jadavix It is one of the strangest Hollywood cases, the way that Boris Karloff became most famous for a role that relied basically more on prosthetics and giant shoes than the actor that wore them. If "Frankenstein" were made today, the monster would probably be played by a stunt man. Hell, they'd probably just use CGI and film the actors talking to a tennis ball.This is strange, you see, because Karloff was an amazing actor. This is probably better witnessed nowhere other than "The Body Snatcher", one of the low-budget horror films produced by Val Lewton for RKO. Watching this, it is hard to believe that anyone ever thought it would be a good idea to restrict Karloff so completely to stilted movement and barely any speech. Some of Lewton's productions, such as "The Leopard Man" and "The Ghost Ship", were hamstrung by the apparent necessary to sell their thriller titles as straight-forward horror films, though there is little of the supernatural in either movie. With "The Body Snatcher", Lewton had a tale of Stevenson's to work with, and the horror is wholly natural.Stevenson was apparently inspired by the true story of Burke and Hare, Scottish graverobbers who graduated to murder and were paid, by doctors, for their handiwork. This story doesn't take a real life case as its inspiration, and then carry on as if that reality never existed. Instead, the real-life case of Burke and Hare hangs over the characters of "The Body Snatcher" like a pall. And what a pall."The Body Snatcher" has to be one of the most atmospheric of all movies. It's black and white... but really more black. Characters seem to disappear into the murk. Some scenes of violent action are not shown, but merely hinted at, and this is one movie where this doesn't seem like a tribute to the censors: it works better unseen, and you are glad it is that way. One moment in particular is both harrowing and heartbreaking.You may have noticed that I have not mentioned the other titan of classic horror films who appears in "The Body Snatcher". If "The Body Snatcher" has an undeniable flaw, it's that Bela Lugosi is pretty much wasted. Apparently there was some acrimony behind the scenes that made Karloff insist he be sidelined for much of this production. He does, however, have one great scene alone with Karloff.And if the chance to see both Dracula and Frankenstein's monster together on screen isn't enough to make you want to watch this classic, nothing will.

Hitchcoc There must have been a cottage industry in nineteenth century London, that of delivering dead bodies to medical schools and researchers for dissection or exploration. This was fine if a family had an agreement with the deceased or the deceased's family to take the newly dead body to the recipient. Of course, if your livelihood depended on finding these corpses and bringing them in, and the supply ran out, well, grab your hammer, wait in the dark for some poor victim, and, voila! The problem, of course, is that this business with the hammer is highly illegal. So here we have the foundation for this movie. This is a highly atmospheric film with outstanding performances, especially that by Boris Karloff. It is in glorious blacks don white which adds to the total effect. There is one maudlin event, but it doesn't detract too much.

Alex da Silva Simpleton student doctor Russell Wade (Fettes) is American and speaks in a naive manner that has you astounded he can make it through to medical school. Anyway, it's 1831 Edinburgh – or Edinburrow as Wade pronounces it – and the Hare and Burke case is fresh in everyone's minds. Hare and Burke murdered people to provide bodies for medical research. Henry Daniell (MacFarlane) is the doctor that Wade is assigned to and stays with during his training. Bodies are needed for dissection purposes – enter cabman Boris Karloff (Gray). Karloff provides a service for Daniell. These two characters have a history that needs resolving… The story is about grave robbing and murder as a business. The two main characters – Karloff and Daniell are excellent in their roles. Karloff is scary and funny and Daniell is funny and flippant. They, along with some memorable scenes are the good points of the film. These scenes include the final nightmare cab ride that Daniell takes and the scene where servant Bela Lugosi approaches Karloff to blackmail him. Bad move.Unfortunately, the film is let down by some overbearingly awful sentimentality. We get a terrible singer that is allowed to sing on more than one occasion. The film spends way too much time with her awful, annoying voice and stupid songs. When Karloff gets in his cab one evening to pursue her we get what is the most satisfying moment of the film. Ha ha ha. My wife and I laughed out aloud at that point. Great moment. However, we also get a sentimental story about a crippled child and some nonsense about a white horse that doesn't work and really annoys. You know the kind of thing – will the crippled child walk again when she sees the white horse – guess what..? …I'm gonna puke. So, the film loses marks for this insulting crap.So, overall, the film is OK, let-down by an awful child actress and an awful singer. They are, unfortunately, in the film for long enough to ruin the whole experience. Karloff is great, though.

Leofwine_draca Regarded by many as being the best of the Val Lewton classics, this top-notch tale not only has the producer's renowned atmospherics, but also features a winning performance from Boris Karloff in one of his very best roles as the graverobber, Gray. Everything is spot on in this classic, from the pacing to the setting, which really evokes the feeling of a nineteenth century Edinburgh. A good cast help considerably to raise the level of authenticity, leaving us with solid characters whom we care about.The classic images of Karloff digging up corpses are hard to omit from the mind after watching this film - they're that memorable. However his performance is so good because he makes Gray not a cold-hearted beast, but rather a friendly, likable sort, a personality totally at odds with his chosen profession. Indeed the first time we see Karloff he is gently helping a young child stroke a horse. Karloff is always full of jokes, and seems genuinely hurt when people are angered by him. Yet minutes later he quite happily suffocates a helpless victim with the flat of his hand without any feeling of remorse.The banter between enemies MacFarlane and Gray is priceless. Another excellent moment comes when Karloff and Lugosi finally meet up again in a film together, Lugosi sadly looking drawn and old here. Although the addicted actor was nearly seventy when this film was made, he still manages to deliver a good performance (despite the odds) as a dim-witted servant who mistakenly believes he can blackmail Karloff. Of course, Karloff seemingly agrees, and politely plies him with drinks. The dialogue in this scene is a work of sheer brilliance and had me reaching for the rewind button. Another great moment comes at the film's climax, which I won't spoil. I can't emphasise how spooky and memorable these scenes are without you watching the film yourself.The only odd note comes with a rather sickly tale of a girl who can't walk due to a tumour on her spine - this leads to a terribly sugary feel-good ending which thankfully doesn't mar what has come before. Karloff ruthlessly bashing a dog to death with a shovel, dark deeds in the graveyard, and a wonderful script make this one of the all-time best.