The Face of Marble

Totally engrossed in his project to bring the dead back to life, Dr. Charles Randolph (John Carradine) fails to notice his wife Elaine's interest in Randolph's young lab partner, Dr. Cochran.

The sound and picture of this film need serious clean up, if possible. And there is some strange, latent racism here. But beyond those issues, there is a lot of horror potential -- reviving the dead, voodoo and a lab with electricity going everywhere. Randolph fits the idea of a "mad scientist" perfectly (but with less wild hair).

Some scenes are hard to follow because of how dark the picture is, but the story is decent, and if there was a way to fix this up, I would increase my rating.

1946's "The Face of Marble" ended Poverty Row Monogram's run of genre titles since Bela Lugosi's "The Human Monster" in 1940. John Carradine had previously headlined 1943's "Revenge of the Zombies," conceding that Monogram paid higher wages ($3000 per week) than all the other Hollywood studios of the period, also featuring in "I Escaped from the Gestapo," "Return of the Ape Man," "Voodoo Man," and "Alaska." "Zombies" was a straight up remake of the 1941 "King of the Zombies, "with a very low key performance from the actor, while "Marble" is quite different; for one thing, his Dr. Charles Randolph is not depicted as a typical mad scientist but a rational and quite likable one with dedicated sidekick, Robert Shayne a good six years older though playing a younger assistant (he'd get the top slot by 1953's "The Neanderthal Man"). These experiments in raising the dead through a special serum coupled with bursts of electricity are intended to benefit mankind, but the drowned sailor fails to respond accordingly. Randolph next decides that his wife's beloved Great Dane would be perfect, but the dog becomes a vicious beast capable of walking through walls and thirsting for blood. With his wife secretly in love with Shayne, and a voodoo practicing housekeeper determined to make her mistress happy, it shouldn't come as a surprise that both Randolphs come to a bad end. The script is simply a mess, but it shapes up as Carradine's best Monogram horror, not returning to the genre until the 1956 all star entry "The Black Sleep."

Monogram Studios, director William "One Shot" Beaudine, and horror/character actor icon John Carradine team up in this fun yet implausible offering called The Face of Marble. The story deals with really two strands of plot that come together at the end. One strand tells the story of John Carradine and his young male assistant working on a way of bringing life back to life once dead. The scientific logic is weak, yet executed very nicely. The other story deals with a love triangle between Carradine, his assistant, and Carradine's wife who has fallen in love with the assistant. Carradine's wife(played by Claudia Drake) also happens to have a very "loyal" servant from Africa trained in the black arts. This servant's name is Maria, and she is the very personification of wickedness as she stops at nothing to satisfy her mistress and her own evil ends. Rosa Rey plays Maria and does a real fine job capturing and creating an atmosphere of foreboding and doom. The rest of the acting is all very acceptable. Carradine actually gives a nice, restrained performance as a somewhat misguided but basically good man. Considering the budgetary concerns, this little film is quite good. Some of the special effects are very innovative. The huge Great Dane that becomes a ghost and walks through windows and doors howling in the night is particularly effective and creepy.

Surprisingly atmospheric Monogram entry that features classic horror elements of bringing the dead back to life and voodoo. The story follows two scientists in their attempt to bring the dead back to life. A voodoo housekeeper throws a monkey wrench into their plans. The Great Dane plays a key part to this nifty melodrama.

For a horror movie, it's pretty hard to come up with a fresh version of reviving the dead. Here well-intentioned scientist Carradine wants no monsters, just an opportunity to give folks a second chance. Of course, things turn out otherwise, when a revived mastiff dog walks through walls on his way to ripping out throats. It doesn't help that creepy housekeeper Maria has her own voodoo plans, while a romantic triangle emerges between Carradine's wife Drake and lab assistant Shayne plus his girl Wriston.

Sound complicated. Yes, too bad the script didn't pare down and concentrate on creepy aspects. And I agree with others—we should see more of Carradine who's quite effective in restrained fashion. On other hand, there are those crackling Frankenstein arcs, better than expected for cheapo Monogram, while the spectral images passing through walls are also well done. However, maintaining a spooky mood with a more boffo ending would have really helped. Then too, I could have used more of the marble faces that are both novel and unsettling. But then, this is a low-budget quickie that still manages a few compensations.