Archive for the Lost Films Category

Bill’s Bizarre Bijou: SHE DEVIL (1957)

Posted in 1950s Sci-Fi Films, 2013, 50s Horror, Bill's Bizarre Bijou, Femme Fatales, Insect Horror, Lost Films, Mad Doctors!, Mutants! with tags , , , , , , , on April 11, 2013 by knifefighter

Bill’s Bizarre Bijou

William D. Carl

This week’s feature presentation:

SHE DEVIL (1957)


Welcome to Bill’s Bizarre Bijou, where you’ll discover the strangest films ever made.  If there are alien women with too much eye-shadow and miniskirts, if papier-mâché monsters are involved, if your local drive-in insisted this be the last show in their dusk till dawn extravaganza, or if it’s just plain unclassifiable – then I’ve seen it and probably loved it.   Now, I’m here to share these little gems with you, so you too can stare in disbelief at your television with your mouth dangling open.  Trust me, with these flicks, you won’t believe your eyes.

Kurt Neumann is the well-known director of one of the greatest mad scientist/monster movies of all time, THE FLY (1958).  We’ve all seen it, and we’ve all quoted the infamous “Help meeee!” line in a falsetto voice.  Neumann, however, was quite a prolific filmmaker, with many terrific little movies under his belt, including KRONOS (1957), CARNIVAL STORY (1954), ROCKETSHIP X-M (1950), and numerous Tarzan titles.  Yet, everyone remembers him for his creation of a bulbous, fly-headed human.  Far less known, is Kurt Neumann’s other insect/mad scientist horror movie, SHE DEVIL (1957), which he also wrote.  No, this isn’t the Rosanne atrocity, but a full-blooded, low-budget shocker that surely freaked out the drive-in crowds.

The film opens in glorious black and white – A Regal Film (a company that went bust just after the release of SHE DEVIL, which explains the obscurity of the title…also, the movie was shot in Cinemascope, and most theaters weren’t able to handle the technology).  We see a view through a microscope of an obviously hand-drawn fruitfly, which is what Dr. Scott (Jack Kelly of CULT OF THE COBRA, 1955 and FORBIDDEN PLANET, 1956,) is looking at when he gets a visit from his colleague, Dr. Bach, played by stalwart character actor Albert Dekker (who was in THE KILLERS,1946, THE FURIES, 1950, EAST OF EDEN, 1955 and THE WILD BUNCH, 1969, but who is probably best known to genre fans for his portrayal of DR. CYCLOPS, 1940,).  They discuss Scott’s new research, in which he is using the invulnerability of the fruitfly, which can heal itself through adaptation to its environment.  Since fruitflies are the most adaptive of all insects and produce the most neutons (?), he creates a serum that has worked wonders on lab animals.  “These guinea pigs were tubercular, and the serum cured them in three days!”  His leopard turns from spotted to black after taking the drug, and it grows very aggressive (uh-oh!).  He needs a human test subject, but, darn it, nobody wants to volunteer to ingest the serum during their final days.

Enter gorgeous Kyra Zelas, a dying woman in the final stages of tuberculosis, played by the lovely Mari Blanchard (ABBOT AND COSTELLO GO TO MARS, 1953 and DESTRY, 1954).  She has no relatives or friends or money, and no hope of surviving.  The perfect subject for Scott’s serum!  They inject her, and in just six hours, she is doing much better.  In another day, she is fully recovered and admiring herself in a mirror.  Her hair was never so lustrous!  Dr. Scott starts to fall for Kyra, even after he can barely get a needle through her newly-strengthened skin.  Luckily, it seems it has also given her a Max Factor makeover that is permanently beautifying her face.

Dr. Bach (Albert Dekker) operates on Kyra.

Dr. Bach (Albert Dekker) operates on Kyra.

Dr. Scott decides she should be kept under observation in case there are any side effects, so when she is released, she will be living with the good doctor so he can, ahem, keep an eye on her.  When she heads to his house, she informs the men that “From now on, I’m going to do only what I want…everything I want.  I’m going to get everything I can out of life.  Everything I always wanted.”  She starts by going to an expensive boutique where she observes a sugar daddy buying stuff for his woman and flashing a lot of cash around.  She grabs the money, bashes the man over the head with an ashtray, and heads for a dressing room.  By shaking her hair out, shampoo-commercial style, she changes from brunette to blond, a really cool special effect for the time.  After changing into another dress, she fools everyone, even the police, and uses the stolen money to buy a new wardrobe.

Dr. Scott is easily fooled by the beauty, but Dr. Bach sees her for the conniving little tramp she is.  He discovers she hasn’t dyed her hair blonde; she is mutating!  His warnings fall on deaf ears as Scott throws a sort of coming out party for her.  This is where she meets insanely wealthy no-goodnik Barton Kendell (John Archer of DESTINATION MOON, 1950 and BLUE HAWAII, 1961) and his shrewish wife Evelyn (Fay Baker of NOTORIOUS, 1946 and THE STAR, 1952).  “Now, Evelyn, you know we never quarrel till our third drink.”

Barton flirts shamelessly with Kyra, who encourages his attentions, but when Evelyn says she wants to leave the party, Kyra does her head-shake again, turning her blond hair brown (there’s a Crystal Gayle song in there somewhere.)  Then, she kills Evelyn in the garden by using her super-strength to strangle the older woman.  She’s spotted, but everyone is looking for a brunette, and she’s reverted back to blond again!

Scott and Bach decide to create an anti-serum in case Kyra gets out of hand.  They are too late, however, and she’s had a taste of freedom.  She allows the black leopard in the lab to claw her, and the bloody wound heals in seconds.  She can’t be injured, no matter how badly she is attacked.  They try to drug her, but she wakes up and threatens them before departing for richer shores.

She marries the smitten millionaire Barton Kendell, but she grows bored with him quickly and their marriage turns sour.  “Stop pawing me!” she cries out.  On a drive, she spins the car’s wheel, sending the car over the cliff with Barton and herself inside.  “Stop it, Kyra, you’ll kill us!”  “Not US, Bart.  Not US!” (The car crash footage is from a Robert Mitchum movie, ANGEL FACE, 1952).  At the bottom of the cliff, she emerges unscathed from the wreckage and walks back to Dr. Scott, who welcomes her with open arms, even though he knows how evil she is!

She devil Kyra meets the leopard.

Blonde she-devil Kyra meets the leopard.

Will Dr. Bach convince Scott of what a monster Kyra has become?  Will she succeed in taking out Bach and living with the man who loves her?  Can they operate on her to restore Kyra to normalcy (in other words, not a murderous, thieving witch with fabulous hair)?

SHE DEVIL is loaded with bitchy, fun dialogue (“I’m not creating a scene.  You are.”  “Oh yeah?  I’m not the one necking with this trollop!”  SLAP!  “You don’t want a divorce; you might actually have to marry one of your girls.”).  Sometimes, the script gets a bit too talky for its own good, but when the words coming out of the characters’ mouths are so tasty, who cares?  The crisp cinematography is by the great Karl Struss, who worked on SUNRISE (1927), Chaplin’s THE GREAT DICTATOR (1940), and ISLAND OF LOST SOULS (1932), before moving on to trashy greats like THE ALLIGATOR PEOPLE (1959) and Neumann’s own THE FLY.  The acting is fine, if a bit over the top, with Mari Blanchard standing out as the murderous, monstrous, indestructible femme fatale.  She gyrates and whispers and is sex personified.  Plus, that hair trick is awfully cool.

On a side-note, co-star Albert Dekker, the star of so many terrific, Oscar-nominated films, is also the victim in one of Hollywood’s most notorious death scenes.  In May of 1968, he was discovered on his knees, dead in a bathtub with a noose around his neck, hand-cuffed, a ball gag in his mouth, blindfolded, with sexual words written on his body in lipstick!  The coroner declared the death was “accidental”, and he was cremated.  Today, he is remembered more for his sexually kinky death than his body of work, and that’s a sad thing.  We at Bill’s Bizarre Bijou loved the guy’s over the top performance in SHE DEVIL, as well as his nuanced portrayals in other, more mainstream films.

Kyra as a brunette.

Kyra as a brunette.

SHE DEVIL is a fun sci-fi/horror hybrid with an unforgettable female lead and more than a few memorable moments.  Plus, Olive Films has released a stunning Blu-Ray of the film which looks absolutely beautiful.

I give SHE DEVIL three fruitflies out of four.

© Copyright 2013 by William D. Carl


Bill’s Bizarre Bijou Presents: DARK INTRUDER (1965)

Posted in 1960s Horror, 2012, Bill's Bizarre Bijou, Demons, Lost Films, Monsters, Occult, Period Pieces, Plot Twists, TV Pilots with tags , , , , , on October 25, 2012 by knifefighter

Bill’s Bizarre Bijou

By William D. Carl

This Week’s Feature Presentation:


Welcome to Bill’s Bizarre Bijou, where you’ll discover the strangest films ever made.  If there are alien women with too much eye-shadow and miniskirts, if papier-mâché monsters are involved, if your local drive-in insisted this be the last show in their dusk till dawn extravaganza, or if it’s just plain unclassifiable – then I’ve seen it and probably loved it.   Now, I’m here to share these little gems with you, so you too can stare in disbelief at your television with your mouth dangling open.  Trust me, with these flicks, you won’t believe your eyes!

Halloween is almost upon us, kiddies, and tonight I have a real treat for you . . . a nearly unknown little horror gem that truly deserves a wider audience.  This is the kind of discovery monster movie fans search the backs of the video store bargain bins for, the kind of film you hear people speak of in hushed, awed ones, even though hardly anyone has actually seen the thing.  Tonight, we unveil DARK INTRUDER!

DARK INTRUDER was originally filmed as the series premiere of a never produced TV show called THE BLACK CLOAK, produced by Shamley Productions, Hitchcock’s television company, which also produced THE ALFRED HITCHCOCK HOUR and THRILLER.  When the show was deemed too scary and violent for mid-sixties television, NBC sold it to Universal, who sold it to drive-in theaters as the second feature on a double bill that also included William Castle’s I SAW WHAT YOU DID (1965).  It showed up from time to time on late night TV through the 1970s, and it received a token, blink-and-you’d-miss-it release on VHS, but it has never (officially) been released on DVD.  Sadly, relegated to the deep discount bins and random showings in the middle of the night on weird cable networks, DARK INTRUDER has become a forgotten classic that was creepy and disturbing in the 1960s, and it remains so today.

In 19th century San Francisco, a murderer stalks a woman through fog-enshrouded streets.  The killer limps and remains obscured in shadows until he creeps up on his victim and tears her to shreds while she screams in the night.  At the foot of the body, a small grotesque statue is left like an offering, and the slobbering, snorting hump-backed monster gimps into the night as the police arrive.

Leslie Nielsen (yes, that Leslie Nielsen, of AIRPLANE, 1980 and FORBIDDEN PLANET, 1956) plays hung-over playboy Brett Kingsford, who dabbles in the occult, calls the elder gods of H.P. Lovecraft by their first names, and employs a dwarf manservant named Nikoli (well played by Charles Bolander).  Brett is off to see the police, who have called him in to help investigate the murder, the fourth in a long string of awful murders where statues were left by the bodies, but he is interrupted by Evelyn Lang (Judi Meredith of QUEEN OF BLOOD, 1966 and THE NIGHT WALKER, 1964) the shrill, chatty fiancé of his best friend, Robert Vandenburg, played by Peter Mark Richman (star of multiple TV series like SANTA BARBARA and BEVERLY HILLS, 90210).  Brett says, “Evelyn, there is this much to say of you – you don’t just enter a room, you invade it!”  She proceeds to tell him how her fiancé Robert is acting strangely, as if there was something bothering him beyond typical wedding jitters.  Brett informs her he will also look into this behavior.

At the police station, Brett confers with the police about the killings, which resemble animal attacks, and he identifies the statues as replications of a Sumerian demon god.  In each statue found at a victim’s feet, the demon in the little figurines emerges from the back of a man, budding out farther with each crime.  It’s as if with each killing, the demon is freeing itself from its host a little bit more.  Plus, there seem to be connections between the various four victims.

Outside the station, Brett discovers Robert walking in a daze, almost hypnotized.  He tells Brett he will meet with him later at his antique shop.  Brett stops by an ancient Asian man’s curiosity shop, where a Confucius-like shopkeeper shows him a parasite demon and says it could be related to the Sumerian figurines.

At seven that evening, at Robert’s shop, Robert is nowhere to be seen, but a cloaked creature with clawed hands and a bad case of asthma attacks him, destroying most of the shop before being driven away by a silver-tipped cane.  A few minutes later, Robert arrives and whisks Brett away to his family doctor, Dr. Burdett played by Vaughn Taylor (PSYCHO, 1960, IN COLD BLOOD, 1967 and CAT ON A HOT TIN ROOF, 1958).  While he patches up Brett, he shows him a photograph in which two of the four victims are shown, including a nurse, the latest victim.  The picture was taken on an expedition to Bagdad, and the nurse was the last to return to America, bringing with her a sickly little boy Robert has vague memories of seeing when he was a child.

Robert keeps falling into a fugue state, sleep-walking, while the dwarf servant follows him.  He claims that he feels as though he was being pushed out of his own mind by some terrifying power.  Something is trying to force him out of his own body, some dark entity.  Brett plays the fool, acts the playboy, but he grows increasingly worried for his friend.

Leslie Nielsen as playboy Brett Kingsford, who dabbles in the occult, the hero of DARK INTRUDER,

Robert is visiting a psychic, Professor Malaki, who tells him that Robert has a terrible scar on his back, and Robert admits that when he was born in Bagdad (!), he had a small lump removed from his back by Dr. Burdett.  This Professor Malaki is played by Werner Klemperer, Colonel Klink from HOGAN’S HEROES!  The German actor’s accent must have been too much, however, as he is dubbed by Norman Loyd (SPELLBOUND, 1945 and LIMELIGHT, 1952).  After the men leave, Prof. Malaki reveals his hands, complete with long, sharp talons.

Meanwhile, the creature kills Dr. Burdett in his office.  Brett dons a drunken sailor’s disguise and searches the doc’s place, discovering all the files from Robert’s date of birth are missing.

Everything points toward the beautiful Evelyn being the next victim of the monster’s wrath, so the police surround her house on her wedding night to catch the killer.  The fog enshrouds the place, Robert’s fugue state grows ever more virulent, and something in a cloak stalks the gardens waiting for the couple to emerge.

Is Robert the monster, committing the murders while under some hypnotic spell?  What of the gargoyle-like statues?  What of the deformed boy brought to the states by the nurse?  Will Evelyn and Robert survive their marriage night?

The solution to the puzzle is truly grotesque, and I am not surprised that NBC refused to air this supernatural tale.  In fact, I would be very surprised if Frank Henenlotter didn’t see this little wonder before writing and directing his grindhouse masterpiece BASKET CASE (1982).

The DARK INTRUDER is gonna get you!

DARK INTRUDER is full of atmosphere, just as the streets are full of smoke and fog and gas light.  The finale in an impressionistic graveyard is especially impressive.  It was directed by Harvey Hart, who also helmed the TV mini-series EAST OF EDEN (1982) and the great, underrated THE PYX (1973) which starred the wonderful Karen Black in another disturbing supernatural mystery.  The literate script is by Barre’ Lyndon, who also penned THE LODGER (1944) and WAR OF THE WORLDS (1953).  The pacing is almost too fast, speeding along like an episode of THRILLER on crystal meth.  Even the make-up on the creature is quite hideous, demonic and yet somewhat human.

And, yes, Leslie Nielsen is quite good as Brett Kingsford.  He’s funny and charming and handsome, but there’s always this dark side to him, as though you wouldn’t want to meet him in a dark alleyway.  The interplay between Brett and his intelligent dwarf servant is witty and amusing, and their chemistry is quite good.  This would have made a terrific series in the vein of KOLCHAK: THE NIGHT STALKER.  What a missed opportunity.

Missed opportunity or not, DARK INTRUDER is a creepy Halloween horror treat, a smart monster movie with several unpredictable twists and turns and a hideous creature at its epicenter.

There is a rumor that Universal is planning on putting out a DVD of this spooky thriller next year.  Let’s pray to any Sumerian god that this is true!

I give DARK INTRUDER three and a half dwarf servants out of four.

© Copyright 2012 by William D. Carl



Posted in 2011, Lost Films, Zombie Movies with tags , , , , , on March 4, 2011 by knifefighter

(Questions by Michael Arruda)

If you could discover lost footage from any movie, old or new, and this could include an entire movie, what would it be?

Sit back and enjoy this mock answer from the mind of Nick Cato.



DAWN OF THE DEAD: Screenplay Ending Rumored to Have Been Filmed!

"Here's looking at you, kid!" Ken Foree from the original DAWN OF THE DEAD

In the original script for George A. Romero’s DAWN OF THE DEAD (1979), Peter (played in the film by Ken Foree) does not escape.  He blows his brains out, and Fran flees to safety on her own with a pet dog (the dog was also left out of the final film version).  It was rumored for years that Romero had shot an alternate ending that upheld this suicide-vision from his original script.  And it does exist . . . if you look hard enough.

On the DAWN OF THE DEAD Ultimate edition 4-DVD boxed set (released in 2004 from Anchor Bay Entertainment), there’s an Easter egg (i.e. hidden extra) cleverly placed on the 3rd DVD, which is the European Cut of the film.  When Peter places the small pistol to his temple, the film pauses for a few seconds.

During this pause, click the pause on your DVD’s remote and a mini-menu screen will appear with the option to watch either “European Ending” or “Original Ending.”  Click “Original Ending,” and watch Peter’s brains splatter against the wall of their make-shift loft in all its never-before-seen 70s g(l)ory.

The film is 100 times darker now, with a pregnant Fran left to fend for herself as she descends to the skies in the chopper she had recently been trained to fly.


NOTE: Okay, before you run off and pause your DVD for an eternity searching for this original ending, this was a mock answer.  In short, it ain’t true! —Michael Arruda



Posted in 2011, Lost Films with tags , , , , , , on March 3, 2011 by knifefighter

(Questions by Michael Arruda)


If you could discover lost footage from any movie, old or new, and this could include an entire movie, what would it be?


Answer 2: L.L. SOARES

When I was growing up, one of the biggest stories about “lost” footage concerned censored/lost scenes from the original KING KONG (1933). In places like the original FAMOUS MONSTERS OF FILMLAND magazine, these lost scenes were discussed and even had still photos to back them up. Since that time, a lot of these scenes have been restored on DVD. These include scenes like:

  • Kong putting a native in his mouth and chewing him up
  • Kong stepping on a native and crushing him with his foot
  • Kong playing with Fay Wray’s breasts with his finger

But while these scenes have been found, the most elusive one involves a giant spider. When Carl Denham and his men are chasing Kong in the jungle and end up on a log bridge, Kong shakes it, tossing many men down into the pit below to their death. At the bottom of this pit was a giant spider, waiting to eat them. How do we know this? Because there are photographs to prove it. However, the actual footage has still not been found, and it is unlikely it ever will.

The famous lost "Spider in the Pit" scene from the original KING KONG exists only as this photograph.

Peter Jackson paid homage to this lost scene in his remake of KING KONG, but it just wasn’t the same.

Of course, the holy grail of lost horror films remains LONDON AFTER MIDNIGHT (1927), starring silent movie icon, Lon Chaney, Sr.. Later remade in 1935 as MARK OF THE VAMPIRE by the same director who made the silent version, Tod Browning (also the director of the original DRACULA from 1931), we know it is the story of criminals who pretend to be vampires to scare people away from a house that may have a treasure inside. Chaney’s makeup for LONDON is legendary, due to more famous stills, but the actual film may be lost forever, as are many silent films that were not protected from deterioration. In fact, there are hundreds of old films that may be lost to us forever. LONDON AFTER MIDNIGHT is one of the most famous ones, though.

Despite the film being lost, this iconic image of Lon Chaney from LONDON AFTER MIDNIGHT lives on.

To try to rectify this loss, the cable channel TURNER CLASSIC MOVIES created a kind of movie picture book a few years back, by stringing together lots of still photographs that somehow survived from the movie. There were enough to actually string together a story. But, while this was a valiant attempt to recreate something lost to us forever, it just isn’t the same as the actual motion picture.



Posted in 2011, Hammer Films, Horror, Lost Films, Universal Horror Films with tags , , , , , , , on March 2, 2011 by knifefighter

(Questions by Michael Arruda)

Watching THE HILLS RUN RED a couple of weeks back, a horror movie about a lost horror film, it got me to thinking about the real thing.

There are lots of stories out there of lost scenes.  For example, growing up, I’d read about the scene cut from the Boris Karloff FRANKENSTEIN (1931) where the monster drowns the little girl.  This scene had been cut when the movie was shown on television, and although I’d seen stills from this scene, the actual scene didn’t seem to exist anymore, until it was discovered and restored on video in 1987.

There are so many more scenes like this out there that still have not turned up.

So, here’s this month’s MONSTROUS QUESTION:  If you could discover lost footage from any movie, old or new, and this could include an entire movie, what would it be?



I have read about many instances of lost scenes, but being a lifelong fan of Hammer Films, I’m going to go with a Hammer Film as my top choice, and it’s probably their most famous movie, HORROR OF DRACULA (1958).

The rumor has existed for years that Hammer released different versions of their movies for different markets.  For example, the tamest version was released in Britain, a more violent version went to the United States, and the most explicit version was shipped off to Japan.

For example, one of the bloodier scenes in HORROR OF DRACULA, where Van Helsing (Peter Cushing) drives a stake through Lucy’s (Carol Marsh) heart, was not shown in Britain until a recently restored version was made available in 2007, but the scene has been shown intact on U.S. video/DVD prints for longer than that.  The scene was often cut on U.S. television, though.  I would say that when I used to catch this movie on TV back in the 1970s, usually late at night, about 90% of the time this particular scene would be cut.  The uncut scene shows the stake going into Lucy’s chest, as blood bubbles out onto her gown.

Now, rumor has it that in the version released in Japan, Lucy actually tries to climb out of her coffin, but Van Helsing clobbers her across the head with the hammer.  I actually find this hard to believe, as it seems rather violent for 1958, even for Hammer, and I’ve never seen a still from this scene anywhere or read anywhere that it still exists.  But if it does, it’s one I definitely want to discover.

There are two other scenes in HORROR OF DRACULA still missing.  The first is of Jonathan Harker (John Van Eyssen) decomposing after he has been staked by Van Helsing.  In the print that exists now, the camera fades as Van Helsing approaches the crypt.   The staking scene doesn’t even happen on camera.  Stills of this scene do exist and show Harker in the crypt in an early stage of decomposition.

Now, the biggest missing scene from HORROR OF DRACULA is from its famous ending.  You know the scene, where Van Helsing runs across a table in castle Dracula and leaps through the air ripping down the curtains, unleashing the sunlight which ultimately destroys Dracula (Christopher Lee.)

There were scenes in the original HORROR OF DRACULA that have not been seen here.

This scene is pretty graphic as is, as we see Dracula disintegrate into dust before our very eyes, but it’s a quick scene, with each stage of decomposition interrupted by cutaways to reaction shots of Cushing’s Van Helsing.

But this scene was longer when originally filmed.  Evidently, for a particularly gruesome special effect, Lee’s face was painted over with a red blood-like make-up,  and then covered again with a flesh tone make-up, so when he scratched at his face, his fingers would rip through the “skin,” making deep bloody gouges in his face.

I’ve seen stills from this scene as well, and they’re pretty cool looking.   In the special feature on the DRACULA-PRINCE OF DARKNESS DVD from 2004, where Christopher Lee, Barbara Shelley, Francis Matthews, and Suzan Farmer provide voice-over commentary to DRACULA- PRINCE OF DARKNESS (1966) (this commentary was recorded in the late 1990s) Lee talks about the ending to HORROR OF DRACULA.

Since DRACULA-PRINCE OF DARKNESS is the sequel to HORROR OF DRACULA, the film begins with the ending of HORROR OF DRACULA before the opening credits, and during this sequence, in his voice-over commentary, Christopher Lee points out that the sequence he’s watching, where Dracula disintegrates, is much shorter than the one they originally filmed.  So, the longer death sequence was definitely shot.

If I had to pick one lost sequence to discover, this one would be it.

Some other lost sequences I would love to discover:

—from KING KONG (1933) the famous “spiders in the pit” scene after Kong has thrown the men off the giant log into the ravine below.

—-from THE WOLF MAN (1941) the scene where Larry Talbot (Lon Chaney Jr.) wrestles a bear, and any other scene that was filmed for its original shooting title, DESTINY.  Originally, the wolf man stuff was all going to be in Larry Talbot’s mind, and the bear wrestling scene I’m talking about supposedly had Talbot seeing himself as a werewolf fighting the bear, while onlookers saw only the man.  There are still several scenes in the final print where you can get a feel for the original intentions of the storytellers.

—from THE BRIDE OF FRANKENSTEIN (1935), the deleted footage where Karl (Dwight Frye) murders his uncle and then blames the crime on the Monster (Boris Karloff), a scene that explains why the Monster is so intent on killing Karl in the film’s climax.  Without this scene, the Monster’s actions make little sense.

I could go on, but it’s time to give someone else a turn.