The Spider Woman

Spiders In Pyjamas

The Spider Woman
USA 1943 Directed by Roy William Neill
Universal Blu Ray Zone B

Well this one’s a lot of fun, to be sure. Basil Rathbone, Nigel Bruce and Mary Gordon reprise their roles as Sherlock Holmes, Dr. Watson and Mrs. Hudson for The Spider Woman, the next in the series of Sherlock Holmes films which started at 20th Century Fox and then quickly got relaunched and contemporised by Universal from the third film onwards. This one is not based on any singular tale from author Arthur Conan Doyles long list of Sherlock Holmes stories. Instead, the screenwriters have mashed up no less than five of them to concoct a mighty fun entry into the ever popular series (with this being number seven, we’re at the halfway mark). The stories pillaged for this particular celluloid confection are The Adventure Of The Final Problem, The Adventure Of The Empty House, The Adventure Of The Speckled Band, The Sign Of Four and The Adventure Of The Devil’s Foot.

And it’s quite a wonderful romp, like much of these Holmes films... perhaps one of the best of the series. It features Gail Sondergaard as Adrea Spedding, the titular Spider Woman... a female Moriarty who is set up and written as a clever villain who can match wits properly with Holmes. A kind of Irene Adler alternative in a way, it might be said.

Also along for the ride again is Dennis Hoey doing his wonderfully dim but righteous version of Inspector Lestrade. It’s only his third film in the role but already he’s gone from second fiddle to Holmes to second fiddle to Watson. At one point, where he’s whistling to try and blend in with a crowd, Watson comments “He said inconspicuous Lestrade, not half witted!” which is just one in a number of great comical lines scattered throughout the story. The chemistry between Hoey and both Rathbone and Bruce is absolute magic and it even gets quite moving when, in the wake of Sherlock Holmes’ death near the start of the film, when Watson and Lestrade are both clearly grieving, Watson gives the policeman his favourite of Holmes’ pipes as a souvenir to remember him.

What’s that? Sherlock Holmes dies early on in the picture?

Well, it’s not in a battle with Moriarty on the Reichenbach Falls but it does take place near a waterfall as, under the pretext of a fishing holiday with Watson, he fakes a cerebral haemorrhage and seemingly falls into some rocky waterfalls, apparently to his death. This is in order to try and investigate, behind the scenes, a string of murders known as The Pyjama Suicides, masterminded by Spedding and using, it turns out, deadly spiders which I suspect are somewhat fictional but which have such painful bites that the victim leaps to his death from the pain.

So not long into the film we have Holmes returning to 221B Baker Street under the disguise of a postman and revealing himself to Watson and Lestrade. Now, bearing in mind the Holmes films of this series have almost always featured Rathbone in at least one disguise, the previous film Sherlock Holmes Faces Death (reviewed here) had eschewed that trend. However, although the disguise is easier to spot because the audience is expecting (surely?) Holmes to return after dying so early in the film, Rathbone makes up for it by donning two disguises here, one of the aforementioned, highly opinionated (enough to receive a sock on the jaw from Watson) member of the English postal service and another, in brown face, of a Maharajah, in order to find out the truth behind the suicide murder scam.

This one has it’s fair share of action too, including a number of deathtraps including a toxic gas via a chemical process when a child accompanying the Spider Woman throws a harmless looking sweet wrapper into the fireplace of 221B Baker Street... and a wonderful end game sequence where Holmes is tied behind a moving target of Adolf Hitler at a fair ground with his chest exposed behind the conveyor belt standee, while an unknowing Watson nearly shoots him through the heart a number of times. The scene with the sweet wrapper is a wonderful sequence as the two adversaries, Holmes and Spedding, acknowledge their recognition of the other’s status in a cat and mouse back and forth as each destroys and offers up evidence of their role in the game, which is clearly afoot, so to speak.

One other nice thing is that, clearly seen on the wall in Holmes room at Baker Street, is the pencil figure with the bullet holes from Holmes bound target practice experiment from the previous film, Sherlock Holmes Faces Death. A nice piece of continuity there (and I guess it certainly saved time redressing the bullet hole ridden wall on the part of the set builders).

And that’s me done on this seventh and very lively example of Rathbone and Bruce’s Sherlock Holmes adventures. The Spider Woman shows everyone at the top of their game and it must have hit big with audiences because it wasn’t too long before Gale Sondergaard returned to the screens in a picture called The Spider Woman Strikes Back. Admittedly, it wasn’t a sequel or spin off and she wasn’t playing the same character but, the marketing people must have thought that cashing in on the title familiarity was a good bet. One day I’ll have to seek that one out and have a look at it.

The Invisible Man's Revenge

Clear Vengeance

The Invisible Man's Revenge
USA 1944
Directed by Ford Beebe
Universal  Blu Ray Zone A

The Invisible Man’s Revenge is what I would call the last ‘pure’ film in Universal’s original classic take on the characters and concepts from H. G. Wells much abused source novel, The Invisible Man. And it’s also a very strange one at that.

For starters, the titular character is back to being the film’s antagonist again but, considering the other characters in the film, it’s hard to pinpoint who the main protagonist is in this... even the romantic male lead, who to my mind looks almost exactly the same as the feller playing the invisible man in this, kind of gets overpowered at the end and has to be rescued by a dog.

The film headlines Jon Hall, which is a strange one in itself because, two years prior to this, he’d played the main, heroic protagonist of the previous film in the series, Invisible Agent (reviewed here). Here, though, he’s an unmistakable and unapologetic villain. It’s revealed very early on in the film that’ he’s psychotic and escaped a mental hospital after killing two people there. When he arrives in London to see his two friends, Sir Jasper and Irene Herrick, a husband and wife played by Lester Matthews and Gale Sondergaard, he proceeds to attempt to blackmail them for his half of the diamond mine he’d found with them years before. Thing is though, he appears to be absolutely right and, honestly, there are barely any actual ‘good’ characters in this movie except for, perhaps, the daughter of the Herricks, played by Universal monsters semi-regular actress Evelyn Ankers.

Anyway, a curious thing to note that, perhaps due to legal reasons (I have no idea), Hall’s character name is Robert Griffin. Griffin is, of course, the last name of the character in the Wells novel and is a surname which usually crops up in these to cement the relationship between other family members and the current ‘invisible man’. Here though, the character has no connections whatsoever to any of the former Griffins so, yeah, baffling. In fact, it’s only because he stumbles into a stray scientist, played by Universal horror regular John Carradine, that he ends up becoming invisible in the first place... and therefore better equipped to start a reign of terror on his former ‘friends’ and attempt to swindle them out of, well, what is technically rightfully his anyway. It’s all a bit of a mess, to be honest.

Adding to the confusion, at least to my mind, is the fact that we have a purely psychotic character, played to the hilt as such and liable to flip his mood on a dime at any second... but he’s befriended by a down on his luck, comedy relief local, played by the famous Leon Errol. Errol was top lining gazillions of his own comical shorts throughout the 1930s to the 1950s and was a huge comedy star. What he’s doing in this, playing exactly the same kind of bumbling comedy character, is a mystery to me. There’s even a scene where he takes on a bet in a local pub as to being an ace darts player and we get a whole comedy routine where the ‘unseen’ and invisible Griffin is grabbing the darts and guiding them into the bullseye from all kinds of silly trick shot throws. It’s a bizarre and somewhat out of place scene which, nicely done as it is, seems uneasily out of kilter with the black hearted Griffin, who very soon in the film kills Carradine’s scientist and drains him of his blood to regain his visibility, just so he can attract the attention of Anker’s character.

It has to be said, the character here is fairly monstrous... almost as much as Claude Rains portrayal of the original Griffin in The Invisible Man (reviewed here). So, yeah, perhaps the studio felt you needed some strong comic relief to go with it but, as I said, it makes for an uneasy marriage here.

The film is directed by Ford Beebe, who also directed such great Universal theatrical serials as Flash Gordon’s Trip To Mars (reviewed here), Buck Rogers (reviewed here) and Flash Gordon Conquers The Universe (reviewed here). There’s nothing really flashy about his direction here, it’s merely competent and pacey, which perhaps is his strength as a director but, not so much that he is particularly noted for rising to ‘star director’ status over the years, it seems to me.

Composers Hans J. Salter, William Lava and Eric Zeisl are on scoring duties and, it’s okay. It does that very interesting thing where, when you see a packing crate arriving on the docks which says London, it lapses into a paraphrase of a patriotic tune associated with the English. I recognised the tune but can’t quite place it’s name but, yeah, this is a device which I’ve heard Elmer Bernstein point out in a documentary... that it’s a huge intellectual leap to make in musical scoring because it re-enforces the scene setting in the minds of the audience at an almost subconscious level.

And there’s really not much more I can offer on The Invisible Man's Revenge. It’s probably the least interesting one in the franchise and the Invisible Man would not return to the screen from Universal until two separate encounters with Abbot and Costello. And, yes, reviews of those two particular films will be forthcoming here at some point soon too.