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'The Black Cat' 1934

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Only one man heeds the cold steel of warning and a hero is born. Be'la Lugosi.


By Julie D. Griffin

He, the medium of all evil trustles her hair ~ "Eighteen years ago I left a girl so like your wife to go to a foreign country." Few men returned from that foreign prison, while the listener confined to eat bread and listen instead of the indulgences of sweet blood. Shadow, the cat, and you are alright Julie Bishop (Plays Joan Alison (as Jacqueline Wells) is not so alright. "You are frightened doctor?" He looks as if he has seen a ghost. He grips the bronzed female body and though the statue rests, Joan herself arises to retire to bed for the night. And within the walls of a futuristic Hollywood style home of any present day famed actor or actress alike, the duplicate predication of the stage set production manager of the first of such a film, the 1934 version, also Director Edgar G. Ulmar simply mesmerizes. Only a day after the virtual air suspension of the wife of Psychiatrist Dr. Vitus Werdegast just returned from a war camp prison, a plot effort nearly like that of the infamous Barber of Fleet Street horror story. The Rites of Lucifer and the reading of such as a bedtime story for his child bride of long golden locks, the daughter of the wife frozen at deathpoint in the basement hangs midair. At the door of the swank cathedral who should appear but the wealthy new boyfriend of a bride fresh from the snowdrift of another windy swag. Her real fur coat nearly snags on the staircase they carry her up after she passed out, her groom thrown over a shoulder, and one of the men as an usher of the private ceremony seems to sashay simple past the organist who plays a classic horror song as if a wedding march and with feather fingers which drift hard on each key. The evening grows less lovelier still. "Did you never hear of Satan?" Informs the doctor. "He expects you to play a very important part." The seeming holy remain barred within soft cushion bedroom walls, and the climax builds. Of the whole fifth act, an amazing crescendo of energy and coupled with composer Heinz Eric Roemheld, he made the music last just as the silent films of old throughout the whole. At the same time, Be'la Lugosi who plays the psychiatrist encourages Joan to stay strong. With other method of suspense not fully disclosed, the ceremony of the owner of the mansion, and the other man, this particular Satan seems to ponder whether to sacrifice Karen, the beautiful blonde haired daughter of the dead mother he forced to marry himself, the older man, or Joan to the black fire. Wearing his reverend robes, the preacher of the double-cross proceeds to attempt to destroy the poor, innocent women. He holds his arms out and seems to try to evoke power from the group around him through group concentration. The ploy does work to lull to sleep all who should be helping instead of hurting the women. And soon, a more unkind version of a black sabbath, but would seem a favor to keep the women ever peaceful and calm. This works just as well to hide the real truth about the darkness ~ These who do unto others this way seem like no church at all. The powers invented, a movie theatre as church house exploits the truth about them. And if no one caught the innuendo of the director and the story to show the double endemnity of how the usher of the church took so long to rescue the women that only one survived, then the point at which the psychiatrist hangs and begins to vigilante skin alive the male satan who tortured the women, he represents the brave few who risked themselves as a sacrifice and turned tables to try to save Jewish citizens from the holocaust going on at the time of the making of the film. According to the timeline of events listed by the United States Memorial Holocaust Museum ~ "The Nazi rise to power brought an end to the Weimar Republic, the German parliamentary democracy established after World War I. In 1933, the regime established the first concentration camps, imprisoning its political opponents, homosexuals, Jehovah’s Witnesses, and others classified as “dangerous.” " The biggest Universal Films hit of the year, written by Peter Ruric, the story began as two newlyweds, Peter and Joan Alison invite Be'la Lugosi to share a train travel compartment with them.


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