The Soul of a Monster

What little reputation this film has is very mixed, so it is no surprise my own reaction proved likewise. Revolving around an intriguing concept, yet the script (by genre regular Edward Dein) is seemingly at a loss about what to do with it: an eminent and much beloved physician (George Macready) lies dying and, in desperation at the unfairness of it all, his wife (lovely Jeanne Bates – who, late in life, somehow got to appear in two David Lynch movies!) renounces God and asks the Devil for help; immediately afterwards, a mysterious woman (Rose Hobart – from the 1931 DR. JEKYLL AND MR. HYDE) turns up, restores Macready to health and basically starts running his life. While happy to see her husband get better, Bates soon notices that his personality has changed – becoming distant, aggressive and even loses interest in his work: in short, alienating everyone around him – so that she actually wishes he had died back then! All of this sends her running into the arms of Macready's best friend, Erik Rolf (looking like a cross between Glenn Ford and the young Orson Welles...or, for that matter a local film-buff friend of mine, Robert!!): his character and relationship to the couple is pretty ambiguous – he acts almost as their spiritual adviser (thus being instantly and openly averse to Hobart's machinations), yet is a constant presence even at social engagements, hardly deigning to keep the 'love triangle' situation in check! Anyway, Macready's negligence costs a colleague's life and the once-respected doctor is put on trial…only this takes us back to the very beginning, so that all that went on in the interim turns out to have been nothing more than a death-bed hallucination – the moral being that one must face up to death with dignity and resignation, apparently after having done one's bit for the good of mankind (which should have especially resonated with wartime audiences)! The film offers more than adequate atmosphere (courtesy of future double Oscar-winning cinematographer Burnett Guffey) and Hobart (with an icy demeanor and a devilish coiffure to boot) is quite good – the combination of which leads to its eeriest moment, the very first appearance of the Devil's envoy in which she is unperturbed by a car running her over and then, after following her in a tilted camera angle shot, no less, she is seen literally electrifying her surroundings! However, as I said at the start, the plot is insufficient as Macready is not seen doing much of anything after he is revived (what was the point, then?) and Hobart actually has to prod him towards committing murder (naturally because it constitutes the extremity of an evil deed)! That said, the choice of target (the 'pastor'/rival) would benefit each of them – only he flubs it and, so does the film, since this clearly Lewtonesque sequence is kept on going much longer than necessary!; consequently, the inherent suspense in having the 'sleepwalking' Macready (armed with an ice pick long before BASIC INSTINCT [1992]!!) stalk Rolf by night out on the streets is gradually diffused…particularly with the unintentionally comic off-screen effect of the sudden opening of a rising street elevator's hatch sounding like Macready had bumped into some dustbin or a mailbox around the corner! Mind you, I am glad I acquired the film also because, as it happens, this viewing actually urged me to get back to work on my unfinished review of the slightly similar but far superior ALIAS NICK BEAL (1949; which I had originally watched on my birthday back in August) – in which Macready now actually (and atypically) takes on the role of the Minister Of God who strikes fear into (and eventually brings down) the Agent Of Hell.

This little-seen Colombia horror film from 1944 is a pretentious, but still interesting film.

It stars George Macready, in one of his first films, as a good doctor who is on his deathbed. His wife, played by a solid Jeanne Bates, wishes at the family fireplace for any force from heaven or hell to save him as she has lost faith with her god. Her wish is instantly granted by an unseen Satan as Rose Hobart plays a sort of 'Soul Master' who coldly arrives on the scene and saves Macready. Her action, of course, has a price.

Without revealing too much, this seems to have tried to copy the Val Lewton formula, which was popular at the time. The film opens and closes with a narrative quote. The direction is adequate. There is a long "chase" scene in the middle that seems to go on forever. The two characters walk as if elderly people on prozac. It is meant to be suspenseful, but it's just too darned long to keep up the suspense.

The film has very few "horror" moments, but some nice cinematic ones. There are shadows aplenty, but the best touch is the arrival and departure of Rose Hobart's character. The film changes to a negative image and then back to positive. I hadn't seen that technique used before in a classic horror film and there were some effective dutch angles that did a good job of building the suspense.

A decent film that unfortunately is just never too interesting, it's worth viewing for hard core classic horror buffs only. 5/10

Some reviewers automatically hate on every lower budget B movie.But if you know what you're in for, a slow burning atmospheric Lewtonesque 40s creeper, you'll be delighted. Great acting from the leads, eerie camerawork and music, hypnotic dialogue interrupted by jump scares. This would have fit in perfectly with the Shock TV movie package, and would now be regarded as a classic of the "creepy" genre.

This one's a hidden gem. Not perfect by any means but very different and interesting. It's a great B movie from Columbia starring the always reliable George Macready as a respected doctor saved from death's door by a mysterious possibly supernatural woman (Rose Hobart). The rest of the story involves an attempt by his wife and friends to save his soul as he descends into darkness. Five years later in Alias Nick Beal, Macready would play the friend out to save the soul of Thomas Mitchell in a similar situation. This is unlike anything else out in 1944 or before. It's easy to dismiss it as talky and yes the ending is a cheat but I was entertained the whole time. It's got nice atmosphere, a good cast, and cinematography from future Oscar winner Burnett Guffey.

If I hadn't seen the opening credits, I would have sworn this was a Val Lewton classic. It has all the fascinating earmarks as well as much of the weirdness. The story is simple enough. A doctor about to die is saved by an evil spirit in the guise of a mysterious woman, but as we know, there is always a price to pay for undeserved immortality.

This was, without question, a "B" movie dressed up to be more stylistic than most. As in those Val Lewton movies, all the performances are understated. The principals drift into indecipherable monologues that leave you numb. Many of the scenes are shot in shadow and the whole atmosphere is spooky. There is no bloody violence to speak of, but there is enough heart stopping shock to satisfy the blood-lust in most of us.

George MacReady leads the cast. This should tell us something. He was a fine character actor, but only in a low budget thriller would he ever be given the lead. His evil muse is played by Rose Hobart. I have to admit I never heard of her until I saw this movie, but she did a more than adequate job. In fact, she was downright frightening. The rest of the cast is nameless, although I may have seen one or two of them in an old Dragnet episode, but not one of them let the story down.

This production is well worth watching - if you can find it. My only complaint is that it comes with a prologue and an epilogue. In fact, it comes with a testament to good over evil. I don't know, it was made in 1944. Maybe they had no choice.