6.7/10
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30 user 14 critic

The Man Who Lived Again (1936)

The Man Who Changed His Mind (original title)
Dr. Laurience, a brilliant but unstable scientist experimenting with transferring minds, becomes vengeful when his magnate patron withdraws his support.

Director:

Robert Stevenson

Writers:

L. du Garde Peach (screenplay) (as L. Du Garde Peach), Sidney Gilliat (screenplay) | 1 more credit »
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Cast

Cast overview:
Boris Karloff ... Dr. Laurience / Dick Haslewood
John Loder ... Dick Haslewood / Dr. Laurience
Anna Lee ... Dr. Clare Wyatt
Frank Cellier Frank Cellier ... Lord Haslewood / Clayton
Donald Calthrop ... Clayton / Lord Haslewood
Cecil Parker ... Dr. Gratton
Lyn Harding ... Prof. Holloway
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Storyline

Dr. Laurence, a once-respectable scientist, begins to research the origin of the mind and the soul. The science community rejects him, and he risks losing everything for which he has worked. He begins to use his discoveries to save his research and further his own causes, thereby becoming... a Mad Scientist, almost unstoppable... Written by Shelley Hatfield

Plot Summary | Add Synopsis

Genres:

Horror | Sci-Fi

Certificate:

Not Rated | See all certifications »
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Details

Country:

UK

Language:

English

Release Date:

1 November 1936 (USA) See more »

Also Known As:

Doctor Maniac Who Lived Again See more »

Company Credits

Production Co:

Gainsborough Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (British Acoustic)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Boris Karloff's second feature in Britain, filmed March 3-mid April 1936, followed quickly by "Juggernaut." See more »

Goofs

After Dr. Laurience transfers minds between himself and Dick Haslewood, Haslewood-now in Laurience's body-slams his restraint chair against the wall of his transfer booth, thereby shattering the glass, to effect his escape from the incoming gas. Moments later, however, when Clare and the police return Dick and the doctor to their respective chambers for mind re-transference, that booth is once-again intact and undamaged. See more »

Quotes

Lord Haslewood: [after proposing to sponsor his experiments] May I take it then, Dr. Laurience, that you agree?
Clayton: [In a cautionary tone] You'll be sorry if you do.
Dr. Laurience: [Insistent] I must work in my own way.
Lord Haslewood: [Looking around at the seediness of the setting] How can you work in this atmosphere?
Clayton: [Sarcastically] If you refer to the smell of bacon, it is no obstacle to scientific research.
See more »

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User Reviews

Still-Relevant Social Commentary
5 October 2005 | by Doghouse-6See all my reviews

This is one of the earliest examples of the "mad scientist" characterization that would become so much a part of Boris' stock in trade over the following decade. What's most interesting about THE MAN WHO CHANGED HIS MIND is that it is not as much science fiction as it is an observation of what we might today call the "PR machine," and it takes some lacerating swipes at journalism, publicity and self-promotion.

Karloff is Dr. Laurience, a reclusive scientist who believes he can transfer the consciousness (or soul?) from one brain to another. Ably assisted by Dr. Clare Wyatt, Laurience draws the interest of newspaper publisher Lord Haslewood (whose son, Dick, is Clare's fiancé). Eager to promote his foundation, Haslewood offers to sponsor Laurience's work - without knowing exactly what it is. Before the dust settles, Haslewood feels swindled, Clare feels suspicious and Laurience feels used, vowing to employ his work to his own ends rather than for the benefit of mankind.

Boris' performance is exuberant, and supporting players Anna Lee, John Loder and Donald Calthrop are effective, but Frank Cellier, as Lord Haslewood, walks away with the picture whenever he is on screen. Without giving too much away, let's just say that Cellier is called upon to portray more than one personality, and provides the film with its most enjoyable scenes.

THE MAN WHO CHANGED HIS MIND definitely has its moments, along with a little something to say. With its takes on the press and the pitfalls of corporate control, it not only conveys messages to which we can relate today, but illustrates how little some things have changed in 70 years.


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