Purely Joyful Movie!

Absolutely amazing

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

A routine but well-staged programmer with the inimitable Boris Karloff as an elderly, mild-mannered scientist who unsurprisingly becomes a homicidal maniac when he uses himself as a guinea pig for a new serum he has developed to prolong life - a serum which, surprise, surprise, contains the blood of a hanged murderer. It's not long before Karloff is growing younger before our very eyes, but he also finds himself becoming possessed by a murderous spirit which causes him to strangle all those who are close friends or relatives. What follows is a string of shocking murders, but at a sixty minute running time it's not long before the police are on the case to hunt Karloff down.The same plot - or at least a variation of it - was already a bit clichéd by the time this movie was made, but that doesn't stop it from being entertaining. There's a good pacing, with no scenes dragging as they tend to do from this period, and at least there are plenty of opportunity for chills and scares thanks to Karloff's performance. Here, Karloff is a tragic monster, a kind of Jekyll and Hyde, and Karloff's sympathetic portrayals of screen villains and monsters were always what he did best; you end up caring for his character, and thus become involved in the movie. BEFORE I HANG is no exception, and Karloff's strong acting makes the whole movie worthwhile; furthermore, as a policeman in the film says, Karloff is the only person to send a chill down one's spine whilst being polite - his understated menace is highly effective, and the scenes in which his whole visage grows locked and his eyes madly staring are great stuff.The supporting cast is a strong one, including genre veterans Evelyn Keyes as Karloff's unsuspecting daughter, and Dracula's own Van Helsing, Edward Van Sloan, as a scientist friend of Karloff's. There are some atmospheric moments to enjoy, my favourite coming when Karloff escapes through the fog, his eyes staring almost luminously in the dark with madness. Plenty of macabre touches and Karloff's commanding performance highlight a minor, but efficient, low-budget horror yarn from a forgotten studio.

While the 1939 Nick Grinde film "The Man They Could Not Hang" dealt with the story of a kindly scientist who vows revenge after his experiment with a mechanical heart is interrupted, this one takes a similar theme to new twists and turns out to be much better. The story opens with Karloff being sentenced to death for aiding an elderly man in "assisted suicide" which is labeled here as mercy killing. Karloff goes to prison and goes to work for the prison's doctor, keeping his experiment going as he prepares to die. On the day of his execution, he is sentenced to life in prison instead, and gladly continues his experimentation of aiding the elderly, unaware that the serum of a dead killer he had implanted in himself has poisoned his mind, making him do quite the opposite than what he originally intended.There's a sad look in the eye of the classic pianist Karloff visits to implant the serum in to test him and improve the quality of his life. The vulnerability and trust in this man is a quiet visual that will remain in my mind's eye when I think of this film. There are some touching realizations of how pathetic we become as our bodies age and mind fights to remain strong in spite of physical pain. Karloff literally becomes "Dr. Jekyll and Mr. Hyde" as he struggles between the good doctor and the maniacal killer in doing what he wants to do for society and doing what the killer's poisoned blood did to make the dead prisoner kill in the first place.As fast moving as the predecessor, this isn't based upon the revenge plot which dominated and weakened the first film, but more on how good intentions are sometimes the pathway to hell when the rules of the universe aren't followed. Karloff goes between good and evil with ease, and his performance is one of his best. The doctor may not be mad, but his experiments will certainly drive him that way.

Boris Karloff would begin to repeat what might be considered the same part again and again in a series of "Mad Doctor" films he made for Columbia Pictures in the early '40s. As the elderly Dr. Garth, Boris is developing a serum which he hopes may preserve life. He's been convicted of the mercy killing of a terminally sick friend (would that make Karloff the first Dr. Jack Kevorkian?) but yet is allowed to continue his experiments while on death row with the aid of prison physician Dr. Miller (DRACULA's Edward Van Sloan). Garth decides to use himself as a guinea pig and injects himself with a serum made with the blood of a known murderer. The kindly doctor is subsequently pardoned from his crime, and the end result of his experiment produces the amazing effect of turning him into a much younger man. He has now inadvertently reversed the aging process, but the tainted formula has one slight side effect: it periodically turns him into a homicidal killer who is seized with the urge to strangle his victims. BEFORE I HANG is a decent offering in this series, though is not to be confused with the similarly-titled and superior THE MAN THEY COULD NOT HANG from 1939. **1/2 out of ****

Boris Karloff, typecast in the horror genre, was one of our most underrated film actors. Here is a typical film of his middle career that showcases his versatile skills, equally strong as the benign, elderly scientist and his murderous, strangling younger self. This b-picture packs a lot of atmosphere and suspense into it's hour running time. Any shortcomings cannot be blamed on anyone but the screenwriter, Robert D. Andrews, who was just trying to keep things moving- not such a bad thing, actually. Nick Grinde does an excellent job making the most out of the script and witness Karloff's fireside confession for an example of the film's above average cinematography. It's also nice to see Karloff side by side with Edward Van Sloan again nine years after Frankenstein. If you need proof of Boris Karloff's talent and charisma aside from Frankenstein, check out Before I Hang, as well as The Black Room, The Body Snatcher, and Targets. I wish we had a star like him today...