Como varios de los clásicos de horror de la Universal Pictures, todo inicia con un loco desquiciado obsesionado con algo, en este caso, el ser invisible. ¿De dónde proviene el pánico o el gran clímax de la película? El que un orate está suelto y es invisible. Aunque anticuado, los efectos de invisibilidad para este tiempo no eran grandes retos. Es por eso que la escena de una quijada invisible es la mejor de todas.
Claude has a Whale of a time as the scientist who discovers how to make himself transparent before running amok and vowing to use his power to rule the world in this version of H.G. Wells' famous story, a picture that Rains supreme as the best adaptation of the oft-filmed novel! State of the art (for its time) trick photography and suitably atmospheric direction results in a superior and fun science-fiction picture..
perhaps it was the early days of cinema business, but still... such an awful acting and awful editing. Almost ruined the whole thing, the imaginations, the ideas of paranoia and human identity. P.S: an extra star. I don't know is it a truth or just psychosomatic, but somehow that innocent, true passion of cinema-making still can be felt.
While the simple and blunt plot is meant to entertain, James Whale has something else up his sleeve: a gleefully macabre study of what Nietzsche called "superman"; someone society fears and destroys. Claude Rains is superb, intoning a performance based purely on voice inflection. And I can only imagine the sheer wonder 1933 audiences felt watching a man disappear in front of their very eyes. The power of cinema!
The "Hey, we can't see him!" gimmick starts to wear a bit thin, but this movie's still pretty iconic. I love Whale's stock-company of off-the-wall eccentrics he keeps gainfully employed in all of his Imagi-Opuses of the '30's! Claude Rains is awesome! He has sort of a Colin Clive-voice ... but kicked up a few notches! I wish Universal used him better in their monster-pantheon in the later years!
The style of acting in films is what really decides whether they date well or not, and "The Invisible Man" is creaky in places because of that; but the film remains hugely alluring because of Reins' gleeful rebellion against authority. Perhaps we love movies about (megalo)maniacs because deep down we believe their victims are getting what they deserve.
after rating the second part of the franchise, i wanted to say something about the first part as well. what i find interesting about this movie is not the invisibility theme (that alone i would openly dislike), but the portrayal of insanity into which invisibility drives an individual. this is an sf movie, but the invisibility issue might as well be the everyday side effect of blending into today's oblivious society.