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The Beast with Five Fingers (1946)

Approved | | Horror, Mystery | 8 February 1947 (USA)
In a turn-of-the-century Renaissance Italian mansion, its tyrannical owner, a one-handed, wheelchair-bound pianist, with a strong belief in the occult, is murdered.

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Roland Brissot bought for a nickel a talisman that gives him love, fame and wealth. The talisman is a cut left hand, and it works perfectly. But of course there is nothing free in this ... See full summary »

Director: Maurice Tourneur
Stars: Pierre Fresnay, Josseline Gaël, Noël Roquevert
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Cast

Complete credited cast:
...
...
Julie Holden
...
...
Francis Ingram
...
Ovidio Castanio
...
Raymond Arlington
...
Donald Arlington
David Hoffman ...
Duprex
Barbara Brown ...
Mrs. Miller
...
Clara (as Patricia White)
William Edmunds ...
Antonio
...
Giovanna
Ray Walker ...
Mr. Miller
...
Horatio
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Storyline

Locals in an Italian village believe evil has taken over the estate of a recently deceased pianist where several murders have taken place. The alleged killer: the pianist's severed hand. Written by Daniel Bubbeo <dbubbeo@cmp.com>

Plot Summary | Add Synopsis

Taglines:

Your flesh will creep... AT THE HAND THAT CRAWLS!! See more »

Genres:

Horror | Mystery

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

8 February 1947 (USA)  »

Also Known As:

La bête aux cinq doigts  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

According to Curt Siodmak in "Screenwriter: Words Become Pictures", he originally wrote the story for Warner Brothers leading man 'Paul Henried (I)' (qav). The actor decline,d saying, "I'm not wild to play against a dead hand." The writer believed that it would have been more effective with a good-looking man like Henried instead of 'Peter Lorre', whom the audience would automatically think was crazy. See more »

Goofs

When Julie is opening the door for Conrad when he first visit Mr Ingram, you can see the shadow of the camera following her to the door and back to Mr Ingram. See more »

Quotes

Francis Ingram: Hilary, do you know why you are here?
Hilary Cummins: No, I don't . Some anniversary perhaps?
Francis Ingram: No, no such thing. I merely want your testimony... that I am not insane. It's very important to me to be certain that not one of you thinks I am of unsound mind. Bruce, you are an artist, a musician, You've been with me a long time. You've been with me constantly; therefore you are in a position to speak. Are you convinced that there is nothing wrong with... with my mental balance?
Conrad Ryler: Your mental balance is equal to mine...
See more »

Connections

Referenced in The Ren & Stimpy Show: Black Hole/Stimpy's Invention (1992) See more »

Soundtracks

Chaconne in D minor BMW 1004
Composed bt Johann Sebastian Bach
Arranged for the left hand by Johannes Brahms
Pianist Ervin Nyiregyhazi
("Played on the screen by Victor Francen)
See more »

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User Reviews

Worthwhile (6.0-7.0/10.0)
18 April 2001 | by (cardiff, wales) – See all my reviews

The Beast With Five Fingers predates any other ‘disembodied' hand film I've seen by a good twenty years. Such films include Dr. Terror's House Of Horror, The Hand, Evil Dead II, Severed Ties, and the two Addam's Family films and television series. This selection illustrates the gamut of horror film quality, from the delightful Evil Dead II to the atrocious Severed Ties. Happily, their precursor, The Beast With Five Fingers is ‘hands down' one of the better entries in this sub-genre.

The Beast… is set in an Italian village, home of the successful pianist, Francis Ingram, who resides in a sumptuous villa. Ingram is wheelchair bound as his entire right side is paralysed, and is forced to play piano using his single left hand. His style is suitably heavy and melancholic. He is a haunted figure, heavily reliant on his young nurse to the point of obsession, and fixated on his own death. Therefore, he summons his companions to dinner to witness the signing of his will. Amongst them is his personal secretary Hilary (Peter Lorre), a man with his own obsessions; astrology and the occult. It is not long before the Grim Reaper arrives as a belated dinner guest.

The film's most prominent actor is Peter Lorre. Lorre's career in horror fare has seen a slight regression over the years, though not as profound as some of his contemporaries such as Bela Lugosi and John Carradine. In the Thirties, Lorre starred in Fritz Lang's classic M and the rather good Mad Love. However, by the Sixties he was resigned to playing second fiddle to Vincent Price in horror-comedies The Comedy Of Terrors and The Raven. These two films are reasonable enough but eclipsed by his formative work. The Beast… makes a fitting mid-point between these two eras.

Lorre is an engaging actor, his childlike physique and strange manner always invoke some degree of viewer sympathy no matter how heinous his crimes (cf. M). J. Carrol Naish who plays the affable police inspector (yep, never heard of him before) is also notable but his more comedic moments do lessen the film's impact.

The special effects used to animate the hand are impressive for their time, although as the film is in b&w this helps mask its inadequacies somewhat. The rubber hand in Dr. Terror's House Of Horror is pitiable in comparison, and that was made twenty odd years later. The interplay between Lorre and the hand as he alternatively soothes and struggles with it are reminiscent of Ash's plight in Evil Dead II.

*spoliers*

The majority of the players seem primarily motivated by avarice. It is somewhat surprising then that the final bodycount is so low. A modern horror would have casually knocked off such ‘sinners' with glee. Perhaps, this highlights a rift between ‘vintage' and modern horror. The vintage film has a more human approach to its characters, although they do suffer in terms of danger and scares, they do not die. The usual modern approach is to emphasise the killings, the characters are just fodder for the killer's and the audience's whimsy. Of course this reasoning parallels the change in audience expectation and tolerance with time, and also what the changes the filmmakers could get away with in terms of censorship and ‘decency'.








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