User Reviews

As of this writing, I have seen four of the nine Val Lewton DVD Horror Collection films and this one was, by far, the best.

Henry Daniell, Boris Karloff, Edith Atwater,Russell Wade, Sharyn Moffet and Bela Lugosi all acted well. I had forgotten that Karloff was a decent actor, not just some Frankenstein monster who couldn't deliver a line. He had a creepy voice, too, which lent itself nicely to horror films. I just found him fascinating here.

In addition, this movie had a well-known director, Robert Wise, and the story was adaption of a Robert Louis Steevenson. So, you see, this film had good bloodlines, pun intended. This was not some schlocky Ed Wood B-film. This movie is a high class affair.

I found it more of a crime story than anything else as a doctor (Daniell), trying to further his knowledge and needing human specimens (dead) to continue his research, has his graveyard supply cut off to him and then has to have his helper (Karloff) kill people to provide him the bodies. Meanwhile, a young and more moral student of the doctor, gets wind of what's happening and doesn't share his mentor's view that the "ends justify the means."

At any rate, this a keeper. Like the other Lewton films I've seen, it's well- photographed, too. I can only hope a few of the five I haven't seen yet are this good.

In 1831, in Edinburgh, the prominent doctor and professor Dr. Wolfe 'Toddy' MacFarlane (Henry Daniell) buys corpses for his studies and classes of anatomy from the notorious cabman John Gray (Boris Karloff), who is also a body snatcher. When his talented student Donald Fettes (Russell Wade) tells that he will quit medical school since his family cannot afford to support him, MacFarlane hires him as his assistant to permit Fettes to proceed his studies. Fettes meets a little girl that cannot walk anymore due to a coach accident, and he tries to convince Dr. MacFarlane to operate her but the doctor is reluctant. Soon Fettes discovers that Dr. MacFarlane has a secret from his past and Gray blackmails him. When Fettes learns how Gray obtains the corpses for Dr. MacFarlane, he has an inner conflict and does not want to continue as Dr. MacFarlane's protégée. But isn't it too late?

"The Body Snatcher" is a dark and gloomy horror tale with a creepy story about ethic in medicine, or how far a doctor should go in his researches. Boris Karloff has a magnificent performance, maybe the best I have ever seen of this actor. The direction of Robert Wise is sharp and the cinematography in black and white is impressive. My vote is seven.

Title (Brazil): "O Túmulo Vazio" ("The Empty Grave")

What can you say about Boris Karloff? He attacks this role with evil zest. I have not seen a lot of his work, but I was extremely impressed with his portrayal of Cabman Gray, the medical school's grave robber. (among other things) The modern horror genre simply focuses on gore, and doesn't allow characters like Gray, or actors like Karloff flourish, and that's too bad.

One could easily argue, as I surely will attempt to do so, that this film, The Body Snatcher, based on the classic story by Robert Louis Stevenson and produced by the wonderfully creative and inventive producer Val Lewton, is the home of Boris Karloff's best performance. Some will argue that his portrayal of Frankenstein's creature was his greatest role, and I would not argue with that. But his role as Cabman Gray is his best performance as an actor. It gives us a chance to see the real Boris and his entire acting range. He plays with relish a character wicked as can be , yet full of contradictions. This villainous rogue that steals bodies from graves and then creates bodies through murder is given an amiable side. He is the most interesting character in the story. He is the core of the story, and it is all due to Karloff's wonderful and witty portrayal. The story is excellent as our the other actors in the film, most notably Henry Daniell as the doctor abused and tormented by Karloff and past secrets. Although this was the last film to have both Karloff and Lugosi, it is a lopsided affair as Lugosi is given very little screen time and an even smaller role as a blackmailing servant. The best scene with both of them is the murder scene of Lugosi's character, and it is one last glimpse of the two great boogeymen sharing the screen once more together. Outstanding film, competent direction, and excellent acting make this film one of the better horror films of the 40s and one of Karloff's finest moments on the screen period.

This interesting story is adapted from a novel by Robert Louis Stevenson . It concerns John Gray (Boris Karloff) , he's a cabman who provides dead bodies for illegal medical research in charge of Dr. MacFarland (Henry Daniell) . Then Gray is blackmailed by MacFarland's servant (Bela Lugosi) . Meanwhile , his doctor assistant Donald (Russell Wade) tries to help a mother and her paralytic daughter , and for experiments , he asks for help John Gray in order to get corpses.

This is a fine , suspenseful and intriguing terror movie based on the actual characters of the nasty gravediggers Burke and Hare that have been adapted a number of times . Tension , horror, thriller appear lurking , menacing in graveyard , dark slums , home stairs , rooms and cementery . The film gets the expressionist German atmosphere , thanks to cameraman Robert De Grasse . He along with photographers Nicholas Musuruka and John Alton are the main artificers of noir cinema atmosphere . Casting is frankly outstanding . Terrific Boris Karloff as a sinister graverobber , he creates authentic frightening and panic , impressive Bela Lugosi , both of whom share the last creepy scenes together and Henry Daniell does an equally compelling turn . Usual musician RKO , Roy Webb , composes an adequate musical score with habitual musical director Bakaleinikoff . Exciting screenplay by Philip McDonald and Val Lewton -under pseudonym Carlos Keith- . The motion picture was well directed by Robert Wise and magnificently produced by Val Lewton . RKO's Lewton is a great producer of horror classics , such as : ¨Cat people¨, ¨Leopard man¨, ¨I walked with a Zombi¨,¨Ghost ship¨, among others . Rating : Better than average , well worth checking out. The tale will appeal to Boris Karloff fans and cinema classics buffs.

A sinister coach driver John Gray (Boris Karloff) supplies corpses for Dr. Wolfe MacFarlane (Henry Daniell) and his assistant Donald Fettes (Russel Wade), but things start going pair shape when Dr. Wolfe finds out more about where these corpses are coming from, as supplies are running short and he tries to get rid of Gray, who doesn't share his buddy's (or Toddy's) thoughts. Another thing on their minds is that a mother of a young girl with a bad vertebra that's getting worse asks Dr. Wolfe for his help, but he refuses at first. But with the constant bugging from assistant Fettes, he finally goes ahead with the operation.

The more I watch this film, the better it seems to get! Val Lewton's "The Body Snatcher", which is set in the year 1831, Edinburgh - is an excellently well-handled thriller that holds SUCH great performances from the likes of Boris Karloff, Henry Daniell, Russel Wade, Edith Atwater and Bela Lugosi. What shines and drives the film other than its performances - is the intelligent screenplay and hypnotic atmosphere and setting that reeks of death and coldness. The foggy, empty and dark streets of Edinburgh during the night have an approaching sense of menace, especially when Karloff is on screen. An impressive Boris Karloff as John Gray the Cabman evokes such tension and depth. He always makes his presence distinguishable, with the scenes he's in being the most interesting. His appearance and body language has some unsettling effect - in a captivating way. His performance in my opinion is up there with the likes of "The Mummy" and "Bride Of Frankenstein". I read a lot positive remarks towards Karloff's performance, but IMHO Henry Daniell was equally as good. He's great as the troubled Dr. Wolfe, who is haunted by Gray. You could say he was the backbone of the film. When these two shared the screen, is when the fireworks certainly occurred. Russel Wade is quite sympathetic in his role, as the reluctant assistant who gets drawn into Dr. Wolfe's mess. Edith Atwater delivers a sound performance and there's basically a neat cameo role by Bela Lugosi.

I wasn't bored, but for some people it might be a tad too slow and real talkative, as what this film thrives on, is its vivid literature, well-rounded characters and potently gripping confrontations, especially between Wolfe and Gray. The story has its moments of psychological suspense that steadily develops into a thrilling and powerful finale (that has the usual thunderstorm evident). The way the final lines of dialogue were set up in that sequence is truly unnerving. Also throw in elements of greed, guilt and pride and how it gets the better of people. So there is a moral to all of this. Sudden shocks and jolts fill the film, but definitely not cheap ones. Mostly the deaths are implied, though there is great use of sound in those situations eg. The sound of a horse trotting. It's very effective! It isn't stylish or spirited directing by Robert Wise, but to cap it off, he achieves a downright inventive and believable movie piece.

My only small complaint is that it could've been a much darker film, but it's the lightness of the sub-plot about the crippled girl that "slightly" spoilt it. Was it trying for an innocent point of view?Nonetheless, it's still my favourite Lewton/Karloff film, to date.

"Never get rid of me!"

Producer Val Lewton and Director Robert Wise bring together horror fans two favorites. Boris Karloff and Bela Lugosi appear for the final time together in this chilling story of grave robbing, illegal dissections and murder. Very chilling movie from the '40s that views well even today.

Henry Daniell is the doctor/surgeon forced to deal with a blackmailing grave robber. The doctor's assistant is Russell Wade. The movie does have a couple of tender moments involving a little girl needing help. Classic fright from its era.

THE BODY SNATCHER who supplies fresh corpses for an Edinburgh doctor in 1831 soon adds blackmail & murder to his iniquitous deeds.

This was one of a short series of horror films in which Boris Karloff starred for producer Val Lewton, the others being ISLE OF THE DEAD (1945) & BEDLAM (1946). Lewton had the knack of producing films full of atmosphere & menace on a very low budget and THE BODY SNATCHER is no exception, getting most of its chills from the wonderful acting and the literate, intelligent script - although the climax is genuinely terrifying.

Karloff is chillingly perfection in the role of the sly coachman who augments his salary with a little grave robbing. A gentle man who is kind to crippled children, yet can murder without a second thought, Karloff paints the cunning portrait of a very human monster. Every step of the way, however, he is equaled by Henry Daniell, a wonderful British character actor who never received due recognition for his skills. Playing a brilliant anatomist who feels he must continue to use Karloff's gruesome deliveries for the light they shine on solving medical problems, Daniell delivers an elegant portrayal of a deeply conflicted man who is pulled ever nearer the center of the vortex.

In a relatively small role - his last with Karloff - Bela Lugosi is memorable as a greedy servant who tries blackmail at the worst possible time. Russell Wade as a medical student and Rita Corday as a young patient's widowed mother help move the plot along, but wisely no romantic subplot is allowed to develop. Edith Atwater does very well as Daniell's housekeeper, a woman with many secrets.

Movie mavens will recognize elderly Mary Gordon, unbilled as the pathetic mother at Greyfriars graveyard.

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At one time, the bodies of executed prisoners supplied the medical schools of Britain with all the corpses they could use for the purposes of dissecting & lecturing. But judicial reform nearly dried up the flow of bodies from that source, while the proliferation of new schools and anatomy theatres made the shortage acute. The medieval laws still on the books made the legal acquirement of bodies almost impossible. The ghastly vocation of body snatching thus arose to fill this void.

Body Snatchers - also referred to as grave robbers, resurrectionists, or Sack 'Em Up Boys - would haunt cemeteries by night, looking for the recently deceased to disinter. Often the caretakers in the graveyards would be in financial league with these hooligans, as well as the doctors at the medical schools. Prices paid for the bodies could be quite exorbitant, considering the risks that were taken. Leaving dogs or spring-loaded guns at the graveside were just some of the elaborate precautions taken by the friends of the deceased, who often kept vigil by the graves until enough time had passed to make the corpse no longer desirable. Eventually, it became quite difficult to count on the graveyards to furnish enough fodder for the grisly trade.

'The ruffian dogs, the hellish pair, The villain Burke, the meager Hare... Nor did they handle ax or knife To take away their victim's life... No sooner done than in the chest They crammed their lately welcome guest...'

Arriving in Edinburgh in 1827, William Burke met fellow Irishman William Hare, who was keeper of a low lodging house. Scurrilous rascals both, when an old pensioner died there in November of that year, Burke & Hare sold the body to a surgeon for 7£, 10 shillings. Delighted with this easy money, the nefarious pair soon took to hastening the deaths of their 'subjects.' At least 15 hapless victims were lured into the lodging house and smothered (so as to leave no sign of violence on their flesh), the bodies then sold to respected surgeon Robert Knox. On Halloween in 1828, suspicious neighbors summoned police and enough evidence was found to immediately arrest Burke & Hare. At the trial, Hare turned King's evidence and admitted to the murders. He was released and promptly disappeared. In his confession, Burke completely exonerated Knox of any knowledge of the killings, but the doctor was hounded by the press & public and quickly relocated to London, where he carried on a successful career. Burke was hanged on January 28, 1829. His corpse was eviscerated and his skeleton is still on display in Edinburgh.

A year after the events in the movie, the Anatomy Act of 1832 made it legal for the bodies of those dying friendless in poorhouses and hospitals to be given to local medical facilities for study and dissection.

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The film incorporates the story of Greyfriars Bobby (called Robby in the movie) but makes a muddle of the facts. In reality, Bobby was a Skye terrier that refused to leave the graveside of his master, an elderly, indigent shepherd, in the graveyard at Greyfriars Church in Edinburgh. Bobby stayed faithfully at his post for years and became a tremendous sentimental favorite of the city folk, before dying of old age. Today a statue near the church commemorates his memory.

A later Val Lewton film, from his costume picture period, The Body Snatcher, from a Robert Louis Stevenson story, directed by Robert Wise, is a fine if somewhat moralistic and sentimental horror tale. It lacks the alogical, almost surreal qualities of Lewton's earlier movies, where much is left unexplained, even inexplicable, and a great deal happens off-screen; and even then one can't be sure of what really occurred, as events are often related anecdotally, or merely suggested. In his first few horror exercises Lewton cared as much for gentility as fright, often basing his stories on legends and superstitions, as much of their power came from the vagueness of reality, and the capacity our imaginations have for creating and even shaping our experiences.

By the time The Body Snatcher came around Lewton was moving somewhat closer to mainstream horror. Legends still matter, and the feeling of the dead hand of the past on the present as a Lewton theme is very much alive. In this film it is the notorious case of the grave-robbing Burke and Hare of 19th century Edinburgh, and their effect on a distinguished physician who has continued to do business with one of their former confederates. As the decent-minded but less than morally fastidious doctor, Henry Daniell is outstanding, and surprisingly sympathetic; and he has here perhaps his longest and most sustained role in a movie. He certainly has more screen time than in any other picture I've seen him in. Top-billed Boris Karloff gives Dr. Daniell more than a run for his money as the grave robbing, yet intelligent, observant and not altogether evil cab-man Gray. Karloff's performance is physical as much as anything else, as he uses his body here more eloquently than in any other part outside the Frankenstein series. He knows how and where to stand in relation to others, managing, as always, to look taller than he really is. With his big hat, scarf and long coat, he seems to have walked out of a Dickens novel. Karloff's performance reminds me of how much acting has as much to do with body language as anything else; and that there is a degree of posing,--not fakery--but standing still and letting a character project from the way an actor holds himself as from speech or facial expression.

The movie itself falls just a bit short of being great by it less than brilliant script and the enforced sentimentality of the subplot about a crippled girl. I agree that this was a good idea, and could have made the film all the more powerful, but the scenes around her are stilted, and the actress who plays the girl is none too convincing. It was a good try, though, and almost works, especially in her last scene, but the writing and staging were a little off. I can't help but respect Lewton and Wise's intentions, but they overreached themselves, and I feel bad about it. The climax in the carriage with the corpse, however, and the ghostly repetition of "never get rid of me!" is still impressive, and saves the film in the end.

The Body Snatcher (1945) : Brief Review -

Robert Wise was too wise to use horror legends Boris Karloff and Bela Lugosi in tailor-made roles and the story of infamous murderers Burke and Hare. I am not a big fan of Robert Wise, but I have loved some of his notable works, such as "The Set-Up" (1949), "The Day the Earth Stood Still" (1951), "Run Silent, Run Deep" (1958), "West Side Story" (1961) and "Sound Of Music" (1965). He wasn't doing that great during the early days of his career, i.e. The 40s, but there were two films I shall count as winners. The Body Snatcher and The Set Up have to be those two works that I can recommend to movie lovers for sure. It was a tough film, and there were so many challenges for him. It was not easy at all to use Robert Louis Stevenson's short story in an extended cinematic version and to use three things: the relevant reference of Burke and Hare, Dr. Knox and Boris Karloff in the horror genre, who had become a horror icon by then. Wise was wise enough to understand the challenges and take them through very well. The Body Snatcher is about a ruthless doctor and his young student who find themselves continually harassed by their murderous supplier of illegal cadavers. The secret tortures the doctor, but will he be rid of him? Find out the answer in the film. The film is hyped by the presence of two horror legends, Boris Karloff and Bela Lugosi (side role). They were both part of many horror films in the 30s, and most of them are iconic horror classics. The Body Snatcher presents them in tailor-made roles, and you will enjoy the film more because of their presence. Maybe you'll love them more than the film. Russell Wade, Henry Daniell, Edith Atwater and Rita Corday have done well enough to leave a mark, whereas that cute little Sharyn Moffett will have you pouting for her. As a whole, Robert Wise delivers a nice horror thriller that can perhaps be termed as his greatest work in the genre.

RATING - 7/10*

By - #samthebestest.

Boris Karloff and Henry Daniell. Henry Daniell usually plays a stuffy villain as this time his stuffiness is shifted toward being a gifted physician named Dr. Wolfe 'Toddy' MacFarlane who desperately needs cadavers for the training of his students. That's where John Gray - Boris Karloff - comes in. Stevenson's story is a comment on the times. Daniell and Karloff are constantly at each other in very believable situations both verbally and physically. Karloff's character seems to be devoid of feelings while Daniell's is increasingly being painted into a corner. John Gray constantly annoys Dr. MacFarlane by calling him Toddy ALL the time in that incredibly sinister Karloff lisp that has a slightly insincere smile to him. Karloff is a master of evil and Daniell plays off of him to perfection. Karloff also calls Dr. Donald Fettes by his last name which gets on the doctor's nerves as well.

Pay particular attention to the final X-Files style psychological ending that makes modern slash and gore films look like drivel.

This film noir horror flick is every bit as good as the best movie versions of The Strange Case of Dr. Jekyl and Mr. Hyde by Stevenson.

This is a surprisingly good movie. Having recently watched the Mummy (1932), I stumbled upon this forgotten gem as part of a DVD double feature to see Boris Karloff in a lesser known role. I had assumed I would be bored with a period piece film that I had never heard, and that this would be a plodding vehicle banking on Karloff's name recognition.. I could not have been more pleasantly surprised. Body Snatchers is very entertaining. I had second thoughts initially, but the pace picked up and moved briskly to a very rewarding climax. The cinematography was well done, especially in lighting Karloff's face. The use of lightning is especially effective for the payoff shots. A dark period piece set in early 1831 Scotland, Karloff plays a cab driver who supplies a medical school with cadavers. The doctor of the school is involved in the uneasy relationship with Karloff, and is blackmailed as Karloff's John Gray eschews digging for fresh corpses.

Boris Karloff is the reason I took a chance with this film, and he turns in a great performance. Karloff is surprisingly adept at being able to convey some depth here. He is very kind to a young crippled girl, and seems to be able to genuinely care as he helps her interact with his horse. Karloff was able to imbue his Frankenstein with a similar humanity that was much missed when other actors took the role. Karloff was more humanized with Frankenstein, particularly in such scenes as with he blind girl and the flowers. His characterization doesn't go for that depth here, but his cab man John Gray is much more than a single dimensional embodiment of evil. I am particularly impressed by Karloff here, as Karloff's John Gray exudes a certain uneasy charisma. His manipulative leer is the embodiment of evil that lurks in mans heart. Smiling and leering through many of his lines is enjoyable to see unfold. Gray is a snake, showing both great charm and a genteel veneer, coupled with the ability to menace and bully his Dr. McFarlane. He toys with McFarlane, and is able to coerce the doctor throughout. It's especially enjoyable as he harasses McFarlane with the too familiar 'Toddy'. The doctor is being black mailed, and Karloff knows a dark secret he holds over his head, and being on a first name basis is a little much for the doctor. Karloff is known to go a bit far and often careens into a hammy self parody, but here his voice and leering evil eyes are a guilty pleasure.

Body Snatcher was produced by Val Lewton who was brought to work for RKO studio in the Forties to make horror movies that would compete with Universal. He never was able to produce an iconic franchise monster, but nonetheless he was able to produce what were generally artful productions, and is hailed as one of the leading names in horror movies. With Cat People (1942), audiences were deliberately left with the uncertainty of what was happening in the minds of the characters, or was part of the reality of the film. This ambiguity was used to great effect by Darren Aronofsky in Black Swan (2010). Lewton utilized a variation of this approach in other notables efforts such as I Walked with a Zombie (1943), The Leopard Man (1943), Isle of the Dead, (1945), and Bedlam (1946). Bedlam would be Lewton's last horror film for RKO. Body Snatcher and Bedlam would be less concerned with the supernatural and more oriented in dark period piece settings. Lawton's films tend to be able to suggest terror and rely on the implied rather than the implicit. Lewton was able to progress the genre, and his style fit perfectly with RKO's financial woes and subsequent budget limitations. Here he brought Robert Lewis Stevenson's short story to the screen by providing the screenplay and employing Robert Wise.

Body Snatcher is the first movie directed by Wise. Wise worked with Orson Welles as an editor on Citizen Kane and The Magnificent Ambersons before co directing Lewton's The Curse of the Cat People (1944). Wise can be called one of cinemas great directors without such a loft remark being construed as hubris. Wise directed landmark films West Side Story, and The Sound of Music. He went on to direct The Day the Earth Stood Still, and Star Trek The Motion Picture. Each of these films are considered to be landmarks, and are indicative of a master at the height of his craft. It is mind boggling to consider the unrelated styles and genres from these successes, with only a high level of acumen from Wise as the common denominator. It would be hard to imagine that another director worked so successfully in such a varied number of genres.

This was a very enjoyable film. It is well acted, well directed and well produced. What more can you ask for? I fully expected this to a be a slow paced dated affair. It wasn't. Much impressed with this movie, I am looking forward to watching Val Lewton's other film here: I walked with a Zombie (1943). While there are several compilations available highlighting his films, after watching Body Snatcher I will be purchasing the other bargain bin double feature which includes Isle of the Dead (1945) and Bedlam (1946), both of which pair him with Boris Karloff.

Bottom Line: I would give this a 78. This film is more appropriate for those with a little more attention span, although the pacing is brisk. It starts a little slow, but builds itself well, and has a very good climax. For those relying on special effects, and explicit graphics should have already be warned off by the release date, and the black and white film. Karloff is in fine form, and it is a special treat for those looking for more than his high profile roles from this icon of the Horror genre.

Simpleton student doctor Russell Wade (Fettes) is American and speaks in a naive manner that has you astounded he can make it through to medical school. Anyway, it's 1831 Edinburgh – or Edinburrow as Wade pronounces it – and the Hare and Burke case is fresh in everyone's minds. Hare and Burke murdered people to provide bodies for medical research. Henry Daniell (MacFarlane) is the doctor that Wade is assigned to and stays with during his training. Bodies are needed for dissection purposes – enter cabman Boris Karloff (Gray). Karloff provides a service for Daniell. These two characters have a history that needs resolving…

The story is about grave robbing and murder as a business. The two main characters – Karloff and Daniell are excellent in their roles. Karloff is scary and funny and Daniell is funny and flippant. They, along with some memorable scenes are the good points of the film. These scenes include the final nightmare cab ride that Daniell takes and the scene where servant Bela Lugosi approaches Karloff to blackmail him. Bad move.

Unfortunately, the film is let down by some overbearingly awful sentimentality. We get a terrible singer that is allowed to sing on more than one occasion. The film spends way too much time with her awful, annoying voice and stupid songs. When Karloff gets in his cab one evening to pursue her we get what is the most satisfying moment of the film. Ha ha ha. My wife and I laughed out aloud at that point. Great moment. However, we also get a sentimental story about a crippled child and some nonsense about a white horse that doesn't work and really annoys. You know the kind of thing – will the crippled child walk again when she sees the white horse – guess what..? …I'm gonna puke. So, the film loses marks for this insulting crap.

So, overall, the film is OK, let-down by an awful child actress and an awful singer. They are, unfortunately, in the film for long enough to ruin the whole experience. Karloff is great, though.

Val Lewton's THE BODY SNATCHER is one of the most "literate" films in the horror genre. Based on a short Robert Louis Stevenson shudder tale, it is the story of a young medical student, Fettes, in 1820s Scotland. Fettes is a promising doctoral candidate who has taken on an apprenticeship of sorts with a Dr. MacFarlane, a prestigious physician who runs a medical college. Todd MacFarlane is a very talented medical scholar of the academic sort, whose own past is tainted by an earlier acquaintance with the grave robbers Burke and Hare, who provided human specimens to his mentor, a Dr. John Knox.

Haunted by his past, MacFarlane is tormented and blackmailed by a "jack of all trades", a cab-man and grave robber John Gray. Gray, a working class man from the most impoverished sections of the urban poor, takes great delight in this power, and lords it over MacFarlane's household, which includes the doctor's wife- also privy to MacFarlane's secret- who poses as MacFarlane's housekeeper, in an awkward attempt to hide the roots of MacFarlane's own social climb. MacFarlane is also in need of Gray's continued "services", which Gray attends to with a sardonic relish. The younger medical student Fettes is pulled into the secrets of the household, which in the end, devour MacFarlane and his efforts to survive in the class structure of Scotland.

With THE BODYSNATCHER, Boris Karloff displayed his true depths as a performer, and outside of his original performance as the Frankenstein's monster and perhaps Columbia's THE BLACK ROOM (1935), there are few other films in his immense resume that really display what he was capable of as an actor. In THE BODYSNATCHER, he is at the top of his form. He is supported by actors Henry Daniell, Russell Wade and Edith Atwater, and the movie also marks his final appearance with Bela Lugosi. All of Val Lewton's technique is brought to bear in this work to offer the audience effective atmosphere, and tight pacing under the direction of Robert Wise. All in all, it is a remarkable work, an impeccable contribution to the genre that calls itself horror.

In Edinburgh in 1831, one year before the Anatomy Act was passed that expanded the legal supply of cadavers for medical research and education in reaction to public fear and revulsion of the illegal trade in corpses, a surgeon hires a cabman named John Gray (Boris Karloff) to dig up graves to provide him with fresh corpses for dissection -- but the body provider turns to murder to get new corpses for the doctor.

The frequent mentions of William Burke, William Hare, and Dr. Robert Knox, all refer to the West Port murders in 1828, a well-known series of kills where, like in this film, the doctor turned to questionable sources to get cadavers. A child's ditty immortalizes the events: "Burke's the butcher, Hare's the thief, Knox the boy who buys the beef!" This film features Bela Lugosi and Boris Karloff together, which is always a treat, though sadly their shared screen time is brief and this will be for the last time they come together. We are blessed to have the story come to us from Val Lewton, possibly the greatest horror creator of the era. His "Cat People" is a masterpiece, and this film is not ranked much lower, if at all.

Aside from the acting and directing, what really makes this film interesting is the series of dichotomies it presents. We have a need for cadavers on one hand (if doctors are to learn necessary skills) but this is balanced with the nastiness of grave robbing. If people do not provide their bodies for examination at death, what choice is left: ought we to rob the graves of freshly deceased, or ought we to allow doctors to practice blindly, possibly leading to more death? There's a backdrop discussion of social class, with the doctor's housekeeper who is secretly his wife (because he could not be known to marry below his caste). This puts the doctor in an interesting position, hiding his love from the world. We also see when he talks with Gray that he goes to Gray's lower level rather than bringing Gray up to his. The doctor is willing to submit to insult for his needs, but is not willing to decorate his seedy friends.

We see both Gray's humanity (with regards to a crippled girl) and his obvious inhumanity that comes out in his murderous spree. But, yet, as already mentioned... if the body of one person can potentially save the lives of many others, perhaps this cruel hobby is in fact a humanitarian act? One less blind girl could lead to fully meaningful lives for others. I will not make the judgment.

I owe a special debt to Peter Christensen for bringing some of these issues to my attention. While not considered a "classic" horror film on the level of many others, it remains a well-constructed piece of film, and an improvement on the story of Robert Louis Stevenson, something we do not often see.

Val Lewton has produced some of the most important horror classics of all time. His collaborations with the great Jacques Tourneur are the most noteworthy in his filmography, but some of the others are of note also. Like this one for example. The Body Snatcher is a psychological horror film, a study of guilt, and an expose on how people sometimes have to do bad things in order to do good, even though those bad deeds may well consume them. This is shown through the story of Wolfe MacFarlane, a doctor and teacher of medicine that employs cabbie John Gray to steal corpses from the local cemetery so that he can use them to show his students how to operate on a patient. However, this arrangement has put the cabbie/gravedigger in a position of power over the upper class doctor, and that is something that John Gray intends to capitalise on...

Boris Karloff stars as the grave digging John Gray, and does an absolutely excellent job with it. Karloff has to prove nothing to nobody after his portrayal of Frankenstein's monster, but his embodiment of exactly what you would expect a grave robbing, amoral lower class man to be like is right on cue. Fellow legend Bela Lugosi makes a welcome, if brief appearance also and the other lead role is taken by Henry Daniell. I haven't seen this man before...well, I didn't think I had - he's actually been in many well-respected classics including The Philadelphia Story and The Great Dictator. He does a great job as the lead; his performance bodes well with the film, and just like Karloff he's very believable in his role. The real star of the show, however, is the lush black and white cinematography which capture's the movie's many beautiful settings. Val Lewton has become famous for capturing this sort of atmosphere, and The Body Snatcher is one of the films that does it best.

The use of 'less is more' is right on cue in this film, and there is one sequence in particular involving Boris Karloff, a dark alley and a street singer that will be of particular note to film fans. In short; The Body Snatcher is a great horror film, and one that anyone who considers themselves a fan of great horror will not want to miss!

I saw this on AMC on Halloween night, as I was giving out candy to trick-or-treaters. This is one of the most interesting horror movies I've seen, if only because it is not a by-the-numbers monster movie or gore fest. Ironicially, while "The Body Snatcher" takes place in a real-life setting devoid of aliens or monsters, it is far more macabre than any modern horror movie you will see, precisely because it seems like there could be psychos like the characters in this film in real life. The role of the doctor was rather stiff and bland, but the script, adapted from a Robert Louis Stevenson story I've never read, helps this film flow along like fine wine in spite of some of the stiff acting. Boris Karloff, as the ghoulish cabman who does the doctor's dirty work, and acts as a sort of a grim conscience for the amoral physician, is divine in the role. While he may be best remembered for his mumbling Frankenstein's monster or, for the kids, as the narrator of "How the Grinch Stole Christmas", he proves in "The Body Snatcher" that he is a versatile actor who can really do well as a regular human rather than a literal monster, albeit a deliciously creepy, scary, and sinister human with a cockney accent.

If you love horror movies, but tire of Freddy Krueger ripping open teenagers or the Queen Alien spewing acid on her unsuspecting space marine victims YET AGAIN, watch this gem. It's unique, yet still pretty scary.

The Body Snatcher is the seventh of producer Val Lewton's influential psychological horror films made at RKO in the 1940s. It's based upon the short story by Robert Louis Stevenson, itself based upon the Burke & Hare murders of 1828. The plot of the film is that Dr. Wolfe McFarlane (Henry Daniell) and his assistant Donald Fettes (Russell Wade) need fresh cadavers to dissect and study. So they rely on the ghoulish cabman John Gray (Boris Karloff) to obtain the corpses for them. Fettes doesn't like this unsavory side of medical study but McFarlane convinces him it is necessary in the name of science. Soon, though, McFarlane begins to regret his dealings with the sinister Gray, who has begun to murder people in order to get the bodies needed.

This is a creepy and intense period thriller. The acting is excellent. Daniell and Wade are both quite good but it's Karloff who steals the show. This is generally regarded as one of Boris' finest performances and I have to agree with that. This is also the final film teaming of Karloff and Bela Lugosi. Their last scene together is powerful. The film makes great use of the Lewtonian trademarks of suggestion and shadow. Robert Wise's direction is excellent, as is the script by Lewton and Philip MacDonald. There's a great atmosphere that hangs over the film, as is the case with all of the Lewton horror films. A must-see for fans of Lewton and Karloff.

Dr. MacFarlane and John Gray share a murky past, but just what is this hold that the lurching Gray has over the eminent Doctor?. Based on a Robert Louis Stevenson short story, The Body Snatcher contains tight direction from Mr Versatile, Robert Wise - all the classy Gothicism one comes to expect from producer Val Lewton - and a stunningly effective performance from Boris Karloff. The piece neatly puts itself out as a kind of sequel to the infamous story of Burke & Hare, where here our main protagonists are clouded over by a link to the dastardly duo who purloined cadavers for cash in the 1820s.

What stands out with this picture is the wonderful pacing, nothing is rushed to try and jolt fear into the viewer, it's sedate and framed in a marvellous Gothic texture by the makers. The core story line is of course one of great distaste, but this is a medical quandary in the name of research that makes for a thought provoking narrative. We are put into a position very early on where we so want to see a young girl cured of her ills, and thus this axis of the film is neatly surrounded by the lurking horror that begins to unfold. You have to suggest that this is great writing from Stevenson, Lewton & MacDonald.

Boris Karloff is Gray, a large shuffling man who is the body snatcher of the title, he be a smirking and well spoken Gent, which really shouldn't be scary, and yet Karloff manages to chill the blood in every scene that he is in. Henry Daniell is MacFarlane, a very emotive performance as the character is twisted by his pursuit of medical achievements whilst having Gray's looming presence constantly hovering over him. Rounding out the cast with thespian effect is Russell Wade as protégé in waiting, Donald Fettes, Bela Lugosi (a classic horror fans dream comes real in one great sequence with Karloff) as Joseph, and Edith Atwater as loyal love interest Meg Camden.

However, the actors all play second fiddle to the makers' work here. Gloomy cobbled streets come shining to the fore, Gray's hovel like abode is cloaked in dark shadows with the odd flicker of fire light, while the stone surrounds come across as monolithic structures. Some great sequences as well, a particular one uses the characters' shadows to tell the story under the watchful gaze of Gray's cat, and then the final reel, which is mood personified and perfectly puts closure on this fine piece of fevered Gothic work. Highly recommended. 8/10

This dark-souled film revolves around doctors using illicit means to gain the corpses needed to learn the details of human anatomy. The Body Snatcher is Boris Karloff as a grave robber who oozes menace under a faux-genial exterior.

While Karloff centers the film, the moral quandary is on a young doctor seduced by the logic of necessity. It's a movie about the compromises we make and the lies we tell ourselves, and what happens when we realize how deep in we are.

This is one of the better Val Lewton productions, with an engaging story and loads of atmosphere. For many people, such as my girlfriend, it's perhaps the best of his films, although for me personally it isn't quite to the level of I Walked with a Zombie, Bedlam, or Curse of the Cat People. But it's well worth watching.

One of characteristics of the Val Lewton horror films made at RKO in the 1940s was that they mostly shunned the traditional horror characters and players, in favour of contemporary stories and straight actors. The Body Snatchers bucks that trend, being the only Lewton horror to be adapted from pre-20th century literature, and a cast boasting classic horror stars Boris Karloff and Bela Lugosi.

The director here is Robert Wise, in one of his earliest pictures. Wise, who went on to be the most successful of the young directors to graduate from the Lewton unit, was previously an editor. While editors-turned-directors may not have had much experience on the set, they will have spent a great deal of time studying other people's footage and this generally shows in their style. In particular, the young Wise can be noted for his use of space, creating atmosphere by showing off the emptiness of Henry Daniell's house, contrasted with the tight squalor of Karloff's lodgings. As is typical of the Lewton horrors darkness is used both to add ambiguity to the horror scenes and to hide the cheapness of the set, although unfortunately cinematographer Robert De Grasse is not as adept at this as Nicholas Musuraca, who did the job on Cat People.

The casting in The Body Snatcher seems to be aimed at bringing some tried-and-trusted creepiness to proceedings, as well as of course pulling in the crowds. Karloff does what is expected of him, playing the cabman Grey like a Dickensian villain. Although his hamming is kind of fun, his best moment is when the fall he took for MacFarlane is brought up, and he gets to do some real acting. As to the others – perennial villain Henry Daniell is merely average here. Bela Lugosi just looks ill, and sadly adds little. Lead man Russell Wade (no, me neither) is simply bad, and is continually upstaged by supporting players, child star Sharyn Moffett, the coach horses, bits of furniture and so on. Mind you, the screenplay is not exactly brimming with great dialogue, so it's no wonder the performances are a little lacklustre.

One of the reasons most of the Val Lewton horrors worked is because they tweaked familiar settings and brought horror situations a little closer to home. The idea of The Body Snatchers seems to have been to go instead for grisly Gothic atmosphere and yet still retain those other factors which made pictures like Cat People so effective, such as only hinting at a supernatural force rather than making it explicit. The trouble is, too much has been lost and not enough gained. With the exception of the final scene, which is classic Lewton, there is not enough of that "suggestive horror". We lack the impact of the domestic settings of earlier Lewton horrors, and while Gothic horror can be very effective, The Body Snatchers is simply not rich enough – it doesn't revel in the sinister mood that is needed to make Gothic horror work.

This is strange because Robert Wise had previously handled the standout atmospheric scenes in Curse of the Cat People (such as the ones at the old lady's house). He would also much later direct The Haunting, which is like a masterclass in the use of space to induce fear. The Body Snatchers is one of his weaker efforts. Val Lewton would return once more to the period horror genre with Bedlam, which again stars Karloff, and this is a far more effective picture, partly because the macabre subject matter makes the Gothic setting work, and also because it's satisfying to see Karloff in a relatively straight villainous role. The Body Snatchers was clearly made with good intentions and does have its supporters among Karloff fans, but overall it's a mediocrity.