Greenes Please don't spend money on this.

CrawlerChunky In truth, there is barely enough story here to make a film.

ThrillMessage There are better movies of two hours length. I loved the actress'performance.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

JohnHowardReid Erich Von Stroheim (Dr Andre Crespi), Harriet Russell (Mrs Estelle Ross), Dwight Frye (Dr Thomas), Paul Guilfoyle (Dr Arnold), John Bohn (Dr Ross), Geraldine Kay (Miss Rexford), Jeanne Kelly (Miss Gordon), Patsy Berlin (Jeanne Ross), Joe Verdi (expectant father), Dean Raymond (minister).Director: JOHN H. AUER. Screenplay: John H. Auer. Story: John H. Auer, suggested by the short story, "The Premature Burial", by Edgar Allan Poe, as adapted by Lewis Graham and Edwin Olmstead. Photography: Larry Williams. Film editor: Leonard Wheeler. Art director: William Saulter. Make-up: Fred Ryle. Music director: Milton Schwartzwald. Production supervisor: W.J. O'Connor. Sound recording: Clarence R. Wall. RCA Victor Sound System. Associate producer: Herb Hayman. Producer: John H. Auer. A JHA Production. Executive producer: Max Hoffman. Copyright 16 October 1935 jointly by Liberty Pictures Corporation and Republic Pictures Corporation. Filmed at the old Biograph Studios in New York. U.S. release through Republic: 21 October 1935. New York opening at the Rialto: 12 January 1936. 7 reels. 66 minutes.SYNOPSIS: Famous surgeon has a score to settle with his rival.COMMENT: John H. Auer was certainly one of Republic's more imaginative directors, and here, in his initial venture for that studio (the film was actually purchased by the Herbert J. Yates combine after it was completed for Max Hoffman's Liberty Pictures), he displays an even greater inventiveness in creating an effectively eerie atmosphere and some wonderfully sinister effects on a minuscule budget. His biggest expense was no doubt the hiring of Erich Von Stroheim for the title role. And Von Stroheim's services were certainly worth the money. The "Von" gives a captivatingly charismatic performance, using all the props and bits of business at his command to give extra power to his portrait. Whether bawling out an associate or evilly planning the demise of his rival, Von Stroheim is always in control. So much so, in fact, that the rest of the players, with the sole exception of Dwight Frye, have little chance to impress. Never mind, it's "the man you love to hate" who attracted picture- goers and the other actors were well aware of that fact. Thus Crespi is Von Stroheim's movie. And Auer's.

mark.waltz The middle of this Republic programmer has among it some of the most sinister and horrifying dialog in the history of horror films. Erich von Stroheim gets to recite a speech that will have you gripped to the edge of your seat. He is a well respected doctor and scientist who only takes the patients recommended to him by other doctors, but I'd turn that offer down even if it was my only alternative. Today, there are many names for the type of mental illness he has, but really, it all comes down to pure, undeniable madness. He's a total perfectionist and a genius, and in this case, he doesn't just have a touch of madness; he has an entire brain filled with it. In love with Harriett Russell who chose to marry a close medical colleague of his (John Bohn), he goes completely bonkers when Russell begs him to operate on her husband. To say that the operation fails is an understatement; it doesn't go awry, it goes eerie. Von Stroheim's assistant (Dwight Frye) realizes something is wrong and makes the mistake of confronting him. The story is gripping but full of plot holes. But I just dare you to take your eyes off of von Stroheim. He goes between being calm, cool and collected to totally hammy, and in his big speech reminds me slightly of that British star of mayhem and murder, Tod Slaughter. How it concludes really might have you getting the willies, although certain aspects are quite funny too.

kitchent Although certainly not up to the standards of the competition over at Universal, this little horror film provides enough good moments to warrant at least a look. Stroheim is wonderful, and it's always a treat to see Dwight Frye in anything.There are some great moments, all involving Stroheim, but some of the best scenes are ruined by sloppiness either in direction or editing. Stroheim's best scene is where he gloats above his paralyzed victim, but the scene is choppy and the edits are so jarring that it's simply a tribute to the actor that the scene works at all.The funeral scene, however, is very well done. The intercutting between the funeral and the restrained Frye attempting to kick his way to freedom is very good, and continually reminds the viewer of the fate of the poor man in the coffin. The subjective camera angle as the dirt hits it was probably pretty strong stuff in 1935.If your a fan of horror movies, especially 1930's films, this one should be on your list to view.

Athanatos I've seen this picture rather severely bashed, but it's actually a competent presentation of a classic tale by Poe. The only print that I've seen was in pretty bad shape, and perhaps this contributed to the bashing that it received.