6.4 | / 10 |
Users | 0.0 | |
Reviewer | 3.0 | |
Overall | 3.0 |
A physician on death row for a mercy killing is allowed to experiment on a serum using a criminals' blood, but secretly tests it on himself. He gets a pardon, but finds out he's become a Jekyll-&-Hyde...
Starring: Boris Karloff, Evelyn Keyes, Bruce Bennett (I), Edward Van Sloan, Ben TaggartHorror | 100% |
Sci-Fi | Insignificant |
Crime | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.33:1
Original aspect ratio: 1.37:1
English: LPCM 2.0 Mono (48kHz, 24-bit)
English SDH
Blu-ray Disc
Single disc (1 BD)
Region B (A, C untested)
Movie | 3.0 | |
Video | 3.0 | |
Audio | 3.5 | |
Extras | 2.0 | |
Overall | 3.0 |
Note: This film is available on Blu-ray as a part of
Karloff at Columbia.
Boris Karloff has one of the more amazing filmographies in the annals of show business history, with the IMDb listing over 200 (!) acting credits for
the
venerable
performer. One of the kind of interesting if at times kind of weirdly unstated aspects of that success is the fact that Karloff managed his career in
at least some of the
1930s
and 1940s without the traditional “seven year contract” that was regularly doled by the major Hollywood studios in the Golden Age of filmmaking.
In
fact, many online biographies of Karloff don’t even mention any contracts, though the fact that a 1931 contract Karloff signed with
Universal
fetched over eleven thousand dollars in an auction is certainly more than enough evidence that (of course) some kind of contract was
signed
for various appearances. That said, Karloff at Columbia provides clear separate evidence that Karloff, unlike many other major
stars
of that same general period, was never officially tied down to one particular studio (many film fans almost automatically associate Karloff with
Universal during this period), at least for any extended period of time. The fact that Karloff was
also a guiding light behind the then nascent Screen Actors Guild may give credence to the hunch that Karloff was eerily prescient in being able to
see
that a studio’s contractual “hold” over a performer was something to be avoided, not chased, in an awareness that arguably came years before
such
heavyweights (and, notably, women) as Olivia de Havilland and Bette Davis started actual legal proceedings to chip away at the “seven year
indentured servitude” that
studios often required of their stars. Eureka Entertainment has now assembled six of Karloff's Columbia features made between 1935 and 1942
(the same period when Karloff was also appearing in films bearing the studio imprimaturs of everyone from Universal to Monogram to RKO) in an
appealing set that may not
include any outright masterpieces, but which show quite clearly just how versatile an actor Karloff was.
Before I Hang is presented on Blu-ray courtesy of Eureka! Entertainment with an AVC encoded 1080p transfer in 1.33:1. This is another totally watchable but occasionally problematic presentation that does show quite a bit of age related wear and tear, albeit often minimal in the forms of nicks, flecks, blemishes and what almost looks at times like slight print through. You can see good examples of the kind of recurrent if minor damage in both the opening credits and the first scene in the courtroom, and some of the later material, like a sequence taking place in some fog shrouded streets, can look pretty rough and has brightness fluctuations and flicker. Still, detail levels are often relatively impressive, as in the nice precise rendering of the texture of the fabric on Karloff's prison jacket, to cite just one example. Grain is quite heavy and can look fairly rough at times, especially in the darker material.
Before I Hang features an LPCM 2.0 Mono track that again shows a bit of brittleness in some scenes, but which has adequate support for a sometimes bombastic score. Dialogue is rendered cleanly and clearly and there are no real signs of major damage. Optional English subtitles are available.
Before I Hang continues with several of the tropes that had already been established in both The Man They Could Not Hang and The Man With Nine Lives, and as such can seem like a kind of cinematic version of a rerun at times. The "fountain of youth" angle is interesting, but the film arguably muddies the water (and/or blood, as the case may be) with the whole "transfusion from a psychopathic killer" aspect. Video encounters some hurdles, but audio is largely fine, and once again the included commentary is very enjoyable, for those who are considering a purchase.
(Still not reliable for this title)
Eureka Classics
1941
Eureka Classics
1939
Eureka Classics
1935
Eureka Classics
1940
Eureka Classics
1942
1961
1956
1958
1958
2010
1935
The Man Who Made a Monster
1931
2019
1998
Premium Collection
1954
Black Label 027 | Limited Edition
1988
1966
1978
Masters of Cinema
1932
2021