Product Details

• Amazon Sales Rank: #13380 in VHS
• Released on: 1997-09-16
• Rating: Unrated
• Formats: Black & White, HiFi Sound, NTSC
• Original language: Danish, English, German
• Number of tapes: 1
• Running time: 61 minutes

Amazon.com
There isn't much of Edgar Allan Poe left in this stylish but gruesome thriller. Bela Lugosi followed Dracula with a scenery-chewing performance as Dr. Mirakle, a mad scientist and sideshow hypnotist who uses his sideshow, which also features his trained gorilla (a stunt man in a phony, flea-bitten costume), as a cover for his sadistic experiments. His ape kidnaps street women whom Mirakle lashes to a crucifix-like pillory, strips to their underwear, and injects with simian blood. They inevitably die horribly, and he discards the bodies via a trap door over the river. When the ape falls in love with a lovely young Parisian miss (Sidney Fox), Mirakle sends him to abduct her from her attic room (one of the few elements left intact from Poe's story). Director Robert Florey, who inherited the project after losing Frankenstein to James Whale, shows his debt to the German expressionists with a gloomy, shadowy world of foggy alleys, misty riverbanks, and near-perpetual night (beautifully captured by cinematographer Karl Freund, later the director of The Mummy). Unfortunately ill-conceived comic relief too often breaks the carefully controlled mood of menace and the unsettling undercurrent of perversity, but Florey's striking images and inventive direction are enough to pull the film through the dead spots. --Sean Axmaker

Customer Reviews

ATMOSPHERIC BUT FLAWED UNIVERSAL HORROR
As the story goes, Director Robert Florey was all set to direct Frankenstein. But James Whale who had directed the critically acclaimed films Journey's End and Waterloo was allowed to choose any film he wanted for his next project and he chose Frankenstein, leaving Florey the door prize of Murders in the Rue Morgue. It wasn't all a booby prize however. Florey got a solid cast with Lugosi playing the bushy-haired, uni-browed Dr. Mirakle and Leon Ames playing medical student Pierre Dupin. Ames was a credible actor who made over 100 films and worked in TV including a three year stint on "Mr. Ed." Also in the cast was a young Arlene Francis who plays one of Mirakles early, tortured victims.

Set in Paris of the 1800's, The plot surrounds the Crazy Mirakle's plan to inject females with the blood of a gorilla to prove his theory that man evolved from the ape. While never specifically mentioned, he needs the subject to be a virgin. After one female doesn't work out Mirakle proclaims that it's because her blood was tainted by sin. Wow...talk about preaching celibacy! Mirakle uses a sideshow and his pet ape Eric to scout for new victims when he finds the beautiful Camille in the crowd with her boyfriend Pierre. Eric is attracted to Camille and even tries to choke Pierre when he gets too close to the cage.

Pierre begins investigating the mysterious bodies of women found floating in a river (after Mirakle dumps them through a trap door) and uncovers the devilish plot. This all leads to a standard, town mob hunting the monster as Eric has kidnapped Camille and races across the Paris rooftops with her, leading to the climax.

Besides a good cast, Florey also had Karl Freund along as cinematogragher who held the same position on "Dracula" and who directed the Mummy, also in 1932. Freund's foggy, mist-shrouded sets lend a potent atmosphere to the film. Oddly, the film uses the same music at the opening credits as "The Mummy".

The film has it's flaws though. There was a short, but completely out of place song in the middle of the film. Can you imagine the villagers breaking into song in "Frankenstein" or "Dracula"? It completely throws the tone of the movie off. Then there are the close up scenes of the ape where they cut in actual footage of a gorilla that looks nothing like the guy in the suit.

Overall, however, The film has enough going for it and Lugosi is always a treat to watch.

A Classic of the Genre
Showing a strong hommage to the silent "Cabinet of Dr. Caligari" and strangely anticipating "King Kong" in certain sequences, "Murders in the Rue Morgue" is an atmospheric thriller which remains surprisingly gruesome some sixty years after it was made. At the time of its release, the film was considered so grotesque that it ran into considerable censorship trouble in Europe, particularly in England. A very tight running running time (just over an hour) keeps the action flowing, and the laboratory scenes are particularly shuddery. A classic of the genre.

Dr. Mirakle's Monkey
In comparison to such Universal Poe "adaptations" as The Black Cat or The Raven, Murders in the Rue Morgue is almost faithful to the original-almost! Poe used the story as a showcase to introduce C. Auguste Dupin, the first literary detective, to the public. A financially independent recluse and spiritual kinsman of Roderick Usher, Dupin, who solves crimes for his own disinterested ratiocinative pleasure, is called in by the Parisian police whenever it runs up against a brick wall in its investigations. In this case, a woman and her daughter have been brutally murdered under suspicious circumstances, and Dupin is able to show-to the consternation of the authorities-that the culprit was a runaway orangutan belonging to a sailor, and not a human agent.
The studio eliminated Dupin as a character altogether, but retained the Parisian setting, placing the story in the 1840s, as well as the idea of a woman who has been mysteriously killed by an unknown assailant. However, into the straightforward framework of the Poe story, Universal inserted the proverbial 500lb. gorilla in more than one sense of the word, since what the movie boils down to is a woman copulating with a great ape, if anyone stopped to think about it-as I am sure some audience members did, even back then.
The simian in question now belongs to Dr. Mirakle (Bela Lugosi), a mountebank and mad scientist evidently patterned after Dr. Caligari, although the name Mirakle has even deeper roots in the German past, reaching back to the stories of E.T.A. Hoffmann, as fans of Jacques Offenbach's great opera The Tales of Hoffmann will quickly realize. Mirakle's mad scheme is to prove a primitive evolutionary theory by "mating" Erik, his pet primate, with a human female. What would Peter Singer have said? Unfortunately, all of his attempts hitherto have been made with ladies of the street, and have failed when his subjects turned out to be sexually infected. But a light dawns after Mirakle encounters the beautiful, young, and presumably virginal Camille L'Espanaye (Sidney Fox) when she visits his sideshow at a carnival. Doesn't Erik seem attracted to her? Hmmmm...
Most of the great horror films of the early sound period had a latent sexual content all too evident today. But while the Universal productions were for the most part relatively straightlaced for the pre-Code days, Murders in the Rue Morgue is almost improbably scabrous. Not only does it feature interspecies coitus combined with side glances at prostitution and venereal disease, but it includes a scene in which Mirakle tortures a woman bound to a rack that could have come straight out of Sade. (If I am correct, the same prop rack reappears in The Black Cat.)
Here the movie ventures into the netherworld of exploitation subsequently populated by hacks like Dwayne Esper, although it may have been primarily influenced by Allan Dwan's stylishly lurid Paris after Midnight, produced by Fox the year before, which had encountered problems of its own with the Hays Office. In The Monster Show, David J. Skal even goes off on a tangent trying to make Dr. Mirakle into an avatar of the Nazi butcher Dr. Josef Mengele. But the principal resources of Murders in the Rue Morgue are the sadism and racism that already figure explicitly in the Poe story, the staple ingredients of many a production in those years, not crypto-fascism.
This louche little opus was the work of Robert Florey, a rather enigmatic figure in the history of American movies. French born, Florey had a career that extended over several decades in Hollywood, co-directing the Marx brothers' first movie, The Cocoanuts (1929), and assisting Charlie Chaplin in the shooting of Monsieur Verdoux, among other chores. Florey had originally been scheduled to direct Frankenstein with Bela Lugosi as the monster, and had even shot some tests, before Universal prudently handed over the picture to James Whale and Boris Karloff, giving Florey and Lugosi this assignment instead. But one of Florey's brainstorms made its way into the final version of Frankenstein: the windmill in which the monster burns to death.
Certainly Florey provides a very atmospheric recreation of Paris in the era of Louis Phillipe. With the photography of Karl Freund and the stylized décor of Charles D. Hall, the film almost seems a homage to Ufa at moments, especially in the fairground scenes whose indebtedness to The Cabinet of Dr. Caligari movie buffs will easily recognize. Yet Murders in the Rue Morgue, in spite of a chase over the roofs of Paris in the last reel, is curiously low on suspense, as comparison with The Mummy, directed by Freund in the same year for the same studio, reveals. Nothing in the Florey even remotely approaches the electric excitement of the scene in the latter movie in which a young archaeologist inadvertently revives the mummy by translating the Scroll of Thoth. An even more interesting comparison would be with Edgar G. Ulmer's later Bluebeard (available on DVD), also with a nineteenth century Parisian setting, made on a much tighter budget than the Florey, but which gets far more imaginative mileage for its money.
Bela Lugosi is good as Dr. Mirakle, but the role does not afford him the opportunity to display his idiosyncratic talents to the extent that his parts in Dracula, White Zombie, or The Black Cat did. Otherwise, the cast is disappointingly bland for such a wildly overwrought subject. But the credits do contain one surprise: the name of John Huston, who shares credit with Tom Reed and Dale Van Every for writing the screenplay of this least Hustonian of movies. Talk about strange bedfellows!