The Cat Creeps

Reporter Terry Nichols (Frederick Brady, "Slightly Scandalous") is assigned to investigate the accusations made by a reputed crazy woman that a 15 year old "suicide" was actually a murder. He, his photographer (Noah Beery Jr., 'The Rockford Files'), and a boatload of suspects travel to the womans' island residence, and experience an eventful night as the attempts to unmask the killer are underway.

"The Cat Creeps" is moderately entertaining, mostly due to the supporting cast, although the comedy and the patter really aren't that funny and the "mystery" is rather obvious from the get-go. In lieu of a more fully fleshed-out plot and longer run time, we get a healthy amount of exposition laid out for us once the killer is revealed. Overall, the movie is competently made, capably directed by Erle C. Kenton ("Island of Lost Souls"), and reasonably paced, clocking in at just 58 minutes. The cat mentioned in the title figures into the story in that it is hoped that the feline will lead the characters straight to the evildoer.

Brady is unfortunately an annoying stereotype, overly obnoxious at first although also smarter and more savvy than anyone else in the room. Beery doesn't fare much better as the most blatant comedy-relief character. The other cast members are fine, though, treating the material with straight faces: the pretty Lois Collier ("A Night in Casablanca"), Paul Kelly ("Crossfire"), Douglass Dumbrille ("Mr. Deeds Goes to Town"), Rose Hobart ("Conflict"), Jonathan Hale (Inspector Fernack in the "Saint" series), Iris Lancaster ("West of the Alamo"), and Vera Lewis ("The Roaring Twenties").

"The Cat Creeps" may be nothing special as a movie, but it IS historically significant, seeing that it was the final genre feature film made by Universal after their decade and a half-long horror cycle. It was issued as a double feature with "She-Wolf of London", and after this, Universal wouldn't make another horror film for about five years (if you don't count the Abbott & Costello horror spoofs), starting fresh with "The Strange Door" in 1951.

Five out of 10.

THE CAT CREEPS over the years has gotten a bum rap. This was fun stuff, usually on the late show (back in the days of NO cable!) It was also one of the last mystery/horror films to be produced by Universal, on a double bill with SHE WOLF OF LONDON.

No relation to the 1930 thriller (which there are no existing prints), still campy with a group of suspects slowly being bumped off on a remote island -- with a fortune in cash hidden somewhere in a creepy, old house. Universal also took pride in this production, boasting a terrific cast of well known character actors and directed by one of their best, Erle C. Kenton, who directed for Abbott and Costello and two FRANKENSTEIN classics.

Noah Beery, Jr is always fun, trying to figure everything out (at least he does find the money in the end, without giving too much away), also poker face Douglas Dumbrille as one of the suspects. Jonathan Hale (Mr. Dithers in the BLONDIE series), plays the DA running for the senate, caught in the middle of a suicide which turns out to be murder. Beautiful Lois Collier plays his daughter.

Fred Brady stars as the crusading reporter and detective, also look for a very sinister Paul Kelly (as another gumshoe), and veteran actress Rose Hobart as Dumbrille's devout secretary. Vera Lewis plays Hale's elderly, bedridden cousin who knows something's up. Don't forget her slinking cat.

This was your typical 40s drive-in type movie, not a classic, but a good time killer and with a memorable cast if you're a movie buff. Don't miss Kelly tripping down a flight of stairs and landing on a pitch fork?

A salute to Fred Brady, who wrote so many classic scripts for 77 SUNSET STRIP and other Warner Brothers tv cop shows. He passed in the early 60s and is missed.

Always on dvd and remastered for all us oldie fans.

When a wealthy widow sends a one thousand dollar bill to the local newspaper claiming murder, blackmail, a corrupt politician and $200,000 fortune to be had, it's up to reporter Terry Nichols and photographer Pidge 'Flash' Laurie to figure out the nefarious plot and clear the politician's (who's Terry's soon-to-be father-in-law) name. But they won't be alone. Among the colorful cast of characters are Terry's beautiful fiancée, a lawyer with his feline phobic secretary, a very deceiving private detective, and finally a mysterious woman and her even stranger black cat, which maybe involved with the murders itself!

A black cat, a spooky house, a bunch of characters, one of them a murderer, and people getting bumped off - it's all here in this universal offering, and it's watchable enough. Keeps your attention, plus there's some witty dialogue, however, having said that, the fun is marred by that annoying reporter who is charmless and has that smug superiority- hence his wisecracks came across as insults, plus there were too many of them. There's something wholly unlikeable about him and one wishes he got bumped off fifteen minutes in, and have Noah Beery take over as the lead. Every time he opens his mouth he spoils the atmosphere. Also it could've been more eventful but a longer running time would be needed.

I expected far more from the director of ISLAND OF LOST SOULS, GHOST OF FRANKENSTEIN, HOUSE OF DRACULA, HOUSE OF FRANKENSTEIN. This one is definitely a comedy, mystery comedy in the pure tradition for this period. THE CAT AND THE CANARY, the genuine material, was already far from being a masterpiece...But Erle C Kenton was in his last part of career, so let's try not be too harsh with him concerning this one. Many viewers, and especially gem diggers, will appreciate this movie. It is rare to purchase and only for this please try, despite the lame and predictable plot. Mystery and comedies were numerous during the thirties and forties.

"Universal" had an Image of "The" Horror-Mystery-Suspense-Supernatural Studio...It's Legacy to This Day.

The Result of Studio-Head Carl Laemmle and a Conscious, Hard-Working and Dedication to the Genre with an Emphasis on Production-Values, a High-Class Style while Dealing and Delivering His "Product", He would Label it "Art", with "Touchy", Sensitive, and Controversial, Edgy (some would say "Low-Brow") Material.

It Became Even More So as"The Movies" Gained an Influence as a Popular, Meaningful Media in America that Could Shape Consciousness, Life-Styles and Thought as, it No Longer could be Doubted, it would be Confirmed, both Commercially and Creatively as the"Art" of the Century".

But Conservatives "Cried & Whined", Protested the "Free Expressionism in Films" and Demanded , then Formed..."The Code"...The Historical Over-Reach and Abuse of Their Power, Now that "They" as Opposed to the "Creators" of the Art-Form Now had that Power to..."Control Men's Minds".

Universal Studios Legacy Established...It's Now 1946 and America has Entered an "Atomic-Age" and the "Old Dark House" seems a Template from Another-Age.

The Iconic "Famous Monsters" and Other Related Iconography that Universal Invented and then Employed in a Series of Movies for a "Never-Ending" Star-Creatures...Dracula, The Frankenstein, The Mummy...The Invisible Man, and The Wolf Man, at this Point in Time are a Legacy of the "Past" and would Finally "Die" and be Buried After "Abbott and Costello Meet Frankenstein" (1949).

This "Black Cat" Icon with "The Old Dark House" was so Old it had Grown Whiskers.

"Earl C. Kenton", would be Most-Noted for Directing an Undisputed Bona-Fide Masterpiece of Movie-Horror..."The Island of Lost Souls" (1932)...He also Directed for Universal, as Part of that Aforementioned Legacy,,,"The Ghost of Frankenstein" (1942),,,"House of Frankenstein" (1944)...and "House of Dracula" (1945).

He was Assigned to Direct "The Cat Creeps" and it was so Undistinguished, Lame, and way Past its Expiration-Date, and it Sent Earl C. Packing for Television.

This is All-Padding to Safely Say that "The Cat Creeps" is Mostly Forgotten , for Good Reasons...Worth a Watch...But Barely.