oscar-35 *Spoiler/plot- The Lady and the Monster, 1944. In a rural castle two medical men and a woman assistant are experimenting with brain chemistry and energy. After a airplane crash, they take a human brain of one of the victims to continue their work. The brain is of a criminal mind that gradually takes over the medical assistant's mind periodically to do more evil.*Special Stars- Vera Ralston, Richard Allen, Erich Von Strohiem.*Theme- Don't tamper with creation.*Trivia/location/goofs- B & W. Film Noir.*Emotion- An interesting combination of science fiction and film noir detective features prominently here. The male cast members overshadow the female lead and the plot has little for her to do to engineer the dramatic situations of this film. The disembodied brain element becomes secondary to the crime plot for this film.

bkoganbing The Lady And The Monster is a misnomer of a title in that no other world or unearthly creatures will be found here. The monster in this film is the brain of a malignant and vicious millionaire who is killed in a plane crash and has his brain removed by scientist Erich Von Stroheim. Von Stroheim and his assistant Richard Arlen put the brain in a saline solution and keep it alive with electricity. Just the brain mind you, they're not reconstructing human beings as Dr. Frankenstein was.But Walter Donovan was a real piece of work even for a miser. He's got his assets carefully hidden so that wife Helen Vinson and her lawyer Sidney Blackmer don't know where they are. And he's got a son in William Henry in prison who doesn't know he's Donovan's kid. In fact everyone has an agenda here. Vera Hruba Ralston who is Von Stroheim's nurse wants Arlen. But Arlen is taken over by the brain which through Von Stroheim's experiments has developed tremendous telepathic powers and as it grows stronger controls Arlen more and more.This film is the first one based on Curt Siodmark's novel Donovan's Brain. It's been remade twice since. In the version with Lew Ayres in Arlen's part, the brain has a truly ambitious plan for world domination with stock and currency manipulation. Here the brain is just working on settling some old scores.Just the fact that Von Stroheim is cast as the evil scientist meant that audiences knew exactly what to expect when they bought their tickets. He's his usual hateful self as he always was except in Sunset Boulevard.The Lady And The Monster is one of Republic Pictures better products from the Forties, a real nice low budget thriller. By the way take note of Mary Nash as Von Stroheim's housekeeper. She's the one who saves the world from Donovan's Brain.

MARIO GAUCI Although I did like my two viewings of Felix E. Feist's 1953 film version of Curt Siodmak's DONOVAN'S BRAIN (with Lew Ayres and Gene Evans), somehow I have yet to acquire it for my home video collection; besides, I am also familiar (from an age-old Italian TV screening) with the later Freddie Francis version entitled VENGEANCE aka THE BRAIN (1962) where Peter Van Eyck and Anne Heywood had the leading roles. What I did acquire very recently, however, is the even rarer original version directed by the reliable George Sherman and starring the great Erich von Stroheim, Contrary to expectations, the latter is neither the monster of the title nor (for the initiated) the man taken over by the dead financial wizard's brain; that unlucky guy is Richard Arlen – the hero of ISLAND OF LOST SOULS (1932) no less – who, as Stroheim's unlikely assistant in his underground experiments, gets to become even more obsessed with their celebrated cerebral specimen than his crazed mentor! From the rest of the cast, Vera Hruba Ralston may have later become Mrs. Herbart J. Yates (when she married the head of Republic Pictures, the studio behind this film) but, frankly, she brought very little to this particular film; on the other hand, it was nice to see Sidney Blackmer – best-known for portraying Adrian Marcato in Roman Polanski's ROSEMARY'S BABY (1968) – albeit in a supporting role of the suspicious attorney. Incidentally, the sequences depicting the blooming romance between Arlen and Ralston and those between Blackmer and Donovan's wife can mostly be written off as mere padding; small wonder, therefore, that the film was shorn of 19 whole minutes (cut down from 86 to 67!) for a later re-release…not to mention being saddled with the highly ludicrous (and utterly misleading) alternate titles of TIGER MAN and MONSTER AND TIGER MAN!! Speaking of titles, despite the sheer similarity to the earlier Paramount horror entry THE MONSTER AND THE GIRL (1941), as can be gleaned from my own reviews of both films, they have nothing whatsoever in content (other than being of the same era and genre). Despite these flaws, I generally liked the film more than I was expecting to and that fact is mostly down to two simple factors: the presence of Erich von Stroheim in front of the cameras and that of celebrated cinematographer John Alton behind them! Even though the quality of the copy I acquired was fairly fuzzy at best, Alton's atmospheric lighting came through just the same – particularly during the atmospheric laboratory sequences and the eerie scenes showing Arlen's 'possession'.

Andy (film-critic) After four nights of trying to decipher a transfer from actual film to a home-made DVD, with dark lighting and noir-styled settings, my adventure into the world of "The Lady and the Monster" was finally complete. This suddenly became a very difficult film to discuss. With nearly 20% of the film being lost to a dismal transfer (actually a decent transfer for what was available, but difficult to experience the film as a whole), would I be able to fully understand the filmmaker's tones, themes, and characters to the fullest extent? Continuing my horror/mystery binge, the basis of this 1944 sleeper begins very simply with a mad scientist and a plan, but then, as the paranormal begins our story goes from the strange to the confusing. As our characters are asked to do more than just turn knobs and scream, their strengths and weaknesses become more prevalent on the screen. As our story becomes more sinister, the ability to contain opportunity slowly gets devoured. "The Lady and the Monster" then transforms from an original sci-fi storyline, to a chaotic mess, leaving you eager to see how the 1953 remake "Donovan's Brain" may have learned from these mistakes.Perhaps it was the way films in the 40s were made, or maybe it was just the filmmaker's way of attempting to move the plot forward, but instances occurred in this film that seemed to carry no consequences. Easily our limpy mad scientist and his assistance were able to find a brain, confuse the local medical practitioner, keep the brain alive, hear thoughts, and perhaps solve a five year crime. Consequences were handed down at the end, but instead of reason it felt rushed and foolish. What begins as a film based on science fiction and horror, easily changes to this CSI-style of storytelling. "The Lady and the Monster" teeters on the border of noir and B-grade film-making. It felt like a hybrid, or a mistake by science gone horribly wrong. To begin, the hints given by Donovan's brain to help Patrick Cory (played devilishly by Richard Arlen) are executed well, making the viewer strain to hear what or where these planted words may take Cory. The switch from right to left handing writing seemed kitschy, but ultimately effective in witnessing the transformation. Alas, these were the only two "special effects" within the whole story, so they were used over and over and over again, making it fun to guess which of the two tricks would be used in each scene. It became tedious and boring to see any plot hurdles crossed by merely these two tricks. If it weren't for Arlen, his menacing face, this would have taken another four days to plow through. Secondly, the addition of Vera Ralston as not only the love interest, but also the damsel in distress was out of place. Perhaps Ralston couldn't control her character, discover her true-self, or maybe she just didn't feel like memorizing her lines, but each scene she walked into was dry and emotionless. Even as the tension builds, she is unable to give us a glimpse as to who Janice Farrell was; how she fell into this world, and why love conquered all. Finally, the ending was absurd. Stringing together several different ideas, none of which were developed at all, to give us a climax that was more based on the first half of the film than the second seemed random.Despite my gruff nature towards Ralston and the repetitive nature of the film, the science behind this feature was actually…quite fun. The idea that a brain could be kept alive has been used in dozens of sci-fi films over the ages, and this was a uniquely new way to see it. Thinking of the infamous "The Brain that Wouldn't Die" made in 1968, one should question the originality of that story penned with the concept behind this one. The notion that, with a blank slate (aka mind), that the brain could control another person was exhilarating. While the execution wasn't up to par, it was enjoyable to see the science behind it. I also liked the cliché mad scientist known as Franz Mueller (played diabolically by Erich Von Stroheim), who fit into every mold created since this film. There were fun parts to this film, elements that were conceived as a good idea, but failed because ill-development and lack of detailed story forced it to go south. Parts were enjoyable, but "The Lady and the Monster" as a whole seemed to fail.Overall, I liked certain elements to this film, but others just failed completely. The repetition of one idea failed, and the introduction to the millionaire's world as a "who-dun-it" instead of a straight forward sci-fi felt cheap. There were also huge bombs of twists dropped on us near the end without any warning to excitement. There were two moments I had to rewind to make sure that I didn't miss something earlier, because these plot twists came out of nowhere. "The Lady and the Monster" was enjoyable to watch once, but a second viewing would be overkill.Grade: * ½ out of ****