The Black Room

This film is competently directed and photographed, yet it is not noteworthy from either point of view. The story, concerning human compassion versus cruelty, and the cold, merciless workings of fate, is clever and interesting, all the more so since it does not linger too long and overstay its welcome...this film clocks in at 1 hour and change.

By Columbia Pictures standards, this film is almost opulent, having several sets and a number of outdoor shots, and having good actors, costumes, technicians and atmosphere all around. But, since it is a Columbia Picture, central Europe looks amazingly like Southern California. Still, it proves that Universal did not have a monopoly on horror in the 1930's.

This is not a supernatural film, except perhaps in the fact that it deals with the subjects of prophecy and fate...it is instead a psychological horror film and so it helps to have the right set of expectations going in. In a way, this film is a kind of precursor to the ambiguous metaphysics and psychological themes of the 1940's Val Lewton horror/noir classics.

What makes this film stand out is Karloff's brilliant performance in the double role of twin brothers, one evil and one good. Karloff is completely convincing in both parts, and it is a genuine pleasure to watch him. It is also striking that even without monster make-up Karloff can scare the pants off you, when he chooses.

Modern horror fans are liable to have trouble accessing this film, but it is recommended to fans of classic horror and classic film in general.

This film, little known except amongst traditional horror fans, is a sparkling gem. It is an outstanding story about two twin brothers, one of them evil and the other benevolent, who grow up surrounded by a curse that says the older brother will die at the hands of the younger brother in the mysterious Black Room. Karloff plays both brothers and he is excellent, quipping evil commands and leering as the malevolent sibling and prancing and being overly solicitous as the good brother. Karloff breathes life in every pore of this film. He is the focal point of attention as he speaks each line. Few of his performances show so much of his range and few show him as such a twisted, ruthless individual. This is a must see for the Karloff fan, or any fan of good old-fashioned horror stories.

A prestigious house starts when a younger twin kills the older and a prophesy says some day the house will end by the same method. Today the house is run by a baron with a younger brother, though the younger has moved away and has a gimpy arm. But when the younger brother returns and the people have turned against the older, a crucial moment arrives -- how can the older brother satisfy the people without fulfilling the prophecy? Can it be avoided? How has "The Black Room" gone so many years under my radar? Boris Karloff is amazingly versatile here, playing both brothers (sometimes on the screen at the same time). Marian Marsh plays both brothers' love interest. The picture is crisp, the sound is clear and the production value is beyond impressive for 1935. And the plot? Intriguing, to say the least. While the baron can't be considered a villain on the level of Dracula or Frankenstein's monster, the story here is gripping and the setting really anticipates the works of Roger Corman in the 1960s.

A special note must be payed to the lovely Marian Marsh. Marsh rounds out the cast and does a fantastic job alongside the dominant men of the cast (not just Karloff, but practically everyone). Her beauty and charm sell the picture well, as the Baron's love for her character really drives the plot. Sadly, Marsh gave up acting in 1959 to become an environmentalist. While I fully sympathize with the move, Hollywood was denied a great talent and spirit for the next forty years (the time of Marsh's death).

I strongly encourage those who enjoy older films to give this one a try. I found it both enjoyable and critically satisfying. So many thrillers of the 1930s seem one-dimensional and cliché, but "The Black Room" is fresh, prescient and timeless. I would love to see a deluxe edition of this film, though I suppose it is now too late. Its due failed to come when it mattered most.

I must agree with the other posts on this site, Karloff is excellent here. In fact, this is just about the best example of his acting skill I've come across. In this film, he is not just a generic Halloween ghoul, but shows a very nice range of characterization, as he plays twin brothers who are polar opposites. The film is beautiful to look at, and well paced and plotted. Even if you see the ironic ending coming at you a mile and a half away, it's still fun to anticipate it.

Incidentally, is it just me, or does the loud brass fanfare that occurs in the title sequence, and throughout the film at dramatic moments, sound like part of the song "Come Rain or Come Shine" ("days may be cloudy or sunny...")? I just found it a bit distracting to suddenly picture Judy Garland in my mind at all the most tense and dramatic moments of the story.

Well-written and acted, this is a gem of a movie. Discover it and you will realize once again that Karloff truly was a great actor (in a dual role here as a cruel Baron and his kindly twin). The twin angle is played for tension and creepiness and really works in the hands of a great but under recognized director, Roy William Neill. Check out more of Neill's work- most often in the b-movie category but always superbly crafted. Neill's films are always a cut above the average and I believe that his gifts are nowadays finally being noticed and receiving well-deserved recognition.

Marion Marsh hits just the right note in a fine youthful performance as the stunningly beautiful daughter of a local official, committed by family to potential lifetime unhappiness and depravity at the hands of the despicable Baron. Ms. Marsh was one of the most beautiful women ever in the long history of film, but is unaffected by her looks and is almost always natural and effective in her roles. Probably the best word to describe her is simply that she is likable- a good trait for a movie star but too often lacking in many of them.

This film moves along energetically in juggernaut fashion and is marvelously entertaining, totally without any padding or slowness. Its a winner.