The Undying Monster (1942)

Starring James Ellison, Heather Angel, John Howard, Bramwell Fletcher, Heather Thatcher
Directed by John Brahm
(actor & director credits courtesy IMDB.com)

After two people are attacked on the grounds of a Scottish manor tied to legends of a supernatural monster, Scotland Yard sends two forensic experts to investigate.

The 20th Century Fox studio was still in its infancy as far as releasing horror films when this offering came along, and so the picture does appear heavily influenced by the horror output of rival Universal Pictures.  A period setting, dark and shadowy atmosphere, and the presence of actors from Universal's past classics, including Bramwell Fletcher and Halliwell Hobbes, all contribute to a Universal-like film.  The creature makeup even resembles one of Universal's own classic monster designs.  However, it is a different film with its own flavor, and seems content to take on the form of a mystery whodunit, downplaying the possibility of a monster's presence until the climax.  Ellison is fine as the chief investigator Robert Curtis, and is given an unusual sidekick in Heather Thatcher's brash Christy,  who invites herself to a meal before it's been served, and provides much of the film's comic relief.  The supporting performances, the film's photography, music score, and art direction are all very good, creating a believable haunted manor, and a compelling mystery.

Svengali (1931)

Starring John Barrymore, Marian Marsh, Donald Crisp, Bramwell Fletcher, Carmel Myers
Directed by Archie Mayo
(actor & director credits courtesy IMDB.com)

A music instructor with formidable hypnotic powers uses his mesmerism on a beautiful young model and transforms her into a skilled operatic singer, completely under his control.

Based on the novel Trilby by George L. Du Maurier, the picture beefs up the role of the sinister Svengali, whom Barrymore plays in a splendid characterization.  He's abetted by some interesting art direction by Anton Grot, who together with cinematographer Barney McGill, cast sinister shadows on the walls, cloak the villain in darkness while holding a black cat in a key scene, and show the range of Svengali's powers in a couple of memorable traveling shots.  Closeups of Barrymore with opaque contact lenses inserted add more frightening imagery.  Despite all this, I don't think the film goes dark enough when it needs to, and Marsh, as Trilby, despite very beautiful eyes that are attractively showcased, doesn't seem capable of conveying the true horror of what's being done to her.  Fletcher, cast as Trilby's true love Billee, is too bland as the hero opposing Svengali, reminding me of some of David Manners' less inspired performances.  I still think it's a very good film, and it contains one of Barrymore's best performances, but it falls somewhat short for me.