Carradine's Got Another Science Project
Raising The Dead in Monogram's Basement: The Face Of Marble (1946)
John Carradine is as reasonable a mad scientist as you could hope to assist at reviving the dead, a worthy effort as he presents it even if results come a cropper. I was always one who wanted such experimentation to succeed, if only to let a little joy into lives of Carradine, Karloff, others who made up in sincerity what they lacked in sanity. The Face Of Marble uneases from an opener where a dead sailor is dragged off a beach for buzz back to life in JC's lab; this shook up Dan Mercer enough at age 10 to put him in flight for bed. I might have been similarly undone had we access to Monograms in NC markets (they'd come later after nerve for late horrors had calmed). Fans of Universal diss Mono mostly because prints are notoriously sub-par and they weren't shown as often once TV got hold of admittedly better Universal chillers, but back in 40's first-run, these cheaper creepers were all over marquees, particularly in small bergs where money (in terms of low rent of prints) mattered most. What's nutty (delightfully so) about Face Of Marble is its menace in the form of a ghost dog ambling through closed doors. His name is Brutus, a Great Dane playing himself, though unfairly not billed. Was Carradine abashed at doing these things? I'm told he worked in whatever so as to finance a Shakespeare group. How could JC know it would be lowly shockers he'd be recalled for rather than bartering the Bard? Netflix streams an old transfer of Marble from neg owner MGM --- are there no better elements around than this?