The Man Who Could Cheat Death

Based on a screenplay adapted from a Barré Lyndon stage play with echoes of Oscar Wilde (“The Man in Half Moon Street”, 1945), Terence Fisher brings an intriguing variation of the classic mad scientist theme to the big screen.

Although the story suffers in part from an inert, didactic nature inherited from its theatrical source, the end result is more than respectable. The in-depth character studies allow the director to effectively delve into some weighty issues such as the relationship between ethics and aesthetics, the role of science in the modern era, and the never-ending dichotomy between good and evil. In this regard, the figure of the sensible Dr. Weiss takes on added significance, with his reflections on the morality and consequences of their actions serving to counterbalance the egotistical cynicism of his mad colleague: (“Why should the death of the other man be of less importance than your own death? By what right can you decide a thing like this?“).

Very good performances. In addition to Anton Diffring as a rather convincing mad doctor, we would cite the always welcome Christopher Lee and Hazel Court, appearing in supporting roles this time around.

Scads of references to great horror classics, ranging from Hammer Films’ “Frankenstein” series, to 1958’s “Dracula” (Bonnet’s physical dissolution), and Rouben Mamoulian’s seminal “Dr. Jekyll and Mr. Hyde” (1931).