![]() In Murders in the Rue Morgue, a mad scientist turned carnival showman is driven to continue his experiments mixing male ape and female human blood. ![]() In The Black Cat and Murders in the Rue Morgue, we have perfect examples of that unlikely grafting of Hollywood onto European Expressionism and modernism.įrenchman Robert Florey directs Murders in the Rue Morgue with the assistance of innovative German cinematographer Karl Freund (Variety, The Golem, Metropolis, Dracula, The Mummy, Mad Love).īrilliant German director/ cameraman Edgar G Ulmer (Detour, People on Sunday) conjures up some of the most memorable kitsch-modernist imagery in cinema in The Black Cat. The films also showcase European-émigré-to-Hollywood talent behind the camera. In The Raven, he is a murderer on the run whose plastic surgery goes wrong.īoth actors look like they are enjoying themselves immensely. In The Black Cat he plays a necrophile, Satanist modernist architect who ends up being flayed alive. Just don’t expect too much from the Edgar Allan Poe association.īoris Karloff puts in two riveting performances. ![]() These three 1930s horror films from Universal Pictures are great vehicles for the creepy, leering Bela Lugosi, who spits out some wonderful camp-horror one liners. Robert Florey, Edgar G Ulmer, Lew Landers, US, 1932, 1934, 1935, 189 minutes combined ![]()
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