Classic Films in Focus: TOWER OF LONDON (1939)

Tower of London (1939) lacks the poetic grandeur of Shakespeare's Richard III, but the story remains more or less the same, with an atmosphere of horror injected into the historical drama through the appearance of genre icons like Boris Karloff and Vincent Price. As history goes, this is bloody stuff, indeed; it opens with a beheading and goes on as it begins, and there's certainly enough death and torture to satisfy the bloodthirstiest horror fan. Basil Rathbone brings gravitas and intelligence to the role of Richard, while Karloff plays the executioner henchman who helps him murder his way to the throne. A fine supporting cast includes Ian Hunter, Barbara O'Neil, John Sutton, and the lovely Nan Grey, but most fans will flock to this film for the irresistible trio of Rathbone, Karloff, and Price.

As Richard, Duke of Gloucester, Rathbone schemes and slays in a bid for the English crown. To get there, he must first get rid of everyone ahead of him in line, including his brothers, King Edward IV (Ian Hunter) and the Duke of Clarence (Vincent Price), and his young nephews, the king's sons with long-suffering Queen Elyzabeth (Barbara O'Neil). Assisting Richard is Mord (Boris Karloff), a torturer and executioner whose own deformed foot creates a kinship with the hunchbacked Duke. While Richard murders his way to power, the Queen's followers, John Wyatt (John Sutton) and Lady Alice (Nan Grey), struggle to keep their love alive and to defend the country from Richard's evil reign.

As the subject matter implies, this is really Rathbone's film, and he gives a terrific performance, even if he doesn't get to spout any Shakespearean soliloquies. His Richard is not merely evil and repulsive; he has courage, genius, and the military prowess to match his ambition. His strange relationship with Anne Neville (Rose Hobart) proves that he has a certain charisma, too, like a snake that charms before striking. The discovery of the real Richard III's body in 2012 made him a celebrity again and shed new light on the historical record, but in many ways Rathbone's performance seems ahead of its time, especially in comparison with the way the king is portrayed in Shakespeare's play. Rathbone also gets to exercise his celebrated swordsmanship in several sparring scenes, which again emphasize the active, aggressive nature of this incarnation of his character.

The rest of the performers help to make Tower of London a very solid example of its type. John Sutton is something of a stand-in swashbuckler as John Wyatt, one of Richard's most determined opponents, and Nan Grey has several good scenes as his lady love, though her best is probably her rescue mission to help John escape from Richard's dungeon. Barbara O'Neil radiates maternal devotion and fear as the mother of the doomed little princes, while Ian Hunter makes a hale but too trusting Edward IV. Karloff, of course, owns his scenes as Mord; he and Rathbone pair up perfectly and convey a lot about their relationship through their expressions and body language. Mord yearns to see combat on the battlefield, and he mostly enjoys his murderous occupation, but the scene in which he is sent to murder the young princes adds just a touch of humanity to his villainous soul. Vincent Price, still at the start of his career in 1939, has a fairly small part as the weak-minded Clarence, but he makes the most of it, especially in his fateful drinking contest with Richard. The role presages those he would play later in life, especially in the Corman pictures and the AIP horror of the 70s.

Rowland V. Lee, who directed Tower of London, made a number of historical action pictures late in his career, including The Count of Monte Cristo (1934), The Three Musketeers (1935), and Captain Kidd (1945), but he also directed Karloff and Rathbone in the excellent Son of Frankenstein (1939). For more of Rathbone's great villains, see The Adventures of Robin Hood (1938) and The Mark of Zorro (1940). Karloff is justly famous for his monsters and fiends; to get beyond his Universal classics from the 30s, try Val Lewton horrors like The Body Snatcher (1945) and Bedlam (1946), or catch him in a more sympathetic mood in Corridors of Blood (1958). Fans will recognize Barbara O'Neil as Scarlett's mother in Gone with the Wind (1939), while John Sutton and Nan Gray can both be found with Vincent Price in The Invisible Man Returns (1940). For a double feature starring the trio of Rathbone, Karloff, and Price, follow up Tower of London with the delightfully macabre The Comedy of Terrors (1963), which also stars Peter Lorre.

Classic Films in Focus: DRACULA'S DAUGHTER (1936)

Dracula's Daughter (1936) acts as a direct sequel to the 1931 Dracula, picking up mere moments after the earlier film ends. This time, however, the narrative focuses on Van Helsing (mysteriously altered to Von Helsing) and a new representative of the undead, the Countess Maria Zeleska, played with unearthly poise by Gloria Holden. Although its fame pales in comparison with that of the Lugosi picture, Dracula's Daughter offers an intriguing vision of feminine monstrosity, and it encourages us to pity the tragic fate of a beautiful woman enslaved by uncontrollable desires.

Edward Van Sloan reprises his role as the good doctor, who finds himself charged with murder for the deaths of both Renfield and Count Dracula. Unable to convince Scotland Yard of his sanity and his reasons for killing the Count, Von Helsing enlists the aid of his former student, Dr. Jeffrey Garth (Otto Kruger).  Meanwhile, Countess Zeleska arrives in London and begins preying on victims of her own with the help of her servant, Sandor (Irving Pichel). Jeffrey attracts the vampire's attention because she hopes that his skill as a psychiatrist can free her from her bloodthirsty curse, but her interest arouses the jealousy of Jeffrey's assistant, Janet (Marguerite Churchill), and of Sandor, as well.

Von Helsing provides a link between the two stories, and Edward Van Sloan is once again very convincing as the wise vampire hunter, but Dracula's Daughter really concerns itself much more with its title character and other new arrivals on the scene. Because of the earlier film, it takes less time to explain the back story and the habits of the vampire, so the movie is able to pack all of its action into a tight running time of just 71 minutes. Most of that focuses on the Countess' growing obsession with Dr. Garth, who is already engaged in a prickly, contentious courtship with his assistant, but the movie takes time out for a few attack scenes and a poignant funeral pyre for Dracula. We see visual and thematic links to the earlier story, as well, with the Countess rising from her coffin and avoiding mirrors and crosses.

All of the actors acquit themselves well, but the movie really belongs to Gloria Holden, whose exotic beauty commands the screen in frequent closeups lit from beneath to emphasize her unnatural nature. Unlike Dracula, the Countess longs for a normal life and yearns to escape her monstrous urges. She hopes at first that her father's death will liberate her, but a test of her will soon shows that her appetite for human blood remains unabated. She cannot help being what she is, but the darkness inside her is too powerful to resist. The camera registers the subtle struggle of her conflicting urges in shots that often show only the Countess' eyes, in which Sandor claims he can see death. Throughout the picture, she is a complex character, never reduced to mere monstrosity. Like the goddess Kali, she embodies contradictions. The Countess is an artist who creates and a killer who destroys. She is a woman who yearns for love and a predator who must devour. Holden invests her with grace and a sense of tragic grandeur, making us wish it that was not already a century too late to save her from her fate.

Be sure to note Hedda Hopper in a small role as Lady Esme and lovely Nan Grey as Lili. Lambert Hillyer, who directed Dracula's Daughter, was a silent film veteran who also made The Invisible Ray (1936) and dozens of B Westerns. Gloria Holden appears in The Life of Emile Zola (1937), The Corsican Brothers (1941), and The Eddy Duchin Story (1956). Look for Otto Kruger in Treasure Island (1934), Saboteur (1942), and High Noon (1952). Although he's quite menacing as Sandor, Irving Pichel is probably better remembered today as the director of more than 30 pictures, including The Most Dangerous Game (1932) and Destination Moon (1950).

Classic Films in Focus: THE INVISIBLE MAN RETURNS (1940)

This sequel to the 1933 classic, The Invisible Man, stars Vincent Price as the latest victim of the invisibility formula that brings madness and doom to those who use it, a fate already experienced by Claude Rains in the original outing. Much like the first film, The Invisible Man Returns is primarily a showcase for its star’s distinctive voice and a series of special effects, although it lacks the pitch-black comedy and perverse genius of James Whale’s earlier work. Still, the 1940 installment provides enough entertainment in its performances and visual tricks to make for very good matinee fare, and Price fans are certain to appreciate the star’s early foray into the horror genre.

Price plays Geoffrey Radcliffe, who has been convicted of killing his brother and sentenced to hang. Innocent but desperate, Geoffrey accepts the help of his friend, Frank Griffin (John Sutton), the brother of the original invisible man. Frank has learned how to replicate his brother’s invisibility formula, which Geoffrey uses to escape prison and hunt his brother’s real killer, with the help of his fiancée, Helen (Nan Grey). Pursued by a Scotland Yard inspector (Cecil Kellaway) and rapidly succumbing to insanity caused by the formula, Geoffrey walks a fine line between hero and monster as he closes in on the secret enemy who framed him for his brother’s murder.

Although his mellifluous voice is heard almost constantly, Price spends most of the picture wrapped in bandages or completely unseen, which is a shame considering the actor’s youthful good looks. When we do see him, we understand why Helen is attracted to him, even though she recoils in horror from his invisible form. Price’s Geoffrey has more masculine appeal than either John Sutton’s nervous Doctor Griffin or Cedric Hardwicke’s oily Richard Cobb, but he also evinces a wry gallows humor that presages the kind of performance Price would become famous for in later years. Price’s delivery of his lines helps us believe in the invisible man as much as the special effects that show his movements, perhaps more so since only Price’s dialogue clues us in to Geoffrey’s many moods, from mounting insanity to melancholy and mournful despair.

The supporting players also work to suspend our disbelief in their unseen companion. Nan Grey is actually quite lovely as Geoffrey’s love interest, and she reacts with credible terror without seeming too weak to be worthy of Geoffrey’s devotion. Cedric Hardwicke pulls off some especially tricky physical business toward the end of the picture; he might be telegraphing Richard’s true intentions a bit too forcefully early on, but the movie doesn’t seem interested in making the real killer’s identity much of a mystery. Poor John Sutton has little to do beyond kicking the plot into motion as Dr. Griffin, since his character is basically a third wheel in every other scene with Geoffrey and Nan, although we do get the idea that he also harbors an unrequited passion for Nan. Character actors Alan Napier and Cecil Kellaway both make the most of their roles, with Napier getting some comical action as the drunken Spears and Kellaway managing to keep his policeman likable even though we know he has given orders to shoot on sight at an innocent man.

The Invisible Man Returns impressed the Academy with its special effects; it earned an Oscar nomination for them but faced stiff competition that year and lost to The Thief of Bagdad (1940). Joe May, who directed the film, also directed Vincent Price in The House of the Seven Gables (1940). See more of the inimitable Price’s work from this era in The Private Lives of Elizabeth and Essex (1939), The Song of Bernadette (1943), and Laura (1944). For more invisible man movies, try The Invisible Woman (1940), Invisible Agent (1942), and The Invisible Man’s Revenge (1944).