Morto de Medo

Scared to death is a fun movie. I really liked the character of Bill Raymond (played by Nat Pendleton), who was a detective sitting around a house waiting for someone to be murdered so that he could impress his superiors on the police force.

There were a great deal of fun turns in the movie. The bad guy was really a good guy and the person who was "murdered" really deserved it. As I mentioned before, the cop was there for no reason but to wait for a murder and the reporter was also there waiting for something to report. There was also a dwarf who seemed to just be hanging around to make the movie strange, a man who wanted a divorce and couldn't figure out how to get one, a doctor who never saw a single patient and a maid who sometimes seemed like she might be a nurse.

The plot was so silly and contrived that you couldn't take it seriously- so you have to just sit back and have some fun with it. It's not an expensive movie, I bought it on a DVD that also has 2 other Bela Lugosi movies on it- White Zombie and The Corpse Vanishes. It's not the best plot in the world, but it is a nice distraction for an hour of your time.

Bela Lugosi had a notable career during the 1930s--but success of his landmark performance in the 1931 Dracula combined and his exotic appearance and accent left him typecast, and during the 1940s he found work increasingly difficult to obtain. By the mid-1940s he was so greatly pressed that he began to accept work in low-budget independent movies. Among the first of these was the 1947 SCARED TO DEATH, a film often described as the only color movie in which Lugosi appeared. This is not strictly true: although he was not the star, Lugosi also appeared the color 1930 VIENNESE NIGHTS--but given that both films are so little known it's hardly worth arguing about.

The story begins with a clever idea: a woman's body lies on a slab in a morgue and through flashback she relates the way in which she was murdered. Sad to say, though, this clever idea is not only badly executed, it also happens to be the only clever idea in the entire show. The plot, such as it is, concerns a doctor with a questionable background whose son has married a woman with a questionable background (our soon-to-be corpse.) The family is suddenly descended upon by the doctor's brother, a hypnotist (Lugosi, of course) with, yes, a questionable past. Throw in a surly maid, a mean dwarf, a newspaper reporter, a dumb blonde, and a green mask that keeps floating in front of the window and you have SCARED TO DEATH.

The only saving grace in this nonsense is the cast. Although he receives star billing, Lugosi's role might be better described as the second lead; whatever the case, and in spite of a truly ridiculous script, he gives the role more sparkle than you would expect. The film also includes a number of character actors who like Lugosi shone most brightly in the 1930s--George Zucco, Nat Pendleton, and Joyce Compton--and they too deliver more than the silly script actually allows.

Even so, the charms of the cast cannot raise SCARED TO DEATH above the level of slightly-less-than-mediocre, and for the most part watching the movie is an uphill battle. Lugosi would go on to make one or two more films for major studios, most notably the 1948 ABBOT AND COSTELLO MEET FRANKENSTEIN, and he would make a few television appearances as well, but for the most part SCARED TO DEATH would mark the beginning of his career's rapid slide into the likes of BELA LUGOSI MEETS A BROOKLYN GORILLA and his wildly dire association with the notorious Ed Wood in such appalling (and accidentally hilarious) films as GLEN OR GLENDA and PLAN 9 FROM OUTER SPACE.

For the sake of Lugosi, Zucco, Pendleton, and Compton I'm giving SCARED TO DEATH three stars, but truth be told it really doesn't deserve more than two, and that's throwing roses at it. Although it does have a few moments--and I do mean a very few--this is one Lugosi film that is best left to die-hard fans.

GFT, Amazon Reviewer

The classic trope of several people in a house with a killer. Right away, we're assaulted by a garish color palette, but OK whatever. We're introduced to the cast one-by-one and we are trying to figure out whodunit and why. Pretty standard so far. Then about 65 minutes in, the killer is abruptly revealed and the movie ends. Wait, what? The movie starts out not being too bad, and seems like it could have gone somewhere, but ultimately it's like they just gave up (ran out of time? Money?) and ended it. The unsatisfying ending turns a mediocre movie into a somewhat bad one.

Norm thinks more of this turkey than I do. I found it inept in plotting, dialog, direction---well, everything. Lugosi tries, but the deck's stacked against him. Watch as Zucco takes the dead girl's pulse, lets go of her hand, and it hangs there for a second before dropping to the floor. Lines get flubbed but they go on anyway. Hear the corpse stick her two cents in periodically, while the same spooky chord plays every time. Okay, I've seen it, but the next time I watch it I'll have some liquored up friends over for some solid laughs.

This is Bela Lugosi's only starring feature in color. That's about all it has going for it, really; the schtick of having a corpse narrate the movie (Which would be done quite a bit better a few years later by Sunset Blvd.) isn't well executed, anyway.

Laura Van Ee (Mary Lamont) is a nervous, tension-ridden ex-dancer who thinks she's imprisoned in her room by her husband Ward and her father in law Dr. Josef (George Zucco). She's mad, mad I tell you! Since it's her corpse that narrates, I think we can assume we know what happens to Mrs. Van Ee right from the get-go.

Why is she so anxious? She's not sure - no one is - but everyone suspects it all has something to do with her past, and something to do with a handkerchief. Enter Bela Lugosi and a midget - no, wait, Professor Leonide and his faithful companion, Indigo. And a wisecracking, tough-guy reporter (Douglas Fowley) and his dim-bulb dame (Joyce Compton). Add in a bumbling ex-cop who overtly desires a murder so he can solve it and get back to "real" policework (Nat Pendelton), and you have all the ingredients for One Crappy Low Budget Movie.

Every now and then the director remembers this is supposed to be a horror film, not a crime caper, so you hear this loopy pseudospooky music that's probably supposed to portend doom, or something. Which makes some sort of sense, but there's nothing creepy going on at the time, so it's hardly effective.

I've heard tell that Lamont, as the haunted Mrs. Ee (love the surname) is the only actor with any kind of spirit (ha, ha) in the movie - but please, hammy isn't the same as being spirited. Lugosi plays Lugosi, the midget disappears halfway through the picture, there's a supposedly disembodied head, and that's about it. It's all over in an hour or so.