Dr. Bernard Adrian is a kindly mad scientist who seeks to cure a young woman's polio. He needs spinal fluid from a human to complete the formula for his experimental serum. Meanwhile, a ...
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A cabal of American industrialists, all fifth-columnists intent on sabotaging the war effort, are methodically murdered by the malevolent Monsieur Colomb. It is only until detective Dick ... See full summary »
Kindly soup kitchen operator and professor of criminology Karl Wagner uses his soup kitchen as a front for a criminal gang who commit a series of daring robberies and murders. When things ... See full summary »
Dr. Bernard Adrian is a kindly mad scientist who seeks to cure a young woman's polio. He needs spinal fluid from a human to complete the formula for his experimental serum. Meanwhile, a vicious circus ape has broken out of its cage, and is terrorizing towns people.Written by
Marty McKee <email@example.com>
This film received its initial telecasts in Chicago Thursday 17 February 1949 on WBKB (Channel 4), in New York City Friday 17 June 1949 on WPIX (Channel 11), in Cincinnati Friday 22 July 1949 on WKRC (Channel 11), and in Los Angeles Monday 27 February 1950 on KTLA (Channel 5). See more »
When the doctor is showing off his 'cured' guinea pigs, one of the poor critters falls off the table, at the end of the shot. See more »
Very minor and frankly dull Boris Karloff vehicle, one of the "mad scientist" roles he specialized in during this phase of his career. The plot takes pains to render the idea of how despised his character is, presumably because of his unorthodox experiments, but I cannot fathom why – surely what he was engaged in would prove exceedingly beneficial to mankind if successful (as readily acknowledged by an authority brought in from out of town to investigate him)! A measure of the film's ambivalence in this respect is that both views will be accounted for at the very end – as Karloff's miracle cure does work, but he has had to resort to the despicable act of murder in order to procure specimens!; incidentally, this latter business and the fact that one of the protagonists is wheelchair-bound would both resurface – to infinitely infinitely greater effect – in a later Karloff picture, the Val Lewton classic THE BODY SNATCHER (1945). The titular creature, then, is seen prowling about a number of times – even after having watched Karloff stab it: where we supposed to know that he was behind subsequent killings?; my brother actually arrived at this conclusion about three-quarters of the way in but I just could not believe Karloff would go to such extremes for Science (after all, he failed to save the immediate members of his family and had kept up the fight for a good 10 years afterwards – why should he bother so much with the rest of the world, especially since they hated him for it?!) and, in any case, being a doctor does not automatically give one a propensity for taxidermy, does it?! All things considered, this is watchable but inessential – and not nearly as much fun (in a guilty pleasure kind of way) as when Bela Lugosi did something similar i.e. in THE APE MAN (1943).
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