Les yeux d'un mort

Lon Chaney, Jr. plays an artist who is engaged to beautiful Jean Parker and has exotic Acquanetta lusting after him. Sounds like a charmed life. But then this genius goes and accidentally puts acid in his own eyes! Chaney's now blind and must await a donor for a cornea transplant. Parker's father offers his corneas, to be removed after he dies. But someone up and kills the old guy and it looks to everybody like Chaney might have done it to speed things up.

This enjoyable entry in Universal's Inner Sanctum mystery thriller series is directed by Reginald Le Borg. Chaney is great in this series. I'm sure he enjoyed getting a break from the monster movies he was making at this time. He gives his all in every Inner Sanctum movie. A really good cast here to back him up. Jean Parker is lovely as always. Thomas Gomez, Paul Kelly, and Jonathan Hale are all great support. Acquanetta is nice to look at but probably the worst actress Universal had in any of their movies. Her monotone line delivery is dreadful.

This isn't one of the best of the series but it's good. The biggest problem, aside from Acquanetta's poor acting, is that the mystery part is unsurprising. The killer is obvious, despite all of the red herrings they have in place. Still, it's fun and fans of the series and Chaney will enjoy it.

The third movie in the theatrical "Inner Sanctum" series is fine entertainment for old time thriller lovers. Lon Chaney Jr. is in fine form as Dave Stuart, a painter. He's engaged to rich girl Heather Hayden (Jean Parker), and this is in fact a union that her father Stanley (Edward Fielding) is eager to see come to fruition. One day Dave mistakes acid for his eyewash and blinds himself, and Stanley promises Dave that he will provide his own eyeballs for a risky cornea operation should the old man die. Well, the old man *does* get murdered, and Dave falls under suspicion. And, as it turns out, there are others who could conceivably benefit from the death.

"Dead Man's Eyes" is not what this viewer would consider a great mystery, but it *is* a solid and engaging diversion for barely over an hour. (All of the "Inner Sanctum" movies have very trim running times.) It does its job at setting up dubious characters and their motives, and having suspicion keep shifting from one to another. The filmmaking (Reginald LeBorg is the director) is efficient and to the point.

The acting is wonderful from much of the cast. Lon Jr. is rather over emphatic at times, but there's no denying the sincerity of his performance. Parker is cute and appealing. Acquanetta, who plays Tanya, the model who is in love with Dave, is a striking beauty but not much of an actress. Paul Kelly is good fun as Alan Bittaker, Daves' chipper psychiatrist friend. Thomas Gomez is likewise a stitch as the smirking detective on the case. Jonathan Hale (as the eye surgeon), Fielding, and George Meeker (as Heathers' pathetic former boyfriend) are all rock solid.

Fans of Lon Jr. would do well to check him out in this sort of atmospheric Universal B picture, where he's not required to put on elaborate makeup or dress in fanciful costume.

Seven out of 10.

DEAD MAN'S EYES (Universal, 1944), directed by Reginald LeBorg, the third in the "Inner Sanctum" mysteries based on the radio series owned and operated by Simon and Schuster Publishers, stars Lon Chaney, Universal's resident horror star, taking time away from both Wolf Man and Mummy characterizations. Opening in tradition with a man's head inside the crystal ball, addressing the audience by saying, "This is the Inner Sanctum, the fantastic world controlled by mass of living, cult seeking flesh. The mind, it destroys, distracts, creates monsters. Yes, even you, without knowing, can commit murder." Here's to another segment: The original screenplay by Dwight V. Babcock revolves around Dave Stuart (Lon Chaney), a struggling young artist nearly completing what might become his greatest painted masterpiece, with Tanya Czoraki (Acquanetta) posing as his model. It so happens that Tanya is secretly in love with Dave, and jealous of his engagement to marry Heather Hayden (Jean Parker), whose father, Stanley Hayden (Edward Fielding), likes Dave enough as if were his own son. This doesn't go well with Nick Phillips (George Meeker), Heather's jealous and former suitor. Alan Bittaker (Paul Kelly), a psychiatrist and Dave's closest friend, has a secret passion for Tanya. After a day's work painting on the canvas, Dave's ends his daily routine by cleansing his tired eyes with eyewash. While conversing with Alan, Tanya unwittingly moves the bottles in his cabinet, which causes Dave to accidentally place acid on his eyes, damaging his cornea and going blind. Because of his handicap and unable to finish his painting, he orders the canvas covered, breaks his engagement to Heather, and turns to self pity by boozing alcohol. The guilt ridden Tanya offers to help and keep Dave company by day, hoping in time he's transfer his affections towards her. However, Dave is given some hope by Doctor Samuel Welles (Jonathan Hale) that he might be able to perform a difficult operation of a cornea transplant that might have him see again. "Dad" Hayden agrees to donate the cornea of his own eyes to Dave, leaving that statement in his will at the time of his death. Because of Hayden's suspicions towards Tanya, he and Dave argue and part company. Wanting to apologize for his actions, Dave visits Hayden at his residence, only to be have Heather walk in and finding him standing over her father's dead body. Accused of his mysterious murder, Doctor Welles does follow through with the operation using dead man's eyes. With the operation unsuccessful, and hounded by Detective Druey (Thomas Gomez), Dave, in total darkness, takes it upon himself to clear his name and solve Hayden's murder and other subsequent murders connected to his supposed crime.

Whether intentional or not, scenes involving artist later blinded, and jealous model, appear to parallel that with Rudyard Kipling's film based story, THE LIGHT THAT FAILED, recently produced by Paramount in 1939, starring Ronald Colman and Ida Lupino. Though not a murder mystery as DEAD MAN'S EYES, THE LIGHT THAT FAILED does involve Lupino's bravura performance as a model who eventually goes mad through endless hours of modeling by destroying the painted canvas. For Acaquanetta, fresh from her recent screen introduction title role as the CAPTIVE WILD WOMAN (Universal, 1943), is not a very good actress, and can't compare to Lupino. There are moments where Acaquanetta gives the impression she's reciting her worded lines one by one from cue cards with little or no emotion of expression whatsoever. Jean Parker, looking very much like Jean Arthur in both profile and hair style, comes off better, even through a couple of sudden shrieks. Thomas Gomez, doing a J. Carrol Naish police inspector reprise from CALLING DOCTOR DEATH (1943), adds a little flavor of his own as the hounding police inspector. Lon Chaney does exceptionally well as a tormented blind man, sporting sunglasses, feeling his way around the room with either hands of walking cane, and moments of how to handle himself with the outside world. These moments are briefly motivated in favor of murder mystery, which doesn't hurt the story in the least. Director LeBorg keeps the pace moving for 64 minutes, though abrupt blackouts and middle scene fade-ins are evident.

As with other five features in the "Inner Sanctum" series, DEAD MAN'S EYES slowly faded away from television broadcasts starting by the late 1970s where, due to the Chaney horror film reputation, played part of "Fright Night" or any other Saturday evening horror film nights. Unlike the other five, DEAD MAN'S EYES became the only one to be presented on cable television's American Movie Classics during the 1989-90 season. It did premiere on Turner classic Movies July 13, 2023. Regardless, availability onto home video in 1997 on double bill with PILLOW OF DEATH (1945), and later onto DVD, has assured DEAD MAN'S EYES not completely blind to those curious about this nearly forgotten series of murder mysteries that entertained movie audiences back in the day when films of this nature were quite popular and commonly played. Next "Inner Santrum" episode: THE FROZEN GHOST (1945) Brrr. (**1/2)

In this above average offering from Universal, Inner Sanctum series regular Lon Chaney plays a talented painter named Dave Stewart who is in love with a girl he intends to marry (Jean Parker). His beautiful model (CAPTIVE WILD WOMAN's Acquanetta) is jealous of their romance and would rather have Dave all to herself. One day after a grueling painting session, Dave's eyewash gets switched with acid, and the artist is rendered blind when he accidentally douses his tired eyes with it. His fiancé's elderly father generously offers to donate his eyes to Dave upon his death, so when the old man is subsequently murdered, all suspicion points to the blinded painter.

This mild whodunit offers a variety of possibilities as to who the murderer might be -- is it Dave Stewart? His jilted model? Or perhaps one of two other men who harbor a jealousy (one loves Acquanetta, the other desires Dave's woman)...? It's a pity the exotic beauty Acquanetta never learned to act (and if you think she's horrible here, you should see her in 1944's JUNGLE WOMAN!). This entry also features Thomas Gomez as a pushy policeman who keeps on Chaney's trail, much as J. Carrol Naish did (but better) in the first Inner Sanctum Mystery, CALLING DR. DEATH. **1/2 out of ****

So what's so scary about a corneal transplant. Maybe if they had shown the eyes in a bottle or some of the surgery, there might be a shudder or two. Instead, we get close-ups of Chaney's bleary-eyed squint, which is sort of scary in itself.

This is a tepid Inner Sanctum entry, at best, more of a whodunit than a Chaney horror exercise. The plot is somewhat offbeat—can accidentally blinded artist Dave Stuart (Chaney) see well enough to be a killer, and if not, then who did murder two people. The only suspense is a routine one of finding the culprit. Then too, the damning piece of evidence strikes me as pretty far-fetched. I wish there were a memorable scene or some catchy dialog to recommend here, but there really isn't.

Perhaps the most notable feature is Paul Kelly's (Alan) really authoritative head doctor. He's totally credible. On the other hand, for fans of truly inept acting, there's Acquanetta (Tanya) whose dialog delivery is at times almost painful. Actually, I blame the studio for pushing her into a speaking role she was so clearly unprepared for. All in all, the offbeat premise has more potential than the rather cheap and clumsy treatment it gets here. Too bad.