The Invisible Man () - Rotten Tomatoes
The Invisible Man () on IMDb: Movies, TV, Celebs, and more. It was his first major film role, and he only appeared at the tale end of the movie for a minute. Oct 8, Running a brisk 72 minutes, The Invisible Man is a fun little movie about the dangers of man's scientific ambition. fellow man with the use of the atomic bomb at the end of World War II. They're impressive for a film made in , and I imagine they were a Our Relationships Are Mirrors for Ourselves. Claude Rains and Gloria Stuart in The Invisible Man () Claude Rains in The .. play, even though the cast is listed twice: at the beginning and at the end. the relationship between Rains and Flora (played by Titanic star Gloria Stuart).
There are several reasons why I just fell in love with this film, outside of the cataclysmic performance of Claude Rains.
The Invisible Man () - IMDb
I loved the way that this movie was filmed. I loved the scope of the Invisible Man's terror. Whale could have kept his antagonist to committing just single murders of friends and family, he could of just kept it confined to just one single town, he could have kept our focus directly on the turmoil of Rains, but instead, he decided amazingly!
When I first began this film I was expecting the classic images of angry villagers with pitchforks storming the house that the Invisible Man lived within, but instead, Whale gave us this sort of random chaos that truly created fear around this character. Whale is able to give us the true terror of this madman by perhaps expanding his budget and showing us how big the terror of the Invisible Man is.
For example, I never foresaw the horrific train accident, nor the random worker push off the mountain, and when Rains explained to Kemp what the human impact of falling down a ravine would be like, it literally sent shivers down my spine. Whale created a madman better than some modern horror films could ever accomplish.
For a film created in the s, the special effects were spectacular. Sure, CGI was just a glimmer in Lucas' mother's eyes, but James Whale did a superb job of giving us these rare glimpses into the future of special effects.
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The way that he created the Invisible Man surprised me. I did not expect to ever see the creature without his bandages on, but within ten minutes we are shown the full scope of Whale's creativity.
I thought the use of snow, dust, and even the early stages of the overused "green screen" was original for its time. To see Rains smoke as the Invisible Man put a smile on my face.
This is a perfect example of a film that used just enough special effects, in the right way, to make the audience forget for a brief time that this was in fact a film not real life. It was surprising to see such quality from such an older film.
The Invisible Man
If there would be anything that I would change about this film would be the subtext concerning the relationship between Rains and Flora played by Titanic star Gloria Stuart. I thought this was nearly unnecessary. I understand the value of trying to give a human element to this monster, but I thought that it could have been done without these random scenes. There wasn't really any connection between the two, and we were left with very little information of them prior to the start of the film.
Perhaps if there had been a stronger pre-story it would have congealed better.
Smith Goes to WashingtonCasablancaMr. Skeffingtonand Notorious The technical achievements by John P.The Invisible Man Trailer
Fulton on The Invisible Man have often been credited for the film's success. Aside from elaborate stop motions, double exposures, and masked negatives there was a need to dress Rains in black velvet underneath the bandages and clothes and shoot against a black velvet background. But these shocking visual effects were also combined with simpler, more visceral shocks, such as when a woman's baby carriage complete with baby gets knocked over or when Griffin batters a policeman to death with a stool.
This harsh tone was balanced by dark humor and great dialogue. Not surprisingly, Whale came to Hollywood from England where he was originally a cartoonist, stage designer, and dialogue director to work on film dialogue, and The Invisible Man provides ample proof of his good ear. Credit should also go to R. Sherriff and Philip Wylie's screenplay. Of interest as a footnote is that these men took over what Whale considered to be an unsatisfactory work by Preston Sturges. One of The Invisible Man's many charms is in how much thought went into various details surrounding the act of being invisible.
Griffin explains some of the problems to his condition, such as how he has to avoid exposure after meals while his body digests the food, or how he has to be clean to avoid dirt outlines, or keep out of rain and fog where his outline could be traced. Despite all this, there is one odd lapse in judgment by the filmmakers; when the invisible man walks on the snow and we should see the impressions of his bare feet, we instead see normal footprints that would require invisible shoes.
This provides a dramatic illustration to quit the habit, but it's goofed when we see how the smoke stays inhaled even while the invisible man speaks. Such are the pitfalls of filming the fantastic. Anyone who has difficulty imagining the impact of The Invisible Man on its original audience need not go too far to revisit a similar echo of its effect today.
Just stroll over to your neighborhood multiplex and watch Joel Schumacher's current box office smash Phone Booth Just as Claude Rains' disembodied voice mesmerized audiences almost seventy years ago, Kiefer Sutherland's disembodied voice in Phone Booth similarly grips viewers in the power of its delivery and menacing inflection.
And, in both films, the killer's face is glimpsed for only a brief moment near the end. The setting and circumstances may have changed, but there's obviously still something incredibly scary about being threatened by someone whom we cannot see, and who thrills in having the power of life and death over terrorized individuals.
Sherriff, based on a novel by H.
Arthur Edeson Film Editing: Franke Harling, Heinz Roemheld Cast: KempHenry Travers Dr.