Cult Review
Senior Film Conservator

If you like movies that feel like they were found in a shoebox under a floorboard, sure. Watch this if you have a soft spot for pre-code melodrama and don't mind a story that moves at the speed of a tired horse. If you need snappy dialogue or something that makes a lick of sense, you’ll probably hate it. Honestly, it’s a bit of a slog.
The whole premise hinges on Gilbert Vaughan finally getting his sight back after years of living in the dark. You’d think that would be a joyous moment, right? Instead, he just seems incredibly bothered by everything he sees. The way the actors stand around in rooms that look like they’re made of cardboard is just... something.
There’s a scene early on where someone is talking, and the camera just stays on their ear for a solid five seconds too long. I’m not sure if the cinematographer was distracted or just really liked the shape of the actor's lobe. It’s those tiny, weirdly specific moments that make you wonder if the crew just gave up halfway through the day.
The movie feels like a low-budget cousin to The Midnight Message, but with less energy. Everything is slightly dusty. The performances feel like people reading off cue cards that are placed just out of frame.
There’s a lot of staring. Like, an uncomfortable amount of staring. People look at each other like they’re waiting for a bus that’s never going to arrive. Sometimes I think the actors forgot their lines and were just waiting for someone to yell cut.
I found myself thinking about Salvation Nell for no reason while watching the third act. Maybe because I wanted to be anywhere else. The plot twists don't really twist so much as they just sort of flop onto the screen.
It’s not a masterpiece, and it’s not even a particularly good mystery. It’s just... there. It exists. If you’re bored on a rainy Tuesday, maybe give it a spin. Otherwise, you aren't missing much. 🎞️
Year
1933
IMDb Rating
—

Editorial
Deciphering the legacy of transgressive cult cinema.
Community
Log in to comment.