The Brute Man

For such a low budget movie and from PRC as well, The Brute Man is quite good.

As a result of an experiment going wrong at university, Hal Moffat becomes disfigured and some years later, starts killing people. His victims include a grocer's delivery boy and a jeweller. He makes friends with a blind woman but nearly kills her after shopping him to the police and is arrested in her home after she set him up.

The Brute Man is shot well in black and white and is certainly one of the better efforts from PRC.

I've never heard of any of the cast in this, with Rondo Hatton in the title role.

This is worth checking out. A good way to spend an hour one afternoon or evening.

Rating: 3 stars out of 5.

This film is not all that bad - it's certainly better than it's rating. Why this film is rated so badly I'll never know. I'll admit there are better dramatic thrillers of the 1940s but this one deserves a better rating than it's getting.

Rondo Hatton plays Hal Moffat AKA 'The Creeper' - he's well suited for this role. The only thing I wish is that they had maybe scared or disfigured his real face more - because that is what is suppose to have happened to Hal (had his face disfigured).

Jane Adams is Helen Paige - and she's good. I really enjoyed her in this film as well as House of Dracula (1945).

This one is a good watch. It's not a "must see" film but it is a film that is enjoyable for certain audiences.

6.5/10

This is the final film for Rondo Hatton, who suffered from acromegaly, and was employed in Hollywood increasingly as his disease progressed, just as Hedy Lamarr was used as her beauty increased. The plot is simple: a bright handsome young man is turned into a monster by an accident causing malfunction of his pituitary gland. His disease exacerbates his natural inclination to impulse and temper. As in the Frankenstein myth, his ugliness causes rejection by almost every one he meets. At any clear sign of revulsion, he kills. As in the Frankenstein movie, he receives unconditional acceptance only from a blind musician. At this hint of what life could have been, he softens. But the Hollywood ending cannot be. Rondo, who started in movies in 1930, was routinely used as a homely/ugly bit. The revival of horror films brought him a natural chance for stardom. Movies released in '44, '45, and '46 (the year of his death), had him appearing as The Creeper, in lead or featured parts. In the The Brute Man, he plays that part as it parallels his own life, and he is remarkably good, fully showing the good and the bad of the character. It is the faint spark of human needs that touches us, and it makes it possible to see the real ugliness of the beautiful actors cast to support him. But it is not a welcome message. The production is of course on the cheap, but with a lot of attention to detail, especially the waterfront hovel, his hideout, and the downscale apartment of the blind girl, his only other haven. Brando, in The Men, at the beginning of his career, and Rondo, in The Brute, at the end of his career, show us that being different is not for sissies, only with Brando you get the Hollywood ending.

First, before I begin, I would like to point out that this film may very well be the first Hollywood prequel, with THE BRUTE MAN being a prequel to HOUSE OF HORRORS(1945). Most so called "expert" film critics claim 1949's ANOTHER PART OF THE FOREST (a prequel to THE LITTLE FOXES) as the first Hollywood prequel. They are wrong I tell you! As I have pointed out else where, film firsts should be noted and applauded, even if the film(s) is/are otherwise unremarkable. Now that I've gotten that out of the way...

THE BRUTE MAN is not a very good film. The film has good a opening scene with Hal (Hatton) being chased by police. These opening scenes have an effective "film noir" feel to them. However the film quickly goes down hill after this and plods around from incident to incident. The film is not helped at all by the fact that Hatton was not an actor at all. He was more of human prop. He has just to much dialog, which he often seems to stumble over (I don't know if his condition made speaking difficult.) He would have been far more effective if the script didn't require him to deliver a lot of lines, or none at all as in his horror star debut PEARL OF OF DEATH, where he was mute and was used effectively. When ever Hatton utters a line, he becomes comical, not frightening. Over all THE BRUTE MAN is basically just another sub par horror thriller.

What makes THE BRUTE MAN so worthy of scorn is the tasteless way the film mirrors Hattons real life story. In the film Hal is a handsome college athlete who becomes disfigured when exposed to gas. In real life Hatton was a handsome high school athlete who was exposed to a deadly gas while fighting in World War 1. He suffered for years in great pain from the attack and was in and out of hospitals. Hatton claimed his exposure to the gas brought about his disfiguring condition. To exploit his tragic real life story in a cheap horror film was in pretty bad taste. Now, I understand Hatton was paid well for his role, but I wonder if he ever felt uncomfortable having his tragic real life story being exploited in a cheesy horror picture like this.

Hatton died before this film was released. So did Hollywoods interest in making horror films. So did the "old" Universal, being bought out and merging with International pictures. It's almost certain if Hatton lived, he would have had his contract dumped by the studio's new owners and gone back to being what he had been before his short, dubious fame as a horror film star; a full time sports writer and occasional bit player.

One note: This film was produced by the old Universal, but by the time this film was ready for release, Universal was now Universal-International. The new studio was now a "prestige" studio, and horror films were not prestigious. So the studio had minor studio Producers Releasing Corporation (PRC) release the film. Some reviewers in 1946 were fooled into thinking that film was produced by PRC and noted that the film had better production values than previous PRC films, not knowing the film was actually a Universal production.

1946's "The Brute Man" was a follow up to "House of Horrors," from the same producer (Ben Pivar) and director (Jean Yarbrough), plus the same star, Rondo Hatton, who filmed "The Spider Woman Strikes Back" in between (none were released until after his death in February 1946). Hatton's own back story inspired much of the plot of this low grade thriller (his last film), actually a prequel to the far superior "House of Horrors," taking place before the events of the earlier film. The Creeper stalks his victims slowly, snapping their spines in two, before befriending a blind girl (Jane Adams), who naively finds sympathetic qualities in the fiendish killer. Hatton's performance consists of wandering the dark streets from one incident to the next, while the police investigation adds up to a game of 'pass the buck.' Jane Adams had just finished playing the hunchbacked nurse in "House of Dracula," and would end her brief career with 1949's Bowery Boys horror-comedy, "Master Minds." Jan Wiley, from "The Strange Case of Doctor Rx" and "She-Wolf of London," was about to end her own brief career. Another actress of note, billed last in the credits, is Ja Nelle Johnson, a radio performer who apparently made just one other screen appearance, wife of actor George Dolenz (television's COUNT OF MONTE CRISTO), mother of singer-actor Micky Dolenz (THE MONKEES), and grandmother of actress Ami Dolenz. She gets one opening scene, and another in a later flashback, filmed when Micky was about 8 months old (November 1945). In the ultimate tribute to his mother, who kept the family stable through George's untimely death in 1963, Micky ended up recording a bedtime lullaby she used to sing, titled "Pillow Time," from the October 1969 Monkees lp, THE MONKEES PRESENT. Her credited co-author was fellow actor Matt Willis, best remembered as Bela Lugosi's werewolf servant in Columbia's "The Return of the Vampire" in 1943 (both had definitely worked at Universal).