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 »
Paula the ape woman (Acquanetta) is alive and well, and running around a creepy old sanitarium run by the kindly Dr. Fletcher (J. Carrol Naish), also reverting to her true gorilla form ... See full summary »
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>
Although produced by Universal Pictures, the company was in the process of a complicated merger with William Goetz's International Pictures (merger completed July 31, 1946). To complicate matters, J. Arthur Rank's United World Pictures had a hand in the studio's management since the previous November, when this picture was still in production. With the impending change in management, studio brass dictated that "B" pictures would no longer be produced. As a result, this poorly made low-budget horror film became an embarrassment and it was sold to notoriously cheapjack PRC Pictures after completion. 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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It is rare for any film to present so human a portrait of a villain and still succeed in warning the audience so effectively. See "The Brute Man" and you will beware the murderous psychopath who disarms his victims by preying on feelings of sympathy.
Rondo Hatton, better known for his role as the "Creeper" in the Sherlock Holmes movie, "The Pearl of Death," also plays the Creeper here this time without Sherlock Holmes but with such a depth of feeling that audiences more accustomed to hating and fearing monster-murderers may feel pity for the vengeance minded killer instead.
Only in the movie "Freaks" has any actor exploited his unusual appearance to such telling effect. Without makeup, Hatton plays very true to life as the hot tempered college football star Hal Moffett maimed in a laboratory accident who decides to take deadly revenge upon the friends he irrationally blames for his disfigurement.
Even though the grotesque drifter's bloody scheme is terrifying, antihero Moffett never seems like a purely evil monster. He is like a misguided adolescent driven mad by his misfortune and his own unyielding character, obsessive in the drive to heal his injured vanity by acts of desperation.
As masterfully lensed under the direction of Jean Yarbrough, Hatton's performance is outstanding, even by comparison to other horror movie legends; Hal Moffett/The Creeper may possibly have been his greatest role. Yet "The Brute Man" was conceived as a modest little shocker, was made on a low budget and is today not very well remembered even by nostalgia-minded critics. Perhaps that is because "The Brute Man" seems contrived to exploit the commercial successes of "The Pearl of Death," "City Lights" and "Phantom of the Opera," from which it derives some of its main story elements (including the sentimental scenes with the blind girl and the theme of disfigurement and revenge). There is, however, no cheating in the use of classic ideas; they are combined so craftily as to create a new legend of Gothic significance and intensity, one which is also true to historical accounts of murder and realistic in a frighteningly everyday way.
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