The Black Room

Well-written and acted, this is a gem of a movie. Discover it and you will realize once again that Karloff truly was a great actor (in a dual role here as a cruel Baron and his kindly twin). The twin angle is played for tension and creepiness and really works in the hands of a great but under recognized director, Roy William Neill. Check out more of Neill's work- most often in the b-movie category but always superbly crafted. Neill's films are always a cut above the average and I believe that his gifts are nowadays finally being noticed and receiving well-deserved recognition.

Marion Marsh hits just the right note in a fine youthful performance as the stunningly beautiful daughter of a local official, committed by family to potential lifetime unhappiness and depravity at the hands of the despicable Baron. Ms. Marsh was one of the most beautiful women ever in the long history of film, but is unaffected by her looks and is almost always natural and effective in her roles. Probably the best word to describe her is simply that she is likable- a good trait for a movie star but too often lacking in many of them.

This film moves along energetically in juggernaut fashion and is marvelously entertaining, totally without any padding or slowness. Its a winner.

A prestigious house starts when a younger twin kills the older and a prophesy says some day the house will end by the same method. Today the house is run by a baron with a younger brother, though the younger has moved away and has a gimpy arm. But when the younger brother returns and the people have turned against the older, a crucial moment arrives -- how can the older brother satisfy the people without fulfilling the prophecy? Can it be avoided? How has "The Black Room" gone so many years under my radar? Boris Karloff is amazingly versatile here, playing both brothers (sometimes on the screen at the same time). Marian Marsh plays both brothers' love interest. The picture is crisp, the sound is clear and the production value is beyond impressive for 1935. And the plot? Intriguing, to say the least. While the baron can't be considered a villain on the level of Dracula or Frankenstein's monster, the story here is gripping and the setting really anticipates the works of Roger Corman in the 1960s.

A special note must be payed to the lovely Marian Marsh. Marsh rounds out the cast and does a fantastic job alongside the dominant men of the cast (not just Karloff, but practically everyone). Her beauty and charm sell the picture well, as the Baron's love for her character really drives the plot. Sadly, Marsh gave up acting in 1959 to become an environmentalist. While I fully sympathize with the move, Hollywood was denied a great talent and spirit for the next forty years (the time of Marsh's death).

I strongly encourage those who enjoy older films to give this one a try. I found it both enjoyable and critically satisfying. So many thrillers of the 1930s seem one-dimensional and cliché, but "The Black Room" is fresh, prescient and timeless. I would love to see a deluxe edition of this film, though I suppose it is now too late. Its due failed to come when it mattered most.

This film is competently directed and photographed, yet it is not noteworthy from either point of view. The story, concerning human compassion versus cruelty, and the cold, merciless workings of fate, is clever and interesting, all the more so since it does not linger too long and overstay its welcome...this film clocks in at 1 hour and change.

By Columbia Pictures standards, this film is almost opulent, having several sets and a number of outdoor shots, and having good actors, costumes, technicians and atmosphere all around. But, since it is a Columbia Picture, central Europe looks amazingly like Southern California. Still, it proves that Universal did not have a monopoly on horror in the 1930's.

This is not a supernatural film, except perhaps in the fact that it deals with the subjects of prophecy and fate...it is instead a psychological horror film and so it helps to have the right set of expectations going in. In a way, this film is a kind of precursor to the ambiguous metaphysics and psychological themes of the 1940's Val Lewton horror/noir classics.

What makes this film stand out is Karloff's brilliant performance in the double role of twin brothers, one evil and one good. Karloff is completely convincing in both parts, and it is a genuine pleasure to watch him. It is also striking that even without monster make-up Karloff can scare the pants off you, when he chooses.

Modern horror fans are liable to have trouble accessing this film, but it is recommended to fans of classic horror and classic film in general.

Boris Karloff only made a handful of movies that demonstrated he had some real range as an actor, and of that handful, THE BLACK ROOM has to rate as one of the best. In this work, Karloff plays twin brothers of a family of aristocrats. The older brother Gregor is a nasty piece of work. He is the titular head of the family of land barons, and has long developed a reputation for brutality in the region he governs. His estate is notorious for having disappeared several young women. Anton, the younger of the twins, is a cosmopolitan sort, has been away travelling and studying for many years. Both men are haunted by a family prophecy, in which the younger of the two twins is supposed to slay the older in order to complete a family curse, which apparently began in the "black room" of the film's title.

The room itself was ordered sealed shortly after the birth of the twins in order to avert a repeat of the tragedy. Unbeknownst to the villagers, Gregor has found a hidden passage into the black room, and it is the torture pit of the room where he disposes of the bodies of his victims.

Anton, the younger brother, returns home upon the urging of his brother Gregor, who has, after several attempts on his life, realized that he must step aside in order to calm the people down. Gregor has in mind a phoney abdication in which he seems to step aside in favor of his twin. His actual plan is to murder Anton, and to continue to reign in Anton's identity, in his own twist on the family curse. He falls over his own hubris for a number of personal reasons, but before film's end, he manages to indulge in a round of crafty Karloffian mayhem.

Karloff plays both the monstrous and benign brothers, but in addition, he portrays the nasty brother imitating the gentle one. That's what makes this piece fun. Seventy minutes of the grand old man of the gothics at his best. I've probably seen it about thirty times now, and it holds up well.

Another film I had been reading about since childhood but up till now have had no opportunity to watch.

An interesting star vehicle for Boris Karloff allowing him to play two roles as contrasting twins; the fact that one of them is deformed may owe something to Lon Chaney and here Karloff demonstrates himself a most worthy successor to the Master's mantle. The period setting - its-folk-tale quality hearkens back to German Expressionism - serves the handsome production extremely well, especially when considering that Columbia Pictures at the time was just starting to pose a serious challenge (following the Oscar sweep of Frank Capra's IT HAPPENED ONE NIGHT [1934]) to the major studios. Director Roy William Neill handles the proceedings with great efficiency and style providing plenty of visual flourishes along the way.

The only criticism one can level at the film regards a couple of slightly contrived plot points: the evil Karloff, who has done away with his benign but paralyzed sibling and whom he impersonates in order to win the girl he loves, is rather stupidly caught by the girl's father when he is spotted in a mirror using his 'lame' hand to sign the marriage contract; Karloff's come-uppance is brought about by his dead brother's faithful mastiff which hates his guts - it's implausible to think that the dog has kept away from Karloff for days (by which time the girl's lover has been convicted for her father's murder) only to conveniently reappear on his wedding day! However, the ironic climax - which allows the prophecy tied with Karloff's family name to be fulfilled - is a splendid one.

All in all, along with THE MASK OF FU MANCHU (1932) and THE WALKING DEAD (1936; see below), THE BLACK ROOM is Karloff's best vehicle of the 1930s which wasn't produced by the studio which made his name, Universal.