Noble-born cad Denis (Stapley) has been tricked into a forced stay at the eerie manor of the Sire de Maletroit (Laughton), an evil madman who can't get over the death of his beloved, twenty... See full summary »
In the 15th century Richard Duke of Gloucester, aided by his club-footed executioner Mord, eliminates those ahead of him in succession to the throne, then occupied by his brother King ... See full summary »
Rowland V. Lee
Dr. Hohner (Karloff), theatre physician at the Vienna Royal Theatre, murders his mistress, the star soprano when his jealousy drives him to the point of mad obsession. Ten years later, another young singer (Foster) reminds Hohner of the late diva, and his old mania kicks in. Hohner wants to prevent her from singing for anyone but him, even if it means silencing her forever. The singer's fiancée (Bey) rushes to save her in the film's climax.Written by
Stephen Cooke <firstname.lastname@example.org>
In Karloff's first color film, producer-director George Waggner hoped to duplicate his previous Success of Phantom of the Opera. He united him with its star Susanna Foster and used the same Phantom stage. Climax was a remake in 1944, the role and plot was enlarged to create an elaborate costume vehicle for Karloff and the Technicolor camera. THe CLIMAX starts off on a fine ghoulish tangent, but soon wanders off the straight, narrow and creepy path onto a sidetrack of conventional boy-girl doings with Karloff turned more than a little ridiculous among a group of harmless music lovers whose member includes a boy king. George Waggner, the director, knows a thing or two about the color camera. For Karloff's flash-back memories he uses a circle in clear focus in the center of the screen, surrounded by blurred, varicolored light.. THE Climax has too much difficulty deciding whether to keep its mind on music or murder.
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