THE UNDYING MONSTER is a John Brahm film given "A" execution while using "B" material to get its atmospheric effects across. And they are atmospheric, from the opening scene until the last, beautifully photographed in crisp B&W photography by Lucien Ballard.
None of the actors rose to the "A" level, but Brahm makes effective use of HEATHER ANGEL as a damsel in distress, JAMES ELLISON as the detective from Scotland Yard (with a suspiciously American accent), and JOHN HOWARD as Angel's rugged mustached brother, looking very much like a Robert Taylor clone.
The story about an ancient curse still hovering over a British household has the supernatural overtones of a Sherlock Holmes story like "The Hound of the Baskervilles", full of Gothic horror that's accented by the artfully designed sets and handsome interiors, some of which look like leftover sets from much more expensive Fox films.
Given the chance to direct this melodramatic Gothic mystery, Brahm leaped at the chance to show what he could do with such a story--and it works on every level despite some talky moments that make the film's middle drag a little with too much exposition. Clever camera angles, expert lighting and well sustained performances from excellent supporting players help considerably.
Summing up: About as atmospheric a mystery as you could ask for in the Gothic genre, a richly satisfying little gem that remains largely unknown among even film buffs.
None of the actors rose to the "A" level, but Brahm makes effective use of HEATHER ANGEL as a damsel in distress, JAMES ELLISON as the detective from Scotland Yard (with a suspiciously American accent), and JOHN HOWARD as Angel's rugged mustached brother, looking very much like a Robert Taylor clone.
The story about an ancient curse still hovering over a British household has the supernatural overtones of a Sherlock Holmes story like "The Hound of the Baskervilles", full of Gothic horror that's accented by the artfully designed sets and handsome interiors, some of which look like leftover sets from much more expensive Fox films.
Given the chance to direct this melodramatic Gothic mystery, Brahm leaped at the chance to show what he could do with such a story--and it works on every level despite some talky moments that make the film's middle drag a little with too much exposition. Clever camera angles, expert lighting and well sustained performances from excellent supporting players help considerably.
Summing up: About as atmospheric a mystery as you could ask for in the Gothic genre, a richly satisfying little gem that remains largely unknown among even film buffs.