5.4/10
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27 user 10 critic

The Climax (1944)

A demented physician becomes obsessed with a young singer whose voice sounds similar to his late mistress.

Director:

George Waggner

Writers:

Curt Siodmak (screenplay), Lynn Starling (screenplay) | 3 more credits »
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Nominated for 1 Oscar. Another 1 nomination. See more awards »

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Cast

Complete credited cast:
Boris Karloff ... Dr. Friedrich Hohner
Susanna Foster ... Angela Klatt
Turhan Bey ... Franz Munzer
Gale Sondergaard ... Luise
Thomas Gomez ... Count Seebruck
June Vincent ... Marcellina
George Dolenz ... Amato Roselli
Ludwig Stössel ... Carl Baumann
Jane Farrar ... Jarmila Vadek
Ernö Verebes ... Brunn (as Erno Verebes)
Lotte Stein ... Mama Hinzl
Scotty Beckett ... The King
William Edmunds William Edmunds ... Leon - theater concierge
Maxwell Hayes Maxwell Hayes ... Count Romburg - King's aide
Dorothy Lawrence Dorothy Lawrence ... Miss Metzger
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Storyline

Dr. Hohner (Karloff), theatre physician at the Vienna Royal Theatre, murders his mistress, the star soprano when his jealousy drives him to the point of mad obsession. Ten years later, another young singer (Foster) reminds Hohner of the late diva, and his old mania kicks in. Hohner wants to prevent her from singing for anyone but him, even if it means silencing her forever. The singer's fiancée (Bey) rushes to save her in the film's climax. Written by Stephen Cooke <am082@ccn.cs.dal.ca>

Plot Summary | Add Synopsis

Taglines:

Greater than "The PHANTOM of the OPERA" See more »

Genres:

Horror | Music | Thriller

Certificate:

Unrated | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

20 October 1944 (USA) See more »

Also Known As:

El ruiseñor y el cuervo See more »

Company Credits

Production Co:

Universal Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Color:

Color (Technicolor)

Aspect Ratio:

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

Trivia

This film was shot on the lavish sets created for Phantom of the Opera (1943) in an attempt to recoup the large budget of that film. The opera house set had been built for the original The Phantom of the Opera (1925) starring Lon Chaney, and this extraordinary set still exists on the Universal Studios lot. It is the oldest surviving movie set in the world. See more »

Goofs

In the rehearsal sequence in which Angela loses her voice at the sight of Dr. Hohner, she closes her mouth a split second before the playback of her voice stops. See more »

Quotes

Dr. Hohner: [after strangling Marcellina] We'll always be together now. Your voice will never come between us again.
See more »

Connections

Referenced in Opera (1987) See more »

Soundtracks

Three Marches Militaires
(opus 51)
Composed by Franz Schubert
See more »

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User Reviews

 
Art direction and genuine suspense make for an enjoyable ride.
8 December 2006 | by BrentCarletonSee all my reviews

"The Climax" provides Boris Karloff not only with his first Technicolor film, but audiences with a handsome, humdinger of a mustache-twisting Victorian melodrama.

True, the story is not supernatural, but what does that matter when Boris keeps his deceased girl friend preserved beneath a gauze shroud in a secret room? If this is not sufficient, then just savor the mouth watering color photography, art direction and costumes.

This is one of the most visually handsome color films from the 40's, and ranks favorably against Minnelli's "Meet Me in St. Louis" in the warmth, depth, and clarity of its chromatic range, whilst simultaneously recalling Twentieth Century Fox's lighting schemes from "The Little Princess," and anticipating "Blanche Fury" in its tonal subtleties.

The settings are both sumptuous and historically accurate, (sharp eyed viewers will note that some of the same props show up later in Ulmer's "Bluebeard,") and provide the perfect background for the cloak and dagger theatrics.

Not to be outdistanced are Vera West's (one of Hollywood's most undervalued designers) late Victorian gowns--each a marvel of velvet, chiffon, plumes, and various embroideries, not to mention being a testament to the lost art of dressmaking.

Susanna Foster not only wears them charmingly, but sings like an angel, until Boris hypnotizes her. Thereafter, she is a bit somnambulistic--something of a problem given an impending operatic engagement.

Not to worry though, a turban-less Turhan Bey will save the day, in a nick of time, allowing Susanna to hit her high C on opening night, as scowling villain Karloff rushes off to a succulent fate.

That fate, as depicted, with Uncle Boris collapsing on a curtained bier that is laden with the corpse of his long dead (though still photogenic) inamorata, as they both go up in flames, is as aesthetically and dramatically delicious as they come.

One can almost imagine the the whoops of the popcorn patrons as they cheered this pyrotechnic finale in the Rialto's of yesteryear.

Not to be missed.


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