User Reviews

Back in 1944, Hollywood produced "Lady and the Monster". Not even a decade later, they remade the film as "Donovan's Brain". Now, less than a decade after that, the British remade the film yet again as "The Brain"! I've seen the other two films and decided to see if the British version is any better. And, after seeing it, I am not sure I'd say it was better...more very different.

Dr. Corrie (Peter van Eyck) is one of those researchers whose humanity and ethics take a back seat to his research. He's been working on trying to keep brains alive after the rest of the monkey has died and he's longing to try his experiments out on humans. Soon, an opportunity practically drops in his lap when an airplane crashes nearby. Everyone on board is dead or dying and the one living victim is nearly dead. So, Corrie decides to try out his experiment and he ends up keeping the brain of a cruel industrialist alive.

This brain apparently is from a man with a strong will, as soon it begins controlling Corrie and makes him investigate the airplane crash. Soon, folks are alarmed that Corrie keeps declaring that it was murder and that he seemed to know details of the case he shouldn't have known. How long until the murderer decides that Corrie is a liability and needs to be gotten out of the way?

This film, unlike the other two, is less a horror film and more a murder mystery. Van Eyck's acting is very nice and the story held my interest. Very good and different enough from the others that it's still worth seeing.

By the way, the prop brain they used in the film was too big...more like an elephant's brain than a human one!

I just got myself an old issue of FANGORIA and they had an interview with Freddie Francis inside. It had been quite a while since I had watched a Francis horror film, so I figured why not try one of his films. I watched this one, which was his first horror film (2nd to date) he ever directed. Is it good? Not really. I would say that Francis' work does get leaps and bounds better after his initial horror film. Like TALES FROM THE CRYPT (1972) or THE DOCTOR AND THE DEVILS (1985). Maybe any true Freddie Francis fans might enjoy it more.

Brilliant Dr. Peter Corrie (Peter van Eyck) is conducting experiments on brains to try and further his knowledge in the field. He is working on a monkey's brain in the beginning of the film, which in one shot kind of looks like a watermelon. With the assistance of Dr. Frank Shears (Bernard Lee's next role after he had played M in DR. NO) he gets a hold of a still working brain within a dead body. Turns out it belongs to tyrannical tycoon Max Holt. During the film Holt and Dr. Corrie's brain are on the same wavelength, so Dr. Corrie knows things he shouldn't. In the end it turns into a murder mystery to solve his murder.

Sadly a mixture of good ideas with some kooky ones, which may have to do with it being a B-Movie from the early 60s, so it adds some silly sci-fi angles to things which are not believable. The whole murder mystery element when added really does suck a lot of the horror out of the picture. A blend of two genres that does not really work.

Also starring JacK MacGowran as Furber, who may be the most interesting character in the whole movie. He is aware of Dr. Corrie's theft of Max Holt's brain and is looking for payment to keep quiet.

I'm sure the movie told an intriguing story, but I just couldn't understand the plot. Very dense, intricate plot, very talky film. Could always re-watch it but I don't have the patience. It was a brain strain. If you have a higher IQ than me you will probably give it more than 4 stars.

While 'Donovan's Brain' wasn't the first movie version of Curt Siodmak's sci fi shocker, it is by far the best known and best remembered of the three adaptations (so far). As a corny but entertaining b-grade movie it is hard to beat, and wonderful fun. 'The Brain', an overlooked German/English remake, doesn't try to outdo it, it instead approaches the source material in a very different way. The sensationalistic thrills and mind control horror of the 1953 movie are replaced by a calmer, more atmospheric style which adds a mystery element not seen in the earlier version. The basic premise is the same (though the names have been changed). This time around the scientist experimenting with keeping monkey's brains alive outside the body is played by Peter van Eyck ('Wages Of Fear'). He is assisted by his beautiful wife (well, I think it's his wife) Ella (Ellen Schwiers, who is positively stunning, and a lot easier on the eye than Nancy Davis!), and his trustworthy alcoholic sidekick (Bernard Lee, 'M' of James Bond fame). Once again a plane crashes nearby and the sole survivor is taken back to their lab. Once again the man cannot be saved but the scientist decides to keep his brain. As in 'Donovan's Brain' the brain survives and begins to exert control over the scientist. But it isn't in the same way, it is much subtler, and instead of domination, the brain wants something else - justice. For in 'The Brain' the millionaire has been murdered, and most of his family and associates are suspects. This interesting twist, plus the superior cast, makes this movie a rarity - a worthwhile remake. However, I wouldn't go so far as to say it surpasses the earlier movie. It is less silly and more intelligent, but not necessarily more entertaining. I enjoy both movies in different ways, and recommend them both.

Not having seen any of the previous versions of this story, the film this one reminded me more of is Lucio Fulci's (!!) 1990 shocker "Voices from Beyond". The plotlines are different but still share some similarities, as they both involve revenge from beyond the grave, rich families with hidden secrets, a murder investigation carried out on behalf of the murdered man himself, etc. Unfortunately, "The Brain" takes an interesting sci-fi concept and turns it into a forgettable murder mystery; you won't exactly be on the edge of your seat trying to figure out "who-did-it". What's more, the chintzy production makes the movie look as if it were made in the 40s. (**)

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.

Peter van Eyck was a good actor but no matter how good he was, he could not save this movie from failure. It's a cheap story with the brain of a very rich Romanian, Max Holt, who died in an plane "accident" and then had a very "intimate" relationship with the doctor Peter Corrie, played by van Eyck. Only if you're a fan of van Eyck.

An adaptation of film noir legend Curt Siodmak's novel, Donovan's Brain, The Brain offers up a murder mystery narrative to go with the mad science angle. It's not particularly thrilling but it does tick along nicely and director Freddie Francis has a keen eye for scene staging. Cast features Peter Van Eyck, Anne Heywood, Cecil Parker and Bernard Lee, and they all do what is required to make the material work. Stand out moments involve some delightfully monstrous paintings, a lie detector scene and all the sequences where Van Eyck is possessed by the brain of the powerful industrialist who was murdered by person or persons unknown. Good and safe "B" schlocky fare for the so inclined. 6/10

With a stellar cast of British character actors I was looking forward to seeing this film.Alas I was very disappointed.There are certain similarities to The Scorcerers but they are all invidious.The problem with this film was that it didn't seem to know what it really wanted to be.A thriller or sci fi or mad doctor,and as a result it fell between all of them and quite frankly was both boring and silly.In any event the idea of being able to reclaim the living brain of someone who has died in an aircraft explosion is a bit fantastic.Good to see the likes of Cecil Parker,Miles Malleson and Bernard Lee but otherwise not much else to keep your attention.

Freddy Francis directs another retelling of Donovan's Brain.

This is the story of a rich SOB industrialist who is killed, however his brain is saved. As scientists try to study the still living organ the personality of the "dead" man begins to exert itself on those around the brain tank.

Good, with expressive black and white photography, this too is a bit unremarkable and slightly dull, which is odd considering Francis' films tend to have a bit more life in them, even when they are poor.Interesting to see Bernard Lee (M from the early Bonds) in a different sort of role. Not bad but not really the gripping drama I wanted at 2am to keep me awake...it put me out.

A stodgy retelling of the classic sci-fi novel, DONOVAN'S BRAIN. Disembodied brains were all the rage when this film was made, with the likes of THE BRAIN THAT WOULDN'T DIE and various Hammer Frankenstein movies playing with the possibility of life after death. However, this being a UK/West Germany co-production, the narrative actually has far more in common with the German krimi genre than a typical sci-fi movie.

The narrative sees a millionaire being blown up in a plane crash, and it soon transpires that there was a bomb on board. Novelty value comes from the millionaire's brain being used to hunt down the culprits responsible, and he does so by possessing the body of the man (Peter van Eyck) keeping him alive.

The sci-fi elements are kept to a minimum here, with the emphasis instead on the murder mystery genre. As with many krimi films, stark black and white photography is the order of the day, with the cast populated by criminals, detectives and femme fatales. Director Freddie Francis contributes atmosphere to the narrative but this is one of his lesser pieces.

The story just doesn't have much in the way of oomph or excitement to it, even though there are a handful of decent moments. There are a couple of familiar faces in the cast, including Miles Malleson and Bernard Lee, but no performances here to get excited about. Definitely a potboiler, this one, and not a decent one either.

When I saw this movie it was, as you can assume from the language I'm typing this in, in English. Specifically, it was titled "The Brain." I personally thought that it was a good movie. However, I'm a fan of old science fiction movies in general. Many viewers who can't live without stunning visual effects and 3D surround-sound are doomed to disappointment with this one, and the fact that it was dubbed from German obviously detracts from the value of the movie somewhat, but in all it was a decent movie. The plot was somewhat more difficult to follow than that of other movies, but if you can follow (for instance) Buckaroo Bonzai, then it shouldn't be a problem.

Still, I don't think I would mind seeing this movie turned into an episode of MST3K. It's just the type of thing that they would do.

If the science fiction elements were absent from this film, it would have been a good film noir movie. A remake of "Donovan's Brain", "Ein Toter sucht seinen Morder" (American title: The Brain), falls between two stools. In it, a scientist keeps alive the brain of a dead colleague while keeping the fact a secret from dead man's relatives who he suspects of murdering him; he turns detective and investigates.

The brain is kept alive in what looks a formalin-filled tank with wires sticking out of it - amateurish, but in keeping with the low budget science fiction films of that era. The film noir camera work is excellent as are the other film noir elements in this flick. The movie has a fast pace most of the time. Peter van Eych's acting is wooden at best and he looks too old for the part.

Worth watching if you are into old science fiction films of that era.

(Reviewed by Sundar Narayan)

When the private plane of megalomaniac multi-millionaire Max Holt crashes nearby, Dr. Peter Corrie (Peter van Eyck) transports Holt, the only survivor, to his laboratory, only for his patient to promptly cark it. Seizing the opportunity to advance his research on brain activity, Corrie removes Holt's brain and places it in an experimental glass tank, after which he discovers that the disembodied organ continues to function, eventually forming a telepathic connection with him.

The Brain is the third movie adaptation of Curt Siodmak's novel Donovan's Brain, after The Lady and the Monster in 1944) and Donovan's Brain in 1953. A British production, directed by Freddie Francis, this one deviates from the original story, with Corrie suspecting foul play and turning detective to try and find out who was responsible for the plane crash. The result is an enjoyably daft noir-ish thriller that mixes mystery and murder with existential metaphysics (disclaimer: I know nothing about existentialism or metaphysics, so I could be talking hogwash). Francis was a wildly uneven director, his work ranging from the terrible - The Deadly Bees (1966) and The Vampire Happening (1971) - to the very entertaining - Mumsy, Nanny, Sonny & Girly (1970), Craze (1974) and Paranoiac (1963); The Brain is one of his more accomplished movies, featuring solid performances and plenty of intrigue, and even if it does lose its way somewhat in the final act, it's definitely worth a watch.

6.5/10, rounded up to 7 for IMDb.

1962's "The Brain" marked the very first genre film for Oscar-winning cinematographer turned director Freddie Francis (his innocuous debut at the helm was 1961's "Two and Two Make Six"), the third screen version of Curt Siodmak's 1942 pulp novel "Donovan's Brain," first adapted by Republic as "The Lady and the Monster" in 1944, followed 9 years later by Lew Ayres's self titled remake. Republic's initial outing was weighed down by the intrusive non presence of Olympic skater Vera Hruba Ralston, only remaining faithful to its literary source during the second half, while this entry ratchets up the mystery for a sci fi-tinged whodunit venturing further away from Siodmak's prose (not necessarily a bad thing). Peter Van Eyck takes the lead as Dr. Peter Corrie, working with assistant Frank Shears (Bernard Lee) on experiments to determine the life span of a monkey's surgically removed brain, fortuitously nearby when an airplane crash presents them with the brain of ruthless financier Max Holt, introduced right after the opening credits, an imperious nature punctuated by the impulsive tapping of his right thumb. Unlike Erich von Stroheim's characterization in the first version, Van Eyck is no preconceived mad scientist, he performs an unethical operation but remains cooly rational even as he falls under the influence of the calculating brain, anxious to learn the truth behind the crash, accidental or deliberate murder. Corrie's first act in Holt's service is to produce a list of suspects, including Holt daughter Anna (top billed Anne Heywood) and son Martin (Jeremy Spenser), family attorney Stevenson (Cecil Parker), shady chauffer Gabler (George A. Cooper), and grasping mistress Marion Fane (Maxine Audley). Corrie remains the central figure throughout, his possessed moments revealed by that incessant tapping, and this element of the story is left open even after the culprit is exposed in the climax, perhaps a disappointment for some but logical nevertheless. Freddie Francis would go unbilled for additional scenes filmed for Steve Sekely's "The Day of the Triffids," so his next credited assignment became his first at Hammer Films, Oliver Reed's "Paranoiac," Amicus first acquiring his services for 1964's "Dr. Terror's House of Horrors."

One of my sci-fi/horror/fantasy reviews written 50 years ago: Directed by Freddie Francis; Screenplay by Robert Stewart and Philip Mackie, based on Curt Siodmak's novel; Produced by Raymond Stross as a British-German co-production for Raymond Stross Productions and CCC. Released in America by Governor Films. Photography by Bob Huke; Edited by Oswald Hafenrichter; Music by Kenneth Jones. Starring: Anne Heywood, Peter Van Eyck, Bernard Lee, Cecil Parker, Jeremy Spenser and Maxine Audley.

British remake of "Donovan's Brain", with an all-star cast. Suspenseful horror-mystery film in which a dead man's brain is kept alive and seeks to uncover the murderer of its body. One of many overlooked fine movies made by the adventurous team of Anne Heywood and her husband Raymond Stross.