This is the second of a review series that will cover the original Universal horror films. I am partnering a list with each that highlights the respective character. Invisi's list is HERE

Director James Whale had built up a lot of currency with the success of Frankenstein. He was under a lot of pressure to turn out a sequel, which held little appeal to him. Universal had acquired the rights to H.G. Welles The Invisible Man and, after finishing The Kiss Before the Mirror, Whale set his sights on that for his project. Again with Carl Laemmle Jr., he created a triumph of atmosphere, craft and unexpected dark humor.

Unlike Universal’s previous horror entries Dracula and Frankenstein, The Invisible Man is much more closely related to the book. It did not begin that way as over a dozen treatments were written that were varied and set in just about every country imaginable. Most of the writers that were brought on were working off of other treatments. When screenwriter R.C. Sherriff was brought on, he was amazed that no one at the studio actually had a copy of the book. He tracked down a copy for himself and his screenplay came exclusively from it. Sherriff’s work is rousing, lean and pitch–black in its’ humor for that time.

There are a lot of challenges to following up a blockbuster like Frankenstein. Choosing a project where no one can see your leading man and is effects heavy was not the safest choice despite having Welles name attached to it. The studio had wanted their star Boris Karloff for the role of the scientist driven evil and mad by his creation, but both he and Whale were not interested in that casting. Whale had to find someone with a distinct voice and who was accustomed to grand physical performance. By chance he found both in new to cinema Claude Raines. The director had heard an audition tape from the other room of Claude and was taken by his voice. Raines was an accomplished stage actor in London, and a sought after acting teacher whose pupils included future Sir’s Olivier and Gielgud but had no name cache in the states.

The Raines casting proved genius, as he created a characterization that exuded charm, sophistication and menace. It is gleefully antagonistic, comically dark and provides one of the most chilling laughs in the history of film. We see and feel the discomfort of his self-created situation and can understand the direction that someone could go who could move about as he pleases without detection. Surrounding the lead is a strong cast headed by Gloria Stuart, William Harrigan and a cadre of Universal stock talent.

In Invisible Man, Whale shows a more polished and confident command of his art. Present are a lot of the hallmarks of his early career: Moving camera, quick edits, and abundant close-ups and inserts. Teaming again with cinematographer Arthur Edeson, the film has many high angles, an active camera and quite a bit of deep-focus. Despite belief to the contrary, deep-focus had been used for years before Citizen Kane by Edeson, James Wong Howe and many others. Whale and Edeson continued to distinguish themselves as major talents of the time.

Both Jack Pierce and Charles Hall returned from the Frankenstein team as makeup artist and production designer respectively. Again we get a beautiful and detailed set, albeit with a better budget than the previous film. Gone are the obvious wrinkled cloth backdrops. He handles both blue-collar dive bar and aristocratic posh with aplomb. Although not as grandiose as his previous Universal work, Pierce design of Raines’ character is appropriate, effective and quite iconic in its’ own right. While it did not require the time to apply that Karloff’s did in Frank, it was still demanding on its star and once again set a template for the treatment of the character that is still used to this day. The effects are effective and, especially considering the time, remarkable.

Overshadowed by its’ more iconic siblings, The Invisible Man flies under the radar a bit in the Universal horror canon. That is unfortunate because it is arguably James Whale at his peak. Often you see the promise of a young director in a film, and are let down when that promise is not delivered on. Whale hit it out of the park with this film, showing growth, talent and a complete understanding and mastery of the tools and language of film. He continues to be an artist that isn’t held in the regard that he should, and this film embodies that, as it is a film that suffers from the same oversight.