Boris
Karloff went straight from his dangerously single-minded man of science in Black Friday into another similarly
driven scientist in The Man with Nine
Lives (1940) for Columbia Pictures, re-teaming with Nick Grinde who
directed him in 1939’s The Man They Could
Not Hang (see my review 25/10/2016) from a script by Harold Shumate. The same
real-life story inspired both films as well as Life Returns in 1935 (also fully reviewed by me on 5/7/16), that of
Dr Robert Cornish’s successful experiment in reviving the dead – a dog in his
case – to feverish criticism by moralists.
Karloff
plays Dr Leon Kravaal, perpetuating a fond predilection for foreign names for
that extra touch of the gothically sinister – (giving your horror movie M.D. a
name like Jim Baxter doesn’t quite work somehow). His part’s reputation and
enigma precedes him in this film as we first spectate on another doctor’s pioneering
operation using ‘frozen therapy’, a forerunner to cryogenic suspension. Dr Tim
Mason (an earnest Roger Pryor, also from the earlier film) is attempting to
freeze a cancer patient on the operating table in the hope that, once
rejuvenated, she will be clear of tissue damage. The procedure is an amusingly
low-tech method consisting of applying two tubes to the patient and a mound of
ice-cubes dumped on her chest, followed by pouring hot coffee down a rubber
pipe into her by way of revival. No wonder his employers are concerned – this is
the work of a graduate from Garden Shed School of Medicine.
Mason’s well-meaning
enthusiasm over-states his claims for a cure, resulting in the faucet of
funding for his research being abruptly turned off. His nurse fiancé Judith,
the beguiling beauty Jo Ann Sayers, commiserates and encourages him to seek out
the man whose book was his inspiration. The reclusive Dr Kravaal has been
living in the mountains near the Canadian border and hasn’t been seen for years.
The couple decide to travel to find him in order to further this incredible
technology. A boat-ride deposits them at the dilapidated, cobwebbed house of
Kravaal wherein even the laboratory appears unused for a long time.
The dry-rotted
floorboards create a hole that reveals a tunnel leading to a virtual ice tomb
containing the frozen body of Kravaal and four other men. Mason and Judith set
about thawing him out by a fire, and here Karloff convinces well as a man whose
mind gradually defrosts into the astounding realisation that he has been encased
in suspended animation for an entire decade. Beneath a distinguished dark
hair-piece and goatee, his characterisation and point-of-view mapped out by the
script is the saving note of interest in an otherwise run-of-the-mill plot.
Predictably,
yes we discover that like all scientists in pursuit of great breakthroughs, the
eminent doctor is willing to sacrifice a few human lives. However, we are never
allowed to regard him as a raving immoral monster. The script never loses sight
of continually weighing the apparent cruelty of Kravaal’s actions against the long-term
needs not just of society but of the terminal individual he is treating, who
crucially has nothing to lose. His back-story positions this argument for both
sides in flash-backs depicting him having frozen a wealthy consenting patient,
Jasper Adams, and being forced to explain his ongoing secrecy to the man’s
nephew Bob, (an awkward Stanley Brown), the district attorney, coroner and
police sheriff. They demand he must stop and release the man. He in turn pleads
passionately that he must continue in private to avoid a break in the treatment
that would be fatal to Adams. This balancing act of Kravaal’s morality prevents
us from losing sympathy for him at several points in the film.
It emerges
that having no choice but to take the four men to his home, Kravaal entombs
them in a chamber to protect his experiments. Upon thawing by the young couple,
the third act turns into a reasonably tense siege drama of mistrust and self-preservation
amongst the group as they are pitted against the ‘necessary’ cunning of Kravaal.
Bob Adams is shot by him after the young man burns his formula. This causes the
doctor to hold them all prisoner while he struggles to replicate his research
from scratch, arguing with some justification that it is their fault and that
he was coerced to bring them here in the first place.
Despite this
interesting duel for audience’s sympathies, inevitably Kravaal’s experiments
must be iced, scotched on the rocks presumably to avoid the ever-watchful Production
Code’s condemnation if the film condoned his crimes. His immortal legacy after
death is to be a vanguard in the brave new world of medical science for Dr
Mason to follow in his foot-steps - and for Boris Karloff to move on to even more variations on horror cinema's fabled man in the white coat...
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