Once again Paula ape woman is brought back to life, this time by a mad doctor and his disfigured assistant, who also kidnaps a nurse in order to have a female blood donor. By this time, ... See full summary »
Jerry falls in love with a stripper he meets at a carnival. Little does he know that she is the sister of a gypsy fortune teller whose predictions he had scoffed at earlier. The gypsy turns him into a zombie and he goes on a killing spree.
Ray Dennis Steckler
Ray Dennis Steckler,
Hal Moffat who is taking wholesale revenge by murdering those he holds responsible for his predicament, is befriended by Helen Paige, a blind piano teacher, and he develops a warmth for her that leads him to add thievery and robbery - no big deal, he is out there anyway - to his murders so that she can be provided with the money for an operation. Written by
Les Adams <email@example.com>
This film has sometimes been claimed to have elements of Rondo Hatton's real-life story in its script, but the only similarities are that both Hal Moffet and Hatton were college football stars and both got acromegaly from exposure to toxic chemicals--though the real Hatton got it not from an accident in a chemistry lab but from a poison gas attack against his unit when he was serving with the US Army in World War I. See more »
Attention all cars, attention all cars: general alarm. Car 22, go to 733 Spring Avenue, it's a 341, that is all.
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The final film of a man who proved that being different is not for sissies.
This is the final film for Rondo Hatton, who suffered from acromegaly, and was employed in Hollywood increasingly as his disease progressed, just as Hedy Lamarr was used as her beauty increased. The plot is simple: a bright handsome young man is turned into a monster by an accident causing malfunction of his pituitary gland. His disease exacerbates his natural inclination to impulse and temper. As in the Frankenstein myth, his ugliness causes rejection by almost every one he meets. At any clear sign of revulsion, he kills. As in the Frankenstein movie, he receives unconditional acceptance only from a blind musician. At this hint of what life could have been, he softens. But the Hollywood ending cannot be. Rondo, who started in movies in 1930, was routinely used as a homely/ugly bit. The revival of horror films brought him a natural chance for stardom. Movies released in '44, '45, and '46 (the year of his death), had him appearing as The Creeper, in lead or featured parts. In the The Brute Man, he plays that part as it parallels his own life, and he is remarkably good, fully showing the good and the bad of the character. It is the faint spark of human needs that touches us, and it makes it possible to see the real ugliness of the beautiful actors cast to support him. But it is not a welcome message. The production is of course on the cheap, but with a lot of attention to detail, especially the waterfront hovel, his hideout, and the downscale apartment of the blind girl, his only other haven. Brando, in The Men, at the beginning of his career, and Rondo, in The Brute, at the end of his career, show us that being different is not for sissies, only with Brando you get the Hollywood ending.
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