Lunatic Fringe: Wheeler & Woolsey in HOLD ‘EM JAIL (RKO 1932)

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The comedy team of Wheeler & Woolsey is pretty esoteric to all but the most hardcore classic film fans. Baby-faced innocent Bert Wheeler and cigar-chomping wisecracker Robert Woolsey made 21 films together beginning with 1929’s RIO RITA (in which they’d starred on Broadway), up until Woolsey’s untimely death in 1937. I had heard about them, read about them, but never had the chance to catch one of their films until recently. HOLD ‘EM JAIL makes for a good introduction to W&W’s particular brand of lunacy, as the boys skewer both the prison and college football genres, aided by a top-notch comic supporting cast that includes a 16-year-old Betty Grable.

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Football crazy Warden Elmer Jones (slow-burn master Edgar Kennedy ) is the laughing-stock of the Prison Football League. His team hasn’t had a winning season in years, and he sends a message to the president of “the alumni association” to send some new recruits “for the old alma mater”. He goes to the president’s office, and enter Wheeler and Woolsey, two novelty salesmen who proceed to drive him crazy. When he leaves, the real “alumni” show up, and after the boys brag about their gridiron prowess, they’re set up to stick up the joint with real guns instead of their water pistols.

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Of course, the framed fools are sent to Bidemore, where Spider trades barbs with the warden’s spinster sister Violet (the marvelous Edna May Oliver ) and Curley tries to romance daughter Barbara (Miss Grable). They continue to infuriate the poor warden with their antics, especially when Violet has them made trustees. When Bidemore’s star quarterback gets paroled, Woolsey touts Wheeler as a superstar. Let’s just say Tom Brady, he ain’t!! This all culminates in the most improbable victory since Super Bowl LI , with Bidemore winning the game and getting cleared of the frame-up to boot.

The deliriously funny script is by S.J. Perelman, Walter Deleon, and Eddie Welch. Perelman was a writer for The New Yorker magazine, and one of the early 20th century’s best known humorists. He wrote two of the Marx Brothers movies (MONKEY BUSINESS and HORSE FEATHERS), the stage and screen versions of ONE TOUCH OF VENUS, and won an Oscar for his screenplay AROUND THE WORLD IN 80 DAYS. His fingerprints are all over the film’s dialog, as in this exchange between Woolsey and Oliver- Edna: “I spent four years in Paris. Of course, I’m not a virtuoso”. Woolsey: “Not after four years in Paris”. Edna (pausing a beat): “I trust we’re talking about the same thing!”. Earlier in the film, W&W get booted out of a swanky nightclub on their keisters, followed by this-  Wheeler: “You know, I met that bouncer’s foot before”. Woolsey: “Yeah, I met it behind”.

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Deleon was no slouch when it came to comedy either, having written films for W.C. Fields , Bob Hope, Jack Benny Abbott & Costello , and Martin & Lewis. Welch seems to be a kind of “comedy doctor”, with three other W&W films to his credit, and an uncredited contribution to Laurel & Hardy’s SONS OF THE DESERT . All this madness was directed under the deft hand of Norman Taurog, who began in films in 1912, won an Oscar for 1931’s SKIPPY, and directed all the great comics of the classic era. Wheeler & Woolsey’s slapstick sight gags and pun-tastic wordplay are on a par with other teams of the time, and are worth rediscovering. Start right here with HOLD ‘EM JAIL.

 

Pre Code Confidential #10: Cecil B. DeMille’s CLEOPATRA (Paramount 1934)

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When I hear the words ‘Hollywood Epic’, the name Cecil B. DeMille immediately springs to mind. From his first film, 1914’s THE SQUAW MAN to his last, 1956’s THE TEN COMMANDMENTS, DeMille was synonymous with big, sprawling productions. The producer/director, who’s credited with almost singlehandedly inventing the language of film, made a smooth transition from silents to talkies, and his 1934 CLEOPATRA is a lavish Pre-Code spectacular featuring sex, violence, and a commanding performance by Claudette Colbert as the Queen of the Nile.

1934: Claudette Colbert in title role of Cecil B. DeMille's film Cleopatra.

While the film’s opulent sets (by Roland Anderson and Hans Dreier) and gorgeous B&W cinematography (by Victor Milner) are stunning, all eyes will be on the beautiful, half-naked Colbert. She gives a bravura performance as Cleopatra, the ambitious, scheming Egyptian queen. She’s sensuous and seductive, wrapping both Caesar and Marc Antony around her little finger, and devious in her political machinations. If I were compare her to Elizabeth Taylor in the 1963 Joseph L. Mankeiwicz version, I’d have to give the edge to Claudette; Liz may be more voluptuous, but Claudette’s definitely a more playful, tantalizing Cleo. And as for that famous milk bath scene, well…

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…hot damn!!!

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Cleo’s two lovers are both well cast, with smooth Warren William making a sturdy Julius Caesar. When her hopes to rule Rome alongside Caesar are dashed on the Ides of March, Cleo sets her sights on warrior Marc Antony, played with boyish enthusiasm by Henry Wilcoxon. She seduces him with wine, food, and her undeniable charms, gifting Antony with “clams from the sea” (in which a net is hauled up filled with writhing mermaids bearing shells filled with jewels), then celebrating with the bizarre tableau of dancing cat-women being whipped by a burly soldier! Who can resist a pitch like that!

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There are tons of Familiar Faces in this one, including Irving Pichel as Cleo’s confidant Apollodorus, Gertrude Michael as Caesar’s wife Calpurnia, C. Aubrey Smith as Enobarbus, Ian Keith as Octavian, Joseph Schildkraut as King Herod, and Richard Alexander, Lionel Belmore, Edgar Dearing, Claudia Dell, William Farnum, Edwin Maxwell, and Leonard Mudie in various roles. Look fast for a young John Carradine among the cast of thousands.

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Cecil B. DeMille certainly knew how to hold an audience’s interest. Whether it’s in the battle scenes containing much carnage (and, truth be told, much stock footage), or in all the half-naked women, the film is a visual delight, even when Claudette’s not on the screen. Nobody captured the decadence of ancient times quite like DeMille, and CLEOPATRA’s got decadence to spare, coming right before Will Hayes began his puritanical reign of terror with the Production Code. It was nominated for five Oscars (Best Picture, Assistant Director, Sound Recording, Editing), winning for Milner’s cinematography. Conspicuous by it’s absence on that list is Claudette Colbert’s performance, but I don’t think she minded; she won that same year for the screwball classic IT HAPPENED ONE NIGHT.

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The 1934 CLEOPATRA is half the length of the ’63 Liz & Dick opus, and is a whole lot more fun. Cecil B. DeMille doesn’t get much attention these days, but he was unquestionably one of Hollywood’s most important figures, and this film is a great example of Pre-Code excess. I was as mesmerized by Claudette Colbert’s star turn as I was by DeMille’s epically delicious debauchery. I think you will be, too.

Pre Code Confidential #9: James Cagney in BLONDE CRAZY (Warner Brothers 1931)

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When James Cagney burst onto the screen like a machine gun barrage in 1931’s THE PUBLIC ENEMY, a star was immediately born. His rough-and-tumble personality was perfectly suited to films of the era, and he’s given a good showcase in BLONDE CRAZY, along with Pre-Code cutie Joan Blondell , who could dish it out with the best of them. Though it’s a little creaky in spots, BLONDE CRAZY is tons of fun, and Cagney gives everybody a lesson in what being a movie star is all about.

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Cagney plays Bert Harris, a bantamweight bellboy looking to make a fast buck during the Depression running crap games and selling bootleg hootch. When he first meets blonde Anne Roberts (our girl Joan) he ogles her body lecherously, and we know right from the get-go what his intentions are! But Anne’s no sucker, she a been-around-the-block kinda gal, and soon this dynamic duo are running the old “gotcha” game on square Mr. Johnson, setting him up for blackmail like a rat in a trap, with Anne as the cheese.

The pair take their ill-gotten gains and high-tail it to the big city, hooking up with slick con man Dapper Dan (Louis Calhern ) . Dan and his squeeze Helen end up conning Bert out of his loot, and Bert has to pull a jewelry store swindle to get his and Anne’s money back. Meanwhile, Anne meets up with a swell guy, earnest stockbroker Joe Reynolds, played by a VERY young (24 at the time) Ray Milland.

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Bert heads to the Big Apple to get even with Dan, and he and Anne stage an elaborate horse racing con to bilk the bilker. Bert finally pops the question, but Anne confesses she’s in love with Joe, and after she gets hitched, Bert takes a year off to live the high life in Europe. Upon his return, Anne asks for his help, as Joe’s done a little swindling of his own at the firm. Bert’s plan goes awry as Joe sets him up, winding up in a car chase with the law, getting tommy-gunned, and sent to stir for his troubles. Anne realizes Bert’s the guy for her after all and visits him in the prison infirmary,  promising to wait.

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Cagney’s magnetic personality carries the film, with his roguish charm and optimistic outlook. The way he calls Joan (and every skirt he lays an eye on) “huuuuuney” show his devil-may-care attitude toward life, and is reflected in his dialog, ripping off statements like “The world owes me a living” and “Not tough, just mercenary” with that trademark staccato Cagney delivery. The Depression’s robbed him of a shot for a decent life, so he makes his own the only way he knows how, by conning the suckers of the world. The film also gives us Jimmy’s famous line “That dirt, double-crossing rat!”, bastardized by scores of impressionists as “You dirty rat!”.

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Let’s not forget Joan Blondell, one of Pre-Code’s Queens, who’s on equal footing with Cagney here. Her hard-broad persona always comes with a soft heart, and her longevity in films is testament to her acting talents. I lost count of how many times she slaps Cagney’s face in this film, but it must’ve been pretty raw by the time filming ended! It wouldn’t be a Pre-Code without a little raciness, and Joan’s bathtub scene with Jimmy certainly fills the bill!

There’s a plethora of Familiar Faces in smaller roles, including Guy Kibbee , Noel Francis, Nat Pendleton , Maude Eburne, Ward Bond , a pre-Western ‘Wild’ Bill Elliott, Russell Hayden, and Charles Lane . An actress I’d never noticed before named Polly Waters turns up as Jimmy’s first girlfriend, and she’s a bundle of sexual joy to behold! Miss Waters was featured in a handful of Pre-Code films, mostly in smaller roles, and I’ll definitely be keeping my eyes peeled for her.

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Battling Blondes: Polly vs Joan!

Director Roy Del Ruth guides the players through their paces with his usual deft hand, keeping things moving at a brisk speed. BLONDE CRAZY shows Cagney at his  Pre-Code best, and he and Joan take the movie and run away with it. A pair of aces for sure, huuuuuney!

 

Happy Birthday Boris Karloff: John Ford’s THE LOST PATROL (RKO 1934)

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King of Classic Horror Boris Karloff was born on this date in 1887. The actor is beloved by fans for his work in genre flicks like FRANKENSTEIN, THE MUMMY , THE BLACK CAT, THE BODY SNATCHER , and many other screen tales of terror. But Karloff had always prided himself on being a working actor, and stepped outside the genre bounds many times. He excelled in some early gangster classics (THE CRIMINAL CODE, SCARFACE), played George Arliss’ nemesis in HOUSE OF ROTHSCHILD, was a Chinese warlord in WEST OF SHANGHAI, an Oriental sleuth in Monogram’s MR. WONG series, the psychiatrist in THE SECRET LIFE OF WALTER MITTY, and a scientist in THE VENETIAN AFFAIR . And then there’s John Ford’s THE LOST PATROL.

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The film itself tells the story of a British troop traveling through the Mesopotamian desert circa 1917. When their leader is shot dead by an unseen Arab bullet, the stoic Sergeant (Victor McLaglen , looking every inch the hero) takes over the regiment. Problem is, the commander has taken their mission’s location to the grave with him, and the men are hopelessly lost in the hot, oppressive desert. Stumbling upon an oasis, they find an abandoned outpost and plan to spend the night before soldiering on. Next morning, the men discover their sentries have been killed and their horses stolen, leaving them stranded in the desert as the hidden Arab hoard begins to pick them off, one by one.

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THE LOST PATROL is Karloff’s juiciest non-horror role. As the religious fanatic Sanders, he gives us a portrait of a man slowly descending into madness. His devotion to the Bible draws sneers from the macho troopers, as he exclaims with awe, “This very spot (Mesopotamia)… is the actual Garden of Eden!”. When the roguish Brown (Reginald Denny) regales the men with his tales of sexual conquests past, Sanders sternly admonishes him: “Has your whole life been filled with filth, talk of brawling and lust, even here and now, close to your death!”. Toward the end, when the troop is down to Sarge, Sanders, and Morelli (Wallace Ford ), a British biplane spots them. Landing in the vastness of the desert, the pilot gets out and is swiftly assassinated by the unseen enemy. Sanders goes berserk, screaming at Sarge, “You killed him! He came in answer to MY prayers for ME, and you KILLED him!!”, attempting to cave Sarge’s head in with his rifle butt. Sanders is subdued and tied up for his own good, but escapes his bondage and heads across the dunes, wearing sackcloth and carrying a large staff topped with a cross, as Max Steiner’s music swirls, walking to his inevitable doom.

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Boris has a field day as Sanders, playing to the balcony with gusto. The pious, prudish Sanders always has his nose in the Bible for comfort, seeking solace from his heathen comrades and his grim fate. Looking like a gaunt ghoul from one of his horror flicks, he whines, screams, and cackles like a madman. His wide-eyed, haunted visage tells us he’s already on the brink of insanity before his final act of desperation. It’s a bravura, over-the-top performance that shows once again the range of this great actor. Outside the realm of horror, Karloff shows us the horror of war and madness, and is a hell of a lot of fun to watch.

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John Ford  gives us a stark, white backdrop, the Arizona desert subbing for the isolated Mesopotamia, and cinematographer Harold Wenstrom fills the screen with the great shots you’d expect from a Ford movie. The Dudley Nichols/Garrett Ford screenplay is compact and tense. Besides those actors previously mentioned, J.M. Kerrigan, Billy Bevan, and Alan Hale Sr. offer fine support. Boris Karloff shows once again he was more than just a horror star (most of the classic monsters were), he was a superb character actor, and Sanders is a showcase for his thespian talents. If you’ve only seen him in genre films, I suggest you give THE LOST PATROL a chance, and watch a master craftsman at work. Happy birthday, Boris, and thank you!

Pre Code Confidential #8: Barbara Stanwyck in BABY FACE (Warner Brothers 1933)

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Barbara Stanwyck uses sex as a weapon and screws her way to the top in BABY FACE, an outrageously blatant Pre-Coder that had the censors heads spinning back in 1933. Miss Stanwyck plays Lily Powers, a young woman who works in her Pop’s speakeasy in smog-filled Erie, PA, where Pop’s been pimping her out since she was 14. Lily has a black female friend named Chico who seems to be more than just a friend (though it’s never stated, the implication’s definitely there). All the men paw over her like dogs with a piece of raw meat except the elderly Mr. Cragg, who gives her a book by Fredrich Nietzche along with some advice: “You have power… you don’t realize your potentialities… you must use men, not let them use you… exploit yourself, use men! Be strong, defiant!”.

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When Pop’s still blows to smithereens, taking Pop with it, Lily and Chico hop a freight train to New York City. It’s here she first tries out Cragg’s advice by seducing the railman who tries to throw them off. Arriving in The Big Apple, Lily and Chico stop outside the Gotham Trust Company, a huge skyscraper that’s an obvious phallic symbol. Lily quickly lands a job by seducing an office boy and begins her climb to the top. One of her first victims is a young John Wayne , an innocent sheep to Lily’s ravenous wolf. Wayne introduces her to Douglass Dumbrille , who’s been around enough to know better, but inevitably succumbs to Lily’s carnal charms.

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Lily and her boss get caught together in the lady’s room by his boss, Stevens (Donald Cook); he’s dismissed, but sly Lily gives a sob story about the rat forcing himself on her, and the gullible Stevens makes her his secretary. If you guessed Stevens is next on Lily’s list, give yourself a hand! However, Stevens is engaged to bank VP Carter’s daughter, who catches the two fooling around in his office, and she flees up to Daddy’s suite. Big Daddy Carter orders Stevens to fire Lily, but the jerk can’t bring himself to do it. Lily’s called up to see Carter and gives him another sob story claiming she didn’t know about the engagement. Carter then axes Lily, but sets her up in a lavish penthouse to become his mistress! Stevens loses his cool, barging in on them and shooting his former future Father-in-law, then committing suicide in Lily’s boudoir!

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This headline-inducing scandal results in the Board of Directors terminating the bank’s president and bringing in the founder’s grandson Courtland Trenholm (George Brent). “a playboy… society globetrotter” with no experience whatsoever. But Courtland’s no dummy; after Lily demands $15 Grand for her diary (the newspaper’s have offered ten), Courtland refuses, not buying her story (“I’m a victim of circumstance!”) and shipping her off to their Paris branch under an assumed alias. Courtland thinks he’s solved he problem, but when he arrives in Gay Paree, there’s Lily, and yep, he falls for her, this time actually marrying Lily, resulting in another scandal that forces the bank’s closure, an indictment for Courtland, and a suicide attempt.

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I’ve gotta say, the men in BABY FACE act like complete idiots, practically driven to the brink of madness by Lily’s sexual prowess. She must be really good to elicit that kind of response! This kind of sex scandal isn’t unheard of in real life,  especially among the rich and powerful (hello, Anthony Weiner!), which leads me to conclude the more money and fame you have, the stupider you get! Stanwyck is really good as Lily, the original Material Girl, who goes after what she wants using what she has. Equally good is Theresa Harris as Lily’s companion, Chico, who spends much of the film singing “St. Louis Blues”. Harris was an African-American actress and singer who’s featured in many classic films of the 30’s and 40’s, and doesn’t play to the stereotype of the times, but rather as an equal. Other Familiar Faces dotting the cast (besides those mentioned) are Robert Barratt, Henry Kolker, Margaret Lindsay Nat Pendleton Harry Gribbon , and Edward Van Sloan .

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Director Alfred E. Green keeps things moving as fast as Lily herself. His fifty year career in films includes directing two stars to Oscars (George Arliss in DISRAELI, Bette Davis in DANGEROUS), but he’s most remembered for THE JOLSON STORY. Gene Markey and Kathryn Scola based their sordid little screenplay on a story from Daryl F. Zanuck, shortly before he moved over to Twentieth Century Pictures. The cinematography by veteran James Van Trees is superb, as is Anton Grot’s amazing art direction. BABY FACE contributed mightily to the formation of the Hays Code, its frank look at a wanton woman causing blood vessels to pop in prudes across the country. It’s a film of its time, when the Great Depression caused desperate people to take desperate measures, and a must-see for lovers of Pre-Code films.

Halloween Havoc!: Boris Karloff in THE MAN THEY COULD NOT HANG (Columbia 1939)

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Bela Lugosi ( see yesterday’s post ) wasn’t the only horror icon who starred in a series of low-budget shockers. Boris Karloff signed a five picture deal with Columbia Pictures that was later dubbed the “Mad Doctor” series and, while several notches above Lugosi’s “Monogram Nine”, they were cookie-cutter flicks intended for the lower half of double feature bills. The first of these was THE MAN THEY COULD NOT HANG, which sets the tone for the films to follow.

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Karloff plays Dr. Henry Savaard, inventor of a new surgical technique that requires the patient to die, then reviving him with a mechanical heart after performing the operation. This later became standard operating procedure during open-heart surgery, but back in 1939 was considered science fiction! Anyway, Savaard’s young assistant Bob agrees to go through the experimental procedure, but his girlfriend freaks out and calls the cops, claiming Savaard is about to murder him. The cops, along with a reporter named Scoop no less, barge into the doctor’s lab and interrupt things. The delay causes Bob’s death and Savaard is arrested for murder.

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We next get one of my favorite film devices, the spinning-newspaper-headlines montage! Savaard goes on trial, is found guilty, and sentenced to hang. Karloff gets to deliver a long, dramatic speech, which he does with his usual elegant style: “You who have condemned me, I know you’re kind. Your forebearers poisoned Socrates, burned Joan of Arc, hanged, tortured all those whose only offense was to bring light into darkness. For you to condemn me and my work is a crime so shameful that the judgement of history will be against you for years to come.” There’s more, but you get the gist, and King Boris delivers it with passion.

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Next, more spinning headlines! Savaard’s about to be executed, and donates his body to science, but what the officials don’t know is his corpse will be handed over to his loyal assistant Lang, who revives Savaard from the dead. Then… no, not spinning headlines, this time it’s calendar pages marking the passing of time. Six months go by, and six of the Savaard jurors have hung themselves… or have they? Scoop smells a scoop, and his editor encourages him to get the story: “Make it weird! Make it dramatic! And make it snappy!”. Scoop gets wind that the judge has invited the remaining jurors, along with the DA, the lead cop, and the freaked-out girlfriend, to meet that evening at Savaard’s old house. Of course, it’s a trap, and now all Savaard’s enemies are in one place so he can pick them off one by one….

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THE MAN THEY COULD NOT HANG isn’t a bad movie, though modern audiences will find the plot all too familiar. Boris is the glue that holds the thing together, and gives us a great performance. Others in the cast range from good to not-so-good. Lorna Gray’s in the latter category, in the thankless role of Savaard’s daughter Janet, who spends most of the picture in tears. Robert Wilcox as Scoop is just okay, no better or worse than any horror film hero. The Columbia Pictures stock company fills out the rest of the roster, including character favorites like Don Beddoe , Ann Doran, Roger Pryor, Byron Foulger, Charles Trowbridge, Dick Curtis , John Tyrell, and a young James Craig.

Nick Grinde’s direction keeps things moving, and Karl Brown’s screenplay has several soliloquies for Karloff to deliver. Brown’s career stretched back to D.W. Griffith and BIRTH OF A NATION, and he was cinematographer on the silent classic THE COVERED WAGON. He did some directing, but is mostly remembered for his screenplays on these Columbia Karloffs and what’s arguably Bela’s worst Monogram, THE APE MAN. The remaining “Mad Doctor” films mostly follow suit: THE MAN WITH NINE LIVES, BEFORE I HAND, and THE DEVIL COMMANDS (the fifth in Karloff’s contract was THE BOOGIE MAN WILL GET YOU, a spoof co-starring Peter Lorre ). They’re all okay, not on a par with Karloff’s Universal or RKO classics, just B-movies that’ll keep you entertained on a cold Halloween night.

Halloween Havoc!: Fredric March in DR. JEKYLL & MR. HYDE (Paramount 1931)

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Robert Louis Stevenson’s DR. JEKYLL & MR. HYDE was first published in 1886, causing quite a stir in its day. The tale of man’s dark side was a huge hit, and over the years has been adapted on stage, radio, and numerous film and TV versions. John Barrymore (in the 1920 silent), Spencer Tracy (a lush 1941 MGM production), Boris Karloff (Meeting Abbott & Costello), Paul Massie (Hammer’s 1960 shocker), Jack Palance (Dan Curtis’ 1968 TV movie), and Kirk Douglas (a 1973 TV musical) are just a few actors who’ve sunk their teeth into the dual role. The best known is probably this 1931 horror film with Fredric March in an Oscar-winning turn as good Dr. Henry Jekyll and his evil counterpart, the snarling Mr. Hyde.

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Unless you’ve been living in a cave the past 130 years, you’re familiar with the story, so let’s look at the performances of Fredric March and Miriam Hopkins. The incredibly handsome March as Jekyll (here pronounced JEE-kul) is a bastion of goodness, as we see in the opening POV shots where everyone smiles at him riding down the street in his carriage. Jekyll spends his free time working on the charity ward, comforting the ill and infirm, giving of himself to the less fortunate. Henry Jekyll is also the epitome of Victorian Era repression, striving to tamper down his baser instincts. He saves street prostitute Ivy from a beating, and treats her with care and compassion. She comes onto him, and Jekyll obviously struggles to remain restrained.

The love of his life, Muriel Carew (Rose Hobart), is a prim and proper maiden whose father wants the two to wait before being wed. Here March is staid, though frustrated at the thought of a long courtship. He’s like a gentleman in one of those drawing-room dramas, all googly-eyed and saccharine sweetness with Muriel, but trying to retain that stiff-upper-lip façade about it the whole thing.

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Jekyll’s been experimenting with a new drug that will separate the two halves of his nature, bringing out only the finer, noble qualities and destroying the animalistic impulses. This backfires, and Mr. Hyde comes out in full, furious force. Where Jekyll was in control of his emotions, Hyde is the Id come to life. Here March (with an assist from Wally Westmore’s incredible makeup) rips off the veneer of morality and becomes an unbridled ball of energy, full of fury and lust. As Hyde, he’s a snarling, simian-like animal, leaping and bounding like a whirling dervish, without a thought for the welfare of others. He tracks down Ivy and asserts control over her in more ways than one, abusing her physically, mentally, and sexually, a really sick S&M/B&D relationship that inevitably ends with him murdering her, a scene that still manages to shock in its brutality. Whereas Jekyll appreciates beauty, Hyde only seeks to tear it down and destroy it. It’s a bravura performance by March, and his Oscar was well-deserved.

Dr. Jekyll samples his own brew. However, instead of bringing out his goodness, the drug summons out the most evil parts of his personality. He becomes Fredric March (Mr. Hyde) and becomes involved with the prostitute Miriam Hopkins (Ivy Pierson).

Miriam Hopkins  as Ivy is both sympathetic and pathetic. Her cockney accent doesn’t quite convince, but her acting as the poor, doomed Ivy sure does. She’s street-wise and sexually provocative, a free soul who knows the way to a man’s wallet is through her body. Ivy’s repulsed by Hyde’s ugly countenance, but she’s willing to take his money at first. It soon becomes apparent that Hyde wants more than just sex, he wants to completely control her mind, body, and spirit. Now she’s trapped in a nightmare of torture and living in constant fear, with no way out except death. Ivy goes from carefree working girl to tormented victim, and Hopkins’ transformation in the part is just as effective as March’s. If the Academy had a Supporting Actress Oscar back then, Miriam Hopkins would’ve been the hands-down winner that season.

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Rouben Mamoulian’s innovative direction sets DR. JEKYLL & MR. HYDE apart from its early Universal horror counterparts. FRANKENSTEIN and to a greater extent DRACULA suffer from staginess, but JEKYLL & HYDE moves thanks to Mamoulian’s dynamic camera tricks. The opening POV shot brings things to life, and Mamoulian’s use of swipes, fade-outs, split screens, tracking shots, and dissolves lets the viewer known they’re watching a FILM, not a filmed stage play. The director’s use of the medium was widely praised, and deservedly so. Mamoulian made other all-time greats still watched and studied today: QUEEN CHRISTINA (with Greta Garbo in another take on duality), BECKY SHARP (the first feature shot in three-strip Technicolor), THE MARK OF ZORRO (with an energetic Tyrone Power), and his last, SILK STOCKINGS (Fred Astaire’s final musical). Cinematographer Karl Struss uses lighting to create two worlds, the brightness of Jekyll’s moralistic life in society and the bleakness of Hyde’s debauchery down in the slums. The Jekyll-to-Hyde transformations were groundbreaking back in 1931, but sadly don’t hold up well.  DR. JEKYLL & MR. HYDE is a classic of early horror, and compares favorably to the Universal nightmares of the era, even surpassing them on many levels. If you’re a lover of all things horror, put this one on your Halloween watch list.