Made in the light, elegant and witty ancient British style (yet with a brim of sloppiness and clumsiness), with its nicely recognizable hallmarks—such as the smooth, mild—tempered leading hero, the witty blonde, the notes of humor and drollery—and with a frolic sense of playfulness, THE DARK EYES OF London is a Lugosi vehicle and a clumsy, sloppy freak—melodrama, the gruesomeness tempered by the comedy—an almost joyous Gothic pastiche with no realization of the horribleness of what happened.
I like daddy Lugosi as much as others like daddy Karloff, and when his character, Orloff, phones to set the likable blonde's fate, we get a feeling of normality—way to go, Orloff, why use otherwise the stupid Braille gimmick when you can simply call and deliver a cryptic message to seal your victims' doom? But now that Orloff's mind straightened up, it's different.
Orloff sounds like Orlok and Karloff.
The Dark Eyes of London (1940)
I like daddy Lugosi as much as others like daddy Karloff, and when his character, Orloff, phones to set the likable blonde's fate, we get a feeling of normality—way to go, Orloff, why use otherwise the stupid Braille gimmick when you can simply call and deliver a cryptic message to seal your victims' doom? But now that Orloff's mind straightened up, it's different.
Orloff sounds like Orlok and Karloff.
The Dark Eyes of London (1940)