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THE INVISIBLE MAN- Claude Rains is awesome as the man whose invisibility serum slowly rots his brain. Hunted by police, he sets out to cure himself and find revenge on the man who betrayed him. Proper stuff! Check out the running pair of pants scene! THE INVISIBLE MAN RETURNS- has Vincent Heed as a man on death row, framed for a cancel he did not commit. He gets some encourage in the originate of the invisibilty serum and simply walks out of prison! Can he show his innocense and get the right killer before te serum drives him enraged? Gigantic sequel! THE INVISIBLE WOMAN- This one is strictly for laughs. A scientist (John Barrymore) invents an invisibility machine with his assistant (Margaret “Scandalous Witch Of The West” Hamilton) . A young woman volunteers to be turned invisible and the slapstick begins. A gang of thugs wants the machine for positive criminal reasons. The gang even includes a stooge (Shemp Howard)! Worth a contemplate. THE INVISIBLE AGENT- Jon Hall is the title character, dropped leisurely enemy lines during WW II. Can he foil the snide plans of the nazis? Sir Cedrick Hardwicke is head of the gestapo and Peter Lorre is an imperfect japanese recognize. Not terrible at all! INVISIBLE MAN’S REVENGE- Jon Hall is aid as the invisible man. This time out, cheated and betrayed by frail “friends”, he seeks vengeance at all cost. He encounters a scientist (John Carradine) who has been turning animals invisible with his secret serum, and you can guess the result! Very helpful! This collection is yet another goldmine from universal’s creaky vaults! Add it to your monster list…
Between directing the new “Frankenstein” in 1931 and his masterpiece “Bride of Frankenstein” in 1935, James Whale assign out a slight gem called “The Invisible Man” in 1933. In some ways I rate “The Invisible Man” above “Frankenstein.” For one thing “The Invisible Man” has a big musical collect which heightens the drama in many scenes and helps to accelerate the budge of the film. The unusual “Frankenstein” had no musical rep (exclusive one was never added for re-release as it would have improved an already tall film tremendously) as musical scores weren’t commonplace until a few years later. I also judge that Whale had developed greatly as a director between 1931 and 1933. “Frankenstein” has many scenes that seem to be stagey and lack the finesse of Whale’s later films.
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In many ways “The Invisible Man” is Universal’s most horrific scare film of the 1930s. Dracula was a vampire who killed to keep his gain existence, Frankenstein’s Monster was a misunderstood and sympathetic creature who killed out of dismay or enrage, while The Invisible Man is a man driven wrathful by an illicit drug who kills out of shear pleasure. He commits mass cancel during the film on a scale worthy greater than any other Universal report. We also have to remember he is at his core a man not a monster.
Claude Rains gives a dazzling performance, in his US film debut, in the title role. Rains, who’s face was only seen on hide briefly at the raze of the film, had a deep distinctive command which was perfect for a role that was more about deny than body. This role was the open of a long and very successful film career for Rains who played costarring and supporting roles in classic films from the 1930s through the 1960s.
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Also in the cast are Henry Travers, Gloria Stuart and Una O’Connor. Travers was a talented character actor who may be most recognized to film fans as Clarence the inept angel in the holiday classic “It’s A Amazing Life.” Stuart, who as a starlet in the 30s appeared in dozens of films before retiring from the veil, had a career resurrection in modern years when she was cast as “musty Rose” in the mega-hit “Mammoth.” O’Connor, supplying laughable relief as a busybody inn keeper’s wife, played numerous supporting roles in Hollywood’s golden age including a the role of Minnie in Whale’s “Bride of Frankenstein.”
Of course, by 21st century standards “The Invisible Man” is antiquated. The special effects, undoubtedly cutting edge for their time, are not very impressive in the age of computer technology. Having said that, I must admit this film is collected consuming and though-provoking to inspect. The performances, especially Claude Rains, mild fill up and the direction by Whale remains position on. If you sit encourage and imagine yourself as a moviegoer in the 1930s, having never seen special effects like this before, it’s easy to eye how shapely this film must have been to audiences more than 70 years ago.
The $20 stamp label is well worth it fair to contain “The Invisible Man” but in this Legacy Collection you also receive ALL of the Universal “Invisible” films (minus “Abbot & Costello Meet The Invisible Man”) . It could be argued that “The Invisible Man Returns” and “The Invisible Man’s Revenge” are the only factual sequels as they follow the adventures of Jack Griffin’s (Claude Rains’ character in the new) brother. “… Returns” is renowned by Vincent Brand in the title role. These two films are satisfactory B-movie efforts by Universal and share of the second awe cycle of the 1940s. “The Invisible Woman” is more comedy than fright and features John Barrymore in the twilight of his career. “The Invisible Agent” was a wartime adventure featuring Universal’s top action hero of the 40s, Jon Hall, using invisibility to fight Nazis.
Having added The Invisible Man, The Mummy and The Creature to its series of Legacy Collections, I sincerely hope Universal continues with the balance of its apprehension titles of the 30s and 40s. I hope to recognize a release of the films that teamed Boris Karloff and Bela Lugosi (”The Dark Cat,” “The Raven,” “The Invisible Ray,” and “Dusky Friday”), a release of the Inner Sanctum series starring Lon Chaney and a place with all the one-off apprehension films (”Murders in the Rue Morgue,” the 1943 “Phantom of the Opera,” “Man-Made Monster,” “The Inflamed Ghoul,” etc.) of Universal’s Golden Age.
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