I had watched THE CORPSE VANISHES (1942) a couple of years ago but I have to say that I was pleasantly surprised as to how watchable and engaging it was the second time around. Who'd have thought that such fare was worth a second look? If anything, I found CORPSE to be even livelier than GHOST (which did get to be repetitious and feel constrained by its one setting): although it is never explained why Lugosi is married to an 80-year old woman (except maybe to get into high society given that she's a "Countess") or why she needs to be youthful (it's not like she's parading her "look" anywhere except at the Lorenz household), the film offers an amusing throwback to those 30s hard-boiled reporter movies and predates such rejuvenation-themed horror movies as I VAMPIRI (1956).
I found the film to be quite atmospheric and enjoyable: it was nice to watch Lugosi surrounded by such familiar faces as Elizabeth Russell (from several Val Lewton films), Angelo Rossitto (one of Tod Browning's FREAKS [1932]) and Vince Barnett (who had a memorable supporting role in Hawks' SCARFACE [1932]) among others. That said, the campier elements of the film were sometimes too silly for words: Lugosi whipping his moronic assistant, the proverbial funereal organ-playing, the even more hilarious sight of Lugosi and Russell sleeping in coffins and the final shoot-out with the police in which, of all people, it's Lugosi's dwarfish henchman who gets it!
In the end, I guess I wouldn't mind watching Lugosi's other stuff from this period but I doubt if it will make me enough of a fan to go out and purchase them in their best available prints on DVD.
I found the film to be quite atmospheric and enjoyable: it was nice to watch Lugosi surrounded by such familiar faces as Elizabeth Russell (from several Val Lewton films), Angelo Rossitto (one of Tod Browning's FREAKS [1932]) and Vince Barnett (who had a memorable supporting role in Hawks' SCARFACE [1932]) among others. That said, the campier elements of the film were sometimes too silly for words: Lugosi whipping his moronic assistant, the proverbial funereal organ-playing, the even more hilarious sight of Lugosi and Russell sleeping in coffins and the final shoot-out with the police in which, of all people, it's Lugosi's dwarfish henchman who gets it!
In the end, I guess I wouldn't mind watching Lugosi's other stuff from this period but I doubt if it will make me enough of a fan to go out and purchase them in their best available prints on DVD.