The Case of the Frightened Lady (1940)

If you have a soft spot for British mystery films, then you will not want to miss The Case of the Frightened Lady. It is a delightful, albeit fairly conventional, mansion mystery, complete with a serial killer, Scotland Yard detectives and a sealed room.

Helen Haye and George Merritt in The Case of the Frightened Lady (1940)

In The Case of the Frightened Lady we meet the elderly Lady Lebanon and her son, Lord Lebanon, the last in the line. Being suitably strong-willed, the Lady is set on having her son marry his cousin and secretary, Miss Crane. The young Lord, however, has other plans. As befits a good mystery, they are surrounded by a cast of strange characters, such as the two footmen who appear more like gangster thugs and the family doctor who definitely is involved in some shady business. And what about the architect, called in to plan some well-needed renovation?

The actors perform well, especially Helen Haye (not to be confused with American actress Helen Hayes, who has performed in a number of similar roles) as Lady Lebanon. George Merritt as the Scotland Yard inspector is also good, and Ronald Shiner is nice as the mandatory comic relief sidekick, possibly inspired by Nigel Bruce, who had premiered as Dr. Watson the year before.

This film is best enjoyed if you are willing to sacrifice credibility on the altar of entertainmet. The plot is definitely convoluted at times, not least so the ending, but it is told in a thrilling and involving way. Even though you may at times suspect the true killer, you will want to keep watching in order to find out the motives and all the background details.

Helen Haye and Penelope Dudley Ward in The Case of the Frightened Lady (1940)

The Case of the Frightened Lady
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Year: 1940
Running time: 1 h 17 min
Director: George King
Stars: Marius Goring
Image quality: Good
Resolution: Medium (549×416)
Sound quality: Acceptable
Best file format: MPEG4 (560 M)

Nancy Drew… Reporter (1939)

Back when I was a kid in Sweden in the 1970s, there used to be a famous series of books for kids. (In fact, that series was published for almost 100 years, and there were over 3,000 titles.) The backs were alternately green, for boys, and red, for girls. I mostly read the green ones, with Biggles as my big favourite. But on occasion I was attracted to one of the red books as well, and in particular the ones about Nancy Drew.

Nancy Drew, the famous girl detective, has made it to the silver screen on several occasions, but the early films from the 1930s are said to be the best. The only one available at the Internet Archive, and quite a gem at that, is Nancy Drew… Reporter.

Thomas Jackson and Bonita Granville in Nancy Drew... Reporter (1939)

I will be the first to admit that my memories of those juvenile books are far too sketchy to allow any comparisons with this movie version, but whether true to the original stories or not, it cannot be denied that Bonita Granville’s interpretation of Nancy Drew is fresh, charismatic and full of vigour. Sure, she acts something of a spoiled brat, but does so with such charm that you have to forgive her. Her performance is very good for the most part, especially in the dialogues.

The story, briefly, is that Nancy has entered a competition for young people to write the best news story. In order to get the best opportunity, she steals a real reporter’s assignment, which gets her involved in a murder case. But unlike everyone else, Nancy does not believe that the one the police suspects convicted the crime. So with the aid of her sidekick and her lawyer father, she decides to try to find and frame the real killer.

There is a certain similarity between this film and Danger Flight from the same year. Although one is for girls and one is for boys, both were made for juveniles, and both talk to the kids instead of talking down to them. This is certainly not always the case with modern juvenile films.

This film is best enjoyed when you need a feel-good movie. This one provides exactly that, and does it well. Look for no deeper meanings. Nostalgic sentiments for Nancy Drew are not required, but may augment your experience.

Bonita Granville, Frankie Thomas and Larry Williams in Nancy Drew... Reporter (1939)

Nancy Drew… Reporter
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Year: 1939
Running time: 60 min
Director: William Clemens
Stars: Bonita Granville
Image quality: Good
Resolution: Medium (720×540)
Sound quality: Good
Best file format: MPEG2 (2.8 G)

The Bat (1959)

Between 1922 and 1960, the play The Bat was filmed at least five times. I have previously written about the 1960 TV version, and in that post I also told a bit about how the story is connected with Batman. Now the turn has come to what is perhaps the most well-known version, the 1959 film The Bat, starring Vincent Price and Agnes Moorehead.

Agnes Moorehead and Lenita Lane in The Bat (1959)

In this version, Moorehead plays a mystery writer who has rented a mansion over the summer, but the place scares her hired staff, and things do not exactly improve when rumours of the masked murderer “The Bat” start to go around. The Bat is soon drawn to the mansion for some reason, and so are several other persons, including Lieutenant Anderson, who tries to capture The Bat, and Dr. Wells (Price), a man with some pretty shady background.

Of all the versions, this is perhaps the one that is furthest removed from the original play. While that helps to give it more cineastic integrity (in terms of not feeling quite so much like a filmed play), it also works to the film’s disadvantage to some extent. The play has a really tight and well worked out plot, and though the film retains the major plot elements, it feels somewhat less intense and dramatic. The horror aspects that have been added do not feel all that terrifying fifty-plus years later.

Still, it is a cozy piece of a mystery, one to cuddle up in front of on a dark and stormy night. In addition, of the three versions available from the Internet Archive, it is most definitely the one with the best sound and image quality.

This film is best enjoyed if you are a fan if Vincent Price. He is, as always, excellent, though the other actors deserve praise, too. Oh, and Crane Wilbur’s directing is also very solid.

The Bat's steel clawed glove in The Bat (1959)

The Bat
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Year: 1959
Running time: 1 h 20 min
Director: Crane Wilbur
Stars: Agnes Moorehead, Vincent Price
Image quality: Good
Resolution: Medium (720×480)
Sound quality: Good
Best file format: MPEG2 (2.1 G)

The Kennel Murder Case (1933)

I must confess that before I first saw The Kennel Murder Case, I had never heard of the character Philo Vance, and even after seeing the film, it was years before I realized that this was a recurring and well-known character. Well, live and learn. One day I may actually read one of the original novels with the character.

Robert Barrat and William Powell in The Kennel Murder Case (1933)

The film begins at a Long Island dog show, where, amongst many other dog owners, Philo Vance and Archer Coe exhibit their dogs. The following day, Coe is found dead. The police suspect suicide, but Vance is convinced that the truth lies elsewhere, and cancels a planned trip to Europe in order to investigate the case. It turns out that Coe was not a very well liked man, and many have reasons for wanting to see him dead. Vance starts to investigate the case from many different angles.

The Kennel Murder Case appears to have been the fourth and final time that William Powell played the role of Philo Vance. At least one of the previous films, The Canary Murder Case (1929) is available from the Internet Archive. In addition, there are some old radio episodes available with Philo Vance.

This film is best enjoyed by fans of whodunnits. This is a thoroughly pleasant film with good actors, good photography, and just the right amount of plot twists. If you want to explore Hollywood film from the 1930s, this is a very good place to start.

Eugene Pallette, William Powell and Robert McWade in The Kennel Murder Case (1933)

The Kennel Murder Case
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Year: 1933
Running time: 1 h 13 min
Director: Michael Curtiz
Stars: William Powell, Mary Astor
Image quality: Good
Resolution: Medium (720×480)
Sound quality: Good
Best file format: MPEG4 (680 M)

The Hands of Orlac (1924)

The classic The Cabinet of Dr. Caligari (1920), which I wrote about last week, was to my knowledge the first cooperation between director Robert Wiene and actor Conrad Veidt. Four years later, they were to repeat the success in The Hands of Orlac (originally titled Orlacs Hände).

Conrad Veidt in The Hands of Orlac / Orlacs Hände (1924)

Even though both films are firmly rooted in the German Expressionism, The Hands of Orlac, when compared with the earlier film, is in many ways very different. Take Veidt’s role for starters. He is the protagonist, and he is a good person at heart. But he is also somewhat weak, perhaps even cowardly. When he loses both his hands in an accident, and his career as a concert pianist is threatened, his doctor decides to graft a new pair of hands, a pair that previously belonged to a convicted murderer. When confronted with this, Orlac fears that the evil in these hands will take over his mind. This fear, that body parts from another entity will infect the new host with the mind of the old one, is a theme that can be seen in many later films, such as Wolf Blood (1925) and Frankenstein (1931).

The scenography is also very different when compared with The Cabinet of Dr. Caligari. In the earlier film, the surroundings were nightmarish, bent and twisted, filled with dramatic shadows. Here, the nightmare and the shadows remain, but the rooms are gigantic, with straight, looming walls and pillars, and with very few decorations. This creates an image of small and powerless characters, desperately trying to grasp control from a relentless world. So again, Wiene has created a dramatic masterpiece, but the drama is achieved with different means.

This film is best enjoyed when you want to explore the themes that lead up to the great Hollywood horror films of the early 1930s. It is definitely an important part of that legacy.

Conrad Veidt in The Hands of Orlac / Orlacs Hände (1924)

The Hands of Orlac
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Year: 1924
Running time: 1 h 53 min
Language: English
Director: Robert Wiene
Stars: Conrad Veidt
Image quality: Acceptable
Resolution: Medium (608×464)
Soundtrack: Good; synchronized with the images
Sound quality: Excellent
Best file format: Cinepack (1.1 G) or Matroska (1.1 G)

The Speckled Band (1931)

The early 1930s was an interesting time for Sherlock Holmes film fans, since there were no less than three actors playing the detective. Clive Brook (who does not seem to be represented at the Internet Archive) made two films in 1929 and 1932, and inbetween those, both Arthur Wontner and Raymond Massey debuted as Holmes within a month of one another in 1931.

Massey, in The Speckled Band, debuted not only as Holmes, but it was for a fact his first-ever appearance on film. And while Wontner’s Holmes (in Sherlock Holmes’ Fatal Hour and four more films) was competent but traditional, Massey’s performance still feels fresh and original.

Raymond Massey (Sherlock Holmes), Lyn Harding and Athole Stewart (Dr. Watson) in The Speclked Band (1931)

This was not only because of Massey’s youthful and vigorous acting, but also because of his surroundings and methods. His Holmes, in addition to his flat at 107(!) Baker Street, has a hyper modern office, complete with a staff of secretaries and a computer-like mechanical database.

The Speckled Band is an interesting and well-crafted film in many other ways as well. In acting as well as photography, many traces can be found from the silent era ideals. This is not at all a problem in this particular case. Especially Lyn Harding’s exquisite over-acting makes him one of the most formidable and enjoyable Holmes villains on the screen ever. The film’s editing is also somewhat ingenious. There is a wonderful sequence where Watson tells Holmes about the various persons connected with a certain case, and each person’s face appears ghost-like in the background, as if listening in on the conversation.

Unfortunately, the version of the film at the Internet Archive is heavily abridged (a full 40 minutes cut out of original 90!), and this is often painfully obvious. Many scenes are so heavily and poorly cut down that the dialogue and plot can be hard to follow. Also, sound and image quality are quite terrible. I have been unable to find a complete and restored version, so for the time being, we shall have to settle for this mutilated one. I find that the film’s many good qualities outweigh the various problems with the available copy.

If you find the dialogue difficult to follow due to the poor sound quality, there are also downloadable subtitles in various formats. I have not tested these, so I cannot guarantee that they are synchronized with the version of the film that I link to.

Another version of this Arthur Conan Doyle tale is available at the Internet Archive. The Adventure of the Speckled Band (1949) was part of the American TV series Your Show Time. Less than 27 minutes in length, it featured Alan Napier (who also played Batman’s butler Alfred in the classic 1960s TV series) in his only appearance as the great detective. This version may be preferable if you cannot stand the poor technical quality of Massey’s The Speckled Band, though it lacks the latter’s playfulness and originality.

This film is best enjoyed by fans of Raymond Massey. Massey was a fantastic actor (as can be seen in classics such as Things to Come (1936) and Santa Fe Trail (1940)), and while The Speckled Band may not have been his best performance, it is nevertheless of more than merely academic interest.

Athole Stewart (Dr. Watson), Angela Baddeley and Raymond Massey (Sherlock Holmes) in The Speckled Band (1931)

The Speckled Band
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Year: 1931
Running time: 50 min
Director: Jack Raymond
Stars: Raymond Massey, Lyn Harding
Image quality: Poor
Resolution: Medium (576×392)
Sound quality: Poor
Best file format: MPEG4 (421 M)

The Phantom Fiend (1932)

Last week, I wrote about Alfred Hitchcock’s most famous silent film, The Lodger – A Story of the London Fog. Hitchcock was to return many times to the themes he started to explore in that film, but never again to that particular story. Others were to do so in his place, and it was remade in sound several times, the first as early as 1932, titled simply The Lodger. In America, it was released with the title The Phantom Fiend, and that version is available at the Internet Archive, as well as many other online movie sites.

Ivor Novello and Elizabeth Allan in The Phantom Fiend / The Lodger (1932)

Ivor Novello reprised his role as the lodger who may or may not be a serial killer in a foggy and shadowy London. The overall story is exactly the same as in Hitchcock’s version, but some details differ. One of them is that Novello invested some of himself into his character. This time, the lodger, just like Novello in real life, is a musician and a composer.

Director Maurice Elvey was no Hitchcock. Even though he does retain or copy some of the expressionistic elements of the original, his film is not at all as sinister or visually dramatic. But this version has other qualities. The added dialogue together with a very good script, co-written by Ivor Novello himself, gives this film much more depth in its character portraits, and the overall plot feels more rounded and developed than in Hitchcock’s version. Which version you prefer is a matter of taste. Personally, I like both, but of course Hitchcock is always Hitchcock.

Curiously, the endings are quite different in the two versions. One might argue that neither ending is entirely satisfactory, or that they complement each other. Either way, it is interesting to compare the two.

This film is best enjoyed in its original (and considerably rarer) British release. The American cut available at the Internet Archive is unfortunately compressed by almost a half hour, something which is painfully obvious on occasion. But if you do not have access to the original, then you can still enjoy this short version and Ivor Novello’s magnetic screen personality.

Ivor Novello playing the violin in The Phantom Fiend / The Lodger (1932)

The Phantom Fiend
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Year: 1932
Running time: 1 h 2 min
Director: Maurice Elvey
Stars: Ivor Novello
Image quality: Acceptable
Resolution: Medium (720×480)
Sound quality: Poor
Best file format: MPEG4 (600 M)