Die unsichtbare Frau

A model named Kitty agrees to become a guinea pig for an eccentric scientist and his experiment. He intends to use a machine he's developed to make Kitty invisible. It works, but the experiment draws the unfortunate attention of a mob boss who has nefarious notions for the professor and his machine.

I think anyone who's written about The Invisible Woman begins by pointing out the obvious - it's a comedy - actually, a screwball comedy. There's not a single element of horror to be found. Other than the fact that The Invisible Woman was made by Universal, includes some nice special effects, and has the word "Invisible" in the title, this movie has nothing at all in common with its predecessor, The Invisible Man. Instead, The Invisible Woman features a light, engaging, breezy tone that worked on me. Thanks in large part to a fantastic cast (including John Barrymore, Virginia Bruce, Shemp Howard, Margaret Hamilton, and plethora of other familiar faces) most of the comedy works - highlighted by Kitty's revenge on her boss. I might not have laughed out loud, but I had a smile on my face the whole time. The film's pacing is also a plus. The 72 minute runtime flies by. And while this may have been a "B" film with a "B" budget, you'd never guess by looking at it. Like a lot of Universal's output from this period, The Invisible Woman looks far better than it has any right. The cinematography is on point.

So, comedy that works, solid acting, snappy direction, nice cinematography - sounds like a winner. If the film were a bit less predictable, I'd easily rate it higher. Still, a 6/10 from me.

6/10

THE INVISIBLE WOMAN (Universal, 1940), directed by A. Edward Sutherland, is an original story by Curt (billed Kurt) Siodmak and Joe May that has nothing to do with either the H.G. Wells story "The Invisible Man" nor the original 1933 motion picture from which it was based. In fact, THE INVISIBLE WOMAN is a comedy, a screwball comedy in the 1930s tradition, with an dose of science fiction and character types thrown in. The title role belongs to the attractive blonde, Virginia Bruce, while much of the praise for comedy goes to that "ham actor" himself, John Barrymore, in one of his several character performances, sporting glasses, white hair, mustache and a comical expression on his face, co-starring as a nutty professor who invents things, with one machine in particular he's been working on for ten years.

As for the plot, the screenplay goes through the process of character introduction, the first being Richard Russell (John Howard), a millionaire playboy with a handful of débutante girlfriends and a large selection of their photographs residing in a mansion with George (Charles Ruggles), his loyal servant. Following another one of his all night parties, Dick learns from his family lawyer, John Hudson (Thurston Hall), that because of his extravagances he is now flat broke. Professor Gibbs (John Barrymore), the second introduced character, has his laboratory near the Russell mansion with Mrs. Jackson (Margaret Hamilton), his housekeeper of 12 years, as his assistant. Unable to acquire the $3,000 needed for his latest experiment, Gibbs places an ad in the Daily Record newspaper asking for a subject willing to become invisible. Kitty Carroll (Virginia Bruce), the central character and the third to be introduced, is seen as a poor working girl in need of extra money. Working as a model for the Continental Dress Company at $16.50 a week, she and the other girls are at the mercy of the mean and demanding Mr. Growley (Charles Lane), whose greatest pleasure is bossing the girls and threatening to fire them whenever possible. Unhappy under those conditions, Kitty walks out after a customer tears her dress, hoping to some day carry out her threat by kicking Growley "right in the pants." She gets her chance after becoming a willing subject to Professor Gibbs by stepping into his machine that makes her invisible. With that done, it is up to Kitty to rescue Gibbs from the clutches of Foghorn (Donald MacBride) and his two stooges (Edward Brophy and Shemp Howard) wanting to use his machine to make their boss "Blackie" (Oscar Homolka) invisible so he could return to Russia unseen. Then the fun really begins.

In the tradition of creative special effects by John Fulton, THE INVISIBLE WOMAN comes off best with its quota of laughs during its first half with the invisible Kitty Carroll getting even with her employer (Lane) and scaring his snobbish clients responsible for nearly having her lose her job, while the second half revolving around the love-hate relationship between Kitty and Richard along with the comic henchmen stealing the invisible machine and kidnapping the professor where he is held hostage in Blackie Cole's hideout in Mexico, gets a little tiresome, though redeemed afterwards by some silly, though well-paced climax.

Aside from the amusing Charlie Ruggles making his scenes count, fainting on cue, with Margaret Hamilton unfortunately having little to do, there's Donald MacBride hilariously talking soprano (like "Jenny Lind") after walking through the invisible making machine that backfires on him. Others in the cast taking on lesser roles are Anne Nagel, Mary Gordon, Edward Conrad and Kathryn Adams. Look quickly for a young Maria Montez, not long before making her mark in a series of Technicolor South Seas adventure tales mostly opposite Jon Hall, as one of the models.

Unlike THE INVISIBLE MAN, THE INVISIBLE WOMAN spawned no sequels, nor is it relatively known in spite of it being part of "The Invisible Man" video and later DVD package over the years. Unseen (no pun intended) on cable television for quite some time, THE INVISIBLE WOMAN did have some revivals on the Sci-Fi Channel (late 1980s), American Movie Classics (1989-90) and Turner Classic Movies (TCM premiere: February 3, 2012). For anyone looking for a change of pace in regards to science fiction or comedy, THE INVISIBLE WOMAN is certainly one to consider. (**1/2)

Delightful comedy from start to finish, with plenty of bounce and throw-away lines. Of course, invisible people can be the stuff of horror, but there's plenty of shtick in the idea, as well. For example, the Topper series (1953-55) made good comedic appeal in TV's early days, while Abbott and Costello spoofed the idea in maybe their best " A&C Meet__" (1951).

Here, it's a first-rate cast, including some of Hollywood's most colorful lugs— including, Ed Brophy, Donald McBride, Shemp Howard, and mugging it up comedically, John Barrymore. Seems Barrymore's invented a fade-away gizmo that he wants patented, but first has to get seed money from playboy John Howard. Then too he needs to hire a human guinea pig to prove that the gizmo works, and that's dress-model Virginia Bruce who's out for revenge against her cruel boss (Lane). Naturally crooks get wind of the invention and want to hijack it. So, amusing mayhem ensues.

Note the lengths the script manages to avoid that awful word "naked". Instead a number of Code euphemisms are employed. Still, the shtick makes funny use of Bruce's being naked when invisible. In fact, the writers go to some lengths making her occasional lack of clothes realistic— e.g. she gets cold up at the cabin. Anyway, the well-timed gags fly thick and fast, along with expert pacing from director Sutherland. At the same time, Charlie Ruggles almost steals the show as the impeccable butler. All in all, this Universal production amounts to a genuine sleeper despite the darkish title, and definitely deserves more frequent revival.

Watching this film, the minute I saw the opening credits and saw who was in the cast, I knew I would enjoy this and I was not disappointed.

Bela Lugosi was quoted as saying that when Abbott&Costello met Frankenstein some years later, it killed the classic horror genre that Universal was known for. If that was the case, I'm not sure how the genre escaped the executioner here.

The original film of The Invisible Man saw Claude Rains give one of his great performances as the scientist who becomes invisible, but with the terrible side effect of losing his mind. It's classic acting at its best.

In The Invisible Woman John Barrymore is the scientist who plays it like a cross between his own Oscar Jaffe in Twentieth Century and Gene Wilder in Young Frankenstein. Barrymore really looks like he's having all kinds of fun with the part. But he's smart enough not to experiment on himself.

Barrymore is a pet project of playboy John Howard who spends as much money on him as he does settling with women with whom he's had various amours, much to the distraction of Thurston Hall his family attorney. Hall breaks the news to Howard just as Barrymore seems on the verge of a breakthrough. All this is making butler Charlie Ruggles start looking for other employment. That and what follows.

So much so he's advertised for a human subject in an oblique newspaper ad. Two parties respond to the ad, the first is Virginia Bruce who likes the idea of invisibility. She wants to use it to even some accounts with her boss Charles Lane. Lane runs a department store and Bruce is one of several models he abuses with petty tyranny. Her scenes where she does even accounts are some of the funniest.

But a second party is also interested, but he doesn't just want to become invisible. Oscar Homolka wants to steal the secret and return to this country from Mexico where he's been living as a fugitive. So he sends henchmen, Edward Brophy, Donald MacBride, and Shemp Howard to steal Barrymore's machine.

I should point out that unlike Rains's film and other invisible man pictures, Barrymore invents some Young Frankenstein like contraption which you go into and are bombarded with rays to become invisible. In the hands of amateurs the machine does have some interesting side effects and not the ones Claude Rains suffered.

The Invisible Woman is used as an example of how low Barrymore's career had sunk. Yet even when Barrymore is slowly destroying himself with substance abuse in real life, the man's comic genius is apparent even in a film like this. In fact he led the entire cast in one big orgy of overacting where all these colorful people try to top themselves in scenery chewing.

The Invisible Woman did get an Academy Award nomination for Special Effects, but lost to Paramount's I Wanted Wings.

Note in the cast Maria Montez as one of Virginia Bruce's fellow models who shortly would be obtaining short lived stardom in her own genre for Universal Pictures.

The Invisible Woman is a very funny picture, a really good satire on the horror film genre. Made on a dime so to speak, don't miss it if it's ever broadcast.

Agreeably played for low farce by a most accomplished cast led by those supreme farceurs Charlie Ruggles (who has all the best lines) and John Barrymore (who just manages to snare all the best "business" from Ruggles—who gives him a great run for his money), The Invisible Woman is smoothly directed with lots of great visual effects for those who dote on this sort of thing. Adding to the fun, Charles Lane has a colorful role which he makes the most of, but Maria Montez is along purely for decorative value as part of an eye-appealingly feminine crowd and doesn't have a single line, alas. Not one! It's the lovely Virginia Bruce who makes all the running, while John Howard stands on the sidelines, looking nice and stylish as the straight man. Comic gangster Oscar Homolka and other players do a few turns with three stooges (Shemp Howard, Ed Brophy and Donald MacBride), but the film's funniest scenes occur in the middle section of the movie when the invisible Virgina tangles with the irascible Lane.