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This is the sort of film that should be obligatory viewing for students of the narrative construction in the cinema for the sheer fascination of the single-mindedness with which the narrative is pared to the bone with not a solitary digression allowed to interfere with its determined pursuit of its goal of achieving its remit to deliver a dramatic conclusion.
In particular, it manages to include a gay character since the only possible motivation of the killer could come from the vengeful desire to satisfy the thwarted longings of one in the pangs of the love that then dared not speak its name. Again the character is heard not seen, requiring an actor with an impressive voice although as with the original the appearance of the actor playing the invisible man is more familiar to the viewer today than when the film was originally released.
Richard Chatten. Although it certainly does try. During the sixties Orson Welles had at one point planned to end his version of Don Quixote with a nuclear explosion, a goal in which he was preempted by Ed Wood by ten years. Wood Jr. Lugosi is given a much more substantial role, top-billed as whip-wielding mad scientist Dr Erich Vornoff hiding out in a cottage in the middle of a swamp whose most extravagant feature is an enormous laboratory in the basement where he keeps a pet octopus to which the good doctor and his mouth-breathing assistant Lobo by feeding it guests.
A young Michael Medwin overacts like crazy in a rare leading role in this second adaptation of a play first filmed as a thirties quota quickie; an impression reinforced by the presence of Garry Marsh and Danny Green as the heavies. According to sources, the s was one of the most significant decades for Georgian cinema in terms of aesthetics and channelling the ideology of the era.
