The Climax

source: The Climax

Dr. Hohner (Boris Karloff) is Physician at the Vienna Royal Theatre, who in a fit of obsession and jealousy murders his fiancée. Ten years later, he hears another young singer (Susanna Foster) who reminds him of his slain fiancée, and he's determined to make her sing only for him, even if it means silencing her forever. Karloff's first movie in glorious Technicolor is beautiful to look at, but ultimately a so so movie not offering much for the big man to do. Using the same sets that were used for the Claude Rains led Phantom Of The Opera the previous year, this appears to be Universal's attempt to give Karloff a slice of demented operatic pie. Why then is he given so little to do? So much time is spent with Foster and the hopelessly miscast Turhan Bey, that Karloff's warped Doctor almost feels like an intrusion on some Gothic melodramatic romance. A shame since what screen time Karloff gets shows potential for a memorable horror character to rank up with his better ones. Some good support comes from Gale Sondergaard & Thomas Gomez, and without doubt the operatic scenes are great, even if they take up so much time the flow of the movie is never at one with the creepy undercurrents of the tale. But really it's like opening a gorgeously wrapped birthday present only to find that within is a used gum ball without any flavour. 4.5/10

All the archetypes of "The Phantom of the Opera" are there in this attempt to cash in the success of the 1943 version of that classic. There's the sweet chanteuse who rises from chorus to leading lady, a jealous diva, and the darkly dressed, seemingly darkly souled servant, a love-starved hero, and of course, the various artists surrounding the opera. But what's missing here is an interesting villain. Boris Karloff is a sinister doctor, inside and out, seen killing his obsession, Marcellina (June Vincent), then driven to further craziness ten years later when rising opera star Susannah Foster shows up with the same voice. He tries to shutter that, but his plot is in danger of being thwarted by the young man (Turhan Bey) who loves her and Marcelina's devoted companion (Gale Sondergaard) who now works for him. This is all tightly wrapped up in a Technicolor package, but ultimately, it is artificial and predictable. A few amusing moments (mostly provided by Ludwig Stossel as the conductor and Lotte Stein as a feisty maid) and an interesting characterization by Gale Sondergaard are the best moments in the film. Sondergaard gets the most convincing dramatic moment when her motivations are revealed after spending the first half of the film being a dour, dark presence with little to do but look sinister. I must mention the amazing resemblance in this film between Karloff and veteran actor Jack Betts who would play Karloff in "Gods and Monsters". Betts once played a similar doctor character on "One Life to Live" in a plot line very similar to the one here, his obsession being with a living character (played by Judith Light) rather than a dead one.

THE CLIMAX stars the one and only Boris Karloff as the quietly unhinged Dr. Friedrich Hohner, who has already disposed of his wife. When a young opera star (Susanna Foster) catches his ear and eye, Hohner sets out to have her under his control at any cost. Karloff is a master at playing this type of low-key, seemingly docile character, who has something sinister boiling just beneath the surface. This is difficult to pull off, but he makes it look easy. Lovers of opera should enjoy this movie, since it's packed with big musical productions. In fact, it's almost a musical!...

How can you fix a film that has... -too much opera for horror fans, -too creepy ending for opera fans, -too little action for Karloff fans, -too much Karloff for melodrama fans, -and a director who seems content with showcasing his lavish sets and the relatively new Technicolor process? After giving the question quite a bit of thought, I don't think you can fix a project like "The Climax". It was ill-conceived from the start and the film they made was probably as good as could be made with the story they had to work with. But ultimately, the film is unsatisfying for all of the reasons listed above. Watch it if you must,... but you've been warned.

This much-maligned Boris Karloff vehicle is actually not too bad; then again, the 1943 version of PHANTOM OF THE OPERA - for which this was a follow-up, conveniently filmed on the same expensive sets - isn't very popular with horror fans either. Many have stated that Karloff sleepwalks through his role here: true, it doesn't really extend his range but, given that he was headlining a super-production and being the consummate professional that he was, I hardly believe he could afford to be indifferent about it (and, in any case, it returned him to territory he had already covered in CHARLIE CHAN AT THE OPERA [1936])! It's fairly enjoyable in itself, if not a little silly (Karloff demanding that his sweetheart stop her glorious singing career merely because he's jealous of all the admiration she's getting, his hypnotic control over the Susanna Foster character being exercised by means of a flask of atomizer {throat spray}!), and the lavishly colorful production is certainly attractive. The musical numbers are more 'modern' than those in PHANTOM, though there are still too many of them (remaining, in any case, a matter of taste!). Foster does okay by her role but I agree that Turhan Bey is totally miscast and almost sinks the film; however, the supporting cast is pretty good - above all Gale Sondergaard (in a surprisingly sympathetic role), Thomas Gomez and Ludwig Stossel.The film's best sequences would have to be the murder of Karloff's wife, the hypnotism sessions (highlighting Karloff's glaring eyes in close-up) and the fiery climax {sic} (as in THE BLACK CAT [1934], Karloff keeps the body of his dead wife embalmed in a secret room) - in essence, all the horrific elements there are. P.S. According to the "Classic Horror Film Board", as was the case with Universal's initial DVD release of Dracula (1931), this film is missing the underscoring during the opening sequence (not having watched THE CLIMAX previously, I couldn't have known about this) - how the hell does something like this happen...?!

"The Climax" produced and directed by George Waggner inevitably suffers in comparison to his "The Phantom of the Opera" re-make released the previous year. Filmed on the same opera set as the Phantom (both 1925 and 1943 versions) and in glorious color and with the same female lead (Suzzanna Foster) as the previous year, it is nevertheless disappointing. It was also the first color film for star Boris Karloff. The film opens with Dr. Hohner (Karloff) lamenting the loss of his beloved Marcellina (June Vincent) who was an opera star, ten years earlier. We then flash back to learn that Hohner had been in love with the diva but was jealous of her voice, which he saw as coming between them. When she rejects his love, he murders her and she "disappears". While leaving the theater, Dr. Hohner hears a voice that he believes to be that of Marcellina. It belongs however, to aspiring student Angela (Foster) who with her fiancé Franz (Turhan Bey) is hoping to become an opera singer. Impresario Count Seebruck (Thomas Gomez) hears her and plans to present her in the theater much to the dismay of resident soprano Jarmila Vadek (Jane Farrar). Angela achieves immediate success, but when Seebruck plans to star her in "The Magic Voice", Dr. Hohner decides to take action. Luring her to his home on the pretense of examining her throat on behalf of the opera company, he hypnotizes her into believing that she no longer wants to sing. We also learn that the good doctor has preserved Marcellina's body and keeps it in a sealed room in his home while being observed by his housekeeper Luise (Gale Sondergaard) who had served Marcellina. Franz decides to take action. He secures an audience with the boy King (Scotty Beckett) who orders a command performance of "The Magic Voice" and................ Karloff has had better roles. In spite of a promising opening, the film drags through the middle and gives him little to do. Foster basically plays the same role as she had in the Phantom, a year earlier. Gale Sondergarrd who usually played evil and sinister villains, is wasted here. Bey, who was a rising star at the time also has little to do but drool over Foster. Although the technicolor photography is stunning, it is spoiled by a weak story and weak characters. The film doesn't seem to know whether it will be a horror story or a musical. Trying to mix the two fails miserably.

I understand that "The Climax" isn't necessarily a well received" movie among Boris Karloff fans. The plot isn't much, i'll admit that, and some of the musical number "particularly the one in which Jane Farrar was the prima donna) were quite painful. But Susanna Foster's voice saves the day. This movies is no "Phantom of the Opera", but it was fun to watch. The Technicolor was magnificent, and the set design was gorgeous. Turhan Bey was an alright leading man for Foster. But he didn't seem "strong" enough, I suppose. Boris Karloff is fantastic as a menacing figure, hovering over Foster in an aura of mystery and horror. The film isn't scary enough to be considered a horror film, but too ominous to be considered a musical. There isn't a real genre for it. But it's enjoyable to watch and I liked it. I'm a big Susanna Foster fan, so it was joy to hear her sing, and I'm becoming a Boris Karloff fan, after seeing "Frankenstein" and "The Climax". So, all in all, "The Climax" is good enough, but it could be better.

"The Climax" provides Boris Karloff not only with his first Technicolor film, but audiences with a handsome, humdinger of a mustache-twisting Victorian melodrama. True, the story is not supernatural, but what does that matter when Boris keeps his deceased girl friend preserved beneath a gauze shroud in a secret room? If this is not sufficient, then just savor the mouth watering color photography, art direction and costumes. This is one of the most visually handsome color films from the 40's, and ranks favorably against Minnelli's "Meet Me in St. Louis" in the warmth, depth, and clarity of its chromatic range, whilst simultaneously recalling Twentieth Century Fox's lighting schemes from "The Little Princess," and anticipating "Blanche Fury" in its tonal subtleties. The settings are both sumptuous and historically accurate, (sharp eyed viewers will note that some of the same props show up later in Ulmer's "Bluebeard,") and provide the perfect background for the cloak and dagger theatrics. Not to be outdistanced are Vera West's (one of Hollywood's most undervalued designers) late Victorian gowns--each a marvel of velvet, chiffon, plumes, and various embroideries, not to mention being a testament to the lost art of dressmaking. Susanna Foster not only wears them charmingly, but sings like an angel, until Boris hypnotizes her. Thereafter, she is a bit somnambulistic--something of a problem given an impending operatic engagement. Not to worry though, a turban-less Turhan Bey will save the day, in a nick of time, allowing Susanna to hit her high C on opening night, as scowling villain Karloff rushes off to a succulent fate. That fate, as depicted, with Uncle Boris collapsing on a curtained bier that is laden with the corpse of his long dead (though still photogenic) inamorata, as they both go up in flames, is as aesthetically and dramatically delicious as they come. One can almost imagine the the whoops of the popcorn patrons as they cheered this pyrotechnic finale in the Rialto's of yesteryear. Not to be missed.

This film was the first one to star Boris Karloff that was in color. As such, it illustrates that to be the first of anything is meaningless if the film lacks coherence, intelligence, and a decent script. The plot begins by taking the viewers into an old theater, where Karloff is shown coming night after night. He has the sympathies of the staff of the theater. It seems that ten years earlier he was engaged to the prima donna singer at the theater, and they were to get married. But on the night before the marriage she vanished, and he - broken hearted (apparently) - has returned every night ever since as though waiting for her. Now this could have been the start of an intriguing film. Unfortunately the scriptwriters did not see fit to leave the audience tantalized by Karloff's apparent tragedy. Instead, he falls asleep in his chair and we see his subconscious revealing what happened. The prima donna broke off the wedding in a bitter argument, and Karloff killed her (but as they were alone, he was able to hide the body and cover his tracks). So instead of playing with audience support for Karloff, the script writers show he is up to his typical evil roles. The only one who suspects that Karloff is not what he seems is Gale Sondergaard - she remembers what her former mistress was like that night, and there were signs that she was uncertain about the wedding. But she never had anything concrete to work with. The theater impresario is Thomas Gomez. One of his musicians/composers (Turhan Bey) is interested in furthering the career of a new singer, Susannah Foster, whom he is dating. Gomez is willing to put her on. But Karloff, who is the theater's doctor, sees Foster (who reminds him of the dead prima donna). Fixed on her, he decides to pursue her (although she is increasingly frightened of him). This is the set-up for the plot, and how it eventually leads to the revelation of the fate of the dead woman. It is a tired plot, mostly because there is little chemistry between Foster and Karloff (although that is not a fatal flaw - he is fixed on her, she need not show any type of fascination towards him). Sondergaard is wasted (occasionally, as the film progresses, she reveals her suspicions). Gomez, normally a considerably good villain himself, plays his jovial side as the impresario. As for Turhan Bey, he shows great interest in Foster - and she is shown singing in one of his new operettas (the music of which is a steal from Schubert's Marche Militaire). The end result is that the viewer is not deeply interested (after awhile) in the fates of these characters. Even when Karloff (at one point) knocks out Ludwig Stossel, our lack of interest in the "little old wine maker" actor prevents us getting too concerned (Ludwig recovers by the way). Given that the film was supplied with a grade A film gloss (by using color stock) it is ironic that the whole effect is basically thrown away. It does not help matters, to the fans of Boris Karloff, that one year after this color-film flop, he gave one of his greatest performances in Val Lewton's THE BODY SNATCHER as Grey the Coachman - in a black and white film with a meaty script. Instead of Technicolor, the production people should have concentrated on good writing and plotting. I will give it a "3" only because it is visually good, but otherwise it was a waste of time and money.