Nothing out of the ordinary there. What IS different in THE MAD DOCTOR is the relationship between Rathbone and his constant companion played by Martin Kosleck. It is clearly a gay relationship in everything but name and how it got past the 1940 censors is a question worth asking.

The screenplay was originally written by top writers Ben Hecht & Charles MacArthur in the early 1930s and intended for John Barrymore (hence the Svengali angle). It was originally called "The Monster" and later "Destiny". That explains the quality dialogue which is one of the movie's highlights. When Barrymore bowed out, the script sat on the shelf for 5 years before Paramount used it. They had changes made by Howard W. Green who received sole screen credit. Although full of dark moments, there is a lightness of touch from director Tim Whelan which adds to the enjoyment. Kino deserves credit for resurrecting this forgotten gem. Once you see it, you'll wonder why it stayed hidden for so long...For more reviews visit The Capsule Critic.

Doctor Ralph Morgan calls at Basil Rathbone's home. His patient, Rathbone's wife, has died. Morgan is suspicious; she was recovering. He does nothing about it.

His suspicions are justified. Rathbone speaks with his manservant, Martin Kosleck, of how much he despised his rich wife and her stupid town, just like his other victims. They will return to New York, and he to his practice as a psychiatrist. There he is hired to deal with Ellen Drew, a depressed and suicidal socialite whose newspaper boyfriend, John Howard, has his suspicions. His investigations lead him to Morgan, even as Miss Drew marries Rathbone.

Rathbone offers his usual graceful performance as a man struggling with redemption. Most noteworthy of all, however, is Ellen Drew's performance as someone suicidal when we first meet her, to someone lighthearted after the ordinary pleasures of Coney Island. Alas, there is no sign of revival of her psychoses at the end, but in that era, endings had to be happy, even in a movie that focuses on Rathbone's attempts to deal with his own dark desires.

Hecht and MacArthur did uncredited work on the script, and they undoubtedly gave the producers what they asked for; neither was director Tim Whelan the man to stand up for a darker vision; he had returned to the US doing work on Korda's THE THIEF OF BAGDAD, and this was his first movie after that. It was no time to antagonize the brass at Paramount.