Le spectre vert

This is one of the earliest talkie whodunits; it still holds up quite well. It has a clever plot (sort of a precursor to Agatha Christie's "And Then There Were None"), some impressive tracking shots, and a striking séance climax. Dorothy Sebastian is hot; Boris Karloff (in a thankfully, in this case, minor role) is ridiculously hammy; the rest of the cast is fine, if not terribly distinctive. **1/2 out of 4.

With death stalking the darkness, members of a doomed regiment spend THE UNHOLY NIGHT in an old mansion seeking a murderer.

Fine atmospherics and good performances propel this creaky creeper from the very early days of talking pictures. The opening sequence ably depicts the oppressive emotional weight of an extreme London fog. The remainder of the film becomes an Old Dark House picture, with the cast claustrophobically caught in the clutches of a clever killer.

Owlish Roland Young does very well as the gentle nobleman whose grand home becomes a house of horrors. Appreciated for his comedic abilities, Young shows he's equally adept at more serious drama. Ernest Torrence--a very enjoyable character actor of the era whose career was cut short by an early death--plays the friendly doctor trying to deal with the brutal deaths. Lovely Natalie Moorhead portrays Young's sister, a woman fascinated by the supernatural. Dorothy Sebastian appears as a beautiful & mysterious lady from the East with a strange story to tell.

Blustery Major Lionel Belmore, and John Miljan as a badly scarred Major, are two of the 'Doomed Regiment.' Polly Moran has a few good moments as a frightened maid. Exotic Sojin is most effective as a Chinese mystic.

Movie mavens will easily recognize an unbilled Boris Karloff appearing as a sinister Turkish lawyer.

Director Lionel Barrymore makes good use of the new sound technology with a few well placed screams and some hearty singing from the officers of the regiment.

On a foggy night in London, five men are strangled. Four die but the fifth (Roland Young) escapes. Turns out the men all served together in the same regiment years before. Now Scotland Yard gathers the other men from the regiment together at Young's house to figure out the killer.

Nice old dark house mystery with a creepy pre-credits ghost and effective opening few minutes. This was directed by Lionel Barrymore. He only directed a handful of movies and nothing past 1931. Which is a shame because, if this is any indication, he had talent as a director. It does creak some, being an early talkie, but it's still worth checking out. Boris Karloff has an uncredited part as a Hindu lawyer named Abdul. I love Karloff but this is one of his worst performances. He's so over the top you just have to see it for yourself.

A skeleton dressed in tatters waves at us at the opening credits roll. This is going to be good.

London is in the 4th night of the worst fog anyone can remember. The movie has not been running 4 minutes before we witness a brutal assault, a rape and a murder. A mysterious attacker tries to garrote Lord Montague (Roland Young) as he makes his way home. Luckily the dapper gentleman is also late of His Majesty's Army and is able to fight off his would be murderer.

Lord Monty has friends at Scotland Yard and they advise him that several murders have occurred and all of the victims were in his old regiment from India. The Inspector persuades Monty to gather his fellow ex-officers in one place in the hopes of luring the killer into the open. Monty is no Bulldog Drummond but he is up for the challenge and agrees.

The old cronies gather and plan to turn the night into a reunion/party while they wait for the killer to show up. As the night progresses and the drinks flow talk of "the old days" gives way to darker memories and soon it is obvious that most of the group have grudges against each other for one reason or another. It begins to look more and more like the mad strangler just might be one of them!

Ah, but who could it be? The most obvious choice is The Colonel (John Miljan) who was disfigured by a grenade blast and got the "screaming meemees" (shell shock to you). Yes, but The Colonel has traumatic amnesia and is confined to a wheelchair . . . isn't he?

Director Lionel Barrymore is best remembered for his acting but he is a very competent director and he handles the cast of veteran performers as if they were old pals. Roland Young is quite good in this very serious role. He would go to the fantasy genre with THE MAN WHO COULD WORK MIRACLES (1937) before becoming indelibly identified with the role of TOPPER.

Also in the cast is Lionel Belmore who appeared opposite Lon Chaney in the 1922 version of OLIVER TWIST. John Miljan would go on to be the prosecuting attorney who yanks the wig off Mrs. O'Grady exposing Lon Chaney's criminal plot in THE UNHOLY THREE just a year after this. Japanese actor Kamiyama Sojin (who was usually billed by just his surname) was the first actor to play Charlie Chan in a movie (THE Chinese PARROT, 1926. Does anyone know where a print of this movie is?) The kindly doctor is played by Ernest Torrance, a man who in silent movies set the standards for brute villains in movies like TOL'ABLE David (1921) and THE HUNCHBACK OF NOTRE DAME (1923). When talkies arrived and audiences heard his cultured Scots accent his days as a brute were over and he began to play professors and "nice old grandfathers". (NOTE: A similar thing happened to actor Donald Crisp but hey, it prolonged their careers so who's complaining?)

The real surprise is finding Boris Karloff in a small but significant role as Abdul, a Hindu lawyer who has come to read the will of a brother officer who died in India. Abdul not only knows who the killer is but why he is striking! But will he live to reveal what he knows? Boris met Lionel Barrymore when the two of them worked on THE BELLS in 1926 and they formed a lasting friendship.

Admittedly at 93 minutes the movie is a bit too long and a scene of the old soldiers doing a drinking song goes on much longer than it should. Also, after such an elaborate build-up of tension the climax is something of a letdown. Still this early talkie succeeds on many levels and is well worth a look.

Aka..."Green Ghost"

Of Course "Hollywood" and "The Movies" Would Capitulate Completely to the "Bible-Thumpers", Those Self-Imposed Over-Seers from "The Moral Majority", and Ironically Would Become...

"The Most Popular Art-Form of the 20th Century"

One has to Wonder and Report that "Bending Over Backwards" was a Painful "Lock-Step". Because "The Code" was Rigid, All-Encompassing and "Commanding".

The Code was Impossibly Restraining, and Uncompromising. Without the "Codes" Approval there was No Chance of Recouping Production-Cost, or God-Forbid, a "Profit"...No-Code, No-Distribution, No-Profit.

Probably Unconstitutional Under the 1st Amendment, it had a Stranglehold of Evil on the Art-Form for 25 Years and Hampered, if Not Surely "Castrated" the Ability to Freely Express and the Result was Producing and Exhibiting a "False-Front" of a Reality that Did-Not-Exist. Except in the Minds of Fascists, Control-Freaks, and Fundamentally a Figment of Christian-Idealism.

1929...It's the Year of "The Talkies" or as Ballyhooed..."All Talking-All Singing-All Dancing" and the Transitional "Growing Pains" were All Over All of the Movies in that Land-Mark Year.

Not Only Technically, but Presented Unanswered Questions...What Do Audiences Want"...What will They Tolerate?... It was Unexplored Territory for the Hybrid, so there was a Goodly Amount of Experimentation and Blind-Ambition.

This Story, an "Old-Dark-House" Type was Popular, Common, and a Path Well Traveled In-Print and On-Stage, was Made by "Money-Bags" MGM (More Stars than in the Heavens!), Directed by Celebrated Actor Lionel Barrymore, from a Story by Ben Hecht.

The Movie Looks and Sounds Better than Most of the "Crop" of Cinema in those Early-Days, a Well-Polished, Slick Presentation with an Over-Use of Sing-Along Camaraderie alongside Spooky Spiritualism, and Mystery-Thriller Tropes.

It's a "Talky-Talkie-Type", Typical of the Genre, a Few Surprises, and a "Cameo" by Boris Karloff (pre Frankenstein).

A bit Over-Long, but a Not-Bad Artifact Experience during a Period of Historical Significance, when Movies were Learning to Talk.

"The Code" was Fermenting, and Despite 'Prohibition" in America...Drinking was Celebrated, Embraced, and Promoted, Glorified, and Considered Good-Natured-Fun by "The People".

There is a Lot of That Here along with Other Ingredients that Make this...

Worth a Watch.