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Tag Archives: Edward Curtiss

Pillow of Death (Dec. 14, 1945)

Wallace Fox’s Pillow of Death, the sixth and final film in the Inner Sanctum Mysteries series, is a haunted house mystery, the kind that Charlie Chan and the Crime Doctor excelled at solving. It lacks the ghoulish fun of the Inner Sanctum radio show, and it’s the least memorable of the film series.

The film begins when attorney Wayne Fletcher (Lon Chaney, Jr.) drops his secretary Donna Kincaid (Brenda Joyce) off at her family home after another late night of preparing briefs at the office. The crotchety patriarch of the family, Sam Kincaid (George Cleveland) grumbles, “The Kincaid women never worked,” which is funny, considering the fact that his sister Belle (Clara Blandick) waits on him hand and foot, and he employs Amelia Kincaid (Rosalind Ivan), a poor relative from England, as his housekeeper.

When Fletcher returns home, the police are waiting for him in his living room. Capt. McCracken (Wilton Graff) and his men acted on a tip from a spiritualist named “Julian” (J. Edward Bromberg), who is sitting in Fletcher’s rocking chair like he owns the place. The police inform Fletcher that Julian had a psychic presentiment that one of his adherents, Mrs. Fletcher, had come to harm. When the police arrived at the Fletcher home, they found her murdered corpse. Fletcher is now the prime suspect.

After he’s questioned and released, Fletcher goes to the Kincaid home, as does Julian, and most of the rest of the film takes place there. Donna’s amorous teenaged neighbor Bruce (Bernard Thomas) keeps popping up, skulking around the grounds and saying little, as the bodies start piling up. The haunted house clichés come fast and furious, including a séance presided over by Julian, which gives the roly-poly character actor Bromberg free rein to tilt his head back, roll his eyes up in his head, and speak very, very slowly. It’s not quite entertaining enough to be called “campy,” but it comes close.

Unlike the previous films in the series, the supernatural element is poorly handled and its role in the story is never fully explained. In other Inner Sanctum films, and on the radio show, any supernatural hokum was usually debunked and explained away. Like pulling the mask off the monster at the end of Scooby-Doo, the explanations were sometimes preposterous, but they were usually clever, or at least fun. And since Pillow of Death a straightforward mystery, the lack of explanation seems more like a product of lazy writing than anything else.

Also, with a title like Pillow of Death I was expecting something more overtly supernatural, like a pillow cursed by Satan, or a talking pillow, or possibly even a pillow with a hole in it full of sharp teeth. Instead, an ordinary pillow is used at one point as a murder weapon, in an attempt to smother someone, but that’s it. Given the pillow’s limited role in the film, the title seems almost like a joke.

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The Woman in Green (July 27, 1945)

WomanGreenRoy William Neill’s The Woman in Green is the eleventh film Basil Rathbone and Nigel Bruce made together in which they played Sherlock Holmes and Dr. Watson, respectively. It’s perhaps not the best in the series, but it presents an excellent mystery, and offers everything fans of the previous Sherlock Holmes films will look for. There are gruesome yet puzzling clues, a pretty young woman who comes to Holmes for help, a bewitching femme fatale, a clever blackmailing scheme that involves hypnosis, and Professor Moriarty behind it all.

This was only the third time that Moriarty, Holmes’s archenemy and “the Napoleon of crime,” showed up in the series. The first time was in The Adventures of Sherlock Holmes (1939), when he was played by George Zucco. The second time was in Sherlock Holmes and the Secret Weapon (1943), when he was played by Lionel Atwill. Somewhat confusingly, all three men also appeared in different roles in Universal Pictures’ Sherlock Holmes series. Zucco and Daniell even appeared together as cooperating villains in Sherlock Holmes in Washington (1943). If I had my druthers, Zucco would have played Moriarty in all three films, since he’s my personal favorite, but we can’t always get what we want. And apparently Rathbone named Daniell as his favorite Moriarty, so clearly it’s just a matter of taste. Daniell was certainly one of the more dependable Hollywood villains of the ’40s. He was smooth and sophisticated with just the right touch of menace.

When The Woman in Green begins, Moriarty is presumed dead, since he is believed to have been hanged in Montevideo. Meanwhile, Holmes has his hands full in London with a series of mysterious murders. Young women are being killed, and in each case one finger is missing from the corpse. Aside from that one detail, however, there is no connection between any of the murders, and Scotland Yard can’t make heads or tails of the case. When a young woman named Maude Fenwick (Eve Amber) comes to Holmes for help, however, things start falling into place. She’s worried about her father, Sir George Fenwick (Paul Cavanagh), who has been acting very strangely ever since he took up with an alluring and mysterious woman named Lydia (Hillary Brooke). When Maude catches her father trying to bury a finger in his garden, she realizes it’s time to enlist the help of the great detective.

The way the mystery unfolds is satisfying, if somewhat fanciful. One has to suspend some disbelief in order to go along for the ride, but what else is new?