Le Monstre de minuit

A soup Kitchen serves as a front for various criminal activities run by Bela Lugosi.

As Bela's grade Z movies go this one is pretty good. The plot is complicated enough to keep you wondering what is going on. Of course things get a bit wonky towards the end as all of the people and plot points come crashing together.

Certainly not the worst that Bela turned out in his very up and down career. I don't know if I'd search this out, but late at night if it was on I certainly wouldn't turn it off, unless I needed sleep since it won't put you out.

6 out of 10

Lugosi plays a kind psychology teacher at a local college. He also runs a mission in the bowery where he gets criminals to pull off robberies for him. There's also a silly incidental subplot about raising the dead! This is pretty involved for an hour long movie. Being a Monogram picture it has all their trademarks--tacky sets; mostly atrocious acting; a plot that really doesn't make a whole lot of sense and one of the most unexciting gunfights in screen history.

The acting veers from OK to just embarrassing. Wanda McKay easily gives out the worst performance. Lugosi, always a pro, gives this the best performance possible. And it is nice to see Tom Neal three years before he did the cult classic "Detour".

Not bad--not good but one of the better Monograms Lugosi did. LOVE the clearly marked graves in the basement! I give it a 5.

Bela Lugosi is in fine form playing Karl Wagner, a sweet soul with a soft touch who runs a nightly Bowery mission, spooning out bowls of soup for needy tramps with nowhere to go. When he recognizes a new customer as an escaped safe cracker called "Fingers" Dolan, Wagner kindly escorts the convict to a hidden room and offers him a cigar. During the leisurely smoke, the host confides that he's admired Dolan's work for a long time, and springs a surprise on him: Bela's actually a crime boss, using the mission as a front and looking for someone new to join his racket. By day, Wagner leads a double-life as a professor named Dr. Brenner. When he's not showering his unsuspecting wife with gifts from his nightly escapades he teaches a class on psychology.

The potential is there for this to be as confusing as it sounds, but taken slowly it can be a hoot. An interesting ending, too, makes one suspect it was a possible influence for NIGHT OF THE LIVING DEAD. Simply stated, BOWERY AT MIDNIGHT is one of the best of the poverty row pics made by Monogram studios with Bela Lugosi in the forties. Really more of a crime story with an occasional dash of horror as an added condiment, this is a tasty 62 minutes of absurd fun done on the cheap. **1/2 out of ****

Bela Lugosi, both a wonderful actor and very fine gentleman, comes across perfectly in this role. Things like body language, eye contact, voice inflection, all of it done beautifully. The plot, containing as many little surprising twists and turns as the Bowery mission contains secret panels and hidden doors, is a neat story and it flows well. The other players fit their roles very well. The continuity is good. And then there are those other added attractions, like thinking you just saw Lou Costello playing a Bowery bum. Nope, you didn't, but you're close. Its his older brother, and almost twin, Pat Costello. Things like that make this movie great fun. Add a pretty nurse, a crazy doctor, and what do you have? A "B" movie that deserves at least a B+.

In the 1942 Monogram horror cheapie "Bowery at Midnight," Bela Lugosi plays quite the enterprising fellow, not just moonlighting...but double moonlighting! By day, he works as a college psychology professor named Frederick Brenner. By night, under his Karl Wagner alias, he runs a soup kitchen/hospital for the poor in NYC's Bowery. But wait...as Wagner, he is also the mastermind of a burglary ring that has lately been scourging the area. This ring is small in number, as Wagner has a habit of killing off one of his henchmen every time a heist is performed, and burying him in his basement...with named placards in lieu of headstones, no less! Anyway, the picture has been competently directed by Wallace Fox, who had already worked with Bela on two previous Monogram films, "Spooks Run Wild" ('41) and "The Corpse Vanishes" ('42); I wonder how this director would have fared with a budget larger than a few thousand bucks, some shoestrings and two bottle caps. In a relatively no-name cast, Tom Neal, playing Bela's sadistic gunsel, is a welcome presence; he would, of course, go on to achieve cult status by dint of his work in that truly bizarre film noir, "Detour" ('45). "Bowery at Midnight," at 63 minutes, never wears out its welcome, despite some occasional lame humor, incredibly chintzy sets and an unfortunate dependence on unlikely coincidence. (Really, what are the odds of Wagner's soup kitchen assistant being the fiancée of one of Brenner's students?) I mentioned up top that this is a horror film, but honestly, the only genuine horror elements here are Bela himself and the fact that his drunken doctor pal manages, inexplicably, to bring all his buried victims back to life. And speaking of inexplicable, just what is the deal with that map of Australia that Wagner keeps on his wall? Best not to ask such questions, I suppose. Just sit back and enjoy the spectacle of one of our true horror icons essentially playing three different roles in one hour. From a Poverty Row studio, that really IS value for money!