La cita fatal

Quite a few reviews here have mentioned the ' relationship ' between Basil Rathbone's character and Martin Kosleck's character as being coded homosexuals. I thoroughly endorse this as I watched this film quite by accident on YouTube and I was surprised to see just how intimate in speech and gesture this couple were. The fact that they were both killers and that women had been murdered for their rich lifestyle reminded me of other homosexual killers in both ' Rope ' and ' Compulsion. ' and how somehow they got certificates in the UK admitting children with adults to see them. In the UK the film was called ' A Date with Destiny ' and not the horror signifier of ' The Mad Doctor ' which would have called out for an H certificate for adults only. Rathbone believes he has been saved from evil by falling in love with his last prospective victim, and his male partner, quite rightly becomes as righteously cross as an abandoned ' wife ' or ' husband. ' A Queer film indeed which has not as far as I can tell by historians of Queer and Gay cinema been noticed. America has been fiercely aggressive towards positive gay endings, even to today so any representation on screen of a possible gay character or two in a partner relationship has had to follow the tropes of abandonment, death or imprisonment. For a gay audience these negatives had to be also positives simply because homosexuality was overtly or implicitly seen on the screen. I could take a swipe at a few recent examples but I will concentrate on this 1941 film. Tim Whelan directs it well in Film Noir mode, and there are outstanding shots of New York during this period. The editing excellent and the acting exceptionally good, Ellen Drew as the last potential victim is perfect, shading her role from black mood to light laughter with professional expertise. I must mention Barbara Jo Allen as a friend who has a lot of great lines, delivered to perfection. A definite Paramount Eve Arden, lightening the film whenever she is in a scene. To sum up a taut thriller with touches of horror this deserves in my opinion a ten. A vastly underrated film on all levels. One final observation: the BBFC was very reluctant to give out H certificates during WW2, so that may explain the change of the film's title.

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.

The story begins with the deaths of one of Sebastian's wives. Her father is convinced that Sebastian is responsible...and during much of the film he works to bring the man to justice. But to counter the father, Sebastian has Gretz steal the body of his latest victim in order to prevent an autopsy! What else will these infamous killers do next?

Basil Rathbone plays the suave Bluebeard who uses his hypnotic powers over women, Dr. Sebastian. He marries rich women, murders them and then disappears....off to find another woman to kill. He's assisted in his endeavors by Gretz...and their relationship is VERY unusual (and nowadays it would be seen as homoerotic by many). I would love to see a remake that explores this odd relationship more. Regardless, it is an interesting little suspense picture...well worth seeing because of the acting and script.

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.

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.