John L. Balderston Movies

In the late '70s, Frank Langella starred in the hit Broadway play Dracula, written by Hamilton Deane and John L. Balderston. Langella's charisma and the surreal, black-and-white sets designed by cartoonist Edward Gorey were the chief outstanding features of the play, which was otherwise undistinguished. While this film production of the play boasts performances by stage veterans Lord Laurence Olivier and Donald Pleasance, as well as Frank Langella as the suavest of counts, it was neither a critical nor a box-office success, doubtlessly because expectations ran too high. One highlight of this production is its skillful use of special effects. The standard story of Bram Stoker's original novel is re-created here: the undead count arranges to move from his home in Transylvania to Whitby, and once there, a reign of terror begins. He is opposed by the canny Doctor Van Helsing (Laurence Olivier), who eventually triumphs. ~ Clarke Fountain, All Movie Guide

Mistaken identity and underhanded dealings set the stage for this adventure story based on Anthony Hope's classic novel. Rudolph Rassendyll (Stewart Granger) is a British tourist visiting the nation of Ruritania in the Balkans. A number of people comment upon Rassendyll's remarkable resemblance to Prince Rudolph, who in a matter of days is to be crowned the nation's new king, and the prince's staff even arranges a meeting between the two men. But Rudolph's devious brother believes it is he who should be the king, and he arranges for Prince Rudolph to be poisoned the night before his coronation. Desperate, Rudolph's minders beg Rassendyll to participate in the ceremony in Rudolph's place so that the usurper cannot take the throne. Rassendyll agrees, and the ceremony goes off without a hitch, but when the brother's men discover this subterfuge, they imprison the real Prince as they threaten to reveal the secret of the new "king." Rassendyll's dilemma is compounded when he finds himself falling in love with Princess Flavia (Deborah Kerr), Rudolph's intended. This was the fourth screen adaptation of The Prisoner of Zenda; a fifth, which focused on the tale's comic possibilities, starred Peter Sellers and was released in 1979. ~ Mark Deming, All Movie Guide

Ingrid Bergman won her first of three Oscars for this suspense thriller, crafted with surprising tautness by normally genteel "women's picture" director George Cukor. Bergman stars as Paula Alquist, a late 19th century English singer studying music in Italy. However, Paula abandons her studies because she's fallen in love with dapper, handsome Gregory Anton (Charles Boyer). The couple marries and returns to the U.K. and a home inherited by Paula from her aunt, herself a famous singer, who was mysteriously murdered in the house ten years before. Once they have moved in, Gregory, who is in reality a jewel thief and the murderer of Paula's aunt, launches a campaign of terror designed to drive his new bride insane. Though Paula is certain that she sees the house's gaslights dim every evening and that there are strange noises coming from the attic, Gregory convinces Paula that she's imagining things. Gregory's efforts to make Paula unstable are aided by an impertinent maid, Nancy (teenager Angela Lansbury in her feature film debut). Meanwhile, a Scotland Yard inspector, Brian Cameron (Joseph Cotten), becomes suspicious of Gregory and sympathetic to Paula's plight. ~ Karl Williams, All Movie Guide

Rear Admiral Stephen Thomas' (Charles Laughton) spoken tribute to "the finest Naval officer I knew" provides the framework for the wartime flag-waver Stand By For Action. Robert Taylor stars as Gregg Masterman, a flippant socialite who comes to realize his obligation to his country when he is called to active duty during WW II. Determined to get sea duty, Lt. Masterman is passed over by Admiral Thomas in favor of Lt. Cmdr. M. J. Roberts (Brian Donlevy), who, unlike our academy-trained hero, rose from the ranks to his present position of authority. Any differences between Masterman and Roberts are forgotten in the climactic attack against a formidable Japanese "super-battleship." Though there's precious little room for romance in this essentially all-male entertainment, Stand by for Action offers Robert Taylor a brief dalliance with up-and-coming MGM starlet Marilyn Maxwell. ~ Hal Erickson, All Movie Guide

In this remake of the 1930 film of the same name, a bank robber suffers a war wound and undergoes plastic surgery. Upon his recovery, he discovers that he is the exact double of a banker (who is trapped in a German POW camp). Being an opportunist, the fellow then assumes the banker's identity and his wife while he plans another caper. Fortunately, an observant Yard inspector sees through the robber's masquerade. Later the robber goes straight after revealing the plans of a German spy ring to steal every penny from the bank. ~ Sandra Brennan, All Movie Guide

Previously filmed in 1923 as a vehicle for Marion Davies, Rida Johnson Young's warhorse theatrical property Little Old New York was dusted off by 20th Century-Fox for Alice Faye, Fred MacMurray and Richard Greene. The latter plays the nominal lead, Scottish inventor Robert Fulton, who in 1807 arrives in New York City with the intention of building a steamboat which will accelerate transportation between the many boroughs. Everyone laughs at "Fulton's Folly" with the exception of gorgeous tavern keeper Pat O'Day (Alice Faye), who offers Fulton shelter and financial assistance. This doesn't sit at all well with Pat's boyfriend Charles Brownne (MacMurray), who like most of the sailors in the region is fearful that Fulton's steamboat will put him out of business. By film's end, however, Brownne has aligned himself with Fulton, if only because of his intense dislike for the villain of the piece, rival mariner Regan (Ward Bond). Several notably 19th century New York personages show up for cute cameo bits, among them Nicholas Roosevelt (Robert Middlemass), John Jacob Astor (Roger Imhof) and Washington Irving (Theodore Von Eltz). ~ Hal Erickson, All Movie Guide

Attractive scientist Dr. Clare Wyatt (Anna Lee) fondly declines the proposal of journalist Dick Haslewood (John Loder), who loves her, and she goes to work for the reclusive Dr. Laurience (Boris Karloff), whom the scientific world regards as a crackpot. At Laurience's remote estate, she's greeted at the door by bitter, wheelchair-bound Clayton (Donald Calthrop), one of the doctor's more hopeless cases. Dick hangs around the neighborhood, sending stories to his newspaper, which is owned by his tycoon father, Lord Haslewood (Frank Cellier). Laurience demonstrates the reality of his discredited theory to an astonished Claire. Using an array of electrical equipment, he switches the minds of a good-natured and a cranky chimpanzee, then suggests to Claire that this could be done with people, making immortality possible. Lord Haslewood turns up unexpectedly, and offers the skeptical scientist the full use of the prestigious Haslewood Institute in exchange for the right to run stories on Laurience's progress, and to own the resulting patents. But problems arise when Haslewood sets up a conference of prominent scientists to hear Laurience explain the intent of his research. They all scoff loudly, and walk out. Lord Haslewood is furious, feeling he's been humiliated; he tells the shocked Laurience that he, not the scientist, owns everything, and orders him out of the Institute. Laurience suffers a mental breakdown, and invites Haslewood to his lab, where he straps him into the chair of his apparatus, then switches the minds of Haslewood and the crippled Clayton. When Haslewood realizes he's now in Clayton's body, he bursts into laughter and drops dead, puzzling the other two. Clayton is delighted to be in a body that's not only capable of walking, but is that of a financially powerful man. When Laurience offers Claire "eternal youth, eternal loveliness," she is shocked, and he realizes she's in love with Dick, so he makes plans for Dick to come to the Institute.

Meanwhile, Clayton learns why Haslewood laughed: Clayton is trapped in the body of a dying man: Haslewood had a weak heart. With his own scheme in mind, Laurience murders Clayton. He switches his mind with Dick's, giving the perfect alibi for murder -- and Laurience, in Dick's body, will have Claire. After the transfer, Laurience, in Dick's body, places Dick, in Laurience's body, in a chamber with poison gas. But when Claire arrives, she immediately realizes what has happened. Dick, in Laurience's body, awakes and falls out a window, gravely injured. On the street below, Sue encounters scientist Dr. Gratton (Cecil Parker), and convinces him to help her switch back the minds of Dick and Laurience before Laurience's body dies. Afterward, Laurience, in his own body, admits he was wrong, and begs Claire to destroy his equipment, then he dies.

A few years after this film, Karloff would make a series of movies for Columbia Pictures with plots very similar to this, but British film is far livelier than those; it's to the point, intelligent and entertaining. This was partly due to the clever script by L. Du Garde Peach, Sidney Gilliat and John L. Balderston. Gilliat later wrote several films for Alfred Hitchcock, and Balderston had co-written Dracula, among other notable films. Director Robert Stevenson was busy making a name for himself as a kind of back-up Hitchcock, though Hitchcock was not likely to have tackled The Man Who Changed His Mind, King Solomon's Mines or Non-Stop New York. Later, Stevenson came to the United States and gradually evolved away from thrillers to more romantic films, such as the 1944 Jane Eyre. His career was then spotty until he signed with Walt Disney, where he helmed many of the more prestigious films, including Mary Poppins, a far cry from the brisk horror of The Man Who Changed His Mind. Also known as The Man Who Lived Again, the U.S. title of this film is Brainsnatcher, and the U.S. reissue title is Dr. Maniac. ~ Bill Warren, All Movie Guide

This lavishly appointed Sam Goldwyn soap opera is set in Ireland during "the troubles." Irish rebel leader Dennis Reardon (Brian Aherne) falls in love with Lady Helen Drummond (Merle Oberon), the aristocratic daughter of British diplomat Lord Athleigh (Henry Stephenson). Reardon's underground associates, not so romantically inclined, assume that their leader has sold out to the enemy, when in fact he is working tirelessly for an honorable and equitable end to the hostilities. His best friend O'Rourke (Jerome Cowan) is given the job of assassinating Reardon, leading to a tragic climax more suited to an Italian opera than an Irish political meller. Beloved Enemy was very loosely based on the exploits of Irish patriot Michael Collins, who of course was the subject of the far more accurate 1996 biopic starring Liam Neeson and Julia Roberts. ~ Hal Erickson, All Movie Guide

Randolph Scott has one of his best roles as Hawkeye in this exciting film adaptation of James Fenimore Cooper's often filmed novel. During the brutal French and Indian War, Hawkeye is prevailed upon to escort Major Duncan Heyward (Henry Wilcoxon), and the two daughters of Fort William Henry commander Colonel Munro (Hugh Buckler) -- Alice (Binnie Barnes) and Cora (Heather Angel) -- to safety through enemy lines. Hawkeye is assisted by his Indian friend Chingachgook (Robert Barrat), and Uncas (Philip Reed), Chingachgook's son; the two are the last survivors of the Mohican tribe. During their travels to the fort, Alice falls in love with Hawkeye, while Cora falls in love with Uncas. But along the way, the band is continually harassed by the demonic Huron Indian Magua (Bruce Cabot). Magua causes the deaths of Cora and Uncas, while the British are attacked by the Hurons and the French and forced to flee Fort William Henry. Hawkeye is taken prisoner by the brutal Hurons and Maj. Heyward must organize a band to rescue Hawkeye before he is tortured to death. ~ Paul Brenner, All Movie Guide

In his first American film, Peter Lorre portrays egg-bald Dr. Gogol. A brilliant and highly respected surgeon, Gogol would give up everything he has in life for the love of Yvonne Orlac (Frances Drake), star of the Parisian Horror Theatre. But Yvonne is deeply in love with her husband, concert pianist Stephen Orlac (Colin Clive). When Orlac loses his hands in a train accident, Yvonne pleads with Gogol to save her husband. Perversely, he does so by grafting the hands of a recently executed murderer onto Orlac. Not only is Orlac unable to resume his musical career, but he has suddenly developed a peculiar talent for throwing knives; he also has a bad habit of attempting to win arguments by throttling his opponents. Gleefully exploiting his patient's torment, Gogol disguises himself as the executed killer and tries to convince Orlac that he, Orlac, was responsible for a recent murder. In a effort to prove her husband's innocence, Yvonne goes to Gogol's home and switches places with a lifesize replica of herself that the obsessive Gogol keeps in his living room. Only the last-minute intervention of Orlac saves Yvonne from being strangled by the crazed Gogol. The first of several film versions of Maurice Renard's The Hands of Orlac, Mad Love was directed by cinematographer Karl Freund. Its deployment of certain visual elements that would later (consciously or otherwise) be adopted by Orson Welles in Citizen Kane brought Mad Love a surfeit of latter-day attention when Pauline Kael annotated the resemblances in her 1971 New Yorker article on Kane (Ms. Kael's assessment of Mad Love as a "dismal, static horror film" is both unfair and untrue). ~ Hal Erickson, All Movie Guide

This greatest of all Frankenstein movies begins during a raging thunderstorm. Warm and cozy inside their palatial villa, Lord Byron (Gavin Gordon), Percy Shelley (Douglas Walton), and Shelley's wife Mary (Elsa Lanchester) engage in morbidly sparkling conversation. The wicked Byron mockingly chastises Mary for frightening the literary world with her recent novel Frankenstein, but Mary insists that her horror tale preached a valuable moral, that man was not meant to dabble in the works of God. Moreover, Mary adds that her story did not end with the death of Frankenstein's monster, whereupon she tells the enthralled Byron and Shelley what happened next. Surviving the windmill fire that brought the original 1931 Frankenstein to a close, the Monster (Boris Karloff) quickly revives and goes on another rampage of death and destruction. Meanwhile, his ailing creator Henry Frankenstein (Colin Clive) discovers that his former mentor, the demented Doctor Praetorius (Ernst Thesiger), plans to create another life-sized monster -- this time a woman! After a wild and wooly "creation" sequence, the bandages are unwrapped, and the Bride of the Monster (Elsa Lanchester again) emerges. Alas, the Monster's tender efforts to connect with his new Mate are rewarded only by her revulsion and hoarse screams. "She hate me," he growls, "Just like others!" Wonderfully acted and directed, The Bride of Frankenstein is further enhanced by the vivid Franz Waxman musical score; even the film's occasional lapses in logic and continuity (it was trimmed from 90 to 75 minutes after the first preview) are oddly endearing. Director James Whale was memorably embodied by Ian McKellen in the Oscar-winning 1998 biopic Gods and Monsters. ~ Hal Erickson, All Movie Guide

The Mummy represented Boris Karloff's second horror starring role after his "overnight" success in Frankenstein. Brought back to life after nearly 3,700 years, Egyptian high priest Imhotep wreaks havoc upon the members of the British field exposition that disturbed his tomb (shades of the King Tut curse). While disguised as a contemporary Egyptologist, he falls in love with Zita Johann, whom he recognizes as the latest incarnation of a priestess who died nearly 40 centures earlier. Spiriting Zita away to the tomb, he relates the story of how he had dared to enter her ancestor's sacred burial crypt, hoping to restore her to life. Caught in the act, he was embalmed alive and his tongue was cut out for his act of sacrilege. Now that he has returned, he intends to slay Zita, so that they will be reunited for all time in the Hereafter. Despite its melodramatic trappings, The Mummy is essentially a love story, poetically related by ace cinematographer and first-time director Karl Freund. Jack Pierce's justly celebrated makeup skills offers us two Karloffs: the wizened Egyptologist and the flaking, rotting mummy, who though only seen for a few seconds remains in the memory long after the film's final image has faded. Best line: "It went for a little walk." The Mummy was followed by four stock footage-laden sequels, none of which approached the power and poignancy of the original. ~ Hal Erickson, All Movie Guide

Still regarded as the definitive film version of Mary Shelley's classic tale of tragedy and horror, Frankenstein made unknown character actor Boris Karloff a star and created a new icon of terror. Along with the highly successful Dracula, released earlier the same year, it launched Universal Studio's golden age of 1930s horror movies. The film's greatness stems less from its script than from the stark but moody atmosphere created by director James Whale; Herman Rosse's memorable set designs, particularly the fantastic watchtower laboratory, featuring electrical equipment designed by Kenneth Strickfaden; the creature's trademark look from makeup artist Jack Pierce, who required Karloff to don pounds of makeup and heavy asphalt shoes to create the monster's unique lurching gait; and Karloff's nuanced performance as the tormented and bewildered creature. Frankenstein was greeted with screams, moans, and fainting spells upon its initial release, obliging Universal to add a disclaimer in which Edward Van Sloan advises the faint of heart to leave the theater immediately. If they don't: "Well...we've warned you." Director James Whale was memorably embodied by Ian McKellen in the Oscar-winning 1998 biopic Gods and Monsters. ~ Hal Erickson, All Movie Guide