Word: lugosi
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...behind this show's musical rhymes is really just an excuse to throw together a potpourri of characatures: Rosalinda (Martha Ecclestone), the lead soprano, is a kind of Tricia Nixon who let her hair down: Alfred (Neil Cohen) is her would-be lover, a tenor with an endearing Bela Lugosi accent: then, there is Rosalinda's husband (Peter Kazaras), who is rather too confused to ever realize he's being cuckolded; and, finally. Adele (Leslie Luxemburg), as a chambermaid gone actress, and Frank (Bob Noonoo), as a jail-keep gone marquis. What the women occasionally lack in projection, the whole...
...Unfortunately, things get sort of confused, as they have a way of doing with Andy, and the result is a series of dreary, druggy improvisational harangues by such luminaries as Tom Hompertz, Joe Dallesandro and Viva!, the superest Warhol superstar of them all. Now that Boris Karloff and Bela Lugosi have passed on, Viva! stands unrivaled as the screen's foremost purveyor of horror. By the simple expedient of removing her clothing, she can produce a sense of primordial terror several nightmares removed from any mad doctor's laboratory...
...EDGAR G. ULMER'S "Classic chiller," Boris Karloff plays opposite Bela Lugosi. You therefore expect, and get, a wide range of bizarre deeds--for starters, Satanism and skinning alive. The more extreme of these deeds are supported by a host of lesser strange touches, partly in Ulmer's visual style and partly in the fine acting. These touches make the film the masterpiece it is. They constantly reveal the personalities of the characters--especially the two leads, whose traits and drives take in all mutations of moral position and psychological experience. Karloff initially seems perverse and decadent; Lugosi, virtuous...
...shot in an early train-compartment sequence is a new camera angle; each takes in a new field of vision and a new set of characters and back-grounds. Any easy stability in the moral relations between characters is destroyed by constantly evolving changes of position. A feeling that Lugosi influences the young couple comes from all the shots, and is thus a very complex amorphous feeling rather than a direct force baldly presented in one shot...
About fifteen minutes into the picture, a television set presents us with a sublime moment from Edgar G. Ulmer's The Black Cat, starring Karloff and Lugosi. Lugosi plays Dr. Vitus Werdegast, a tortured psychoanalyst imprisoned during WW I by the villainous General Poelzig (Karloff) who, in turn, married and murdered Werdegast's wife Karen. Werdegast, after fifteen years in the prison from which few men return ("I have returned," he says gravely at one point), journeys to Poelzig's house to investigate Karen's death and eventually kill the murderer. Through a nasty turn in the weather...