Le chaudron de sang

I guess I am the odd man out here. I rather thought this film - a troubled production that took years to complete and finally hit the screen - was rather entertaining in a sick, undeniably twisted, bad way. Yes, it has some lamentable aspects. Karloff is ancient and it shows. The story has lots of continuity problems(remember it was completed over several years and was not released till a couple years after Karloff's death). It has a very perverse story line about Karloff, a great artist living in Spain, and his demented, tormenting wife, played with zeal by Viveca Lindfors, needing bodies for his sculptures. You see, even though he is blind, he still can sculpt based on armatures based on real remains. Karloff believes his wife is getting them one way, and she is definitely getting them another way. French photographer Jean Pierre Aumont smugs for the camera saying silently, "God, don't I look so charming." He isn't, but he is an adequate leading man if nothing else. The girls in the story, particularly the girl playing Elga and Rosenda Monteros as Valerie are lovely creatures at the very least. And what about Karloff? He is still good and still one of the best things about this film(though my greater inclination is to side with one of the nastiest female portrayals in film I've seen in some time by Ms. Lindfors). Karloff still has a commanding voice and presence, and this film role is much meatier than any of that garbage he did for Mexico at the very end of his life. This movie has much greater continuity and story line than any of those four horror stories of film. Cauldron of Blood is by no means a great film - nor a good film, but I did find it reasonably entertaining and I, for one, was never bored watching it. Really, how can you go wrong with King Karloff, Viveca Lindfors wearing a Nazi-like uniform with riding crop and nylon netting under her eyes having flashbacks of her youth as a pig-tailed blonde no less, a cauldron of acid that burns the flesh off of any carcass, and a fight scene in the dark with a blind man and his hateful wife. As Karloff's character says to his wife, having just accused her of causing him to be blind, "Till death do we part I suppose." Nobody ever said a line like Boris!

In CAULDRON OF BLOOD, a photojournalist (Jean-Pierre Aumont) travels to Spain to cover a story about a famous, blind sculptor (Boris Karloff). The title comes into play as a very gruesome tool, utilized by the artist's sinister sister (Viveca Lindfors).

Filmed toward the end of Mr. Karloff's storied career, his health was in decline, but, all things considered, he puts in a fine performance. Playing a rather vulnerable character, he is unaware of the utter wickedness of his sibling. For her part, Ms. Lindfors is fantastic! She comes across as a sadistic psychopath with a definite flair for fashion.

While a bit disjointed and slow in spots, this movie does have its high points, especially toward the end.

Worth a watch, particularly for fans of Mr. Karloff...

Producer Robert D Weinbach originally wanted Claude Rains for the role of Badulescu, but due to Rains's illness, he was replaced by Karloff. Originally titled Blind Man's Bluff, the film was shot in and around Madrid. Filming began in Februrary 1967 and lasted almost three months. Karloff was in ill health himself, but never wanted to give up acting and worked in his craft until he died in 1968. Karloff worked hard as a laborer and even a truck driver between acting roles when he was first starting out in Canada and knew what it was to miss a few meals. Karloff made this film a classic and it will be viewed and talked about from generation to generation whether we like it or NOT!

Acceptable horror movie revolving around a mysterious sculptor and an eerie basement with plenty of murders , creepy sculptures and ghastly events . A blind sculptor called Franz Badulescu (Boris Karloff) works on his magnum opus unaware that the skeletons he has been using for armatures are provided by his nasty wife , using them as foundations for his projects : some evocations of famous paintings . As Karloff unaware that the bones come from the unfortunate victims of his heinous wife Tania (Viveca Lindfors) and her murderous lover , the evil Shanghai (Milo Quesada) . Along the way , the French journalist Claude Marchand (Jean-Pierre Aumont) is in the little town of Torremolinos (Spain) to interview Badulescu for a magazine and posing as a photographer attempts to know some strange issues about him . Things go wrong when his sweetheart Valerie (Rosanda Montero) stumbles upon the body of her latest victim . Tops In Total Horror!

Thrilling Spanish horror with typical characteristics of the Sixties , displaying chills , shocks , fights , violence and a creepy acid-filled cauldron with abundant smoke . Despite a few escenarios and its shot budget the movie results to be passable , thanks to the adequate filmmaking , atmospheric cinematography taking nice use of lights and shades as well as camera positioning to complement appropriate horror set pieces , especially at its final . And main attraction of the movie lies on watch as Torremolinos (Malaga) has changed from a little tourist village to become , nowadays , a holiday metropolis . Here Karloff plays a blind sculptor , who creates his masterpieces-3D representations of figures from old masters-using real skeletons as armatures provided by his wicked wife by delivering undercoverly the remains of the victims , being well played by Viveca Lindfords , though she gives overacting , at times . One of the several movies Karloff played outside the US shortly before his death , along with his Mexican period ; this one is far from one of his best , but better than those directed by Jack Hill and Juan Ibañez . Karloff had a long and important career from his big hit Frankenstein (1932) by James Whale , he quickly appeared in many other sinister roles , including Scarface (1932) , the black-humored Old dark house (1932), as the namesake Oriental villain of the Sax Rohmer novels in The Mask of Fu-Manchú (1932) or as undead Im-Ho-Tep in The Mummy (1932) and the misguided Prof. Morlant in The Ghoul (1933) and special mention for his role as a religious fanatic in John Ford's The Lost Patrol (1934) that hee thoroughly enjoyed . He donned the signature make-up , neck bolts and asphalt spreader's boots again to play Frankenstein's monster in the extraordinary The bride Frankenstein (1935) and the less thrilling The son of Frankenstein (1939) . Karloff , on loan to Fox , turned up in one of the best of the Warner Oland Chan entries , Charlie Chan in the Opera (1936) . He was a wrongly condemned doctor in Devil's Island (1939), shaven-headed executioner "Mord the Merciless" in Tower of London (1939) , a crazed scientist surrounded by monsters, vampires and werewolves in House of Frankenstein (1944), a murderous grave-digger in The Body Snatchers (1945) and a Greek general fighting vampirism in Val Lewton's Horror Isle of the Dead (1945). Main starring Jean Pierre Aumont , Karloff , Viveca Lindfors , Rosanda Monteros are well accompanied by a good Spanish support cast , such as : Milo Quesada , Dyanik Zurakowska , Manuel de Blas , Rubén Rojo , all of them ordinary actors who played a lot of films of the regular genres of the Sixties and Seventies as Spaghetti/Paella Western , Terror , Giallo , and Eurospy .

The picture was professionally written/produced/directed by Santos Alcocer and Edward Mann, but it has a lot of failures , flaws and gaps . These filmmakers use ordinary visual tricks, sustaining interest enough through the dark and well-designed scenarios and when there shows up the really creepy acid-filled cauldron that definitively steals the show. The picture will appeal to terror genre buffs and Boris Karloff fans . Rating 5.5/10.

A bad movie and a mediocre one coexist under the same title: first, a bland story of a horny French journalist turned tourist promoter, courting a blank Spanish girl, who falls prey of a sadistic bitch; and second, a horror tale involving a blind sculptor and his crazy wife, who kills animals and people with her lover's assistance to provide real bone structures for her husband's 3-D evocations of famous paintings. Characters go back and forth from A to B for 97 endless minutes. Pity is that both Lindfords and Karloff try hard to make any sense of the whole affair. Not a bad idea, but poorly executed, with dreadful music and silly special effects and nightmares. Be warned.