When the villagers of Klineschloss start dying of blood loss, the town fathers suspect a resurgence of vampirism. While police inspector Karl remains skeptical, scientist Dr. von Niemann ... See full summary »
A physician on death row for a mercy killing is allowed to experiment on a serum using a criminals' blood, but secretly tests it on himself. He gets a pardon, but finds out he's become a Jekyll-&-Hyde.
Dr. Laurence, a once-respectable scientist, begins to research the origin of the mind and the soul. The science community rejects him, and he risks losing everything for which he has worked. He begins to use his discoveries to save his research and further his own causes, thereby becoming... a Mad Scientist, almost unstoppable... Written by
Boris Karloff's second feature in Britain, filmed March 3-mid April 1936, followed quickly by "Juggernaut." See more »
After Dr. Laurience transfers minds between himself and Dick Haslewood, Haslewood-now in Laurience's body-slams his restraint chair against the wall of his transfer booth, thereby shattering the glass, to effect his escape from the incoming gas. Moments later, however, when Clare and the police return Dick and the doctor to their respective chambers for mind re-transference, that booth is once-again intact and undamaged. See more »
[Growing bitter as camera dollies in]
I meant my work to be given to the world to be used for the common good, but they wouldn't have it! They wouldn't believe me... they laughed. All right, I'll keep it for myself, and I'll use it for my own ends.
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What a delightful surprise this little movie turned out to be! I had read in Michael Weldon's "Psychotronic Encyclopedia" that "The Man Who Changed His Mind" was a seldom-seen Karloff film that was considered to be quite excellent, but until last night had never seen it before. The film turns out to be a beautifully done piece on the by-now-overdone theme of mind/body transfer. It is impeccably acted by the entire cast, features gorgeous black-and-white photography and great use of shadow, stylish direction, more-than-adequate effects and a witty script. The picture really does MOVE; there are no wasted scenes or sluggish passages to speak of whatsoever. Anna Lee, who would costar with Karloff again 10 years later in the 1946 picture "Bedlam," is excellent (and beautiful) here as Karloff's assistant, and the actor Frank Cellier almost steals the film as the lord and publisher who receives the mind of Karloff's wheelchair-bound helper. But the film belongs to Karloff, and he runs with it. This may very well be his best film of the 1930s, with the exception of the Franky films and "The Black Cat," of course, and that's really saying something. Fans of classic horror should all rejoice that this terrific and relatively unknown example of British '30s horror is now widely available in a pristine-looking DVD. To be succinct...loved it.
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