In France, an insane surgeon's obsession with an actress from England leads him to replace her pianist husband's hands that got mangled in an accident with the hands of a late knife murderer which still have the urge to throw knives.
Before Ruth Vincent, daughter of a state governor, and state attorney general Robert Sheldon can announce their marriage, the governor is accused of bribe-taking. To avoid the appearance of... See full summary »
Nell Bowen, the spirited protege of rich Lord Mortimer, becomes interested in the conditions of notorious St. Mary's of Bethlehem Asylum (Bedlam). Encouraged by the Quaker Hannay, she tries... See full summary »
In London, sculptor Ivan Igor struggles in vain to prevent his partner Worth from burning his wax museum...and his 'children.' Years later, Igor starts a new museum in New York, but his maimed hands confine him to directing lesser artists. People begin disappearing (including a corpse from the morgue); Igor takes a sinister interest in Charlotte Duncan, fiancée of his assistant Ralph, but arouses the suspicions of Charlotte's roommate, wisecracking reporter Florence.Written by
Rod Crawford <firstname.lastname@example.org>
The shot of the 'monster' lifting up the sheet in the morgue was, along with many other Warner Bros. films of the early 1930s, incorporated into the opening credits of their 1974 musical MAME. See more »
During the opening sequence when Igor is showing off his "children," he points out a tableau entitled 'Mother Love' which features a woman nursing an infant surrounded by several children. In long shots the figure of the mother wears a head scarf pulled back exposing her shoulder, while in the close-up the scarf is pulled forward over her bosom (presumably to deemphasize the fact that she is breast feeding). See more »
A genuinely frightening film from Michael Curtiz, jack of no trades and master of all. Many of the tricks of classic 1930's horror are here, including the opening scene set in a dark, rainy London street, the long shadows on the wall, lengthy periods of silence, and all timed to perfection. Only the faster-than-the-speed-of-sound dialogue of Glenda Farrell truly lets the film down. But other than that it is a gothic masterpiece, an underrated movie probably due to the fact that it lay undiscovered, thought lost, for over half a century. Far more inventive and imaginative than the majority of horror films made today.
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