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9 out of 9 people found the following review useful:
Art direction and genuine suspense make for an enjoyable ride., 8 December 2006

Author: BrentCarleton

"The Climax" provides Boris Karloff not only with his first Technicolor film, but audiences with a handsome, humdinger of a mustache-twisting Victorian melodrama.

True, the story is not supernatural, but what does that matter when Boris keeps his deceased girl friend preserved beneath a gauze shroud in a secret room? If this is not sufficient, then just savor the mouth watering color photography, art direction and costumes.

This is one of the most visually handsome color films from the 40's, and ranks favorably against Minnelli's "Meet Me in St. Louis" in the warmth, depth, and clarity of its chromatic range, whilst simultaneously recalling Twentieth Century Fox's lighting schemes from "The Little Princess," and anticipating "Blanche Fury" in its tonal subtleties.

The settings are both sumptuous and historically accurate, (sharp eyed viewers will note that some of the same props show up later in Ulmer's "Bluebeard,") and provide the perfect background for the cloak and dagger theatrics.

Not to be outdistanced are Vera West's (one of Hollywood's most undervalued designers) late Victorian gowns--each a marvel of velvet, chiffon, plumes, and various embroideries, not to mention being a testament to the lost art of dressmaking.

Susanna Foster not only wears them charmingly, but sings like an angel, until Boris hypnotizes her. Thereafter, she is a bit somnambulistic--something of a problem given an impending operatic engagement.

Not to worry though, a turban-less Turhan Bey will save the day, in a nick of time, allowing Susanna to hit her high C on opening night, as scowling villain Karloff rushes off to a succulent fate.

That fate, as depicted, with Uncle Boris collapsing on a curtained bier that is laden with the corpse of his long dead (though still photogenic) inamorata, as they both go up in flames, is as aesthetically and dramatically delicious as they come.

One can almost imagine the the whoops of the popcorn patrons as they cheered this pyrotechnic finale in the Rialto's of yesteryear.

Not to be missed.

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9 out of 9 people found the following review useful:
State of the art Technicolor the real star here., 29 January 2001

Author: Arne Andersen (aandersen@landmarkcollege.org) from Putney, VT

This is a psychological horror film with very little horror, owing a great deal to PHANTOM OF THE OPERA. Karloff plays a mad doctor on the loose within an opera house but he is not as sinister as we would hope. Gale Sondergaard does well as the watchful housekeeper, but it is the state of the art Technicolor that is the real star here. It is impeccable. The Art Direction earned a deserved Oscar nom but the costumes also are deserving, though the category did not exist at the time the film was released. The excellent Score as well deserved Academy recognition but did not receive it. Enjoyable more for the visual splendor than anything else.

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6 out of 7 people found the following review useful:
The Karloff of the Opera?, 17 December 2006

Author: Coventry from the Draconian Swamp of Unholy Souls

Even though the legendary Boris Karloff gave image to hundreds of cinematic monsters, psychopaths and mad scientists, he never played the titular character in Gaston Leroux' acclaimed masterwork "The Phantom of the Opera". Other contemporary horror stars did, like Lon Chaney and Claude Rains. Perhaps this production was Universal's attempt to involve Karloff in a horrific opera film-production anyway, re-using the expensive sets of the Phantom-film that was released one year earlier. The story is set in a prominent Vienna opera building where Boris stars as the resident physician, Dr. Hohner, and successfully hides a dark secret from his friends and co workers. After a short intro and a truly well choreographed flashback, we learn who Dr. Hohner murdered his fiancée and upcoming star-singer Marcellina because he feared her magically developing voice would come between their relationship. Now, ten years later, the new promising singer Angela – with a voice almost identical to Marcellina's – arrives at the theater and once again awakens Hohner's maniacal lusts. He hypnotizes her into never singing again, but Angela's young and devoted lover Franz carries on battling to make Angela share her wondrous voice with the world. "The Climax" is a beautiful movie to look at, with the terrific use of color and a nearly endless amount of great decors, but it surely could have used a slightly better screenplay. It's a rather predictable film with very few action scenes and only a bit of old-fashioned, legitimate tension during the last 15 minutes. There are many marvelous yet overlong opera sequences, even a lot more than in the actual "Phantom of the Opera", but they naturally slow down the film's pace and eventually even affect (negatively) the acting performances of Boris Karloff and Gale Sondergaard. It's an enjoyable mystery/thriller to a certain extent, but if you want to see Karloff at his most malicious, check out Val Lewton's "The Body Snatcher" or "Bedlam".

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9 out of 13 people found the following review useful:
Technicolor can't do everything for a film!!, 3 September 2000
Author: SkippyDevereaux from Parkersburg, West Virginia

From the opening music to the final scene, this has got to be one of the most beautiful horror films ever made. Unfortunately, as I said before, technicolor can't do everything for a film. While it is visually stunning in every way, it lacks a credible storyline, and that is what drags the film down. I guess one shouldn't call it a horror film, rather it might a psychological type film, as there is only one murder( and a rather mild one at that). I thought that the opera singing was a bit too much, but what did I expect when the film is about an opera singer!! But I found it to be just like "The Shadow", they are beautiful to look at, but there isn't anything else for the film to succeed.

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10 out of 15 people found the following review useful:
A Curious Failure, 28 October 2005

Author: theowinthrop from United States

This film was the first one to star Boris Karloff that was in color. As such, it illustrates that to be the first of anything is meaningless if the film lacks coherence, intelligence, and a decent script. The plot begins by taking the viewers into an old theater, where Karloff is shown coming night after night. He has the sympathies of the staff of the theater. It seems that ten years earlier he was engaged to the prima donna singer at the theater, and they were to get married. But on the night before the marriage she vanished, and he - broken hearted (apparently) - has returned every night ever since as though waiting for her.

Now this could have been the start of an intriguing film. Unfortunately the scriptwriters did not see fit to leave the audience tantalized by Karloff's apparent tragedy. Instead, he falls asleep in his chair and we see his subconscious revealing what happened. The prima donna broke off the wedding in a bitter argument, and Karloff killed her (but as they were alone, he was able to hide the body and cover his tracks). So instead of playing with audience support for Karloff, the script writers show he is up to his typical evil roles.

The only one who suspects that Karloff is not what he seems is Gale Sondergaard - she remembers what her former mistress was like that night, and there were signs that she was uncertain about the wedding. But she never had anything concrete to work with.

The theater impresario is Thomas Gomez. One of his musicians/composers (Turhan Bey) is interested in furthering the career of a new singer, Susannah Foster, whom he is dating. Gomez is willing to put her on. But Karloff, who is the theater's doctor, sees Foster (who reminds him of the dead prima donna). Fixed on her, he decides to pursue her (although she is increasingly frightened of him).

This is the set-up for the plot, and how it eventually leads to the revelation of the fate of the dead woman. It is a tired plot, mostly because there is little chemistry between Foster and Karloff (although that is not a fatal flaw - he is fixed on her, she need not show any type of fascination towards him). Sondergaard is wasted (occasionally, as the film progresses, she reveals her suspicions). Gomez, normally a considerably good villain himself, plays his jovial side as the impresario. As for Turhan Bey, he shows great interest in Foster - and she is shown singing in one of his new operettas (the music of which is a steal from Schubert's Marche Militaire).

The end result is that the viewer is not deeply interested (after awhile) in the fates of these characters. Even when Karloff (at one point) knocks out Ludwig Stossel, our lack of interest in the "little old wine maker" actor prevents us getting too concerned (Ludwig recovers by the way). Given that the film was supplied with a grade A film gloss (by using color stock) it is ironic that the whole effect is basically thrown away. It does not help matters, to the fans of Boris Karloff, that one year after this color-film flop, he gave one of his greatest performances in Val Lewton's THE BODY SNATCHER as Grey the Coachman - in a black and white film with a meaty script. Instead of Technicolor, the production people should have concentrated on good writing and plotting. I will give it a "3" only because it is visually good, but otherwise it was a waste of time and money.

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3 out of 3 people found the following review useful:
Good production values, but a weak story, 25 September 2006

Author: Zombie_CPA from United States

The Story: Dr. Hohner (Boris Karloff) is a physician of Vienna's Royal Theatre is in love with the stage diva, Marcellina (June Vincent). He kills her because her success threatens to take her away from him. 10 years later a new diva, Angela (Susanna Foster) is at the theater. She sounds just like Marcellina. Dr. Hohner does not want the new diva to sing so he hypnotizes her.

My Review: This movie has very high production values and earned a well deserved Academy Award nomination for Art Direction. The set is wonderful. The set was made for the 1943 version of Phantom of the Opera. They spared no expense for the movie and shot it in Technicolor. The Technicolor brings out the beauty of the bright stage clothes used during the fine theatre performances during the movie. There was also a nice contrast between the brightness and beauty on stage and the darkness of Boris Karloff.

Although the sets, Technicolor, and theatre scenes were done wonderfully, the rest of the movie suffers. The plot is dull and lifeless. The story is very uninteresting and there is a total lack of suspense. The theatre scenes, although masterfully done, detract from the horror of the movie. 1940's horror is very subtle, but this one takes the cake. Boris Karloff's acting was lackluster in this film, and the worst I have seen from him.

Overall, I have mixed feelings about this movie. It has a nice wrapper, but the package outweighs the content.

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4 out of 6 people found the following review useful:
Visually sumptuous but the story is an empty shell..., 30 November 2006

Author: Neil Doyle from U.S.A.

Edward Ward wrote the score (as in PHANTOM OF THE OPERA), George Waggner directed (he was producer of PHANTOM), JANE FARRAR again plays a rival singer jealous of the new diva, and SUSANNA FOSTER is the lovely singer terrified of co-star BORIS KARLOFF, instead of Claude Rains. Other than that, any similarity between THE CLIMAX and POTO is strictly coincidental.

The story is pretty lifeless, dealing as it does with the old chestnut about an older gentleman, the opera's resident doctor (BORIS KARLOFF) who killed his opera sweetheart years ago and is resentful when a new singer is engaged to sing the former diva's greatest role. He hypnotizes her in an attempt to silence her voice but doesn't count on interception from her romantic interest (TURHAN BEY) and the help of his housekeeper (GALE SONDERGAARD in a sympathetic role).

It was justifiably honored with Oscar nominations for Set Decoration and Art Direction, but failed to become the profitable hit Universal was obviously reaching for. The main reason is the plot doesn't hold enough interest with its cardboard characters. Even the role of the mad doctor is played in very low-key style by BORIS KARLOFF, one of the screen's great horror stars. A little more menace would have been a wise thing and would have heightened whatever suspense there is.

The supporting cast is a pleasant one, with JUNE VINCENT as the unfortunate opera diva Karloff murders, LUDWIG STOSSEL, THOMAS GOMEZ and SCOTTY BECKETT. The most obvious holdover from POTO is JANE FARRAR who practically repeats her role as a jealous diva, but even her tantrums were more credible in the former film.

Edward Ward's score is attractive but not as impressive as his work on PHANTOM, and Susanna's higher register sounds a bit strained at times, although overall her vocal performance is a good one.

Not likely to please fans of horror films with too much music and too little plot.

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3 out of 5 people found the following review useful:
Disappointing Technicolor Extraviganza!, 4 October 2006

Author: (bsmith5552@rogers.com) from Ottawa, Ontario, Canada

"The Climax" produced and directed by George Waggner inevitably suffers in comparison to his "The Phantom of the Opera" re-make released the previous year. Filmed on the same opera set as the Phantom (both 1925 and 1943 versions) and in glorious color and with the same female lead (Suzzanna Foster) as the previous year, it is nevertheless disappointing. It was also the first color film for star Boris Karloff.

The film opens with Dr. Hohner (Karloff) lamenting the loss of his beloved Marcellina (June Vincent) who was an opera star, ten years earlier. We then flash back to learn that Hohner had been in love with the diva but was jealous of her voice, which he saw as coming between them. When she rejects his love, he murders her and she "disappears".

While leaving the theater, Dr. Hohner hears a voice that he believes to be that of Marcellina. It belongs however, to aspiring student Angela (Foster) who with her fiancé Franz (Turhan Bey) is hoping to become an opera singer. Impresario Count Seebruck (Thomas Gomez) hears her and plans to present her in the theater much to the dismay of resident soprano Jarmila Vadek (Jane Farrar).

Angela achieves immediate success, but when Seebruck plans to star her in "The Magic Voice", Dr. Hohner decides to take action. Luring her to his home on the pretense of examining her throat on behalf of the opera company, he hypnotizes her into believing that she no longer wants to sing.

We also learn that the good doctor has preserved Marcellina's body and keeps it in a sealed room in his home while being observed by his housekeeper Luise (Gale Sondergaard) who had served Marcellina.

Franz decides to take action. He secures an audience with the boy King (Scotty Beckett) who orders a command performance of "The Magic Voice" and................

Karloff has had better roles. In spite of a promising opening, the film drags through the middle and gives him little to do. Foster basically plays the same role as she had in the Phantom, a year earlier. Gale Sondergarrd who usually played evil and sinister villains, is wasted here. Bey, who was a rising star at the time also has little to do but drool over Foster.

Although the technicolor photography is stunning, it is spoiled by a weak story and weak characters. The film doesn't seem to know whether it will be a horror story or a musical. Trying to mix the two fails miserably.

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I actually liked it..., 26 December 2011

Author: mggbikeluvr from United States

I understand that "The Climax" isn't necessarily a well received" movie among Boris Karloff fans. The plot isn't much, i'll admit that, and some of the musical number "particularly the one in which Jane Farrar was the prima donna) were quite painful. But Susanna Foster's voice saves the day. This movies is no "Phantom of the Opera", but it was fun to watch. The Technicolor was magnificent, and the set design was gorgeous. Turhan Bey was an alright leading man for Foster. But he didn't seem "strong" enough, I suppose. Boris Karloff is fantastic as a menacing figure, hovering over Foster in an aura of mystery and horror. The film isn't scary enough to be considered a horror film, but too ominous to be considered a musical. There isn't a real genre for it. But it's enjoyable to watch and I liked it. I'm a big Susanna Foster fan, so it was joy to hear her sing, and I'm becoming a Boris Karloff fan, after seeing "Frankenstein" and "The Climax".

So, all in all, "The Climax" is good enough, but it could be better.

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1 out of 2 people found the following review useful:
Technically nice, but very much a wasted opportunity., 4 March 2010

Author: JohnRouseMerriottChard from United Kingdom

Dr. Hohner (Boris Karloff) is Physician at the Vienna Royal Theatre, who in a fit of obsession and jealousy murders his fiancée. Ten years later, he hears another young singer (Susanna Foster) who reminds him of his slain fiancée, and he's determined to make her sing only for him, even if it means silencing her forever.

Karloff's first movie in glorious Technicolor is beautiful to look at, but ultimately a so so movie not offering much for the big man to do. Using the same sets that were used for the Claude Rains led Phantom Of The Opera the previous year, this appears to be Universal's attempt to give Karloff a slice of demented operatic pie. Why then is he given so little to do? So much time is spent with Foster and the hopelessly miscast Turhan Bey, that Karloff's warped Doctor almost feels like an intrusion on some Gothic melodramatic romance. A shame since what screen time Karloff gets shows potential for a memorable horror character to rank up with his better ones. Some good support comes from Gale Sondergaard & Thomas Gomez, and without doubt the operatic scenes are great, even if they take up so much time the flow of the movie is never at one with the creepy undercurrents of the tale. But really it's like opening a gorgeously wrapped birthday present only to find that within is a used gum ball without any flavour. 4.5/10

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