THE INVISIBLE RAY (1936)
The power of radioactive elements isn't generally a subject for films in this period, at a time when science fiction stories were less common. Things would of course be very different some years later in the true atomic age. Instead this is a kind of prototype for later features, many of which still cast classic horror stars. As a result it's a strange mixture of ideas in which new discoveries are seen as miracle cures, as well as fuelling deadly weapons. The narrative itself is often a mixed bag but it's a fairly compelling one, despite the lack of actual medical accuracy. But it makes a change from mad scientists studying biology as their subject. Instead it's about starlight and rocks from outer space.
Dr. Rukh (Boris Karloff) still lives within the trappings of the actor's earlier horror movies. The first act is the strongest part of the story, as he tries to devise some kind of astronomy experiment. His nonsensical plan is to find a meteor which came to Earth from the Andromeda galaxy. How exactly? It's not clear, but there's a lot of talk about seeing the past through rays from space. It's true that looking at stars and planets reveals them as they were in the past, thanks to the speed of light. But I don't think this is the case in reverse. But it's not important, the scene still has a strange celestial atmosphere. Rukh dons an enormous welding mask and opens a planetarium to show his guests his theory.
This strange sequence within the doctor's castle is a stylish affair thanks to various optical effects. A raging storm, powering his work of course, adds to the overall mood. Looking in on this affair are various sceptical faces, including Dr. Benet (Bela Lugosi.) Rukh has a grudge against the other members of the scientific community, thanks to his outlandish ideas. But this show proves him right, and the apparatus depicts how a meteor of 'Radium X' landed in Africa in prehistoric times. Perhaps this will result in a meteor being brought to the castle, so that all kinds of radioactive shenanigans can take place? Unfortunately the rest of the film is far less eerie and engaging.
Instead much of the mid-section drags, as the whole party goes to Africa in search of the meteorite material. Rukh's wife Diana (Frances Drake) comes along so that she can help, but it's really only to start a love triangle sub-plot. The style of the film is lost entirely so that it can focus on hunting expeditions and native labourers. Some members of the party aren't even scientists at all, so there's a lot of tedious chit chat and filler. Rukh does at least find the object of their research, and immediately builds an overpowered death-ray. The rest of the story supposes that his discovery is driving him insane, but there are moments here that question how much of a change that is.
The whole thing changes gears a second time after this new discovery is publicised. Rukh is turned into a Radium X filled murderer, who can kill with a single touch. Seeing his wife leaving him and his rivals becoming famous, he decides to take revenge. There are more strange optical effects in this chapter at least, with his victims being shown as statues at a cathedral. There's also some fun glow in the dark nonsense as the poisoning develops visible symptoms. At first Rukh seems happy enough, and is able to cure his mother's blindness. Apparently the same death beam has multiple settings, one to heal, the other to melt solid stone. But quickly he becomes obsessed with the idea that his colleagues have cheated him.
Perhaps if the two rival doctors had more characterisation this uneven pace would be less of a problem. But neither is given enough time to develop. If they had a friendship earlier, or a more defined set of clashing ambitions, it might all make more sense. Instead it's easy to laugh at ideas about radiation vaccines and infra-red cameras. The old cliché of finding the image of a killer in the victim's retina shows up, and it's all pretty hokey elsewhere. Perhaps I'm asking for too much from the material. Once the story becomes about proving what Rukh is up to, there is some suspense at least. Most of the other cast members are just here to be killed, but it does at least have a poignant finale.
Overall this sometimes feels like three different movies mixed together, one act at a time. But Karloff is good at being unfriendly and ruthless. Like someone living in a castle with just his mother and a wife who chose to stick around for loyalty instead of romance. Lugosi talks a lot about 'Astral Chemistry' and gives a solid performance, but it's pretty dry. There's no hint of dark humour or villainy to the character, which is a shame. There are a lot of different elements at play, some that work and others that don't. If only they were able to see which were the strongest ones and develop those further. It's still entertaining, but it could be far more grandiose and cosmic.
3/5
BONUS REVIEW
THE DEVIL BAT (1940)
Elsewhere this is a film in which Bela Lugosi knows exactly what he's doing. It's total rubbish and he's going to chew the scenery. Here he plays Dr. Carruthers, a jaded chemist, stuck making perfumes for a wealthy estate who take all the big profits. They don't seem too bad, and offer him a bonus for all his work. But he was in need of money years earlier and took a quick buck, instead of a stake in the company. Now it's time for revenge... for some reason. It's a story about a giant bat that kills anyone wearing a new aftershave, perhaps it's best to go along with it. The bat in question is grown by electrochemical stimulation, or something like that. It also makes a ridiculous screaming sound as it swoops on it's targets.
Meanwhile a reporter and his photographer partner make up the comic relief. As if this movie needed them in such a role. They drag everything down and it gets mired in silly banter and inane romantic tangents. Before they become the detectives of the story... for some reason. The problem is that the killer bat is way too efficient, and Carruther's is too good and making people wear the aftershave. It all needs padding out. Still, it's fun at least. There are a lot of spinning newspaper headlines and bat-shaped shadows. There are a lot of sardonic exchanges in which Lugosi says 'goodbye' to his enemies. And there are a lot of recycled shots of a fake bat flying around.
The whole thing is very cheap, right down to the secret lab. In someone's mind this was a dank basement with stone walls. But in reality it's a fake set with a secret door like something from a medieval game-show. The bat was supposed to be a scary monster, but it's just a flying fox. Every so often there's an interlude in which people argue over the phone, or the photographer talks to a French maid. It barely counts as science fiction, and I'd hard pressed to describe this as a horror film. Perhaps it's just a bunch of dumb schlock. It's total rubbish, but it's hard to dislike it.
2/5
