The Brain

Freddy Francis directs another retelling of Donovan's Brain.

This is the story of a rich SOB industrialist who is killed, however his brain is saved. As scientists try to study the still living organ the personality of the "dead" man begins to exert itself on those around the brain tank.

Good, with expressive black and white photography, this too is a bit unremarkable and slightly dull, which is odd considering Francis' films tend to have a bit more life in them, even when they are poor.Interesting to see Bernard Lee (M from the early Bonds) in a different sort of role. Not bad but not really the gripping drama I wanted at 2am to keep me awake...it put me out.

Yes, Freddie Francis had used us to so many excellent horror yarns, that this one - another version of Curt Siodmak's DONOVAN'S BRAIN - could not bring anything new to the prestigious career of this director, the only one that could be compared to Terence Fisher; even more than Roy Ward Baker or John Gilling, in terms of horror Hammer or Amicus Productions. But it is OK; a good time waster, thanks to Peter Van Eyck's performance. So, don't despise it either, but if you have the choice among Freddie Francis' filmography choose PARANOIAC, NIGHTMARE, HYSTERIA, and all the Amicus productions such as DR TERROR'S HOUSE OF HORROR.

This Anglo-German co-production by Raymond Stross based on the novel by Kurt Siodmak represented an early film by Freddie Francis, when he still had serious ambitions to establish himself as a director.

As befits a man who had recently been an Oscar-winning black & white cinematographer Francis provides the film with a vivid visual style. Among the cast comprising Ango-Saxons and Teutons in fairly equal measure Peter Van Eyck as usual gives a sound dramatic performance as Dr Corrie both before and after coming under the control of the recently deceased megalomaniac Max Holt. The producer's wife provides a memorably glacial femme fatale, while a surprisingly large number of actors associated with comedy - including Miles Malleson - fleetingly appear in straight roles.

There's a certain class of genre flick, seen especially but not exclusively in the 40s or 50s, that ably presents ideas of horror and science fiction but is less able to evoke any strong feelings about the material. Such fare can still be enjoyable on its own merits provided that one is receptive to genre elements that are more thematic than they are actualized. Even with iconic director Freddie Francis on board, I don't think there's much mistaking that 1962's 'The brain' can be described in such terms. We're treated to notions of unsanctioned experimentation, consciousness separated from corporeality, metaphysical communication and manipulation, and questions of identity and ethics - in addition to, of course, murder. And all of it is made to be scarcely more compelling than if we were reading the screenplay itself. I do actually like this, but it definitely reflects a more restrained sensibility of film-making that somewhat limits its potential and the size of its audience.

Or maybe we modern viewers are just too cynical and jaded, or so desensitized to ever-increasing intensity and violence that the storytelling older titles have to offer just can't faze us. After all, there's a delightful aspect of mystery to the proceedings as protagonist Dr. Corrie undertakes an investigation of sorts into the death of millionaire Holt. All those notions that comprise the genre elements do come to bear at different times, to different degrees. Between the effects and art direction, the admirable acting, some smart scene writing and dialogue, and Kenneth V. Jones' music that accentuates select beats, the creepy edge of the story does lightly shine through, and the greater vibrancy that some moments bear. Why, one way or another some scenes are kind of brilliant, and there is much to appreciate here on its own merits. 'The brain' is well made in every regard, including not just those facets I've already mentioned but also Francis' direction, Robert Huke's cinematography, and Oswald Hafenrichter's editing.

While Bernard Lee(!) is the cast member who enjoyed the most broad visibility, Peter van Eyck's role as protagonist Corrie easily gives him the biggest spotlight, and he takes fine advantage of it to illustrate his skills. That's hardly to count out the other actors, all of whom capably help to bring the tale to life. There is perhaps a point to be made that the picture mostly carries itself as a fairly straight crime thriller and mystery, with noir tinges, and the titular organ and subsequent story ideas are just flavoring. Moreover, even at under ninety minutes, it starts to feel before it's all over as if the whole experience has run a little long. Be that as it may the narrative is compelling, with splendid scene writing - and the reveals at the climax, and the ending, are unexpectedly gratifying. No matter how you look at it this is no exemplar by any standard, and it's nothing one needs to go out of their way to see. Modern viewers who have a harder time engaging with older flicks can probably just pass this right on by. Still, 'The brain' is suitably entertaining, and if you do have the chance to watch, it's not a bad way to spend a quiet afternoon.

If the science fiction elements were absent from this film, it would have been a good film noir movie. A remake of "Donovan's Brain", "Ein Toter sucht seinen Morder" (American title: The Brain), falls between two stools. In it, a scientist keeps alive the brain of a dead colleague while keeping the fact a secret from dead man's relatives who he suspects of murdering him; he turns detective and investigates.

The brain is kept alive in what looks a formalin-filled tank with wires sticking out of it - amateurish, but in keeping with the low budget science fiction films of that era. The film noir camera work is excellent as are the other film noir elements in this flick. The movie has a fast pace most of the time. Peter van Eych's acting is wooden at best and he looks too old for the part.

Worth watching if you are into old science fiction films of that era.

(Reviewed by Sundar Narayan)