The Mysterious Doctor

I cannot say I was aware of this one before our own Michael Elliott gave it a thumbs up not that long ago; actually emerging as only borderline horror, it effectively mingles a traditional plot – an English village, complete with hulking idiot and disfigured bartender hiding his features behind a hood(!), lives in fear of an ancient curse involving a headless ghost – with topical (i.e. WWII) concerns. The village mine was being utilized to produce tin for the Allied cause so the Axis powers apparently felt the need to send out one of their own to intermingle in the community and recreate by night the legend of The Headless Ghost, thus curtailing the mining operations which are subsequently abandoned. The prerequisite foggy atmosphere is thickly laid on, the plot is fairly engaging and the modest but pleasing cast – squire John Loder, the lovely Eleanor Parker, title character Lester Matthews, dim-witted Matt Willis, etc. – is sympathetic to the material at hand. Besides, being a compact 57-minute 'B' flick, it is essentially comparable in quality and effect to the likes of Fox's DR. RENAULT'S SECRET and THE UNDYING MONSTER (both 1942).

It would sure look that way. Fog-shrouded forests are more akin to the Universal landscape of the Wolfman films or those of Sherlock Holmes than of the urban crime thrillers at Warners. While it starts out as a pure horror film, it soon settles nicely into a wartime thriller which may "cheat" a bit on the Grand Guignol, but it's still enjoyable and it's briskly paced at around an hour.

Lester Matthews, who was seen likely to inherit Valerie Hobson in "The Werewolf of London" is the doctor of the title. Some in the village think that he may be a spy who descended on the moors with a parachute and may be up to no good - he keeps asking about the tin mine. It's WWII time, and tin is a most needed commodity. But the locals are afraid to work the mine as there happens to be a headless ghost prowling around.

Matthews as Doctor Holmes (interesting choice of character names) goes to check out the mine, but meanwhile he's being checked out by the innkeeper - a man whose face is covered by a mask since he was involved in a mine explosion that horribly scarred his face. Meanwhile, checking them both out is the village idiot and a headless ghost - suddenly there's more mine traffic than anyone's seen in years.

This is one of those films in which one has to drop all questions - at 57 minutes, there isn't time to ask any, and just enjoy the atmosphere. Not only the moors and the mine, but the performances of a Britain as only Hollywood could conceive it and transplanted British actors could play it. The characters in the inn could well have come from Whale's "The Invisible Man" - or perhaps more aptly Beebe's "The Invisible Man's Revenge." No matter, they're colorful and led by local squire John Loder who had the pleasure of going home to Hedy Lamarr at the time. He lent a solid presence to several "B" horrors of the 40s - such as "The Brighton Strangler" and "A Game of Death." Also in the cast is a most youthful Eleanor Parker looking radiant. Matt Willis is the mentally challenged villager, and damned if he doesn't resemble Lon Chaney Jr's Lennie - just as he resembled Chaney's Wolfman in "Return of the Vampire."

The sharp cinematography is by Henry Sharp (a deliberate pun) who photographed Vidor's "The Crowd" as well as Lang's "Ministry of Fear" and the Technicolor opus "Dr. Cyclops." This was quite a talent to snare for a "B" film, one would want to credit the producer for such a coup, but for some reason there isn't one credited. Bryan Foy was over at Warners and in charge of their "B" unit, but his name isn't on screen. If someone thought the project unworthy, they were wrong - it may have had only slightly better than a PRC or Monogram budget, but the results were light years apart. It's closer to Val Lewton, or 20th-Fox' "The Undying Monster" and from this writer's perspective, that's praise indeed.

This not perhaps one of the great films but is yet the umpteenth example of how a well-made and nicely acted picture can work wonders even without a particularly outstanding script. A doctor on a walking tour in foggy Cornwall finds himself at a village inn. He has to knock hard to get someone to open the door, and when it does open he is greeted by a man with a black hood over his head. Once inside the stranger meets the customers at the bar, who are the usual dour, sullen, somewhat eccentric British types moviegoers are familiar with thanks to such lively and observant directors as James Whale. Whether such characters have ever existed in the real world is of course irrelevant. The actors are British enough, and the setting sufficiently evocative to satisfy even the most finicky moviegoer. We are in Hollywood's England of the forties, when Brittania ruled with an authority and prestige not seen since, and when dry ice fog and mists suggested a quaint and cozy never-never Albion out of Dickens and Doyle almost as well as the authors themselves had done. One of locals tells the doctor the tale of the headless ghost of Black Morgan, which many believe to still be haunting the village and local mine. For a while, due to the exceptionally suspenseful build-up and clever art direction, one might have expected a werewolf or two to show up before the picture ended. This alas does not happen, and the film, though satisfying in its way, never fulfills the promise of its early, expository scenes.

What follows is a mystery, reasonably well done, highly unoriginal, and unworthy of the actors and set designers, who deserved better for their sterling efforts. This film is highly recommended for its atmosphere, though as a story it contains few surprises. Director Ben Stoloff does a commendable job in the dramatic scenes, and has a feel for the nuances of mood in terms of psychology and setting, as the two interact well and properly, as they always should. Leading lady Eleanor Parker handles her generic role quite well and comes close to being convincingly British without any excessive mannerisms. John Loder is decent as the local 'Sir', and the various supporting players are credible if predictable in their routines. Lester Matthews makes a fine Dr. Holmes, and plays his part with an authority and empathy one does not expect in an English actor at this time and in this sort of film. Matt Willis is excellent as the chief suspect. He was always a fine actor, and was never given the parts he deserved in his brief film career. In what one might call the Laird Cregar (or Vincent Price) role he is in his very different way as good as they were, and far more natural. The film's final scenes are badly dated, but overall this is as finely polished a B gem as one can find, and might have been a masterpiece of its kind with a better screenplay.

Technically it is a virtuoso piece, suggesting at times Hitchcock, at other times Lang; there's a touch of Val Lewton in the sensitive use of second-hand sets; in its locale, concluding scene and one of its leading actors it is strangely reminiscent of Ford's How Green Was My Valley; and early on it feels like a horror film. Not a bad showing for a little under sixty minutes running time.

Having seen this film at the tender age of nine, the images of a "headless ghost" walking around, conjured up nightmares for many nights to come. For a "b" film running a bit under one hour, The Mysterious Doctor manages to convey the proper amount of chills. While not in the Val Lewton class, the cast of Lester Matthews John Loder, Elenor Powell and a standout performance by Matt Willis,atmospheric photography of fog shrouded moors and an eerie score all combine to perhaps take the film up a bit from an average " b" thriller. The ending might seem sugary to todays viewers, but one must take into account that these were the war years.Having just recently seen it again on line, I still enjoyed the movie after all these years!

A few chills and some decent atmosphere (atmosphere usually meaning fog) but the modest storyline takes a back seat to war time "rally 'round the troops, boys" sentiment. Seen with that in mind it does possess a certain degree of charm. I like the early shot of the mysterious headless "ghost" wandering through the fog, but it rather quickly becomes apparent that there is a very earth-bound, prosaic explanation. It's all a bit of a mess of course, but quite understandably America and Great Britain had more important things on their mind at the time. Eleanor Parker is porcelain beautiful in one of her early roles.