In a semi-Germanic, semi-British, semi-French Barony somewhere in Europe, the Baroness gives birth to twins, a dark happening as the family prophecy states that the family will end when a younger twin kills the elder in The Black Room (it needs to be pointed out to the rather dim lieutenant that twins don’t pop out side by side, but that was is born first). The Baron notes that it is even more likely in this case as the younger, birthed only a minute later, not only has lost out on a title, but he will be bitter because he was born with his right arm paralyzed. Years later Gregor (Boris Karloff), the elder twin, rules the barony as a fiend. Multiple peasant women have vanished and everything is run down. He has summoned his younger brother, Anton (also Karloff) to help him rule, or so he says. Gregor’s only ally is Col Paul Hassel (Thurston Hall), who’d been the dim lieutenant at their birth. He despises Gregor, but doesn’t want an open revolt from the peasants. Gregor wants to marry Hassel’s daughter, Thea (Marian Marsh), who is loved by brash Lt. Lussan (Robert Allen), though as both Hassel and the daughter hate him, that’s not likely. Gregor has a plan that involves his brother that will get him out of his current problems, and get him the girl.
High born twins were constantly getting in trouble in early Hollywood, with one killing the other or taking his place or sticking him in an iron mask. As such, this story doesn’t have much in the way of surprises. It’s difference comes in tone. Usually we get melodramas shifted into action & adventure. This time it is a melodrama shifted into horror. Instead of leaping and swordplay, there’s secret passageways, shadows, curses, suggestions of revenge from beyond the grave, and a pit filled with the dead.
More than tone and story, the draw is Karloff. When he was given a chance he was an excellent actor and here he was given three distinct parts to play: each of two brothers and one brother imitating the other. And he makes each of them different. As Gregor he is indolent, sneering, and cruel. His voice is hard and his posture is relaxed. As Anton he’s a bit of a fop, though genial, with a soft pleasant voice, and a much more controlled baring. And when he’s one pretending to be the other, you can always see the real one, though it is completely believable that others wouldn’t.
The sets for the great stone castle are wonderful, but what’s better is Karloff stomping around him them. Everything—sets, people, objects, and animals—is just support for Karloff. It’s a magnificent portrayal of evil and a damn fine one of kindness. Why was this guy never nominated for an Oscar? Oh yeah, because the Academy of Motion Picture Arts and Sciences wouldn’t know art if it bit’em. This was the same year he starred in The Bride of Frankenstein, so the year belonged to him.
Of course when one man so rules a picture, everyone else pales, partly due to comparison, and partly due to lack of time spent on and development of their characters. This is a 68 minute film, so there’s only a few minutes for anyone else. Marsh was excellent in Svengali, but she’s just another interchangeable damsel here. Allen wouldn’t be noticeable at all except Lt. Lussan is a bit of an ass. Lieutenants really shouldn’t burst into their senior’s study, nor should they make wild claims about the future of their Colonel’s daughter. Apparently military discipline was a bit lax. His behavior didn’t put me on his side. Luckily Karloff knows how to make you hate him, so while I’m not with Luccan or the Hassels, I’m against Karloff.
The intensity does wane in the final act. I wanted more dastardly deeds, but things just soften up. I’m not here to see Karloff calmly and reasonably pull off his plan; I’m here for the Grand Guignol. The horror aspect dries up and the melodrama takes over. Since it is so predictable, it needed that edge.