Behind the Mask

Hard boiled Jack Holt escapes from prison. His gangster contacts set him up with a job as chauffeur at the large estate of one of their associates who is getting a little nervous. Holt's job is to keep an eye on said associate - whose attractive daughter Constance Cummings already knows there is something fishy going on.

It doesn't take long before we discover that Holt is not a real crook but an undercover agent hoping to track down the smugglers' big boss, the mysterious Mr. X.

Boris Karloff is fun as the loyal but not too bright henchman who does Mr. X's dirty jobs. Edward Van Sloan is a bit creepy as a suspicious-looking doctor running a very shady hospital. There's also a nurse named Bertha Mann at the house who spies on the family and phones in reports which she leaves on a very cool answering machine in an unknown location.

Constance Cummings has a good role as the daughter who is not content to sit back and let Holt chase the bad guys. Cummings and Holt are an effective pair of heroes in this fast-paced crime drama that offers few surprises but does feature some suspenseful moments, including an exciting climactic scene in the hospital.

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.

This film was made during the same period as "The Criminal Code" by the same studio. It also used some of the same sets and film footage. During this period,"Frankenstein" was released and Columbia decided to play up Karloff's name and the picture's horror aspects in the advertising. But technically, it is not a horror film. It is exploited as another horror picture, this doesn't horrify sufficiently to class with preceding baby-scarers. The scare stuff seems tossed in regardless of where it fits, but it gets results because KARLOFF's threatening pan makes him a natural for his part.

What must have started life as a pretty ordinary crime picture is dressed up for the box office with some of the popular flourishes of the day such as electronic gadgets and a mysterious criminal mastermind.

Karloff gives excellent value as villain's chief henchman and thankfully gets plenty of screen time.

Although director and cast were all well experienced in pictures, the performances tend to be on the dull side, particularly Jack Holt in the lead. The pace of individual scenes is a little slow too, almost as if everyone concerned were making a conscious effort to hold back from the excesses of the silent days.

No classic, but you could do worse.

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").