The Grim Cellar

1942, US, Directed by John Brahm

Black & White, Running Time: 63 minutes

DVD, Region 1, Fox, Video: 1.33:1, Audio: Dolby Digital Stereo

Looking for an answer to Universal’s The Wolf Man Fox took advantage of the up and coming German talent that was John Brahm by offering him a literary adaptation of a mystery-chiller to sink his teeth into. Sourced from a Jessie Douglas Kerruish novel the result was a little different to what Universal might have produced. Taking place mostly around a gloriously old gothic mansion we’re told that the Hammond house is cursed by the sporadic recurring appearance of some sort of abominable creature, something that makes noises suspiciously like that of a wolf. Drafting in the assistance of a couple of eager investigators the frightened household attempt to get to the bottom of the mystery as the threat of death becomes ever closer with the rabid monster that lurks in the woods.

The primary difference between Fox’s rare stab at lycanthropy and Universal’s earlier film is the minimal usage of the titular monster itself - whereas Universal could usually barely wait to display its cards at the earliest moment (though they were comparatively restrained in The Wolf Man) this story doesn’t even offer us a real glimpse of the creature until the last few minutes. Prior to that the film adopts the style of a mystery effectively making it a hybrid of two genres (it was actually marketed in the UK as The Hammond Mystery), therefore it’s quite unusual and refreshing in light of Universal’s then standard approach to fright films. This amalgamation of narrative types helps to highlight the project as something that stands out amidst a decade of stagnation in the genre (aside from some of Val Lewton’s productions). The other factor in this success is John Brahm’s artistic direction - often are we treated to imaginatively realised shots and aesthetically prominent lighting, surely something that stems back to Brahm’s Germanic roots. Some of the camera movements are quite daring and ahead of their time with tracking shots that one wouldn’t expect in a forties film and angles that remind the viewer of certain expressionistic ventures twenty years prior. The dialogue scene shot in its entirety from behind a fire is a memorable instance of Brahm’s desire to push cinematic ideas forward. The characters are typical forties stereotypes really, ranging from marginally neurotic to relentlessly optimistic, though it’s an amicable enough mix and their near constant dialogue exchanges keep the film moving along at a rapid pace, something which is necessary anyway when the film only runs at just over an hour long. Being so sparingly used (to put it mildly) the creature consequently has some impact, both in underpinning the entire story with its virtually invisible presence and in the anticipation that is aroused while one waits for its eventual onscreen appearance, something that you may start to doubt is ever going to happen such is the wait. However, this makes a nice contrast to Universal’s show-all philosophy, enhancing suspense in the process. Also, while it seems to be a given in most of the Universal films that supernatural phenomenon exists with many of the characters accepting such possibilities, here the people involved spend much of the film questioning the validity of the curse and looking for alternative explanations. This could simply be a reflection of the studio’s refusal to take the genre too seriously but it does add a richness to both the dialogue and characters themselves as they attempt to make sense of the threat that grips them.

Packaged with the other two films made during Brahm’s Fox contract this is a lovely set. Undying Monster has undergone restoration that shows surprising respect for the material and has resulted in pleasing image and sound. Along with trailer, stills and advertising poster sections, we also get a short but sweet 15 minute retrospective look at the director’s brief contribution to film (he later went on to work on such television projects as The Twilight Zone and Outer Limits so his talent didn’t completely go to waste). You’ll also find a couple of cool postcards inside the gorgeously designed box. Fans of the genre will want to seek out this set and rejoice that such a classy entry has been granted commendable treatment.