Black Friday

In order to save a friend's life (Ridges), Dr. Ernest Sovac (Karloff) must perform a "brain transplantation" using the brain from a gangster (also played by Ridges). It is an illegal operation and one that has horrifying results. I must admit I had a hard time getting past the idea that a man who had a brain transplant would make up and still be himself (and not the person whose brain he now had), but once I did I enjoyed all the wonderful melodramatic hooey. Karloff is great in his role as the caring doctor with a sinister motive for saving his friend's life and Lugosi is super in his unusual role as a gangster (despite his European accents). But Stanley Ridges stole this show and did a perfect job with his Jekyll and Hyde personas.

BLACK Friday (Universal, 1940), directed by Arthur Lubin, stars Boris Karloff and Bela Lugosi together for the fifth time. In this mix of science fixture and gangster melodrama, they share no scenes together, resulting to a Karloff showcase, with Stanley Ridges giving a memorable performance in a role originally intended for Karloff in the role originally intended for Lugosi. More about that later.

The story begins in prison with Doctor Ernest Sovak (Boris Karloff) walking his last mile to the electric chair (on a Friday the 13th) for the murder of his closest and dearest friend, Professor George Kingsley. Before he is to meet with his destiny, Sovak stops for a moment to give his diary to a young newspaper reporter (James Craig) so that he can die leaving the world "the benefit of his scientific knowledge." As the reporter opens the doctor's diary, the scene shifts to an extended flashback where Sovak (offscreen) narrates the events that had lead him to his present state with the camera focusing from time to time on the his written passages written under the calendar date: George Kingsley is a kindly middle-aged but somewhat absent-minded college professor of English literature. He dismisses his class and enters the automobile driven by his friend, Ernest Slovak, along with his wife, Margaret (Virginia Brissac), and Slovak's daughter, Jean (Anne Gwynne). Stepping out of the automobile, Kingsley observes the sound of gunshots before two automobiles approach his way. One runs him down while the other, driven by gangsters headed by Eric Marnay (Bela Lugosi), head down another direction, fulfilling their mission by doing away with "Red" Cannon, a rival mobster, now belonging to "the history of crime." Placed in an ambulance along with Red Cannon, who will live only with a spine fracture, Sovak accompanies Kingsley, suffering from a near death concussion, to the hospital. Learning that the gangster Cannon has left behind $500,000 in stolen money, Sovak, in order to save his friend, decides to test his theory of "brain transplantation." He goes through with the operation by placing the gangster's brain into Kingsley's, logging every detail in is diary. Kingsley survives the operation, but goes through the split personality of becoming Cannon, avenging the men who tried to do him in, and resorting back to Kingsley. Several deaths result and the money is found. As Kingsley returns to his classes, the gentle professor cannot control his inner self whenever he hears police sirens, causing him to become the cold-blooded killer Cannon, out to get Sovak, his next-in-line victim.

The supporting cast features Anne Nagel as Sunny Rogers , a night club singer and Red Cannon's girl; Paul Fix as William Kane; Edmund MacDonald as Frank Miller; John Kelly as the gabby taxi driver; with Murray Alper and Joseph King, among others.

BLACK Friday is an interesting film of character study that proves to be a disappointment at times, mainly due to having Karloff and Lugosi working apart instead of as a team. According to Bob Dorian, former host of American Movie Classics, in his 1989-90 profile on BLACK Friday (originally titled "Friday the 13th"), mentions that the original script had Lugosi playing Sovak and Karloff as Professor Kingsley. While Karloff's kindly professor was believable, he wasn't convincing as the gangster. The doctor part went to Karloff, Ridges played the professor and Lugosi, already signed to appear, was reduced to play one of the mobsters. While Lugosi's role is limited, in fact, miscast, he is given one harrowing scene hiding inside the closet, only to be locked in by Cannon after discovering his whereabouts. Cannon places a refrigerator outside the door where the victim (who tried to rub him out) suffocates to death. Marnay's (Lugosi) constant pounding and bitter cry of "Let me out!" remains in memory long after the scene is over. An Academy Award nomination for Lugosi? I don't think so.

BLACK Friday did become part of the Universal Horror film horror collection on home video and later DVD through MCA Home Video. It's cable TV broadcast history consisted that of the Sci-Fi Channel (late 1980s) and American Movie Classics (1989-90, 2000-02). If the underscoring in the closing cast credits sound familiar, it was lifted from Karloff and Lugosi's previous collaboration of SON OF FRANKENSTEIN. That score would be used again in other Universal products through much of the early 1940s.

Although Stanley Ridges worked in numerous films over the years, this was one of the few times in which he had a leading role or two. Ridges does a good job here, probably better than anyone realizes. No doubt that BLACK Friday would have drifted to obscurity had it not been for the top names of Karloff and Lugosi heading the cast. In the tradition of many 1940s films, telling its story via flashback, BLACK FRDAY is certainly one not to be taken very seriously. (**)

if you found this film in your "Bela Lugosi Collection" or some other feature with Karloff and Lugosi, you will probably be disappointed the two horror stars were minor players.

This movie is really about the Stanley Ridges character of a College professor who finds part of the brain of a gangster implanted in his head. You have some very nice transformational scenes where the actor changes personality by merely changing his hairstyle and mannerisms.

It is said Karloff was supposed to play the professor/gangster, and Lugosi the doctor, but they changed casting at the last minute when Karloff balked at what he thought would be too complicated a role. Ridges pulls it off perfectly. And sadly, the guy is probably not remembered for much of anything else.

Ruthless gangster by night, meek college professor by day.

Really a B-movie, but fun to watch.

After his close friend, an affable and absent minded college professor (Stanley Ridges) is critically injured when a gangster runs him down, Karloff does what any other doctor would do – he transplants the gangster's brain into Ridges' head. Incredibly, Karloff manages to do this by himself, with no one at the hospital knowing about it. What's more, he doesn't need prior authorization from Ridges' health insurance company. In fact, Karloff does such a great job, there are no scars on Ridges, and he also maintains his full head of hair.

It seems the gangster has hidden 500 grand somewhere, so Karloff figures maybe he can coax the ___location out of Ridges, who is starting to act strangely. In short order, the gangster brain takes over, and Ridges (now looking about 30 years younger) goes on a killing spree, exacting revenge on his former gang. On occasion, he returns to his professor self. How will this all end? If you can ignore the stupidity involved, this is one of the most entertaining of the Universal horror flicks. Beautifully paced, never dull, the film benefits from a great Hans J. Salter score, with familiar themes he used over and over in multiple films. Karloff is fine as the doctor. But the real star is Ridges, who is outstanding in a dual role. Anne Nagel, as the gangster's girlfriend, is gorgeous. Murray Alper is very amusing as a confused bellboy. However, Bela Lugosi, billed second, is woefully miscast as one of the gangsters.

This is not a bad film; it's a serviceable "B" thriller. In fact it is very reminiscent of the fine Columbia Studios Boris Karloff mad doctor/gangster/horror films of the late Thirties and early Forties. Curt Siodmak collaborated with Eric Taylor on a script variation of his "Donavan's Brain" theme. It has the polished look of some of Universal Studio's best "B" movies. Arthur Lubin's direction is competent-he keeps it moving along-but lacks the zest he would bring to the 1943 remake of "The Phantom of The Opera" starring Claude Rains. It has a good supporting cast that includes the lovely Anne Nagel, Paul Fix, Stanley Ridges, and in a brief role as the reporter who is the recipient of Dr. Sovac's notes, James Craig. Most important of all, and this cannot be overstated, it stars Boris Karloff and Bela Lugosi, the greatest horror team the cinema has produced. At least that is what the credits would have us believe. And this is where the film unfortunately goes all wrong. Karloff and Lugosi were a team with a fine pedigree; "The Black Cat" (1934) "The Raven" (1935) "The Invisable Ray" (1936) and their greatest collaboration, "Son of Frankenstein" (1939). They even did bits together in two slight films, "The Gift of Gab" (1935) and "You'll Find Out" (1940) with Peter Lorre. The chemistry the two generated in their scenes together in their horror films was terrific. Lugosi with his daemonic will to power and Karloff with his unique ability to combine the sinister with the sympathetic have delighted audiences for over seventy years. So it is not unnatural that devotees of their films would approach "Black Friday" with extremely high expectations. And for those expecting another Karloff-Lugosi teaming the disappointment, the sense of being cheated, is enormous. "Black Friday" is not a Karloff-Lugosi film despite what the opening credits suggest. Not only do they not share any scenes together, but Bela is relegated to the perfunctory, unimportant role of Marnay with very little to do except to try to look and act like an American gangster, who coincidently just happens to sound like Count Dracula. So what happened?

It has long been rumored that Karloff was originally going to play the duel role of Prof. Kingsley/Red Cannon-the best part in the film-and Lugosi was to play Dr. Ernest Sovac-the part Karloff eventually took. This would make sense. Sovac has a Hungarian name, so Lugosi's accent would not have seemed out of place and also his daughter makes reference to his being in the process of gaining American citizenship while the Kingsley/Cannon part would have provided Karloff with a nice variation of the type of roles he had been playing at Columbia. Instead for reasons that remain a mystery, Karloff got bumped to the Sovac role-Hungarian name still intact, Lugosi got the thankless part of Marnay while Stanley Ridges, an actor no one wanted to see got the plum role of Kingsley/Cannon! Who was responsible for this ineptitude? Ridges was a good actor with a fine speaking voice, and he had a career in supporting roles, usually playing minor officials or bureaucrats but no one in their right mind would ever think about building a film around him, certainly not a horror film. Not from a box-office point of view. Not when you have the talents of BOTH Karloff and Lugosi on the payroll. Then to add insult to injury when the film didn't perform to expectations instead of blaming it's failure on the moronic casting-imagine MGM casting Marie Dressler to play Juliet and then wondering what went wrong-the studio heads chose instead to believe the Karloff-Lugosi team was no longer box-office. It was a sad end to a great horror collaboration, and the disappointment of Karloff and Lugosi fans is thoroughly understandable.

Unfortunately while the miscasting is the most grievous flaw, it is not the only one. There are other problems at work undermining the film. The most serious being it completely lacks any atmosphere of horror. Like many of Universal's Forties fare the film is slick and professional but utterly lacking in any style. This can be deadly in a horror film. As mentioned before the direction is serviceable while the score-always one of the strong points of the Universal horror films-is simply stock music and forgettable, except when it recycles some of Hans J. Salter's themes from earlier horror films. The same might be said of Elwood Bredell's cinematography-its serviceable but nothing more. And that pretty much sums up this last teaming of Karloff and Lugosi in a Universal horror film. Its serviceable and nothing more and thats sad because with a little more thought and care-and more intelligent casting-it could have been quite good. It is somewhat ironic that RKO Pictures, Universals great horror competitor of the Forties actually provided a more fitting coda for the Karloff-Lugosi team in the beautifully atmospheric 1945 Val Lewton production of "The Body Snatcher". They have only one real scene together but it showcases both stars. And it gives Lugosi, in ill health and drug-ridden as he was, one last chance to show the world he was a fine actor and not just a flamboyant personality.