7 | / 10 |
Users | 0.0 | |
Reviewer | 3.5 | |
Overall | 3.5 |
When Baron Frederick de Berghman learns that his wife has given birth to twin boys, he refuses to drink a toast to them. He tells his courtiers that there is a prophecy that the younger of the twins -in this case born one minute after the elder- will kill his older brother in the Black Room. As a protective measure, he seals off the room in the hope that the prophecy may not happen. Many years later, Baron Gregor de Berghman pleads with his twin brother Anton to return to the family castle. Anton arrives to find the populace in revolt and there is even an attempt on his life when they mistake him for the Baron. There is no doubt that the Baron is evil and eventually kills Anton in the Black Room and takes his identity. That does no mean the prophecy cannot, or will not, come true...
Starring: Boris Karloff, Marian Marsh, Robert Allen (I), Thurston Hall, Katherine DeMilleHorror | 100% |
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 | 3.5 | |
Video | 3.5 | |
Audio | 3.5 | |
Extras | 2.0 | |
Overall | 3.5 |
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.
The Black Room is presented on Blu-ray courtesy of Eureka! Entertainment with an AVC encoded 1080p transfer in 1.33:1. Eureka only sent check discs for purposes of this review, and so I'm not privy to any information on the transfer that might be included in the insert booklet. This is often a quite striking looking presentation, though it almost looks like it may have been sourced from two elements. At its best, this has really nicely articulated contrast, with some impressive blacks, and with generally good fine detail levels, though the prevalence of dimly lit material may work against that aspect at times. In less impressive moments, the already pretty thick grainfield has a noticeable uptick in grittiness, and clarity also suffers a bit, with more of a general "dupey" look. Damage is rather minimal, all things considered.
The Black Room features an LPCM 2.0 Mono that certainly shows the limited fidelity and dynamic range of that era's recording technologies, but which has not outright damage to speak of. Certain elements, like the cimbalom (or maybe hammered dulcimer, it's hard to tell due to the framings utilized) that is played in the local tavern, sound pretty bright and tinny, but another musical moment with love interest Thea (Marian Marsh) playing the harp and singing sounds reasonably full bodied and warm. Dialogue is rendered cleanly and clearly throughout. Optional English subtitles are available.
Because it's not part of the so-called "Mad Doctor Series" of Columbia films starring Karloff, The Black Room sometimes gets overlooked in Karloff's Columbia filmography, but in some ways it provides Karloff the clearest opportunity to show his performance chops of any of the Columbia outings in this set. Technical merits are a bit variable but generally solid, and the commentary and still galleries enjoyable. Recommended.
(Still not reliable for this title)
Eureka Classics
1941
Eureka Classics
1939
Eureka Classics
1940
Eureka Classics
1942
2018
2016
Masters of Cinema
1932
The Vanishing Body / Masters of Cinema
1934
Cult Classics
1959
Masters of Cinema
1932
Warner Archive Collection
1932
Masters of Cinema
1935
Eureka Classics
1940
Hammer
1968
Horror
1963
Lo strano vizio della signora Wardh
1971
2015
2013
死霊の罠 / Shiryō no wana | Standard Edition
1988
Il rosso segno della follia | The Italian Collection #69 | Limited Edition
1970