L'oiseau de nuit

There certainly is a lot happening in this film. Trap doors. Secret passages. Staircases. A "Bat" man. A hysterical maid who screams and leaps and circles and points. She must have been totally worn out when this film ended. Having seen the later version, I kind of knew the ropes a little bit. The idea is to get people out of an old mansion in order to grab a bunch of money that was embezzled from a local bank. The title character harasses the inhabitants, but doesn't know he has a real foe in the tough, matronly, unflappable owner of the mansion. She holds her own no matter what transpires. We have lots of suspects and that bat costume is pretty good. We can see elements of the Batman character of the early comic books. For a silent film this is very high quality and wears very well.

Like WEST OF ZANZIBAR (1928), this was a much-desired Silent ‘horror’ classic even if I had already watched the plot in action, so to speak, via a couple of Sound remakes – the 1930 version (from the same director!) and a later one made in 1959. Actually, this first adaptation of a popular ‘old dark house’-type play of the 1920s – when these proliferated in both mediums – was long considered a lost film; I watched it, in fact, via a serviceable 16mm print which suffered from constant (though not overly distracting) combing whenever characters moved!

To get back to the later versions, I’ve enjoyed THE BAT WHISPERS (1930) twice in its “Grandeur” i.e. early Widescreen format – I own the now out-of-print Image/Milestone DVD (which also includes the alternate “Standard” edition filmed simultaneously by a different cinematographer, but I’ve yet to check it out). Now, the film seems to elicit mixed reactions from most viewers (including myself): that is to say, being impressed with its distinctive visuals (spare but stylish production design, clever models – both qualities also evident in the original – and fluid, ground-breaking camera-work) yet being put off by the unfortunately archaic comedy relief supplied by an ugly and diminutive middle-aged maid (still, this ‘fraidy cat’ figure was something of a pre-requisite for the subgenre concerned). The 1959 film was a major disappointment on first viewing (dubbed in Italian) – despite the presence of an icon like Vincent Price; I do recall liking it a bit more in English (re-watched by way of a budget DVD I rented), but the result still lagged far behind either Roland West version!

Now that I’ve caught up with the original as well, I can safely say that it more than holds its own alongside THE BAT WHISPERS; I’m not always partial to directors remaking their own work but, in spite of my even greater reservations about the maid’s histrionics in the later version (remember that we can also hear her now and, therefore, is all the more liable to get on one’s nerves!), as I said, the gliding cinematography – presumably intended to emulate the movements of a real bat – was a lot more pronounced in the remake…where we also had archetypal lines (missing from the 1926 film) such as “Reach for the ceiling!” that were even parodied by Tex Avery in the cartoon short WHO KILLED WHO? (1943). The intricacies of the plot – revolving around a remote country estate which is gradually inundated by people (relatives of the current elderly female tenant, the doctor charged with her care, employees of the house’s recently murdered banker owner accused of embezzling funds, police officers on the trail of arch-criminal “The Bat” whose intended crime at the bank was anticipated but who has followed the culprit to the premises, etc.) – are pretty much identical, and the result equally entertaining. Incidentally, while the villain here sports a grotesque bat mask, in the 1930 film he exchanges this for a black cape (thus both helped give cartoon artist Bob Kane the idea for Batman, extending also to that character’s trademark ‘Bat Signal’!).

It’s been some time since my last viewing of THE BAT WHISPERS, so I’m understandably fuzzy about some aspects: I know the villain adopts a particular disguise in order to roam freely about the house – but he goes by different names in each version (the one from the remake is also present in the original but it turns out not to be him after all and is, in fact, a bit of a buffoon!); both, then, feature a suave male lead – Tullio Carminati (in his first American film and looking an awful lot like Rudolf Kleine-Rogge!) here and Chester Morris in the 1930 version (I’ll be seeing him presently in another title by director West, the noir precursor ALIBI [1929]). For the record and, as far as I can recall, the only other films in this vein from the Silent era I’ve watched were the interesting but lesser THE MONSTER (1925; yet another Roland West picture – with Lon Chaney, no less, though their individual styles didn’t really jell) and two outstanding efforts by similarly gifted film-makers, namely Paul Leni’s THE CAT AND THE CANARY (1927; itself adapted three more times for the screen!) and Benjamin Christensen’s SEVEN FOOTPRINTS TO Satan (1929; which is an even rarer title than THE BAT – since the copy I own only carries Italian intertitles which, luckily, I’m able to understand).

Trivia: leading lady Jewel Carmen was married to her director at the time; apparently, the couple remained on friendly terms after their separation and she would, in fact, become involved in a restaurant business with him and future companion Thelma Todd (a venture which, however, ended badly with the latter’s notorious and still unsolved mysterious demise in 1935!).

This film, like the play that it comes from asked the audience to keep the secret of the Bat secret so I will do the same and so I'll only speak in generalities.

One of the grand old dark house films this is the story of the super criminal known as The Bat and his attempt to steal a great fortune.

This film isn't the best ever made. The passage of time has diminished its impact a bit. Part of the problem is that at times the film has to wrestle with its stage origins, things seem to stagnate and you become bored. However at other times this film soars with a visual style that has rarely been matched. The mask of the villain for example hasn't been equaled. Thankfully its always watchable.

Certainly worth a look.

An outstanding picture in so many ways. Based on the play by Mary Roberts Rhinehart, The Bat tells the story of a master criminal who tries to scare some people out of an old, dark house. The trouble is that there are other criminals afoot, and the story becomes a mystery as to who is hiding behind the mask(looking very much like the inspiration for Batman for a young Bob Kane). The acting is very good for this silent picture and first of several film adaptations of Rhinehart's work. Lousise Fazenda really steals much of her screen time as an easily frightened maid/companion. She uses her face to its limits whether it be for screaming or being childish. A real treat to watch. Emily Fitzroy is equally good in her role as a woman with a lot of smarts. The real star here though is Roland West, who takes parlour room material and turns it into something grandiose. The mood West creates is hypnotic. The camera shots he uses are phenomenal. West also is ably assisted by the tremendous sets employed by art director William Cameron Menzies. The house is awesome and the opening settings are just breath-taking.Another real plus here is the titles used throughout the film. they are informative, yet not too wordy. They help create, maintain, and sustain suspense throughout the picture. This is a craft not to be too easily belittled. The film was and is an absolute joy!

A killer dressed like a giant bat stalks a mansion where a mystery writer and several others are staying. Silent old dark house thriller that was remade twice, in 1930 and 1959. Most notable today for its influence on the creation of Batman. Well, actually, the 1930 remake The Bat Whispers was said to be the inspiration. Besides, the Bat character here looks more like Die Fledermaus from The Tick cartoon than Batman! This is an OK movie of its type. Overshadowed by the 1930 remake as well as The Cat and the Canary, which came out the year after this and was the best old dark house thriller ever made, in my opinion. Still, this is enjoyable enough if you're a fan of silent films. Roland West's direction and the great house sets are a plus.