Experiment in Terror

Some of the reviewers here have been unkind for Hedy's performance, and can't for the life me understand why. They are all making comparisons for 2 different performances, with 2 movies that have similar backgrounds...almost anyway. Hedy's was suppose to show fear, anxiety, and meekness in her character...afraid to confront her husband. In this regard, Ingrid's character in "Gaslight" was similar, up to a point. Ingrid, had the one big scene where she shows all her frustration and anger at her husband, in one lusty yell. Hedy had no such scene advantage. Her performance was more somber, which i think she did, to me, and at the time of its release, many of the reviews said the same. By today's standard of performances, she would have been at the least nominated for an Oscar, as in comparison to a Helen Hunt performance in a forgettable movie with Jack Nickelson, in which she won Best Actress.

Jacques Tourneur, whose films (such as the famous 'Cat People') were noted for their subtle and suggestive qualities, delivers an excellent specimen of his craft here, by directing a mysterious and atmospheric drama set in 1903. The incredibly beautiful Hedy Lamarr is at her dazzling best in her exquisite period gowns, looking deeply disturbed, and having good reason to do so, as her husband is a dangerous psychotic who may at any moment kill their son. The story begins in the best way possible, with a chance meeting on a train between the superbly mysterious and elusive actress Olive Blakeney and a calm, unruffled, and reassuring medical doctor played by George Brent. Brent could be annoying when cast in straight and earnest romantic leads, but being a doctor is perfect for him, and we happily allow him to fall in love with the one woman no one could ever resist, Hedy Lamarr, widely known in her prime as 'the most beautiful woman in the world'. Paul Lukas as the insane but genteel, rich, and sophisticated husband, has plenty of opportunity to show what a splendid actor he was, as he tackles this role with great subtlety. If only the scenes in the daisy fields had not been shot on a studio set! Otherwise, the atmosphere, especially of the huge old-fashioned mansion, is powerful and reeks of mystery. This is an excellent melodrama. Some of the film was cut at the last minute, as a shocking gap in continuity occurs when Brent is telling his friend that he is being followed. He does not comment on the strange shoes the man had been wearing, which we had previously seen on camera. But the next moment, his friend mentions them, despite not having been told about them in the final cut. The studio may have ordered some cuts by another editor, without the director being involved, as Tourneur would never have let this happen if he could have prevented it. So probably ten or fifteen minutes of the film were chopped out prior to release. This film is only available on DVD in Spain, from where I obtained it (where it is called 'Noche en el Alma'), and I had to watch it with Spanish subtitles. One will do anything to see a Hedy Lamarr film, after all, won't one?

Jack Tourneur knew how to build an ominous atmosphere :remember the scenes at the pool in "cat people",the meeting on the moor in "circle of danger" and almost everything in " night of the demon".

The meeting with the old Clarissa on the train,the station where she leaves the hero ,and the way she says goodbye (actually farewell) is almost supernatural.Then the extraordinary beauty of Hedy Lamarr and her picture add to build an eerie atmosphere ,sometimes recalling as user has pointed out ,"gaslight" .

The script,however ,does not always make sense ,and lacks focus ,unlike the three other works I mention.But just for the atmosphere ,this is another Tourneur you should not miss.

George Brent while traveling on a train back to New York meets nice but frightened spinster lady Olive Blakeney and they strike up an acquaintance. He accepts her invitation to visit her posh home in Manhattan and then finds that she's died rather suddenly. That's enough to intrigue Brent, but when he meets the family head Paul Lukas and his beautiful wife Hedy Lamarr that's more than enough to keep him interested in the Bederaux Family.

Hedy Lamarr was now away from the really big studios and on a downward slide in her career that was interrupted somewhat by Samson And Delilah. But she was still putting out some good product as Experiment Perilous demonstrates. This drama set during the Henry James/Edith Wharton period in New York is one creepy movie that presents Lamarr as a frightened, but self controlled woman not knowing what her millionaire husband will do next. A poet George Neise with whom she had an affair has already been done in and she's rightly scared. She reaches to Brent like a drowning woman for a life raft.

Lukas is fresh off his Oscar from 1943's Watch On The Rhine and for a while and really for the rest of his career that Oscar guaranteed him some better character roles. He certainly wasn't a traditional leading man, but he notched above his fellow character players for the rest of his life.

Director Jacques Tourneur kept the atmosphere murky, moody, and creepy not necessarily in that order. Experiment Perilous did get an Oscar nomination for Art&Set Direction for a perfect recreation of turn of the last century New York. And he got great performances out of his three leads and the ensemble cast RKO assembled.

If you are a Hedy Lamarr fan this is one of her major films.

Beautifully mounted recreation of 19th century New York, which is not surprising since this was RKO's golden age of set design and art direction. Those wall encased aquariums that line the main hall are shrewdly suggestive that anything might happen in such an exotic old mansion. Note too, the constant presence of snow on the sidewalks, a realistic and atmospheric touch unusual because of the expense.

The opening scenes foreshadow dangers to come-- the locomotive plowing through flooded tracks, the odd "birdlike" passenger who intrudes with her strange story. All of this had me thinking the movie would be special. Indeed, the first half is intriguing as the doctor (Brent) delves further into the mysterious death of the birdlike woman. However, the second half flattens out into a rather static drawingroom drama that fails to generate the kind of edge-of-the-seat climax that's needed.

George Brent was never a charismatic leading man, bland at best. Here, however, he blends right in as the stolidly responsible doctor who can be believed. The trouble is that the script follows him around for almost the entire time, and since he's seldom privy to events with the boy, we don't get much sense of the menace surrounding the boy that should drive the suspense, but doesn't. La Marr, of course, looks exquisite as the script requires; nonetheless, her skills as a besieged wife are considerably less than those of Ingrid Bergmann in the remarkably similar Gaslight (1944). Then too, Paul Lukas lacks the kind of conniving charm that the part calls for, making the showdown less a revelation of his true character, than a simple extension.

On the other hand, the movie has the great Albert Decker as a maverick sculptor who breathes real life into the proceedings, along with a terrific explosion and fire that's a real grabber. However, I'm still puzzling over that awkward epilogue involving the cop at movie's end. Was that to satisfy Code requirements that nothing gets past the police since there is an element of deception that would otherwise be left hanging. Anyway, whatever the movie's shortcomings, it remains unerringly pictorial throughout, a tribute to the artistic eye of director Jacques Tourneur and the RKO art department.