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The Black Cat (1934)

 -  Horror | Crime | Adventure  -  7 May 1934 (USA)
7.2
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Ratings: 7.2/10 from 4,812 users  
Reviews: 122 user | 59 critic

American honeymooners in Hungary are trapped in the home of a Satan- worshiping priest when the bride is taken there for medical help following a road accident.

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Title: The Black Cat (1934)

The Black Cat (1934) on IMDb 7.2/10

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Cast

Complete credited cast:
...
Hjalmar Poelzig (as Karloff)
...
David Manners ...
Peter Alison
Julie Bishop ...
Joan Alison (as Jacqueline Wells)
Egon Brecher ...
The Majordomo
Harry Cording ...
Thamal
Lucille Lund ...
Karen
Henry Armetta ...
The Sergeant
Albert Conti ...
The Lieutenant
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Storyline

Honeymooning in Hungary, Joan and Peter Allison share their train compartment with Dr. Vitus Verdegast, a courtly but tragic man who is returning to the remains of the town he defended before becoming a prisoner of war for fifteen years. When their hotel-bound bus crashes in a mountain storm and Joan is injured, the travellers seek refuge in the home, built fortress-like upon the site of a bloody battlefield, of famed architect Hjalmar Poelzig. There, cat-phobic Verdegast learns his wife's fate, grieves for his lost daughter, and must play a game of chess for Allison's life. Written by Sister Grimm <srgrimm@teleport.com>

Plot Summary | Add Synopsis

Plot Keywords:

hungary | bus | storm | train | prisoner of war | See more »

Taglines:

Things you never said before or even dreamed of!


Certificate:

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Parents Guide:

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Details

Country:

Language:

| |

Release Date:

7 May 1934 (USA)  »

Also Known As:

The Vanishing Body  »

Box Office

Budget:

$95,745 (estimated)

Gross:

$236,000 (USA)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

When re-released by Realart Pictures in the early 1950s, the title was changed to "The Vanishing Body" in an attempt to distinguish it from the 1941 Universal film, also titled "The Black Cat," to which Realart had also licensed the distribution rights. See more »

Goofs

One of the women in Poelzig's glass coffins visibly moves while he is admiring her. See more »

Quotes

[first lines]
The Lieutenant: [looking over Joan's passport] Mr. and Mrs. Alison, Car 96, Compartment F. Orient Express, Budapest, Visegrad.
See more »

Connections

Version of Two Evil Eyes (1990) See more »

Soundtracks

Romeo and Juliet Overture
(uncredited)
Music by Pyotr Ilyich Tchaikovsky
Played as background music mostly as a leitmotif for the honeymooners
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

More Enjoyable Than It Has Any Business Being
14 July 2004 | by (Glendale, CA) – See all my reviews

Other commentaries will fill you in on the nearly-incomprehensible plot (if that's possible) but, as has been pointed out, you don't watch a film like this for plot.

Despite the story inconsistencies and implausibilities, everything here just seems to "jell:" the fabulous sets, elegant photography, evocative music (drawing heavily from Schubert, among others) and the downright creepy atmosphere woven from the themes of jealousy, lust, revenge, murder, sadism.....all sounds delightfully sick, doesn't it? Truly, it's nowhere near as threatening as it sounds; indeed, if Astaire and Rogers had ever made a spooky thriller, it might have looked and felt something like this one. THE BLACK CAT possesses a lyrical, rhythmic quality, upon which we drift through a sleek, ultra-modern nightmare world.

One of the reasons it all works is its ability to pull us into a sort of parallel universe which, though it looks more or less like reality as we know it, glides along on a barely-concealed undercurrent - an "atmosphere of death," as Lugosi's character puts it - where things happen that "could never actually happen" (an inside reference for those who know the film).

There are some wonderful set-pieces, such as Karloff's tour through a most unusual basement mausoleum/museum memorializing all of his dearly departed earlier "wives." And of course, Boris and Bela deliver, with their restrained but full-bodied performances. Karloff conveys menace just entering a room, and Lugosi has an all-too-rare opportunity to display some tenderness; notice the single tear that rolls down his face as he learns - and sees - what became of the wife that Karloff stole from him years before.

A very stylized - and stylish - film which grants us the unusual treat of seeing Lugosi play a (more or less) "good guy," and the unique one of hearing him pronounce the word "baloney," as only he could.


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