The Invisible Ray (1936) – Review

In this 1936 offering from Universal Pictures we find Karloff giving a rather understated and subdued performance as the film’s villain.  In this outing he’s almost a tragic figure and only becomes the stereotypical “mad scientist” when something goes drastically wrong, but The Invisible Ray doesn’t just provide us a fun take on the genre it’s also the third pairing of screen legends Boris Karloff and Bela Lugosi.

Directed by Lambert Hillyer, The Invisible Ray is a classic science fiction thriller from 1936 that contains an imaginative plot, stellar performances, and stunning visual effects, even by today’s standards there is solid work here. Set in a world of scientific exploration and discovery, the film follows the brilliant but enigmatic astronomer Dr. Janos Rukh (Boris Karloff) who has invented a telescope that can look far out into deep space, into the Andromeda Galaxy, and photograph light rays that will show the Earth’s past. Despite the fact that his theories having been discredited among his fellow scientist-colleague over the years he invites a group of them up to his observatory to witness the proof of his discovery, this group consists of Dr. Felix Benet (Bela Lugosi), Sir Francis Stevens (Walter Kingsford), Lady Arabella Stevens (Beulah Bondi) and her nephew Ronald Drake (Frank Lawton), all who become so impressed with Rukh’s device that they quickly invite him to join their expedition to Africa.

With this group, I expected a murder mystery to break out.

This expedition to Africa is to uncover a mysterious element known as Radium X which is believed to have been deposited by a meteor that Rukh witnessed crashing to Earth millions of years ago via his unique telescope.  Needless to say, things don’t go all that smoothly on the expedition, with an obsessed Rukh taking off on his own, with only a few native porters to do the heavy liftin, and leaving his wife Diana (Frances Drake) back at camp so that she can fall in love with Ronald Drake.  As to  Benet’s own bizarre work in the field of astrochemistry, it makes even less sense than a telescope that can photograph ancient history by capturing light rays from distant galaxies. Unfortunately, Rukh does discover the meteor but its prolonged exposure to Radium X not only causes him to glow in the dark but has also grants him the ability to kill with a mere touch.

On the plus side, he’ll never need a Night Light again.

Dr. Benet is able to develop a counter agent to the Radium X poisoning and while this does hold the lethal element’s toxicity at bay, as long as Rukh keeps taking a daily dose of the serum, it does have a rather distressing side-effect on Rukh’s mental health and he soon becomes consumed by a twisted desire for revenge, believing his colleagues robbed him of his discovery. This mad belief sets in motion a diabolical plan to hunt down each and every one of his colleagues, including his wife who he believes has betrayed him in the most hurtful way possible, and soon he is stalking the streets of Paris with his glowing hands of death. In this film’s 79-minute running time we will learn the answers to such questions as “Will true love prevail?” and “Can Benet and the police find a way to stop this madman and his death touch?”

A glow-in-the-dark Jack the Ripper.

Stray Observations:

• In a case of strange casting, Englishman Boris Karloff plays a Hungarian scientist while Bela Lugosi, who was actually a Hungarian, plays a Frenchman. You’ve got to love Hollywood casting decisions.
• In an early sequence we see the meteor landing on Earth somewhere around the southwest coast of Africa but later a magazine article announces that our heroes are off to Nigeria to find the meteor, which is over 1,000 miles away from where we saw it land. They’d be more likely to find Dr. Livingston than that meteor.
• The set for Dr. Rukh’s laboratory appeared as that of Ming the Merciless in Flash Gordon (1936) and Countess Zelaska’s castle in Dracula’s Daughter (1936).

It’s important to have the proper setting for mad science.

One of the film’s strongest attributes is its atmospheric and visually striking presentation, its black and white cinematography effectively capturing the eerie and dark undertones of the story and wonderfully enhanced by the evocative use of shadows and contrast. Additionally, the special effects, particularly the depiction of Radium X’s lethal effects and Dr. Rukh’s transformation are commendable for the era, showcasing the technical prowess of the filmmakers. Another notable aspect of the film is its exploration of the moral choices faced by the characters as Dr. Rukh’s transformation from a well-intentioned scientist to a tormented and vengeful figure nicely highlights the dark side of scientific ambition and the slippery slope into madness. It was also nice to see Bela Lugosi playing the good guy for a change and his portrayal of Dr. Benet was a turn from his previous mad doctor in 1935’s The Raven.

“Is that a death ray or are you just happy to see me?”

The Invisible Ray successfully blends elements of horror and science fiction, exploring the dangers of unchecked scientific progress while also raising ethical questions about the pursuit of knowledge and the potential consequences of meddling with forces beyond our control, thought to be fair, scientists in these movies are always dealing with forces beyond their control, and the film’s thematic depth adds an extra intellectual layer to the thrilling narrative.  The plot is well supported by Boris Karloff’s standout performance as Dr. Janos Rukh, brilliantly portraying the character’s descent into madness and obsession and his physicality and expressive face make him a perfect fit for the role, allowing him to convey both the tormented soul and the cold-blooded menace that Rukh later becomes. 

The Uncanny Karloff!

Universal’s The Invisible Ray is a timeless gem that showcases the talents of two iconic actors of the horror genre at the top of their game, with the film’s thought-provoking and visually captivating tale demonstrating the allure of early science fiction cinema. Fans of classic movies and Mad Science, or those simply interested in the origins of the genre, will find this Karloff/Lugosi pairing to be an engaging and entertaining experience, one that provides a glimpse into the creative visions of the past.