O Mago da Morte

The third Boris Karloff "mad doctor" film is an interesting if surprisingly rather dull affair; the star is always worth watching, however, and his role here certainly offers him plenty to sink his teeth into: he starts the film as an old man about to be hanged for a mercy killing, is then rejuvenated through a serum he develops while in prison (the kindly warden having consented to Karloff continuing his experiments there until the time of his execution comes) and finally turns into a strangler (the unfortunate side-effect of the drug which contained the blood cells of a murderer)!

Though the supporting cast features several familiar faces, they're all somewhat underused: Evelyn Keyes and Bruce Bennett are certainly among the higher-prolife actors to fill the 'romantic interest' roles in this type of film, but they're just about the most thankless I've ever seen (especially Bennett who has barely 5 minutes of screen time)! Edward van Sloan's presence was especially welcome (having memorably faced-off with Karloff twice before) but, again, his prison doctor here is nowhere near as juicy as his iconic roles in Dracula (1931), FRANKENSTEIN (1931), THE MUMMY (1932) and DRACULA'S DAUGHTER (1936)! Pedro de Cordoba, on the other hand, is quite poignant as Karloff's pianist friend whose career is fading due to his advancing age; of course, Boris is willing to help him out in this regard, but his new-found and uncontrollable murderous instincts prevail! A measure of amusement is also gleaned from noticing the recurring presence of such actors as Roger Pryor, Don Beddoe and Charles Trowbridge in roles which were pretty much reprises of ones they had played in the earlier Columbia Karloffs!

On the debit side, the low budget especially shows here in the film's rather dismal sets - the other three of Karloff's serious horror efforts for Columbia made good use of the star's gadget-filled house (THE MAN THEY COULD NOT HANG [1939]), frozen underground lab (THE MAN WITH NINE LIVES [1940]) and Karloff's imposing cliff-top mansion (THE DEVIL COMMANDS [1941]); besides, the rather clinical experiments become repetitive and the film talky, which is further exacerbated by the regrettable fact that throughout there are few action/horror highlights per se.

As far as the film's DVD presentation goes, I found it to be disappointingly lackluster: while the print itself is adequate, there are no scene selections for any of the films in this set (which also proves to be the case with Universal's Karloff collection and the "Inner Sanctum" Set!) nor, for that matter, proper menu screens - have the studios become stingy or what?!

Boris Karloff would begin to repeat what might be considered the same part again and again in a series of "Mad Doctor" films he made for Columbia Pictures in the early '40s. As the elderly Dr. Garth, Boris is developing a serum which he hopes may preserve life. He's been convicted of the mercy killing of a terminally sick friend (would that make Karloff the first Dr. Jack Kevorkian?) but yet is allowed to continue his experiments while on death row with the aid of prison physician Dr. Miller (DRACULA's Edward Van Sloan). Garth decides to use himself as a guinea pig and injects himself with a serum made with the blood of a known murderer. The kindly doctor is subsequently pardoned from his crime, and the end result of his experiment produces the amazing effect of turning him into a much younger man. He has now inadvertently reversed the aging process, but the tainted formula has one slight side effect: it periodically turns him into a homicidal killer who is seized with the urge to strangle his victims. BEFORE I HANG is a decent offering in this series, though is not to be confused with the similarly-titled and superior THE MAN THEY COULD NOT HANG from 1939. **1/2 out of ****

The film begins with a kindly doctor (Boris Karloff) being sentenced for performing a mercy killing. He is given the death penalty and the sentenced is to be carried out in one month (wow--things sure went fast in the good old days). In the meantime, however, the warden of the prison allows the Doctor to continue his experiments regarding prolonging human life, as the work seems important and not everyone is as tough on the Doc as the judge.

During this one month period, a breakthrough occurs with Karloff's research. And, in an effort to test the formula, Karloff insists that the other doctor inject him with the formula. The experiment is a success and Karloff now looks and feels much younger and healthier--and as luck has it, the death sentence is commuted, so Karloff can continue working in the prison laboratory. However, slowly the changes that occur in the one-kindly man are unanticipated...and not particularly pleasant to say the least. Why did he change and what happens next? Well, see the film for yourself, as I'd hate to spoil the suspense--though the why is a tad silly.

Overall, a novel idea for a film that is well worth seeing. Karloff fans will have a ball, but non-fans also might enjoy this interesting little B-movie. I particularly liked it because I enjoyed seeing Karloff play such a likable guy--at least until the injection.

Boris Karloff played the benign "mad" scientist whose intentions were good but turn awry better than anyone else. Most of his mad scientists were men put into bad situations by some kind of catalyst beyond their control and Before I Hang is no exception. Karloff plays a doctor brought before a jury for a mercy killing - a man who had been living in terminal pain sought out Karloff's help with hopes that a youth age-suppressing serum he had been working on would help regulate the pain and off-set the aging process. It didn't work and Karloff aided in his assisted death. Karloff is sent to prison but finds that the warden believes in his work and allows him, with the aid of Edward Von Sloan the prison doctor, to work on his serum just weeks before he is to be hanged for his crime. Before I Hang has really quite a preposterous storyline but Boris Karloff breathes life into it rather nicely with a gentle performance edged by a maniacal turn as he injects himself with the serum that has some bad side effects. The other actors are all very good with old Karloff nemesis from Frankenstien Von Sloan doing very well with his rather small, thankless role and Eugene Palette giving a good turn as the warden. Karloff's three old friends are all well-played and Evelyn Keyes as his daughter adequate as is Bruce Bennet as her love interest and Karloff's former assistant. The movie is not particularly fast-paced but the tension does build increasingly with effect. Before I Hang is a rather nice addition to Karloff's Columbia Mad Doctor roles. Perhaps not the best of them but certainly stands strong with the rest of them.

I am not exactly a connoisseur of Karloff, but this film makes me want to find out more about the great master--his performance in this was truly endearing, not to mention gripping.

Furthermore, this movie should be be required viewing for modern film-makers, because it really is a masterpiece of succinctness. Not a single frame of film is wasted! The movie only lasts for 62 minutes (although I'm sure the version I saw, early one morning, lasted a good ten minutes less than that!) and yet it crams more plot into that small timescale than a great many drawn-out 3 hour epics! And yet, the real genius of the work is that it does not for a single moment seem *rushed*. Everything flows smoothly right up to the final curtain, and you are left with the feeling of having watched a "full-length" feature--a truly astonishing achievement! I glanced at my watch at about the halfway stage , not out of impatience, but out of sheer wonder at how on earth everything was going to be wrapped up to a neat conclusion within only 25 minutes or so!

This film, more than any other that I can recall, bridges the gap between the frenetic single-reeler comedies of the 20s (which crammed a hell of a lot in, at the expense of a more welcome relaxed pace), and the modern day feature. If there really was five full minutes of piano-playing in this, I can't say that it perturbed me in any way whatsoever--it merely helped to set the melancholy mood of the piece. And that five minutes of a one hour film can be dedicated solely to mood setting, without generating any feeling of slow-down, is something really quite remarkable.

A great genius *can* make a 4 hour film work... but such directors are *extremely* few and far between (e.g. Kurosawa, von Stroheim). All others should learn from the director of this work: the Occam's Razor of feature films.