L'Homme de Néanderthal

Cranky scientist experimenting on transforming animals and people into their prehistoric selves (sorta), tries it out on himself and becomes a Mr. Hyde-type Neanderthal. Robert Shayne (Inspector Henderson from The Adventures of Superman) plays the would-be Jekyll and he's great fun. His character gets upset with everyone and insults them at the slightest provocation. He's a real bitch and I love it! The rest of the cast is solid, with some interesting character actors like Robert Long and Dick Rich helping to keep things moving. The script doesn't give them a lot to work with but they bring their lines to life with conviction. Richard Crane is a bit annoying as the stiff protagonist and just about every woman in the movie is insufferable, save for the great Beverly Garland in a minor role. Working with an obviously limited budget, director E.A. Dupont and cinematographer Stanley Cortez craft a pretty polished-looking B picture. Of course only so much can be done special effects-wise on a small budget but there is some nice camera-work and a decent level of atmosphere in some of the night scenes. Better than some of the other reviewers are giving it credit for but nowhere near a classic. Worth a look for fans of '50s B horror and sci-fi.

Professor Groves theories about the brain capacity of Neanderthal man is viewed as heresy by his fellow scientists. To prove his theories, professor Groves experiments with a de-evolution serum. His early experiments on cats results in one turning into a sabre tooth tiger. He then tries the serum on himself where he is transformed into a Neanderthal man and goes on a killing rampage.

THE NEANDERTHAL MAN is a rather blah horror film with indifferent performances, grainy black and white photography, and scant thrills. The film was directed by E.A. Dupont, the same man who directed VARIETY, one of the greatest films of the silent period. Apparently, by the time THE NEANDERTHAL MAN was made, E.A. Dupont had slipped down to just another hack director, as which this film is evidence of. Even some much less experienced directors working under flimsy circumstances like this showed more inventiveness than Dupont shows here. The best scenes in the film are those with the sabre tooth cat and the one where the hero finds the photographs of an early experiment Groves had conducted on his deaf mute house maid. Overall, THE NEANDERTHAL MAN looks and plays more like a poverty row horror film from 1943 than a low budget horror/sci fi film from 1953.

Of interest to fifties horror/science fiction movie fans is the presence of a very young Beverly Garland as Nola. Unlike her later films where she played a tough fiesty heroine, she plays the standard frightened female who screams and faints.

A haughty Professor becomes intent on proving that mankind's gradual evolution did not necessarily affect his quotient of intelligence. Despite the distinguished directorial credit, this is a thoroughly routine horror programmer of the 'mad scientist' variety, with more than its fair share of unintended hilarity amid the general tackiness. In fact, I would go so far as to say that, as played by Robert Shayne, the doctor here is the rudest in film history and watching him let rip with insults at his staid, disapproving colleagues was a hoot! Typically for this sort of fare, the all-important serum is first tested on animals or 'lesser' humans – in this case, a perennially terrified domestic cat is turned into a saber-toothed tiger and a mute servant girl into a bushy-eyebrowed ape woman (albeit, apparently, just long enough for her to sit for some photographic evidence of the veracity of his claims) – before applying it to himself. The proverbial redneck hostility to a marauding tiger preying on their livestock and later a simian kidnapper of women is present and accounted for; what is more surprising is that the middle-aged professor has a good-looking and much younger fiancée who still relishes hopes of dragging him from his laboratory off to a church altar and, naturally, once the young urban expert hero comes along, he falls for the charms of the professor's clueless daughter. The TNT-culled print I watched left an awful lot to desire so, in spite of my reservations, I acquired a superior copy of the film the minute it was over!

An awful lot of people don't like this film but it has some wonderful things in it and some off the wall things too. Robert Shayne plays the mad scientist with the ever-adoring fiancee in a truly over the top fashion. In one sequence while he is ranting about being left alone (a sequence straight out of the original Frankenstein), she tousles his hair so that it goes in all directions at once and seems a total send-up of the would-be dramatic moment at hand. In addition, every time the scene shifts to the mountains and countryside an incredibly lush theme is played that seems like something out of an old Lowell Thomas documentary travelogue! In the beginning of the film there is an inexplicably jazzy score playing while a man is attacked in his car by a sabre-toothed tiger. At times we glimpse the tiger who has ordinary teeth and yet when we see it in extreme close-up after being killed or in a kind of freeze frame as it attacks a car it has its sabre teeth. In another sequence we are to believe that an ordinary cat can be turned into a sabre-toothed tiger through use of a regressive serum that takes it back to its ancestors-- at least I think that's what's going on! Despite all of these oddities the film has a clear narrative and is lively enough to hold one's interest, if just in watching out for the next oddity. One is left wondering why the neanderthal man's teeth are so bad for example when in fact ancient peoples had fine teeth when we find them usually because of their ability to chew and tear with them and keep them well honed. But this fellow seems to have set on by demented dentists. Then there is the whole theory of regression into our ancestors using an argument that brain SIZE is what is most significant, not considering that development of smaller, more effective portions of the brain might evolve over time. Instead, we get here an anti-evolution theory that is so bad it is scoffed at even by the semi-literate faculty in this film. And then Mr. Shayne tells us that in "regressing" to the neanderthal state he will be going back "one million years" when in fact neanderthalers flourished 100,000 years ago, not a million, and it is never explained why he is regressing to the neanderthal state and not some other pathway of human evolution. I had a lot of fun attempting to find what I thought were staggering gaps in the overall presentation of this film BUT I enjoyed the various goofy characters, the narrative clarity and the ability of director Dupont to keep the low-budget proceedings moving about briskly. I think if you are not too demanding, have a puff of anthropology in your background and enjoy movies made solely to entertain you'll enjoy this one. By the way, the movie was HEAVILY influenced by the Bridey Murphy phase the whole country was going through at the time this movie was made!!! An American housewife named Virginia Tighe, through hypnosis, claimed to have regressed to becoming a 19th century woman named Bridey Murphy. The whole country was taken up with the belief that we could all regress to earlier lives...and that formed the inspiration for the screenplay and the outrageous theories presented in this film.

A most interesting and weakly executed Sci-Fi diversion, where we have a somewhat unbalanced scientist proposing a theory that brain size is indicative of intelligence. A theory laughed at by fellow scientists in this film, but now recognized as accurate.

Of course, in the film, the scientist promotes as fact that brain size of the neanderthal is perhaps even larger than modern man, when it was not. That's the flaw here, but still we get to see him revert himself back to a neanderthal with violent tendencies, probably also pretty far-fetched. I'd expect a neanderthal in today's world to be more bewildered and frightened than overtly violent for no reason.

Also of notable fun is the "reversion" of house cats to sabre-tooth tigers. Pretty unlikely as they're not really evolutionarily that closely related in any line. But still fun and in one case, ironically deadly.

This is mild low-budget 1950s science fiction, short enough to not be tedious, although the excessively prose dialog is annoying. It's almost like writing in a period stage-drama style of the 1900s, and applying it to a 50s B-movie.

While merely okay, this film could have been so much better in the hands of Jack Arnold and the sci-fi effects wizards at 1950s Universal-International. Oh, wait, I just remembered they did it as Monster on the Campus.