The most infamous of the Karloff-Lugosi collaborations has to be the 1935 film The Raven. It is their second co-starring feature in which Bela runs roughshod over Boris onscreen while the movie itself was deemed so distasteful that it resulted in the British film ban which torpedoed the production of horror films for two years. Today it is frequently viewed as a companion piece to The Black Cat (1934) that lacks the former's atmosphere but serves up a faster pace while being equally gruesome.
Dr. Richard Vollin (Lugosi) is a brilliant surgeon and obsessed devotee of Edgar Allen Poe to the point he recreates many of the torture devices depicted in Poe's stories. Vollin saves the life of the lovely Jean Thatcher (Irene Ware) and falls madly in love with her much to the disapproval of her father Judge Thatcher (Samuel S Hinds). After being forbidden from seeing her again Vollin concocts a plan to torture him, Jean, and her fiancé Jerry Halden (Lester Matthews) with the aid of escaped fugitive Edmond Bateman (Karloff). Bateman is initially unwilling to cooperate until Vollin promises to "fix his face" to avoid police detection; the deceitful doctor instead severs some nerves in his neck which hideously paralyzes half his face (another classic Jack Pierce makeup design). Pretty soon everyone is assembled in Vollin's home and during a driving rainstorm his evil scenario commences . . .
Clocking in at 61 minutes The Raven is a masterpiece of concise storytelling. So much information is succinctly conveyed via clever dialogue, quick scenes, and revealing closeups. Most of the action takes place in Vollin's labyrinthine home; the dwelling is the James Bond Astin Martin DB5 of houses with countless gadgets and means of creatively killing someone. The abode contains secret doors, a Pit and the Pendulum style descending knife, a room where the walls come together, a bedroom that is actually an elevator, and a switchboard that turns the entire residence into an impenetrable fortress. As the master of his lethal domain Bela Lugosi is having the time of his life enacting a raging, sadistic, egotist and the audience is easily swept away by his intensity. The film takes its cue from him and gleefully tosses subtlety aside while thoroughly embracing a wonderful lack of logic.
Bela Lugosi unleashes one of his most powerhouse portrayals as the batty Richard Vollin. Next to Dracula this character represents the most complete package of the Lugosi mystique. He radiates charisma while being both mesmerizingly deranged and possessing the sex appeal to beguile Jean. Vollin is clearly more charming and magnetic than her fiancé which could have led to all sorts of interesting possibilities. One of the most memorable bits in the film is the speech Vollin gives to his party guests regarding his interpretation of The Raven poem; he briefly betrays his homicidal intentions and Lugosi's fervor perfectly sells the moment. The final scenes, where Vollin is absolutely out of his mind, are so fun because Lugosi really goes for it with exaggerated gestures, line readings, and insane, cackling laughter. He dominates the film despite being second billed and receiving half the salary of his rival costar.
Reduced to a sidekick role, Boris Karloff doesn't appear until the 16 minute mark as the slow-witted Bateman. In yet another rendition of the disobedient servant he is consistently insubordinate to Vollin; it's actually quite amazing that the brilliant mastermind constantly trusts his lackey with tasks. Despite having few opportunities to shine Karloff manages some impressive moments and easily manipulates audience sympathy since, like the Monster, he is more misunderstood than evil. Boris even unleashes his monster growl in a couple scenes. He is at the center of a showpiece scene in the film wherein Bateman, wanting to see his new face, shoots out 6 full length mirrors that depict how monstrous he looks while Lugosi cackles maniacally from above.
The supporting cast is small and features some familiar genre faces. Irene Ware's piercing scream shatters the soundtrack in the opening scene and returns many times over the next hour. Miss Ware is undeniably sexy and contributes a superficially fine performance although the script should have further explored her infatuation with Lugosi. In this regard she comes off as a bit simple by underestimating his obsession with her (this is Lugosi, after all, and he's far from subtle) but she is most effective in her scenes with Karloff when she shows him legitimate kindness. Lester Matthews essentially plays an extension of his annoying, bland suitor role in Werewolf of London. He's not particularly sharp in deducing the scope of Lugosi's villainy, either. One man who is on the ball concerning the bats in Bela's belfry is Samuel S. Hinds as Judge Thatcher whose pleas fall on deaf ears until they're all nearly killed. Hinds is memorable as the one incisive character who nonetheless nearly manages to get bisected in his spiffy jammies.
The Raven is a nifty, clever, swift moving film that functions much like an old time serial than an atmospheric horror film. Never intended to be taken seriously it does nothing but entertain and provide Bela Lugosi with one of his signature roles. Unfortunately, in a supreme irony, the movie would derail the actor's career for several years once the British horror film ban kicked in. Lugosi rarely enjoyed good fortune in Hollywood but when the Tinseltown sun chose to shine on him he provided his fans with many memorable portrayals including Dr. Richard Vollin.
Dr. Richard Vollin (Lugosi) is a brilliant surgeon and obsessed devotee of Edgar Allen Poe to the point he recreates many of the torture devices depicted in Poe's stories. Vollin saves the life of the lovely Jean Thatcher (Irene Ware) and falls madly in love with her much to the disapproval of her father Judge Thatcher (Samuel S Hinds). After being forbidden from seeing her again Vollin concocts a plan to torture him, Jean, and her fiancé Jerry Halden (Lester Matthews) with the aid of escaped fugitive Edmond Bateman (Karloff). Bateman is initially unwilling to cooperate until Vollin promises to "fix his face" to avoid police detection; the deceitful doctor instead severs some nerves in his neck which hideously paralyzes half his face (another classic Jack Pierce makeup design). Pretty soon everyone is assembled in Vollin's home and during a driving rainstorm his evil scenario commences . . .
Clocking in at 61 minutes The Raven is a masterpiece of concise storytelling. So much information is succinctly conveyed via clever dialogue, quick scenes, and revealing closeups. Most of the action takes place in Vollin's labyrinthine home; the dwelling is the James Bond Astin Martin DB5 of houses with countless gadgets and means of creatively killing someone. The abode contains secret doors, a Pit and the Pendulum style descending knife, a room where the walls come together, a bedroom that is actually an elevator, and a switchboard that turns the entire residence into an impenetrable fortress. As the master of his lethal domain Bela Lugosi is having the time of his life enacting a raging, sadistic, egotist and the audience is easily swept away by his intensity. The film takes its cue from him and gleefully tosses subtlety aside while thoroughly embracing a wonderful lack of logic.
Bela Lugosi unleashes one of his most powerhouse portrayals as the batty Richard Vollin. Next to Dracula this character represents the most complete package of the Lugosi mystique. He radiates charisma while being both mesmerizingly deranged and possessing the sex appeal to beguile Jean. Vollin is clearly more charming and magnetic than her fiancé which could have led to all sorts of interesting possibilities. One of the most memorable bits in the film is the speech Vollin gives to his party guests regarding his interpretation of The Raven poem; he briefly betrays his homicidal intentions and Lugosi's fervor perfectly sells the moment. The final scenes, where Vollin is absolutely out of his mind, are so fun because Lugosi really goes for it with exaggerated gestures, line readings, and insane, cackling laughter. He dominates the film despite being second billed and receiving half the salary of his rival costar.
Reduced to a sidekick role, Boris Karloff doesn't appear until the 16 minute mark as the slow-witted Bateman. In yet another rendition of the disobedient servant he is consistently insubordinate to Vollin; it's actually quite amazing that the brilliant mastermind constantly trusts his lackey with tasks. Despite having few opportunities to shine Karloff manages some impressive moments and easily manipulates audience sympathy since, like the Monster, he is more misunderstood than evil. Boris even unleashes his monster growl in a couple scenes. He is at the center of a showpiece scene in the film wherein Bateman, wanting to see his new face, shoots out 6 full length mirrors that depict how monstrous he looks while Lugosi cackles maniacally from above.
The supporting cast is small and features some familiar genre faces. Irene Ware's piercing scream shatters the soundtrack in the opening scene and returns many times over the next hour. Miss Ware is undeniably sexy and contributes a superficially fine performance although the script should have further explored her infatuation with Lugosi. In this regard she comes off as a bit simple by underestimating his obsession with her (this is Lugosi, after all, and he's far from subtle) but she is most effective in her scenes with Karloff when she shows him legitimate kindness. Lester Matthews essentially plays an extension of his annoying, bland suitor role in Werewolf of London. He's not particularly sharp in deducing the scope of Lugosi's villainy, either. One man who is on the ball concerning the bats in Bela's belfry is Samuel S. Hinds as Judge Thatcher whose pleas fall on deaf ears until they're all nearly killed. Hinds is memorable as the one incisive character who nonetheless nearly manages to get bisected in his spiffy jammies.
The Raven is a nifty, clever, swift moving film that functions much like an old time serial than an atmospheric horror film. Never intended to be taken seriously it does nothing but entertain and provide Bela Lugosi with one of his signature roles. Unfortunately, in a supreme irony, the movie would derail the actor's career for several years once the British horror film ban kicked in. Lugosi rarely enjoyed good fortune in Hollywood but when the Tinseltown sun chose to shine on him he provided his fans with many memorable portrayals including Dr. Richard Vollin.