O Médico Vampiro

While "The Man Who Turned to Stone" may at first look like just another schlocky horror film, it turns out to be highly original and well worth watching! Sure it is a bit schlocky...but most enjoyably so!

The story is set at a women's reformatory. Too many of the young ladies seem to be dying by accidents or suicides and Dr. Rogers decides to look into the matter. Through the course of the film, he learns that the folks running the facility are actually incredibly old...over 200 years old! It seems that they came upon a way to transfer the life essence from a young lady into them...allowing them to seemingly live forever. However, if they don't get the transfer of energy, these folks become mindless and soon turn to mummies (complete with really cool make-up). Can he get to the heart of things before evil Dr. Murdock (Victor Jory) or his minions stop him?

What I really liked about the movie is that they managed to make a ridiculous story idea seem plausible. It also had a well thought out plot and was clever and engaging throughout.

I purchased a Goodtimes Video of this film in 1989 for $8.99. The jacket promo includes a statement claiming, "Weird scientists murder young girls to prolong life." Ah well, it turns out the jacket is far more exciting than the film. Young inmates of a women's minimum security prison continue to die of "heart failure." This becomes a little too obvious and the handsome young corrections psychiatrist, William Hudson as Dr. Rogers, is called in to investigate. The good doctor finds out that Dr. Murdock (Victory Jory) and the rest of the prison staff are all over 200 years old and must renew themselves from time to time with new life energy. It has been determined that young females are the best sources of this new energy, thus Murdock and his confederates have placed themselves in charge of a women's prison. All ends happily, however, after Dr. Rogers saves his lady love, the kind-hearted social worker Carol, played by Charlotte Austin, from Murdock's murderous clutches. Films such as this must be judged in context to it's genre, the time that it was filmed in (1957), and budget, which in this case it is obvious the budget was very modest. The sets are mediocre, the film is somewhat grainy and production values iffy at best and that is being kind. In short, this is another 1950's era horror / sci-fi B-film which could have been done much better in a different time and with greater financing. Not even the presence of that fine character actor Victor Jory, (a fine player for many years who never received the acclaim he deserved), could lift this one very high, but even with its limitations it is enjoyable to fans of this type of film. Today, the setting and story plot would tempt a director to include nudity and perhaps soft core porno scenes, which would change the tone of the story dramatically and this would be a shame, because the story itself is pretty good. Of course, I am prejudiced. Anything that has to do with time travel interests me greatly and immortality is, to me, a form of time travel. This one is of interest to fans of this type of film only, but don't let that stop you from catching it on late night TV if you can. If nothing else, it is an excellent example of the lesser B films of the era, an era far more interesting to serious students of film than most of the general public today realizes.

Now that billionaires are becoming increasingly obvious in their ambition to live forever the search for the elixir of youth seems as topical now as it's ever been.

As screenwriter Bernard Gordon was a casualty of the Hollywood blacklist it might not be too presumptuous to read an allegory into 'The Man Who Turned into Stone' for amoral capitalists exploiting innocent youngsters and state-sanctioned abuse of psychiatry.

Students may think that a generation gap divides them from their elders, but that Victor Jory and his ghoulish confederates wear wing collars is a bit of a giveaway; while Ann Doran as a bluestocking with her hair tied in a bun is a worthy antecedent of Alida Valli in 'Eyes without a Face'

A motley crew of 240 year old plus crustaceans, led by suave but diabolical doctor Victor Jory, are hanging out at a reform school for teenage girls, who are really in their upper twenties and early thirties. But I digress. It seems that to keep themselves alive, these crumbling pillars of the medical fraternity have to indulge in a little bioelectrical hanky panky from time to time. However, the ruse will soon be up because Miss Goody Two Shoes prison psychologist Charlotte Austin and prison psychiatrist William Hudson, (he being the nasty hubby of poor, dear Allison Hayes in the fifties cult classic "Attack of the 50 Foot Woman") are both determined to put an end to the chicanery that is going on.

As much a B-mystery movie as it is a B-horror movie, "The Man Who Turned To Stone" celebrates a silly script, leaden pacing and granite-like performances except for Jory, and Ann Doran as 1957s foreshadowing of Nurse Ratchet. A minor low-brow effort with little to redeem itself, "The Man Who Turned To Stone" is a cheapie quickie that somehow managed to do respectable box office by virtue of an enticing ad campaign and, much more importantly, a generous television advertising budget at a time when such products rarely got the sort of dollars this one (and its packaged co-feature "Zombies of Mora Tau") received. I know, because in my city it was the television ads flowing out of Buffalo that immeasurably hyped our box office at the Downtown Theatre in Hamilton.

Almost instantly forgettable, "The Man Who Turned To Stone" is a minor, 71 minute artifact that should really have been on the lower half of the double bill package given it's "Zombies of Mora Tau" that displays most of the life.

The aim of becoming immortal is a fairly common theme in horror movies and has been experimented with often. A feature that is often a part of movies that focus on this idea is the central perpetrator killing off living people in order to achieve their aim of immortality, and that's basically what we have with this film. The Man Who Turned to Stone was clearly shot on a budget and is very much a 1950's 'B' picture, but in spite of that this film showcases some good ideas and the plot, while completely lacking in suspense, is at least interesting enough to keep the audience entertained for the duration; although that duration is only seventy two minutes. The plot focuses on a group of scientists that have beaten death by way of keeping the series of chemical reactions that keeps everyone alive going. The downside to this, however, is the fact that in order to keep this going; they have to sacrifice a human life. The scientists are currently residing over a women's prison, and the prisoners are starting to wonder why so many of their number is disappearing...

The script written by Bernard Gordon has its fair number of plot holes, inconsistencies and illogical events; but you have to expect that sort of thing from a fifties B-movie. The film was shot on a budget and it really shows; it looks cheap throughout and nothing about it is particularly outstanding. The plot is definitely interesting in spite of this; and in spite of the fact that it contains very little in the way of tension or suspense. Finding out exactly what is behind the central mystery is really the only thing that manages to keep the film going for most of the duration. The acting is not great either, with none of the little known central cast really impressing. The prison setting is not convincing, with most of the girls being quite happy and there's not a sign of anything restraining them to the building in site. Once the main revelation is out of the way, the film boils down to a rather predictable ending. However, despite all the film's flaws; The Man Who Turned to Stone is at least a fun timewaster and doesn't outstay its welcome.