Cerveaux de rechange

This is one of the earliest examples of the "mad scientist" characterization that would become so much a part of Boris' stock in trade over the following decade. What's most interesting about THE MAN WHO CHANGED HIS MIND is that it is not as much science fiction as it is an observation of what we might today call the "PR machine," and it takes some lacerating swipes at journalism, publicity and self-promotion.

Karloff is Dr. Laurience, a reclusive scientist who believes he can transfer the consciousness (or soul?) from one brain to another. Ably assisted by Dr. Clare Wyatt, Laurience draws the interest of newspaper publisher Lord Haslewood (whose son, Dick, is Clare's fiancé). Eager to promote his foundation, Haslewood offers to sponsor Laurience's work - without knowing exactly what it is. Before the dust settles, Haslewood feels swindled, Clare feels suspicious and Laurience feels used, vowing to employ his work to his own ends rather than for the benefit of mankind.

Boris' performance is exuberant, and supporting players Anna Lee, John Loder and Donald Calthrop are effective, but Frank Cellier, as Lord Haslewood, walks away with the picture whenever he is on screen. Without giving too much away, let's just say that Cellier is called upon to portray more than one personality, and provides the film with its most enjoyable scenes.

THE MAN WHO CHANGED HIS MIND definitely has its moments, along with a little something to say. With its takes on the press and the pitfalls of corporate control, it not only conveys messages to which we can relate today, but illustrates how little some things have changed in 70 years.

This was a low-budget horror film with very modest pretensions. No one involved believed they were making "high art" and with a small budget and running at only 62 minutes, this is a definite B-picture. And in light of these factors, it's an amazingly effective and enjoyable film.

Boris Karloff plays a mad scientist--this is certainly no great stretch. His research involves trying to switch the mind of one person with another--sort of like the plot that was often used in cartoons or cheesy comedies in the 60s. How exactly this was going to be a GOOD thing certainly wasn't a primary concern for th doctor, though later in the film, greed and an over-active libido push this strange doctor to make this switch with unwilling victims.

So despite a pretty corny plot, why did I like this film? Well, the pacing was excellent but more importantly the film had wonderful dialog and was at times very 'tongue in cheek'. In particular, when Karloff's evil and physically twisted assistant changes bodies with the rich philanthropic newspaper owner, I found myself laughing repeatedly because the writers for the film deliberately injected some levity into the horror plot. You just have to see it to understand and appreciate this.

Star Boris Karloff's second British horror film, following THE GHOUL (1933), proves a more satisfying vehicle and quite an underrated (if minor) classic; apart from director Stevenson (later to helm some of the Walt Disney studio's most popular live-action films), its imposing credentials include producer Michael Balcon (one of the most influential in British cinema) and co-screenwriters John L. Balderston (a genre fixture who had worked on some of Hollywood's finest entries) and Sidney Gilliat (later a Hitchcock collaborator and an important film-maker in his own right, often teamed with Frank Launder)!

Production-wise, it's a modest effort – mostly confined to studio interiors – but one which, in its brief running-time, exhibits both style and substance in a gripping (if familiar) plot line that manages to encompass drama, comedy, romance, chills and suspense! Incidentally, the transference of souls from one body to another was also the theme of THE BROTHERHOOD OF Satan (1971) – which I just happened to watch the previous day – where it's given an occult slant, as opposed to the sci-fi approach of the Karloff film!!

In fact, the star's 'mad scientist' character here (named Laurience but pronounced Lorenz!) was the second in a string of similar roles he played from 1936-1942; I've only watched the first two and the last one but I have two more coming up tomorrow and the day after, while the rest will be released as part of Columbia's Karloff set next month! Anyway, he's excellent as always – driven, menacing or poignant as the situation demands – but he's ably supported by a wonderful British cast: Anna Lee (the director's own wife and with whom Karloff would reteam, memorably, in Hollywood in the Val Lewton-produced BEDLAM [1946]), John Loder, Frank Cellier, Cecil Parker and especially Donald Calthrop; the latter almost manages to steal the show with his crippled and cynical doctor's assistant, whose brain is then put into Cellier's body: the scenes where he tries to act up his new persona provide some delightful – and unexpected – moments of black comedy!

As usual, Karloff's love for the leading lady is unrequited (though she sure admires his genius!) and he concocts an elaborate plan to win her affections which, needless to say, is thwarted in the final reel. In fact, the film's climax (in which Karloff and Loder, having switched brains, attempt an impersonation of one another and then the process has to be reversed in order to save the hero's life, Karloff having thrown himself – in Loder's body – from a window to escape police capture!) is somewhat far-fetched but nonetheless exciting. The DVD transfer is acceptable for such a rare item, with the only negative note being some persistent hiss on the soundtrack.

"There's always something queer about a genius," argues brainy and beautiful young doctor Anna Lee; she is leaving the medical establishment—and ditching her handsome boyfriend—to join exiled former colleague Boris Karloff, whose brilliant past work has been recently overshadowed by his pursuit of ideas and research just a little too weird.

Brilliant and eccentric, yes; but is he mad? "I shall show you strange things about the mind of man," Karloff says. In his complex and visually impressive laboratory, he claims to have developed a process to take the "thought content" out of one brain and put it into another—basically, to switch brains. He tries it on two chimps…but would it work on humans?

Lee and Karloff are both very good, especially in the wonderfully intense scenes in which they spar over the limits, the purpose, the morality of science. Each character derives strength, meets powerful resistance from the other; each actor seems to draw energy from the other's presence as well.

The supporting cast includes John Loder as the boyfriend who would prefer that Lee stay in the city and marry him; he follows her out to the sticks and eventually manages to get mixed up in the plot. Not exactly the standard dashing rescuer—in fact, quite the opposite.

A very exciting climax tops off this suspenseful and well-written thriller. A gorgeous and fully furnished mad scientist's laboratory, too!

Boris Karloff is reason enough to see any film of his. The Man Who Changed His Mind is not an exception. At 62 minutes, I did think it was too short, you'd expect a TV episode to be that length but not so much a film, and John Loder is rather stiff as a character that is not particularly interesting. However, The Man Who Changed His Mind is well shot with sets that add to the atmosphere. The music score, while it's never going to be one of my favourites, fits with the mood very well, with some memorable parts and it never overbears the drama. The dialogue is tongue-in-cheek and witty, advantaged also by being delivered with zest by the cast. The idea in variations has been done to death, but you don't care here because the story is suspenseful, fun and always interesting with not a moment when it drags. Other plot points such as the love triangle bring a touching yet never over-saccharine element to it but sensibly kept at minimum. Anna Lee is radiant in looks and proves to be a sympathetic actress also. Frank Cellier and Donald Calthrop are great as well, but Boris Karloff comes off best in one of his best ever performances, when he's on screen you cannot look away from him. To conclude, it is a shame that The Man Who Changed His Mind is seldom seen, it's not perfect but Karloff's performance especially makes for a film that I found myself enjoying a lot. 8/10 Bethany Cox