The Bat Whispers

I've watched the 1926, 1930 and 1930 wide screen versions many times over the years. However, the other day I finally watched the widescreen on my 5x6 foot screen which I usually save for 3D and football. The details really jumped out. There are so many wonderful camera tricks, many of which I cannot explain. As a professional modeler I can say that the miniatures were far ahead of their time, as was the skill in photographing them. They probably were only exceeded beginning with the Star Wars attack on the death star.

The fluidity of the camera was amazing for its time. The old lady and the maid walk down a long corridor, talking all the time as the camera moves ahead of them. They walk into a room and sit at a table which was right in the path of the camera. Later in the film a character vaults over a 3 foot wall and runs down a path with the camera following him, apparently right through the wall. The shadows of the Bat as he hulks on the floor are inhuman. On several startling occasions the characters jump right into the camera. These and more have been mastered for years but this film discovered them. If you are familiar with the climax of The Alibi, you remember the special effect that seemed almost real, not surpassed until CGI. The Bat Whispers is filled with such effects.

Yes, the film is static, despite all the goings on. And the acting, although unacceptable by 1932 standards was about average for 1930. However, I would gladly have strangled Maude Eburn who ruined every scene she was in. The Bat Whispers is really a guilty pleasure for modelers, cinematographers and horror fans.

Roland West's THE BAT WHISPERS was based on a hugely successful Broadway play, The Bat, widely credited for having created the vogue for thriller plays in the 1920's. (The 1927 production "Dracula" which starred Bela Lugosi on stage was part of the mystery vogue, and led directly to the 1930 Universal film which kicked off the 30's cycle of horror movies). West filmed The Bat in 1926 as a silent, with great success. The 1930 remake was a large production, shot simultaneously in standard 35mm and a new widescreen 65mm process. Theater owners largely rejected the expense of installing 65mm equipment, and most people who saw this film on its release saw the 35mm version.

Among them was Bob Kane, who credited it as a major influence in his creation of Batman in the late 30's. It's easy to see why. This is a stunning looking film (I'm referring to the 35mm version, which I saw at the 2004 UCLA Festival of Preservation) gorgeously photographed by Ray June. In an old dark house where the lights are constantly going off, and lighting is frequently provided by candles, or lightning, bizarre lighting effects start to become the norm, and the dramatic possibilities take off. The director used every conceivable angle to keep things visually lively, mirroring the ridiculous complexity of the plot with a visual complexity that always keeps the viewer slightly off balance.

Much has been made of the sweeping camera moves and the use of miniatures. The miniatures are a bit obvious, but their intent remains effective if you're willing to go with it. (Being willing to "go with it" is pretty much a necessity in general for this film, which was a wild and unrealistic ride in its time, and deliberately so.) The photography benefits from a number of technical innovations, including a lightweight camera dolly invented for this production that allowed the camera to be moved 18 feet vertically in a matter of moments.

The performances - both comic and dramatic characters - are deliberately hokey, very stagey turns that were the standard for this genre. Much of Chester Morris' mugging and squinting, however, are attributable to the violently bright underlighting that was used in his closeups, which eventually scorched his retinas (a condition which became known as Klieg Eye). Within that context, they are wonderful performances. Morris is particularly engaging, as is Grayce Hampton as the patrician Cornelia Van Gorder, the middle-aged spinster who refuses to be scared out of the house. (Hampton appears to be a very capable stage actress, and offers perhaps the most natural performance in the film. She had made one previous film – in 1916 – and made numerous subsequent ones, usually in bit parts, until she was nearly 80.) Her no-nonsense dowager centers the film perfectly, keeping the other characters (and performances) from plunging completely off the deep end.

The plot? A master criminal, The Bat, is on the loose, a half-million dollars have been stolen from a bank by somebody else, and The Bat is trying to get it. The money has apparently been brought to a lonely mansion in a rural town (apparently somewhere on then-rural Long Island) where a middle-aged woman and her made are renting for the summer. Someone is trying to scare her out of the house, so she has sent for detectives. From there, anything goes.

Yes, this film is dated. The acting is beyond hammy; only in the early talkies did movies contain this kind of unabashedly theatrical performing. Just when you think Chester Morris couldn't possibly twist his mouth--or curl his eyebrow--or twirl his finger--in a new way, he surprises you and offers a wholly different mugging expression he hadn't pulled out before. Along with the acting, the genre (the creepy old house with hidden panels etc.) became old hat by 1950. So, all right, this movie is stilted and creaks. However, for a film antiquarian, this motion picture is a joy. Its sets and lighting are breathtaking, and one gathers from it why the play was one of the longest running on Broadway at the time. I'll take it over the Vincent Price remake, THE BAT, anyday and I love Vincent Price.

Based on a play that was filmed four years earlier by the same director this is a wonderful film that is hampered only by the limitations of sound. That said this is probably the best version of the story.

A fiend known as The Bat is lurking around the mansion of a rich family and its up to an intrepid detective to prevent him from getting the goods.

This movie is a lot of fun, with several wonderful performances especially by Chester Morris as the detective.

Interestingly the film was filmed both in the standard aspect ratio and in an early wide screen process (Both are on the DVD). The films are more or less identical, but since they were taken from different takes they both play like two different nights of the same play.

I like this film a great deal and recommend it to anyone who likes the Old Dark House genre.

A tour-de-force of chases, shootouts, and robbery, as "The Bat" terrorizes a city, and particularly the renters of a mansion where he makes his hideout. Nearly everybody is a suspect, but the key lighting pretty much gives it away. Nonetheless, West keeps the pace moving so fast that we don't really have time to stop and think about much of anything. Features West's trademark effects with miniatures and wires.

Some remarkable photography (in 65mm, no less) in the disappearing silent gothic tradition makes this movie a link from the newly emerging horror scene to the old "haunted house with criminals" genre into which it more properly falls.

"Goofy gothic" excellence.