October 1942
saw Universal release a horror B-features without the energy and marquee value
of their horror monsters. Night Monster
is professionally assembled but dumb, and possibly in awareness of this the studio
bolstered it with two of its name genre actors: Bela Lugosi and Lionel Atwill.
The result somewhat backfires as their wasted presence compounds its unremarkability.
Low-budget
stalwart producer and director Ford Beebe had already done both serials and features
and had already worked with Lugosi directing the hapharzard 12-part The Phantom Creeps (1939). Before going
on to better reflect himself with The
Invisible Man’s Revenge in 1944, his only other horror direction was this original
script by Clarence Upson Young.
The premise is
based around Curt Ingston, (Ralph Morgan) a wealthy man rendered
wheelchair-bound after the ministrations of three doctors failed to stem his
bodily paralysis. He has invited all three to a presentation of a revolutionary
new cure he believes he has undergone. Meanwhile his palatial home is also
occupied by a colourful collection of staff and family. There is his sister
Margaret (Fay Helm) who is constantly badgered by concerns of insanity,
unhelped by the claustrophobic cossetting of her frosty housekeeper Miss Judd (Doris
Lloyd).
Running the home is their swaggering, inappropriately lecherous
chauffeur Lawrie played by familiar western actor Leif Erickson (later to find fame
as Big John Cannon in TV’s The High Chaparral)
- and Lugosi as Ralf the butler, whose
role is relegated to providing furtive reaction shots from the side as each
sinister event unfolds. This suggests some murky involvement in the plot and
yet he has none; in fact he is no longer even used in the climactic build-up
and pay-off, a criminal oversight for his last top billing role for Universal.
Further
evidence of wastage arrives in the form of Lionel Atwill as Dr King, along with
Drs Phipps and Timmons (Francis Pierlot and Fran Reicher respectively). The
three of them are not painted as greatly sympathetic. They attempt some gallows
banter about the lucrative financial support of Ingston whilst they has
tinkered with them until they remind themselves that “We left him a misshapen
thing that must hide even from the servants in the house”. This prepares us for
an awful creature and yet when Ingston comes down, he is an invalid of relatively
normal appearance, albeit with a genial surface covering a fierce command used
to being obeyed coupled with veiled intent towards his reunited doctors: “I don’t
think you’ve ever been properly rewarded – but you will be”
Ingston
shows the trio that he has firstly used local mechanics to supply him with mechanical
arms and then stuns them far more with a demonstration by his yogi, the exotic turbaned
Agar Singh (Sweden’s Nils Asther). Swami Singh aims to convince the sceptical
men that it is possible to grow restorative tissue by the power of the mind
alone. Even the composed Ralf cannot resist a smirk at the preposterousness.
Singh materialises a kneeling skeleton holding a box leaking blood, inside of
which is a ruby. Just as the medicos try to process this miraculous apparition,
it vanishes leaving nothing but a pool of blood.
This
souvenir mark then becomes relevant over the course of the film as each of the
doctors is systematically murdered. Atwill is actually the first one to die,
making his brevity of role as ignominious a waste as Lugosi’s, Opposing the
forces of evil are Dick Baldwin (a strong, heroic Don Porter who would later
tangle with monsters for Universal in 1946’s She-Wolf of London), Dr Harper (Irene Hervey), who’s been brought
in by Margaret to prove her sanity, and an enjoyably irascible turn by Robert
Homans as the squinting and cynical Constable Captain Beggs. He is eternally on
the verge of blowing his top at the unlikely possibility that their host is somehow
equipped with magic legs. When Ingston proves his incapacity by revealing his
stumps under the bed-clothes to he and Dick, Beggs is apologetic for the insensitivity
of their accusation. Gradually though, after all three doctors, Millie the housemaid)
and now Lawrie are bumped off, they’re running out of other suspects. Observing
the dead chauffeur slung on a closet coat-hook, he growls: “Well, there’s one thing
certain. He ain’t guilty”.
Mercifully, what
we have been suspecting for the entire film is true, that Ingston had harnessed
his mental powers enough to give himself strangely lycanthropic legs for
nocturnal murderous walkabouts. These hairy specimens come to light briefly as
they disappear in death after a fatal gunshot by Singh. No explanation is given
for why he settled for such weird limbs to be projected. The only overall one
that is offered is more genuinely lame than the man himself – he left blood
trails because he hadn’t quite mastered his ability. This is the same
conclusion reached by a discerning audience – other than ‘Bring back the real monsters'
A similar glaring omission of not providing decent parts befitting their trumpeted stars was not so easy to rectify for a publicity-conscious studio.
A similar glaring omission of not providing decent parts befitting their trumpeted stars was not so easy to rectify for a publicity-conscious studio.
A few days
before the opening of Night Monster
on October 15th 1942, Atwill pleaded guilty and was sentenced to five years
probation instead of jail time for his perjury in the Sylvia Hamalaine case
(see my Lionel Atwill entry) . His attorney later read out his defence in
court: “I lied like a gentleman to protect my friends”. In retrospect it has
the grim finality of an epitaph – and signalled the death-knell for his
illustrious career, knocking him off the pedestal of prestigious leading man
into a downward slide of diminishing quality projects. The catastrophic
shut-out he was subjected to by the hypocritical movie industry was such that
by the following April he appealed in court to have the conviction terminated.
Since he was now a pariah in the town, he was suffering enough punishment for
his error of judgement. The Production Code could continue to have him
ostracized while ever he was legally branded a ‘felon’ that brought the studios
into perceived disrepute. A kindly judge allowed him to reverse his plea and he
walked out of court exonerated. The stain of scandal would dog him and drag him
down professionally and privately for the rest of his short life till his death
in 1946.
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