The Bloody Pit #133 - NIGHT MONSTER (1942)

Troy Guinn and I jump back to the 1940’s for our next Universal horror film of that decade.

NIGHT MONSTER (1942) has two ‘horror stars’ first billed in the credits – Bela Lugosi and Lionel Atwill – leading first time viewers to expect them to feature heavily in the scary tale being told. But both actors are relegated to supporting roles which gives unexpected players the chance to step forward and take position of possible villain. This sidelining of Lugosi and Atwill has been cited for years as the reason this is less well known than it might otherwise be, but I would argue the opposite should be true. By allowing actors not usually associated with the genre to step forward and take on the prime roles NIGHT MONSTER becomes a rare thing in Universal’s horror output on the 40’s – a real mystery! And, to make it more impressive, the film attempts to create an entirely new screen monster that the studio could have used in the future. That the choice was made to continue producing Frankenstein, Dracula and Mummy sequels probably speaks more to making safe money decisions than to a desire for new, creative monsters and that is a shame.

We enthusiastically dive into this film asking all the usual questions horror movie fans have posited for decades. We don’t have all the answers but we do have some solid speculation and a few guesses. We remark on the casting choices including having a female doctor play such a prominent role. The treatment of Hindu mysticism in the story without the expected condescension for such ‘foreign’ religions is surprising, as is the relatively adult tone of the entire affair. The film strikes a more modern attitude in several ways even if it still seems to take place in a time oddly unaware of the then current war. We also note that the film seems to drop at least one character (Lugosi’s!) from the finale without ever letting us know if he was complicit in the crimes taking place in and around the crazy old dark house. The oddest point in the show might be when I conjure a fictitious Three Dog Night song out of thin air leaving only a little blood on the floor!

If you have any comments or questions about the show thebloodypit@gmail.com is the email account and we’d love to hear from you. Thank you for listening to the show!

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The Bloody Pit #121 - THE STRANGE CASE OF DOCTOR RX (1942)

Troy and I return to the Universal Horrors of the 1940’s well for another pail of mystery and madness. This time out it’s heavy on the mystery but the madness feels like it was nearly forgotten. When the script has almost nothing for Lionel Atwill to do, you know something was badly miscalculated. That doesn’t mean that there aren’t things in THE STRANGE CASE OF DOCTOR RX (1942) to enjoy for horror film aficionados but it will help if you also enjoy the cinematic mystery series that were common at the time.

 

Patric Knowles returns to the Universal horrors as a successful private detective set on retiring who is forced by cops, mobsters and his own pride to solve a new case. It seems that a vigilante killer has been doing away with criminals that have escaped conviction. Soon after they are found not guilty this Doctor RX strings them up as a warning to others. The latest example that lucky scumbags must be made to pay the ultimate price is a gangster who avoids jail but can’t manage to make it out of the courtroom before he is struck down in full view of a dozen people – and no one knows how! Lawyer Dudley Crispin implores our detective to find this killer since three of Doctor RX’s victims have been his clients. Who is going to hire a lawyer good enough to get you assassinated after acquittal? Sprinkled into this mystery is a romance subplot, a couple of comedic characters, some ineffective cops and a caged gorilla! Or a man in a gorilla suit, anyway. It certainly is a pretty fast sixty-six minutes. Some might even call it overstuffed! But not us.

 

The story of how the movie’s unfinished script led the cast to rewrite or ad-lib certain scenes is related as we point out some of the sequences where this seems evident. We discuss co-star Anne Gwynn’s tales of making this movie and her little known ‘scream queen’ history. We quote Patric Knowles’ comments on how he and Lionel Atwill got along during the shoot. And we spend a lot of time trying to unravel the thought process of the killer who seems to be very confused about his life goals. 

We end the show with a dip into the mailbag with messages from our thebloodypit@gmail.com email account. Some kind words are shared and a few great ideas about who might have made a better version of my beloved MARS ATTACKS film. Please drop us a line if you have any comments or suggestion. And thank you for listening. 

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The Bloody Pit #107 - THE MAD DOCTOR OF MARKET STREET (1942)

Mad science is a strange field of endeavor. It seems that there are few barriers to becoming a practitioner with the one real requirement being a narcissistic belief that the world needs to be changed and that YOU are the person to change it! For these types of roles Lionel Atwill was usually the perfect choice and this episode’s film has his second onscreen shot at being the baddest, maddest doctor (or, actually, a chemist) he can possibly be. It is fun to watch Atwill squeeze every bit of evil out of the script and he is easily the best thing about the movie.

Troy and I discuss THE MAD DOCTOR OF MARKET STREET (1942) and ask the most obvious question first – Why does this movie mostly take place on a Pacific island? That title is an example of blatant false advertising! This bizarre tale of mad science in the South Seas does begin in San Francisco on Market Street but quickly shifts to a doomed cruise ship and then, after some footage from another movie, to an island inhabited by the usual Hollywood-style native stereotypes. These easily fooled islanders are soon convinced by the Mad Scientist (Atwill) that he is a god capable of resurrecting the dead. You don’t have to be a genius to know that this is not going to work out well long term. The silly portrayal of these natives is only partially redeemed by the chief being played by the great Noble Johnson who manages to inject some dignity into the proceedings. And top billed Una Merkle is a real joy as the flighty Aunt Margaret who is on her way to marry a wealthy man in New Zealand. Past those elements your mileage may vary.

If you have any comments or questions our email address is thebloodypit@gmail.com or we can be reached on the show’s FaceBook page. We’d be thrilled to hear from you. Thanks for listening to this episode!

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