The Ghost Ship (1943)
In 1943’s The Ghost Ship, Tom Merriam (Russell Wade), the young third mate on a freighter bound for Patagonia, witnesses the murder of a crewman by the ship’s captain, Will Stone (Richard Dix). Merriam realizes Stone is going insane, but the rest of the crew won’t believe him…or that he may be the mad captain’s next victim!
Those who quickly glance at the title of this 1943 psychological thriller should not confuse it for the similarly-titled horror film Ghost Ship from 2002 that is an altogether more bloody affair. Besides the claustrophobic setting, the two have absolutely nothing in common. In his fifth film as a producer, Val Lewton was riding the wave of success of Cat People and I Walked With A Zombie with something a bit more interior. The conflict that can often arise between men is often on the surface and straightforward, but this film takes a more circuitous route that leaves you questioning the motive and sanity of those behind the violence. Richard Dix does a fantastic job portraying this captain who presents as kind at the onset, but slowly reveals himself to have something sinister within him. The dread comes from the fact that no one can see this outside of the young officer who inadvertently fortifies his good standing amongst the crew.
Russell Wade acts as a surrogate for the audience, slowly feeling the oppression of the situation in which he finds himself. Loyalty is a dangerous thing when those who are most in need of the facts refuse to consider any other possibility. One of the aspects that makes this such an effective little thriller is the setting of the tale. By putting the action on a ship at sea, you render the possibility of escape moot, instantly ratcheting up the tension. This production may not wade into the supernatural as much as other Lewton films, but those who appreciate the horrors of human psychology should find this nicely effective. The cinematography from Nicholas Musuraca is quite striking and atmospheric in a way that settles you into the story. The direction from Mark Robson puts a question mark on some of the motivations of the crew members, leaving you unable to find your footing and thus achieving more tension. At only 69 minutes, the film does not overstay its welcome and thankfully finishes as strongly as it begins. It is not the best that Lewton has ever produced, but it is nonetheless very entertaining.
Bedlam (1946)
Boris Karloff reunites with Lewton for a third and final time in 1946’s Bedlam, set in 1971 at a London asylum. Karloff gives an unforgettable performance as the doomed overseer who fawns on high-society benefactors while ruling his mentally disturbed inmates with an iron fist.
The final in his series of mid-tier horror films that Val Lewton produced for RKO Pictures was also the final collaboration the producer was to have with the great Boris Karloff (Frankenstein). The year before Karloff had made quite an impression in the deeply atmospheric Isle Of The Dead. Similar to that tale, 1946’s disturbing historical drama Bedlam was based on a painting, which is the type of weird screenwriting technique that should be more widely embraced. This time the work was inspired by William Hogarth’s 1732–1734 painting series A Rake’s Progress, and Lewton felt he owed so much to this series that he gave Hogarth a writing credit. Similar to Ghost Ship, this tale is more grounded in human issues and the horrors that the mentally ill were subjected to in times long ago. This story is made especially uncomfortable given the fact that, although fictionalized, is based somewhat on real-life conditions at an infamous London hospital.
Anna Lee (What Ever Happened To Baby Jane?) serves as our emotional entrypoint to this tale as young Nell Bowen. This sympathetic woman is horrified by the conditions in which Master George Sims (Boris Karloff) keeps the Bedlam asylum and seeks to reform it. Unfortunately, history has a way of punishing good women, and she gets herself locked up amongst the disturbed she is trying to help. Some deserve to be there and some do not, but none of them deserve to be treated to the horrors of a malicious figurehead. Lewton and director Mark Robson do an effective job at showcasing the disparity in power between the classes and what happens when you try to push against that power. Once again, this film succeeds in creating a sinister atmosphere simply from the decaying of human decency. Karloff is perfectly detestable in this role he inhabits with a fervor. The monsters in this story are a different breed than many horror films, but that is what makes them true to life. The film could stand to be tightened up slightly, but the chilling finale is enough to make you forgive minor pacing issues.
Video Quality
Warner Archive presents The Ghost Ship and Bedlam for the first time on Blu-Ray with 1080p transfers sourced from a 4K scan of the original nitrate camera negative. The resulting image will be considered a revelation for fans of these films that are over 75 years old. Print damage is pretty much nowhere to be found throughout the duration of these movies. The black and white photography has nice and subtle, natural film grain throughout that provides a great amount of detail to the image. The presentation has as much depth as the production design will allow with special consideration given to the shadows where there is no evidence of any black crush. Val Lewton fans have been clamoring to see more of his work on Blu-Ray, and Warner Archive has made this release worth the wait. Another 5-star effort!
Audio Quality
This Blu-Ray release comes with DTS-HD 2.0 Master Audio tracks that represent these films quite nicely. The original score by composer Roy Webb is very effective in establishing an uneasy mood for these features. This score along with the dialogue and sound effects are balanced perfectly with one another with nothing ever getting overpowered. The more menacing sequences pack a punch and are appropriately lively in the speakers. There does not appear to be any damage or age related wear to the track. There are optional English (SDH) subtitles available on the disc for those who need it. Overall, this is a pretty great audio presentation that suits the material really well.
Special Features
- Audio Commentary For Bedlam: Film Historian Tom Weaver delivers a very informative commentary track in which he discusses the works of Val Lewton, the backgrounds of all of the talent involved in this project, the real-life history behind Bedlam and much more that is worth hearing if you are curious enough.
Final Thoughts
The Ghost Ship and Bedlam are not the most famous titles from producer Val Lewton, but they stand solidly as chilling works of art amongst his other efforts. The horror in these two films stem more from human psychology which can often get under your skin more than the supernatural. Mark Robson confidently guides these two films behind the camera with his direction, and the talent on screen are up to the task of bringing these works to life. In the case of Bedlam, especially, you really can never go wrong with Boris Karloff in your film. Warner Archive has released a Blu-Ray featuring both of these films with stunning A/V presentations and a great commentary for Bedlam. The fact that you are getting two Val Lewton movies for the price of one from one of the best labels in the business makes this impossible to pass up. Recommended
The Ghost Ship/Bedlam: Val Lewton Double Feature can be purchased directly through the Warner Archive Amazon Store or various other online retailers.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: Warner Archive has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
