There's a certain class of genre flick, seen especially but not exclusively in the 40s or 50s, that ably presents ideas of horror and science fiction but is less able to evoke any strong feelings about the material. Such fare can still be enjoyable on its own merits provided that one is receptive to genre elements that are more thematic than they are actualized. Even with iconic director Freddie Francis on board, I don't think there's much mistaking that 1962's 'The brain' can be described in such terms. We're treated to notions of unsanctioned experimentation, consciousness separated from corporeality, metaphysical communication and manipulation, and questions of identity and ethics - in addition to, of course, murder. And all of it is made to be scarcely more compelling than if we were reading the screenplay itself. I do actually like this, but it definitely reflects a more restrained sensibility of film-making that somewhat limits its potential and the size of its audience.
Or maybe we modern viewers are just too cynical and jaded, or so desensitized to ever-increasing intensity and violence that the storytelling older titles have to offer just can't faze us. After all, there's a delightful aspect of mystery to the proceedings as protagonist Dr. Corrie undertakes an investigation of sorts into the death of millionaire Holt. All those notions that comprise the genre elements do come to bear at different times, to different degrees. Between the effects and art direction, the admirable acting, some smart scene writing and dialogue, and Kenneth V. Jones' music that accentuates select beats, the creepy edge of the story does lightly shine through, and the greater vibrancy that some moments bear. Why, one way or another some scenes are kind of brilliant, and there is much to appreciate here on its own merits. 'The brain' is well made in every regard, including not just those facets I've already mentioned but also Francis' direction, Robert Huke's cinematography, and Oswald Hafenrichter's editing.
While Bernard Lee(!) is the cast member who enjoyed the most broad visibility, Peter van Eyck's role as protagonist Corrie easily gives him the biggest spotlight, and he takes fine advantage of it to illustrate his skills. That's hardly to count out the other actors, all of whom capably help to bring the tale to life. There is perhaps a point to be made that the picture mostly carries itself as a fairly straight crime thriller and mystery, with noir tinges, and the titular organ and subsequent story ideas are just flavoring. Moreover, even at under ninety minutes, it starts to feel before it's all over as if the whole experience has run a little long. Be that as it may the narrative is compelling, with splendid scene writing - and the reveals at the climax, and the ending, are unexpectedly gratifying. No matter how you look at it this is no exemplar by any standard, and it's nothing one needs to go out of their way to see. Modern viewers who have a harder time engaging with older flicks can probably just pass this right on by. Still, 'The brain' is suitably entertaining, and if you do have the chance to watch, it's not a bad way to spend a quiet afternoon.
Or maybe we modern viewers are just too cynical and jaded, or so desensitized to ever-increasing intensity and violence that the storytelling older titles have to offer just can't faze us. After all, there's a delightful aspect of mystery to the proceedings as protagonist Dr. Corrie undertakes an investigation of sorts into the death of millionaire Holt. All those notions that comprise the genre elements do come to bear at different times, to different degrees. Between the effects and art direction, the admirable acting, some smart scene writing and dialogue, and Kenneth V. Jones' music that accentuates select beats, the creepy edge of the story does lightly shine through, and the greater vibrancy that some moments bear. Why, one way or another some scenes are kind of brilliant, and there is much to appreciate here on its own merits. 'The brain' is well made in every regard, including not just those facets I've already mentioned but also Francis' direction, Robert Huke's cinematography, and Oswald Hafenrichter's editing.
While Bernard Lee(!) is the cast member who enjoyed the most broad visibility, Peter van Eyck's role as protagonist Corrie easily gives him the biggest spotlight, and he takes fine advantage of it to illustrate his skills. That's hardly to count out the other actors, all of whom capably help to bring the tale to life. There is perhaps a point to be made that the picture mostly carries itself as a fairly straight crime thriller and mystery, with noir tinges, and the titular organ and subsequent story ideas are just flavoring. Moreover, even at under ninety minutes, it starts to feel before it's all over as if the whole experience has run a little long. Be that as it may the narrative is compelling, with splendid scene writing - and the reveals at the climax, and the ending, are unexpectedly gratifying. No matter how you look at it this is no exemplar by any standard, and it's nothing one needs to go out of their way to see. Modern viewers who have a harder time engaging with older flicks can probably just pass this right on by. Still, 'The brain' is suitably entertaining, and if you do have the chance to watch, it's not a bad way to spend a quiet afternoon.