(1940)
Dir - A. Edward Sutherland
Overall: MEH
Released the same year as The Invisible Man Returns and featuring two gimmicks, (one in that the unseen "monster" this time is female and two in that this is a screwball comedy), The Invisible Woman can be looked at as the first dud in Universal's horror sequels. Calling this a horror movie is quite inaccurate though as nothing the least bit horrific occurs, unless kicking an uppity model agency boss in the butt counts. What does occur is a lot of groan-worthy attempts at humor including puns, people falling down, and the usual gag of characters thinking that some form of supernatural tomfoolery is afoot when in fact simply invisible tomfoolery is afoot. To be fair, a select few of the jokes are harmlessly chuckle-worthy and the script has a goofy charm to it that is no more or less ridiculous than other movies of its kind. Plus John Barrymore is a hoot as a quacky scientist and Shemp Howard shows up as a mob henchman, though the latter does not get to say or do all that much. For the most part it is pretty lousy and forgettable though, yet the 180 change in approach was at least an admirable risk to take.
(1941)
Dir - George Waggner
Overall: GOOD
Released under a barrage of different tittles, (Electric Man, The Mysterious Dr. R, The Atomic Monster), Man-Made Monster also served as Lon Chaney Jr's first horror film and the one that landed him a career-making contract for Universal. Originally conceived as yet another vehicle for Boris Karloff and Béla Lugosi, the project was shelved for a number of years as it bared some similarities to The Invisible Ray which also paired the horror icons. Bringing in the reliable Lionel Atwill to play yet another "mad" scientist with a cockamamie scheme, as well as having George Waggner behind the lens, (who would go on to work with Chaney again that year in their seminal follow-up The Wolfman), it is an effective if comparatively lesser known monster movie from the studio that produced the best lot of them. While the premise and special effects work have a fun, dated charm to them, Chaney's naturally sympathetic performance helps sell the proceedings. The actor was always at his best playing tragic, gentle giants and as a go-lucky guy full of electricity and somehow under the mindless control of Attwill's Dr. Rigas, he is as likeable as ever.
(1943)
Dir - James Hogan
Overall: MEH
Overall: MEH
Launched into production to go along with Son of Dracula as a double feature, The Mad Ghoul was the final directorial effort from James Hogan who died just over a week before its release. One of the rare Universal monster films during their golden era that did not star any of their major, hallmark players, (though B-movie scream queen Evelyn Ankers is at least on board), it has another familiar set up of a mad doctor controlling a poor sap to do his unsavory bidding, all in the name of science and for the betterment of mankind. The flimsy, technical details are of minor importance as the plot focuses on three different men who are in love with a beautiful opera singer, with the malicious one being clear from the beginning. As there is no mystery, no star power, and Jack Pierce's make-up effects are barely detectable, it hardly constitutes as one of the studio's most memorable efforts. Still, it has a couple of ghoulish moments, (pun intended), and the weird pairing of grave robbing, monkey experiments, and hypnotized, quasi-zombies at least sounds wacky on paper.
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