Bela Lugosi produces menace, chills in Invisible Ghost

 

By Doug Gibson

Once,  I spared a paragraph on "Invisible Ghost," Bela Lugosi's first Monogram film. Ironically, it was the first Lugosi Monogram I ever saw and years ago I was rather dismissive of the film, particularly Lugosi's insane murder moments. Watching it again, as recent as last night, and comparing it to other Lugosi Monograms, I re-evaluate it as technically, the best looking Lugosi poverty-row offering of the 1940s, if not the most campy or cultish. That notice still remains with "Devil Bat," "Bowery at Midnight," and "The Ape Man."

Here's what I wrote on this blog: "THE INVISIBLE GHOST, 1941:

"Lugosi's first Monogram has a convoluted plot but benefits from above-average direction from Joseph H. Lewis. Lugosi plays a kindly man whose wife deserted him. Unbelievably, she still lives on the grounds and he goes quite mad when he catches glimpses of her. The deaths lead to the execution of one innocent man whose brother (same actor) comes to the house to seek justice. Lugosi's hypnotic walk when under the murder spell of his wife is campy but the actor also brings pathos to it. Former silent star Betty Compson plays Lugosi's estranged, insane wife."

Lewis' direction is superb, and he throws in touches that other, run of the mill cheapie directors do not do, including interesting shots from a fire place, with the flames dancing in front of the actors, and excellent forward shots of a horrified Lugosi seeing his wife Compson through the window in a storm. The acting is better, particularly black actor Clarence Muse as Evans the butler who acts with dignity, and not a Stephen Fetchit portrayal. And the film's love interest is the talented Polly Ann Young, the least successful of the sisters in Hollywood trio that included Loretta Young and Sally Blane. Also, the sets seem of better quality than an average Monogram film.

One the minus side, the script is weak and convoluted, and mildly confusing. I think quality of scripts are the biggest difference between Universal B films and poverty row offerings in the 1940s. The other distinction is depth of acting talent in the films. Also, although Lugosi is excellent in his role -- even now I see the restraint in his insane moments that I missed on my first viewing, his playing of Mr. Kessler is not a role that demands any particular expertise or trait that made Lugosi unique. For example, the role could easily have been played -- at 90 percent of Lugosi's strength -- by George Zucco.

The film has Lugosi as a usually decent man who has temporary insane moments believing his long-departed wife is living in the house. The wife, played by Compson is actually on the grounds, being cared for -- without Lugosi''s character's knowledge. However, he occasionally sees her through his house's windows. That prompts him to go into a trance and kill whomever is in his sight. Early in the film is a genuinely scary scene where Lugosi, in a murderous trance, kills a maid in her bed. Director Lewis films this superbly, with a leering Lugosi coming closer to the terrified girl on the bed, and lifting a garment as a murder weapon. A radio playing pleasant music adds to the creepiness of the scene.

One more thing to add: Compson does a very good job as Lugosi's insane wife, who wanders around the Kessler estate. The poor script offers very little in how she could manage this so consistently, but as mentioned, scripts were not a priority on poverty row.

I highly endorse "Invisible Ghost" as a strong Lugosi poverty row offering. It appropriately belongs in the top tier of the Monogram cheapies and comes the closest to looking like a Universal B offering.

'Invisible Ghost' - Bela Lugosi's first Monogram film

Review by Steve D. Stones

Thank goodness for Kino Lorber Video. They are a top of the line New York company who is dedicated to digitally restoring and distributing classic forgotten horror  films in the DVD and Blu-Ray format. Many of the films they distribute are in the public domain.  Kino Lorber's print of Invisible Ghost (1941) (buy it here) is sharp and beautiful, unlike the worn out quality of public domain prints.

Bela Lugosi plays kindly Dr. Kessler who thinks his wife has died and roams his home as a ghost. She appears at his window at night, causing him to go into a strange trance to commit murders.  Mrs. Kessler is actually held as a hostage by the gardener in the garage cellar of the Kessler mansion. She suffers from brain damage due to an automobile accident.

Dr. Kessler's first victim is the young maid, Cecile Mannix.  Mannix was once romantically involved with Ralph Dickson, played by John McGuire.  Dickson is the fiance of Kessler's daughter Virginia. Because of their romantic involvement, Dickson is accused of the murder and executed.

Ralph's brother Paul arrives to unravel the mystery as to why his brother was blamed for the murder. He is mistaken at first as the ghost of his deceased brother because the two look so much alike. Paul soon discovers that Kessler is the murderer.  Kessler is later arrested after going through a trance.

Some of the humor in the film is a bit politically incorrect for our time. For example, after Kessler's black butler Evans, played by Claurence Muse, mistakes Ralph's brother Paul for Ralph, he asks the gardener "Do I look pale? I sure feel pale." This is meant to be a strange joke with regard to Evans' skin color.

The film was also known as Murder By The Stars and The Phantom Monster. During production, it was known as The Phantom Killer. Producer Sam Katzman and actor Bela Lugosi made a total of nine films together for Monogram Pictures. Invisible Ghost is their first and considered one of their best.

As with all of Lugosi's work, he is a true professional in Invisible Ghost and gives a great performance. Even his more hammy scenes of walking slowly with his coat stretched out to strangle his victims seems to work in the film.  He dines at a long table, pretending to  speak with the spirit of his wife at the other end of the table as they both enjoy a meal.  A bit campy, but still fun to watch.

Speaking of Kino Lorber, don't miss their Blu-Ray print of Lugosi's 1931 horror classic - White Zombie. This is a must have for any serious fan of classic horror films. Like Invisible Ghost, the print is sharp and beautiful. Happy viewing. (Watch a non-Blu-Ray version above).

Bela Lugosi in Invisible Ghost -- a fuller review

By Doug Gibson

Recently,  I spared a paragraph on "Invisible Ghost," Bela Lugosi's first Monogram film. Ironically, it was the first Lugosi Monogram I ever saw and years ago I was rather dismissive of the film, particularly Lugosi's insane murder moments. Watching it again, as recent as last night, and comparing it to other Lugosi Monograms, I re-evaluate it as technically, the best looking Lugosi poverty-row offering of the 1940s, if not the most campy or cultish. That notice still remains with "Devil Bat," "Bowery at Midnight," and "The Ape Man."

Here's what I wrote recently on this blog: "THE INVISIBLE GHOST, 1941:

"Lugosi's first Monogram has a convoluted plot but benefits from above-average direction from Joseph H. Lewis. Lugosi plays a kindly man whose wife deserted him. Unbelievably, she still lives on the grounds and he goes quite mad when he catches glimpses of her. The deaths lead to the execution of one innocent man whose brother (same actor) comes to the house to seek justice. Lugosi's hypnotic walk when under the murder spell of his wife is campy but the actor also brings pathos to it. Former silent star Betty Compson plays Lugosi's estranged, insane wife."

Lewis' direction is superb, and he throws in touches that other, run of the mill cheapie directors do not do, including interesting shots from a fire place, with the flames dancing in front of the actors, and excellent forward shots of a horrified Lugosi seeing his wife Compson through the window in a storm. The acting is better, particularly black actor Clarence Muse as Evans the butler who acts with dignity, and not a Stephen Fetchit portrayal. And the film's love interest is the talented Polly Ann Young, the least successful of the sisters in Hollywood trio that included Loretta Young and Sally Blane. Also, the sets seem of better quality than an average Monogram film.

One the minus side, the script is weak and convoluted, and mildly confusing. I think quality of scripts are the biggest difference between Universal B films and poverty row offerings in the 1940s. The other distinction is depth of acting talent in the films. Also, although Lugosi is excellent in his role -- even now I see the restraint in his insane moments that I missed on my first viewing, his playing of Mr. Kessler is not a role that demands any particular expertise or trait that made Lugosi unique. For example, the role could easily have been played -- at 90 percent of Lugosi's strength -- by George Zucco.

One more thing to add: Compson does a very good job as Lugosi's insane wife, who wanders around the Kessler estate. The poor script offers very little in how she could manage this so consistently, but as mentioned, scripts were not a priority on poverty row.

I highly endorse "Invisible Ghost" as a strong Lugosi poverty row offering. It appropriately belongs in the top tier of the Monogram cheapies and comes the closest to looking like a Universal B offering.