Paris is terrified by a murderer and thief known as The Wolf, who is rumored to have some supernatural powers and whose cruel attacks are accompanied by the howl of a wolf. The bank of M. de Brisson (Aubrey Mallalieu) was his last target, giving bank clerk Lucien Cortier (John Warwick) a chance to impress his boss and win his approval for his marriage to Cecile de Brisson (Marjorie Taylor). Unfortunately, slimy businessman Chevalier Lucio del Gardo (Tod Slaughter) also has eyes for Cecile, and he leads a double life as he is The Wolf. Chevalier plans to frame Lucien for his crimes. Itâs up to Lucien, and the scientist LeBlanc (Wallace Evennett), who can read the final thoughts of the dead with the magic of âelectricity,â to reveal the truth.
Director George King and now-forgotten star Tod Slaughter re-team for another murder melodrama. Slaughter was a stage actor who traveled the country in macabre Victorian melodramas. Subtle was not in his playbook, which worked out well as his flamboyant style was the draw for any work he was in. Englandâs quota law meant that some all-British-made films were needed quick, and so stage actors suddenly had film careers, and Slaughter was one of the most fun to watch. Unfortunately, while he hams it up in this picture as much as always, Chevalier isnât as enjoyable a character as his other cinematic fiends, at least till the very end.
Itâs strange watching this so soon after Sweeney Todd: The Demon Barber of Fleet Street as Iâd assumed theyâd be quite different, but they are essentially the same film. Slaughterâs films all were similar. Thereâs the young lovers, the girl from a powerful family and the guy who is penniless. The killer enters into a business relationship with her father to pressure him into giving him his daughter. And the killer works with a woman who runs a shop. Our young hero is forced to uncover the killer on his own. Itâs not a bad format, but I’ve seen it before, and seen it better.
Lucien and Cecile are sympathetic enough for me to care about them, which makes up for the villain being less fun. And we have a scummy dive bar and plenty of thugs for atmosphere. Most of the time we’re deep into melodrama land, which is entertaining, but also a bit silly. I expect Chevalier to suddenly grab the girl and tie her to the railroad tracks. The horror ramps up at the end as it tries to go for a big finish, making this a mildly amusing way to spend an hour.