It's the nature of businesses to try to capitalize on others' success. Here we have a movie taking elements from the earlier 'Dracula' (1931) and 'Frankenstein' (1931) -- in a Germanic town the village leaders believe that vampires (in the shape of bats) have been the cause of recent deaths of bloodless victims. Even though shot at Universal (and at the Bronson caves!) it's a Poverty Row feature; it's not fair to compare it with those earlier, more expensively made and superior films.
From the familiar and exciting, chilling music of the main titles (which must have been by Mischa Bakalienikoff), through the talky but well done opening sequence, we anticipate the arrival of Lionel Atwill, Fay Wray and Dwight Frye to give us a good 30s mystery film. Unfortunately, it doesn't happen. That's the disappointment.
We get little more than the formulaic elements of such films but with slow pacing, low budget, not enough of Dwight Frye, the overdone presence of Maude Eburne (Aunt Gussie), and the premise for Lionel Atwill (Dr. von Niemann) to require human blood or how he exhibits mind control over his servant Emil (Robert Frazier) never made very clear.
Do not watch the technicolor 'Dr. X' (1932) -- which also stars Lionel Atwill and Fay Wray but as father and daughter -- before watching this the way I did; it's an Oscar winner by comparison. So watch this one first. Structurally, 'The Vampire Bat' still isn't that good. It plods along with too much talking or unnecessary comic relief, without focusing strongly on the vampiric villainy.
Besides 'Dr. X' and 'Mystery of the Wax Museum' (both 1932 and co starring Fay Wray), Lionel Atwill's most famous appearances are as the one armed gendarme in 'Son of Frankenstein' (1939) and as Moriarity in 'Sherlock Holmes and the Secret Weapon' (1943). Dwight Frye steals all his manic scenes in 'Dracula' (1931). As the 'young lovers,' Melvin Douglas and Fay Wray have a nice kissing scene, but that's about it. He can be seen in 'The Old Dark House' (1932), and Fay gets dragged around by Joel McCrea in 'The Most Dangerous Game' (1930). Then there's her 1933 classic 'screamer.' Too bad more time, money and rewrites weren't available for this film to better showcase the talents and chemistry of Lionel Atwill, Fay Wray and Dwight Frye. Sadly, then, this drearily disappointing film only gets a 4.
From the familiar and exciting, chilling music of the main titles (which must have been by Mischa Bakalienikoff), through the talky but well done opening sequence, we anticipate the arrival of Lionel Atwill, Fay Wray and Dwight Frye to give us a good 30s mystery film. Unfortunately, it doesn't happen. That's the disappointment.
We get little more than the formulaic elements of such films but with slow pacing, low budget, not enough of Dwight Frye, the overdone presence of Maude Eburne (Aunt Gussie), and the premise for Lionel Atwill (Dr. von Niemann) to require human blood or how he exhibits mind control over his servant Emil (Robert Frazier) never made very clear.
Do not watch the technicolor 'Dr. X' (1932) -- which also stars Lionel Atwill and Fay Wray but as father and daughter -- before watching this the way I did; it's an Oscar winner by comparison. So watch this one first. Structurally, 'The Vampire Bat' still isn't that good. It plods along with too much talking or unnecessary comic relief, without focusing strongly on the vampiric villainy.
Besides 'Dr. X' and 'Mystery of the Wax Museum' (both 1932 and co starring Fay Wray), Lionel Atwill's most famous appearances are as the one armed gendarme in 'Son of Frankenstein' (1939) and as Moriarity in 'Sherlock Holmes and the Secret Weapon' (1943). Dwight Frye steals all his manic scenes in 'Dracula' (1931). As the 'young lovers,' Melvin Douglas and Fay Wray have a nice kissing scene, but that's about it. He can be seen in 'The Old Dark House' (1932), and Fay gets dragged around by Joel McCrea in 'The Most Dangerous Game' (1930). Then there's her 1933 classic 'screamer.' Too bad more time, money and rewrites weren't available for this film to better showcase the talents and chemistry of Lionel Atwill, Fay Wray and Dwight Frye. Sadly, then, this drearily disappointing film only gets a 4.