LeonLouisRicci "Beauty is in the eye of the beholder".The Same could be said of "Horror". The Fact that so Many Commentators tend to the "Opinion" that "this is Not a Horror Film" makes the case.It's a "Horror" Film if "Horrifying" Things Happen. One is Hard Pressed to say that 'Horrifying" Things do not occur in this Val Lewton/Boris Karloff Movie. "Man's Inhumanity to Man" is the "Horror" here.Compared with the other 8 Lewton Productions that are Now All Considered B-Movie Classics/Masterpieces, it could be Called one of the Least Popular and Not as Offbeat as most of the Lewton Legacy, but to Rank the Films as Better or Worse is a Non-Starter. All of the Movies are Individually "Great".It's a Matter of Taste and Opinion beyond that. Although it is Fun to List and Rank, Critique and Comment and this one gets its Share of Ho-Hum.It has Horrifying Scenes that Startle and the Atmosphere is Atrophied. The Inmates are in Misery and Wallow in various forms of Violence, either Psychological or Physical. The Ones Karloff, as the Caretaker, doesn't Beat or Torment are the "Pretty" Ones and it is left to the Imagination (although hinted at) a Lewton Trademark, what He does with Them.Anna Lee is another Strong Leading Woman that Val Lewton Showcases and She Highlights the Gloomy Proceeding Battling Wits with Anyone On Screen and Shows a Strikingly Complex Character Performance.The Literate and Fanciful Dialog and the Period Production Detail also a Highlight (this time the Script was actually written by Lewton under a pseudonym). As far as the overall Production, Val Lewton was Always In Charge.All 9 Lewton Films are more than Worth a Watch, they are Essential for Film Scholars or Anyone Interested in Film as Art.

MissSimonetta Val Lewton's final horror production may not be his best effort, but it is nevertheless a fantastic movie, much better than its reputation. I think the reason why many horror movie fans dismiss this one is that it really isn't much of a horror movie per-say: it's more of a melodrama with Gothic elements taken right out of a Poe story.Allegedly based off the paintings of 18th century painter William Hogarth, Bedlam follows Nell Bowen (Anna Lee), the witty young "protege" of a jolly if heartless nobleman (really, she's more of a kept woman, but a Production Code era movie can hardly imply the heroine is a woman of easy virtue), who seeks to reform the ghastly asylum, Bedlam, run by the much ghastlier George Sims (Boris Karloff in one of his best performances). Displeased with the idea of losing what little social power he has as the head of the asylum, Sims pulls some strings to have Nell committed and hopes to both drive her mad and prove her theories that the mentally ill do possess the right to human dignity wrong. Meanwhile, Nell reaches out to the other inmates with compassion, all while plotting her escape with the aid of a young Quaker.The scenes in the asylum are hardly frightening or shocking by today's standards (mistreatment of the inmates with sexual abuse and physical torture are merely implied, and lightly at that), but the lighting and the sounds of shrieks and moaning do conjure a creepy atmosphere. The Quaker love interest is quite bland. The real highlights of the film are Karloff's gleefully wicked performance as the sadistic yet human physician and the philosophical battle between Bowen and Sims over the brotherhood of mankind. Their exchanges are entertaining and dramatically powerful. I've often heard Anna Lee's Nell described as the first feminist heroine of horror cinema, and while I think Zita Johann's character in The Mummy beats her to the punch, she is a strong female character without doubt, active and courageous. She is no angel either; she begins the movie as a greedy person who's reluctant to let the plight of the asylum inmates move her. She has to battle her own hypocrisies in order to change for the better.Truly underrated. Just don't come in expecting a chiller like Cat People or The Body Snatcher.

utgard14 Bedlam is the ninth and last of the influential films producer Val Lewton made at RKO in the 1940s. Unlike most of those other films, Bedlam is less of a horror film than a historic drama. Oh there are horrors, to be sure. But they are horrors of the natural variety; the evil that men do to each other. No supernatural themes here, nor any of the trademark Lewton plot ambiguities. Perhaps this is why it is the Lewton film I rewatch the least, despite my affinity for Boris Karloff. Make no mistake, it's a strong film and an overlooked one, with an excellent performance by Karloff. But it doesn't have quite as much appeal to me as more multilayered Lewton films.The story is about a young woman named Nell (Anna Lee) who is a "protégé" to wealthy Lord Mortimer (Billly House). Nell becomes disgusted by the way the inmates at Bedlam asylum are being treated and tries to bring about reforms to the system. This puts her at odds with Bedlam's cruel master George Sims (Boris Karloff). To silence her, Sims conspires with Lord Mortimer to have Nell committed to Bedlam.Mark Robson's direction is great and the cast is wonderful. In addition Karloff, Anna Lee gives what is probably her finest performance as a leading lady. Billy House is pitch-perfect as Lord Mortimer. Solid script from Val Lewton. Lewton wrote the screenplay (under a pen name) but gave a writing credit to William Hogarth, an 18th century artist. Lewton was inspired to do the film by one of Hogarth's prints. Normally this would not be enough to give someone even a "suggested by" writing credit. But perhaps Lewton's experience with The Ghost Ship had made him more sensitive about being accused of stealing ideas. Several of Hogarth's prints are shown in the film.Bedlam is a good film with some atmosphere and tension. Fans of Karloff or Lewton should check it out, of course. It's not my favorite film from either but it's good.

bkoganbing In Bedlam, Boris Karloff got one of the great villainous screen roles of his career. No costumes save of the period and no makeup aided him creating his character of Gerald Sims the Apothecary General of the United Kingdom and keeper of an insane asylum where he treats the inmates with barbaric cruelty unmatched on the screen. Aiding and abetting Karloff with his favor and patronage is rich lord Billy House. When House's mistress, actress Anna Lee shows some concern over the treatment of the people inside, House and Karloff conspire to have her committed there. But when she needs them those inmates prove to be her allies and helpful allies indeed.Besides Karloff, two other things Val Lewton's film has going for it that make it an outstanding classic. One is the meticulous detail that was paid to sets and costumes creating the atmosphere of 18th century Great Britain. RKO gave Lewton a bit more money on this film than they had on previous ones and he used it wisely. The other is Lewton's own original screenplay, based on William Hogarth's sketches of The Rake's Progress.Though considered a classic now, Bedlam failed at the box office. I have no doubt that Val Lewton was influenced by the reports of the Holocaust. But the idea that such barbarities could be inflicted by our civilized allies and mother country Great Britain was one that was way too disquieting to the movie-going public. I think that's the reason it failed. The film however was ahead of its times.Also the idea that one could be committed to an insane asylum under the pretexts that Anna Lee had done to her, was also a disquieting notion, something people did not want to think about.In retrospect Boris Karloff got one of the great roles of his career in Bedlam. Bedlam is a must for Karloff fans and for students of the serious, very serious cinema.