La Bête aux cinq doigts

I enjoyed this film because you are never really sure if the beast is real or not. However, the highlight of the film for me is the fact that it has a great musical score composed by Max Steiner, and orchestrated by Hugo Friedhofer.

It is very easy to critize the plot or story line of this picture, however, Peter Lorre made this film into an all time great classic along with the great supporting skills of Victor Francen and J. Carrol Naish. Lorre made his own human hand into a monster with his great acting talents, telling us all that mental illness can cause many things to happen within our very souls. The piano music pounded in my ears throughout this picture and the black and white effect made it a great thriller. Police inspector J Carrol Naish gave a great final touch to the ending of this picture, he gave us all a BIG LAUGH!

The Beast With Five Fingers predates any other ‘disembodied' hand film I've seen by a good twenty years. Such films include Dr. Terror's House Of Horror, The Hand, Evil Dead II, Severed Ties, and the two Addam's Family films and television series. This selection illustrates the gamut of horror film quality, from the delightful Evil Dead II to the atrocious Severed Ties. Happily, their precursor, The Beast With Five Fingers is ‘hands down' one of the better entries in this sub-genre.

The Beast… is set in an Italian village, home of the successful pianist, Francis Ingram, who resides in a sumptuous villa. Ingram is wheelchair bound as his entire right side is paralysed, and is forced to play piano using his single left hand. His style is suitably heavy and melancholic. He is a haunted figure, heavily reliant on his young nurse to the point of obsession, and fixated on his own death. Therefore, he summons his companions to dinner to witness the signing of his will. Amongst them is his personal secretary Hilary (Peter Lorre), a man with his own obsessions; astrology and the occult. It is not long before the Grim Reaper arrives as a belated dinner guest.

The film's most prominent actor is Peter Lorre. Lorre's career in horror fare has seen a slight regression over the years, though not as profound as some of his contemporaries such as Bela Lugosi and John Carradine. In the Thirties, Lorre starred in Fritz Lang's classic M and the rather good Mad Love. However, by the Sixties he was resigned to playing second fiddle to Vincent Price in horror-comedies The Comedy Of Terrors and The Raven. These two films are reasonable enough but eclipsed by his formative work. The Beast… makes a fitting mid-point between these two eras.

Lorre is an engaging actor, his childlike physique and strange manner always invoke some degree of viewer sympathy no matter how heinous his crimes (cf. M). J. Carrol Naish who plays the affable police inspector (yep, never heard of him before) is also notable but his more comedic moments do lessen the film's impact.

The special effects used to animate the hand are impressive for their time, although as the film is in b&w this helps mask its inadequacies somewhat. The rubber hand in Dr. Terror's House Of Horror is pitiable in comparison, and that was made twenty odd years later. The interplay between Lorre and the hand as he alternatively soothes and struggles with it are reminiscent of Ash's plight in Evil Dead II.

*spoliers*

The majority of the players seem primarily motivated by avarice. It is somewhat surprising then that the final bodycount is so low. A modern horror would have casually knocked off such ‘sinners' with glee. Perhaps, this highlights a rift between ‘vintage' and modern horror. The vintage film has a more human approach to its characters, although they do suffer in terms of danger and scares, they do not die. The usual modern approach is to emphasise the killings, the characters are just fodder for the killer's and the audience's whimsy. Of course this reasoning parallels the change in audience expectation and tolerance with time, and also what the changes the filmmakers could get away with in terms of censorship and ‘decency'.

The Beast with Five Fingers is directed by Robert Florey and jointly written by Curt Siodmak and William Fryer Harvey. It stars Robert Alda, Andrea King, Peter Lorre, Victor Francen, J. Carrol Naish, Charles Dingle, John Alvin and David Haffman. Music is by Max Steiner and cinematography by Wesley Anderson.

Francis Ingram (Francen) is a well regarded pianist who after suffering a stroke leaves him paralysed on one side, chooses to live at an isolated manor in rural Italy. After he calls family and carers together for the reading of his will, tragedy strikes and something sinister begins to stalk the manor house...

Wonderfully weird, a blend of guignol, noir, expressionism and cheese, The Beast with Five Fingers delivers rich rewards for those not expecting a horror masterpiece.

Following the classic "old dark house" formula, plot basically sees the characters introduced, their means and motives deliberately grey, tragedy strikes and then the titular beast of the title comes into play. Cue characters getting bumped off, some shouting, some eerie scenes and then the mystery solved. All of which is set to the backdrop of a typical mansion of many rooms and doors, an imposing staircase and of course a grand piano. Florey stitches it together neatly, Anderson provides some striking photography that embraces shadows and deals in odd angles, while Lorre does yet another film stealing performance involving twitchy weasel like mania.

A stupid tacked on coda soils things a touch, and you really have to have a bent for this type of creaky chiller, but it is great fun and it "pointed" the way for other "beastly hand" tales that followed down the line. 7/10

In a turn-of-the-century Italian village, a famed pianist (Victor Francen) with only one hand is killed. Murders soon begin occurring, and the occupants of the pianist's house believe his left-hand is committing them.

What starts out as an average Warner Brothers melodrama/murder mystery is made memorable by the use of the disembodied hand. Robert Alda and Andrea King are forgettable leads, and J. Carrol Naish is horrible as the police inspector. Peter Lorre gives the best performance, and his scenes where he confronts the hand are great. The special effects are excellent.

Rewatch. 3/5