Behind the Mask

A macabre mystery with many elements of the supernatural/shudder scientific genres.

Boris Karloff plays a lead henchman in the service of a mysterious Mr. X. His performance does not suggest a red herring role, but he is sinister enough as a grim-faced gangster to keep one's interest throughout the picture. Early on, it seems possible that the sinister Dr. Steiner played by Edward van Sloan may seem to be a more likely candidate for Mr. X., but his performance raises enough doubts to keep the viewer in a constant state of suspense.

A very fine "B" feature for the night owl crowd.

7/10.

Dan Basinger

Were it not for the presence of Boris Karloff, here in a supporting role, we may not have such a high quality home video edition of this movie. Enjoyable as it is in many ways, BEHIND THE MASK is also a good example of how much difference a talented director can make. Compare the films of James Whale, for example, from the same period and see how much better several scenes here might have been. On the plus side, there is the cinematography of Ted Tetzlaff, creating moody scenes in heavy rain that grab a viewer's attention from the start. So the film looks mostly great, but in the acting department it's merely adequate. No one in the cast is terrible, and we do have Edward Van Sloane clearly enjoying himself as an evil scientist. But even Karloff is a slight disappointment. It's fun to see him in modern dress, playing a hired killer, but it's not one of his really notable appearances. Still, the plot is engaging and there is more action than one might expect from such a modest production.

1932's "Behind the Mask" was the earliest Columbia title included in the hugely successful SON OF SHOCK television package of the late 1950s, reteaming Boris Karloff and Edward Van Sloan following the just-completed "Frankenstein" (shooting wrapped Nov 21 1931). Headlining is the studio's top workhorse, Jack Holt (father of Tim), playing an undercover FBI agent posing as a convict, pumping information from Jim Henderson (Karloff), part of the dope smuggling ring run by a mysterious 'Mr. X.' The somewhat dim Henderson hardly taxes Boris, who virtually disappears at the midway point (we later learn of his offscreen capture); the real revelation is seeing Edward Van Sloan in dual roles- he looks like himself in two scenes as Dr. Alec Munsell, involved in the FBI investigation, but is unrecognizable in heavy beard and glasses as Dr. August Steiner, chewing the scenery with great relish. It's a juicy, scene stealing villain, sounding very much like an evil Van Helsing, able to lawfully dispose of enemies through surgery on the operating table, rather than wielding a knife in the street, which would only attract attention. Lovely Constance Cummings finishes her third film opposite Karloff, following "The Criminal Code" and "The Guilty Generation," while Thomas Jackson, shortly after his successful pursuit of Edward G. Robinson's "Little Caesar," surprisingly comes to a bad end. Jack Holt went on to work with Bela Lugosi in a later Columbia, 1935's "The Best Man Wins" (and with John Carradine in 1942's MGM "Northwest Rangers"). Many viewers, particularly Karloff fans, grouse that it's not really a horror film, but there's certainly enough horrific touches to qualify for SON OF SHOCK, a solid pre-code melding of crime and chills. "Behind the Mask" made one appearance on Pittsburgh's Chiller Theater, July 8 1967 (followed by 1961's Mexican "Bring Me The Vampire").

Jack Holt escapes from prison and follow the advice of his friend Boris Karloff to go see a certain man if he wants to remain free and make lots of money. Holt does so and soon finds himself working for a mysterious Mr X, who is running a large criminal operation. Holt however is no cook, he is instead a federal agent seeking to break a drug ring.

Made prior to the release of Frankenstein this is a film with Boris Karloff in one of his henchmen supporting roles. He's good but a bit over active. The real star here is Jack Holt who was a big star in the silent days and who's career slowly faded once sound came in. I've always liked Holt and felt he was under appreciated by most people who know who he was (The problem is that most people have no idea at all who he was). Holt here is a rugged leading man and a nice man of action. He is in short the perfect hero.

The film itself is quite good. Going from big house, to country house to doctors office, this is a thriller that keeps you guessing and keeps you interested. Its nice to see a movie that isn't so formulaic that you can connect the dots and know who is doing what before you're told. The action when it comes is well done and there is generally a good amount of suspense, especially in the final moments as it is uncertain if or how out hero will escape the villains clutches.

Worth searching out and perfect for a nice double or triple feature on a dark and stormy night.

This is a nice, efficient mystery/thriller, enlivened by the presence of Boris Karloff and Edward van Sloane. Karloff is fine in this non-monster role, as a cocky, bowler wearing, cigar smoking crook. His presence (in retrospect) also provides a cachet of horror to the mix. This movie, after all, was shooting just as Frankenstein was released. The rest of the cast is very good and the direction is no-nonsense, straight ahead story telling (if a bit improbable). Things keep moving so quickly you don't really have time to question the plot's realism. But the real kick and revelation is Edward van Sloane in a dual/triple role -- in particular, his portrayal of Dr. Steiner, with his crackling electronic gear, his google-eye specs, his trilling foreign accent -- apparently having the time of his life as an sinister, conniving doctor masterminding a dope ring. His sadistic banter during the film's climax is convincing enough to rank with the best of Lionel Atwill's or Bela Lugosi's incarnations of mad doctors at the height of their madness.