The Mad Doctor

1940's "The Mad Doctor" is a sadly generic but wholly appropriate title for this Paramount feature, one of their rare genre efforts (working titles "The Monster" and "A Date with Destiny"). In the title role of Dr. George Sebastian, Basil Rathbone is not a 'mad doctor' as in 'mad scientist,' but a psychotic faux psychiatrist living with partner Maurice Gretz (Martin Kosleck), both wanted for murder in Vienna, having relocated to America. With the sudden demise of Sebastian's third wife, he takes up residence in New York City, where he begins another practice, meeting up with potential wife number four, hypochondriac Linda Boothe (Ellen Drew), whom Maurice believes would be the perfect candidate due to her suicidal tendencies (that would save them the trouble of bumping her off). Lurking in the background is Dr. Charles Downer (Ralph Morgan), a longtime friend of Sebastian's late wife, whose suspicions about her untimely death are soon confirmed, at his peril. This Ben Hecht story is loaded with promise, yet fudges its attempts at suspense with sketchy characterizations, virtually none of whom engender any sympathy, particularly the heroine, apparently as dim as the scatterbrained sister (Barbara Allen) that introduced her to Dr. Sebastian. The binding relationship between the doctor and Maurice is by far the most intriguing aspect to the film, but little footage is devoted to their villainy, the pace slowed to a crawl by endless romantic twaddle. The final third almost makes up for all these faults, but the excellent cast is left pretty much on their own. Ellen Drew was much better, and far more sympathetic, in another Paramount, "The Monster and the Girl," while Martin Kosleck easily steals his scenes from the rather surprisingly uninspired Rathbone (much better in "Kind Lady"), soon to enjoy one of his finest villains opposite Tyrone Power in "The Mark of Zorro."

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.

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.

Basil Rathbone stars with Ellen Drew in The Mad Doctor from 1940.

Rathbone plays a psychiatrist, George Sebastien, who is a black widower, marrying women for their money and then killing them. The last time, the doctor in charge of his wife's case (Ralph Morgan) is suspicious, but Sebastien convinces his assistant (Martin Kosleck) that the old man is harmless. As usual, they pick up stakes, this time moving to New York City.

Sebastien becomes aware of a beautiful young woman, Linda Boothe (Drew) who is depressed and suicidal. He agrees to take her case.

Her boyfriend (John Howard) doesn't believe in psychiatry and wants to discredit him. As a reporter, he writes a series of negative articles.

The problem here is that Howard takes such an instant dislike to the doctor that it just comes off as jealousy. However, Sebastien does get to the reason for Linda's problems - her own father's suicide - and helps her.

Sebastien has actually fallen for Linda and believes he has been cured of his desire to kill. That apparently arose from his first wife cheating on him.

This is a very entertaining if strange film. One wonders about the relationship between Sebastien and his assistant, who is furious that Sebastien wants to marry Linda and stop killing.

Rathbone is terrific - romantic, charming, and evil. Drew is a lovely actress and ideal in her role. Martin Kosleck as the bizarre assistant is just right.

Recommended. Rathbone is always good.

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.