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Vladimir Nabokov noted in his novel Despair that all pre–World War II homes in Berlin displayed a print of Arnold Böcklin's painting Isle of the Dead. Böcklin created several different versions of it, but all of them show a rowboat coming in to a severe-looking islet in the middle of dark water. It's an ominous image and it has a certain grandeur, and it so impressed Adolf Hitler that he bought one of them for himself and later hung it in the New Reich Chancellery in Berlin.

Producer Val Lewton was inspired by Isle of the Dead, and he evoked it in certain shots in I Walked with a Zombie (1943). That famous painting would continue to provide visual inspiration in the 1945 film that shared its name. The second of three movies that Boris Karloff made for Lewton, it is a particularly beguiling, glinting jewel of the horror genre in which Lewton, director Mark Robson, and scriptwriters Ardel Wray and the uncredited Josef Mischel created a tale about a group of people quarantined on a small island during the Balkan Wars of 1912.

The Body Snatcher is a 1945 horror film directed by Robert Wise based on the short story The Body Snatcher by Robert Louis Stevenson. The film's producer Val Lewton helped adapt the story for the screen, writing under the pen name of 'Carlos Keith'.

Isle of the Dead begins with a shot of Karloff's Greek General Pherides carefully lathering his dirty hands with soap, and hand-washing imagery will recur throughout this measured, subtle, dread-filled picture. General Pherides has been relentlessly overseeing the burial of his dead. When a reporter (Marc Cramer) apologizes after asking a harsh question, the General smiles quickly at him with a surprising kind of warmth.

Algoriddim djay controller setup. Karloff wears white, curly hair here, and it gives him a slightly less sinister look than usual. After a successful run of films that included Frankenstein (1931), The Mummy (1932), The Black Cat (1934), and Bride of Frankenstein (1935), he had been trapped for years in substandard projects that only asked for his air of menace, but in The Body Snatcher (1945), Isle of the Dead, and Bedlam (1946), Lewton allows Karloff to play faceted human beings and gives him room for character details that his programmers never had time for, like that smile General Pherides bestows on the reporter.

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The first and best of the three Val Lewton-Boris Karloff collaborations for RKO (ISLE OF THE DEAD and BEDLAM would follow), THE BODY SNATCHER is an excellent adaptation of Robert Louis Stevenson's short story, scripted by Lewton himself (under the pseudonym Carlos Keith) and directed with

considerable skill and admirable restraint by Robert Wise. This chilling and atmospheric tale of grave-robbing in 1832 Edinburgh features Henry Daniell as MacFarlane, a doctor who regularly buys cadavers that are delivered to his back door by menacing cabbie Gray (Karloff). When Gray turns to https://jaicoglypa1978.mystrikingly.com/blog/izotope-everything-bundle-crack.

murder in his quest for bodies--and delivers the still-warm corpse of a young street singer MacFarlane had seen alive and well only that morning--the frightened doctor realizes he must do something about it. MacFarlane is finally driven to murder Gray, but is eventually driven mad. Literate, but

not at the expense of the cinematic, THE BODY SNATCHER is one of Lewton's greatest works and contains what is arguably Karloff's finest performance. Lewton's obsession with historical detail is evident throughout, and, although the film was shot on the lot at RKO, the filmmakers manage to create

an unforgettable vision of Edinburgh through judicious use of sets, lighting, camera placement, sound, and editing. Also featured--mainly for marquee value--was Bela Lugosi in a small role as MacFarlane's servant Joseph. Although Lugosi and Karloff had only one scene together, it was a great one,

and was the last gasp of respectability in Lugosi's sad career.

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