Condemned to Live (1935)

Too much of everything

Disappointment for a huge fan!

The film's masterful storytelling did its job. The message was clear. No need to overdo.

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Laid it on REAL thick about how good the prof was--repeated again and again very stilted Marguerite to marry older saintI love old horror films, so the fact I disliked "Condemned to Live" so much really says a lot about the movie. After all, I should have loved it with its plot about a fiend draining the blood from innocents. But the writing and direction were so sluggish, it felt more like I was watching a community theater production instead of a movie.The story begins with a prologue about some folks stuck on a hellish island with nasty natives and vampire bats. Soon the film skips ahead and folks are back home. There you learn that Professor Kristan (Ralph Morgan) is a saintly man, as folks repeat this about 800 times...just to make sure the audience knows. But it turns out the saintly Professor is struggling with inner demons....as well as overly melodramatic acting! The lines are delivered poorly and the dialog itself is clumsy and unnatural. These, combined with sluggish direction, make watching this film a real chore. Dull beyond belief and a film that simply should have been much, much better.

With a sense of style and storytelling not usually associated with the programmers like this, here is a Gothic horror tale that is a surprising delight. It all surrounds a kindly doctor (Ralph Morgan) who finds himself suffering from blackouts as a brutal vampire-like killer strikes in his small community. Morgan is in love with pretty Maxine Doyle, who admires him tremendously but is not in love with him in spite of being engaged to him. As the list of victims increases, Morgan becomes more confused by his headaches, and his hunchback assistant (a touching Mischa Auer) keeps close tabs on him. Sets of some of Universal's best Gothic thrillers are utilized for this, adding some music from "White Zombie" into the mix. Haunting photography, above average performances (for this type of film) and strident pacing make this a must for classic horror fans.

To begin with, I acquired this only a couple of hours before I watched it; I was in no particular hurry to check it out but, knowing I had the somewhat similar DEVIL BAT'S DAUGHTER (1946) on the schedule anyway, I opted to go with this one beforehand since, of course, it came first. Not having been exactly impressed by the director's other, more popular genre work (namely THE MONSTER WALKS {1932} and THE VAMPIRE BAT {1933} which, again, this resembles quite a bit), I hardly expected the film under review to change matters; while presenting a novel (if silly) spin on the vampire theme, the approach is so stodgy as to defeat its purpose! Here, in fact, we have a man (Ralph Morgan, who would return to the genre with a couple of somewhat better efforts i.e. NIGHT MONSTER {1942} and the recently-viewed THE MONSTER MAKER {1944}) who transforms – a' la Jekyll & Hyde and complete with inhuman slurping sounds – into a bloodsucker (actually preceding in this regard the 1957 THE VAMPIRE by more than two decades!) because his mother was bitten by a vampire bat during pregnancy. The irony is that, being an eminent doctor, the community looks up to him after every new attack (he is himself unaware of his nightly depredations which occur during periodic blackout spells – hilariously and repeatedly described as "swooning" to the point that the film has been disparagingly described by some as CONDEMNED TO LIVE aka I SWOONED!) As usual, he is about to marry a much-younger girl that is loved by another man, who is most vociferous about the fact that the fiend is human as opposed to supernatural.Incidentally, what triggers Morgan off is complete darkness(!?), so that he has the townsfolk keep a candle burning at all times of the night…but, when he begins to feel the blackout coming during a visit to his girl, she unwisely turns out the lights one by one (which sends him off in a fury every time!). Eventually, a family friend of Morgan's comes along and he realizes that the doc is unsettled by his condition and, suspecting the truth, asks him to release the girl until he is cured. In the meantime, the attacks continue – with Morgan's devoted hunchback (future comic Mischa Auer who was also in THE MONSTER WALKS) always lurking behind to save his master from being apprehended as well as finding out about his true nature, even if this means that Auer is himself fingered as the vampire on more than one occasion! Just as THE VAMPIRE BAT was filmed on standing sets from James Whale's much-superior THE OLD DARK HOUSE (1932; with which it had even shared leading man Melvyn Douglas), this one uses leftover scenery from that same genre master's BRIDE OF FRANKENSTEIN (1935) and, it seems to me, even some from his FRANKENSTEIN (1931), not that these are adopted in any imaginative way given CONDEMNED TO LIVE's relentlessly talky approach! In the end, Morgan bows out not by the traditional stake through the heart but by simply leaping, of his own free will, from a cliff…followed in quick succession by Auer himself (apparently, the latter saw no point in living if he cannot be with his beloved master – make of that what you will!). The film, then, is at least watchable for trying to be different but, ultimately, it emerges as nothing more than a curious footnote in the history of the (sub)genre.

I'd never heard of this film but it's worth a look for those who can put up with 1930's style film-making and especially for genre fans.The story has elements of Jeckyll and Hyde and it has psychological overtones of the main monster character that help it. These elements help keep it fresh despite the hunchback and dated directorial non-touches and lack of much on screen violence. But the aftermath of the killings and good acting of Ralph Morgan help. The final scene is suspenseful as well and of course the whole thing is over pretty quickly, but still manages, thanks for Karn DeWolf's script to pack in quite a bit of character complication.Nice production values but the director, Frank Strayer, shows little flair. Then again he keeps things moving and the acting is good. Alpha Video copy I watched was "okay" looking a better source print is unlikely to turn up, but the movie deserves some restoration and recognition.