The Bat Whispers

Plot synopsis:
The Bat has struck again, making off with a priceless necklace even after warning the police that he would rob the safe at precisely 1 a.m., after which he intends to go to country in order to give the police a rest. On his way through the village of Oakdale, the Bat notices someone robbing the Oakdale bank. Intrigued, the Bat follows the robber, who leads him to the old Fleming mansion.Inside the Fleming mansion, Cornelia van Gorder [Grayce Hamptom] and her ditzy maid Lizzie Allen [Maude Eburne] are discussing Cornelia's decision to rent the house for the summer. The big old house is a scary place, and Lizzie doesn't like the strange sounds, the strange caretaker [Spencer Charters], and the strange stories he tells about seeing ghosts in the house. Add to the fact that the Bat has taken to the country, and Lizzie is terrified of everything and anything. She's even gone so far as to set a bear trap outside her bedroom window, just in case the Bat decides to pay a vist. When Cornelia's niece Dale [Una Merkel], who works at the Oakdale Bank, returns home with her boyfriend Brook Bailey[William Bakewell] and tries to pass him off as a gardener, Cornelia is immediately suspicious (Cornelia: Any experience with alopecias? Brook: They dry up if you don't water them.), but Cornelia hires him anyway, at least until she can find out why Dale has brought him home.A rock suddenly comes crashing through the window. A note on it reads: Get out of the house now while there is still time. Immediately thereafter, Dr Venrees [Gustav von Seyffertitz] drops by to inform Cornelia that the Oakdale bank has been robbed of a half million dollars and that Fleming, Sr, the owner of the mansion, is returning from Europe so Cornelia will have to vacate the house. Then, a heavy painting moves, and a voice from behind warns them to get out of the house. Becoming concerned, Cornelia phones the police. When Detective Anderson [Chester Morris] shows up, Cornelia explains her suspicion that Fleming, Jr [Hugh Huntley] is trying to frighten her out of the house, possibly because he rented it to her while his father was out of the country. Nowthat his father is returning, she thinks he may be trying to frighten her into leaving.Soon everyone begins acting suspiciously. The doctor unlocks the broken window and "forgets" to relock it until Cornelia relocks it herself. Alone in the parlor for a few moments, Venrees unlocks the window again. Brook starts going around the house pounding on the walls. Dale phones Fleming Jr and asks him to come over. When he does, he brings a blueprint of the house so that they can locate a hidden room. Before they can find it, he is murdered, and Dale hides a piece torn from the blueprint under a tray. A storm is approaching, and the lightning knocks out the electricity. Someone phones from the garage, but when Det Anderson goes out to check, there is no one there. Detective Jones [Charles Dow Clark] arrives to help with the investigation. Dr Venrees finds the torn piece from the blueprint showing that the hidden room is behind a fireplace, but Det Anderson forces him to hand it over. When Anderson is poring over the blueprint, Venrees clobbers him with a heavy statue and locks his body in a closet. In the lightning flashes, the silhouette of the Bat can be seen peering into the window.It gets even more intriguing. Brook turns out to be a cashier from the bank and the primary suspect in the theft. Fleming Sr is seen walking on the roof when he's supposed to be out of the country. Dale finds the secret room behind a fireplace and gets locked in, along with the Bat, Mr Fleming Sr, and the money. The Bat shoots Fleming Sr. Dale escapes and leads Inspector Jones, Cornelia, and Dr Venrees to the secret room. Just as the fireplace swings open, Venrees blows out the candle, allowing whomever was in the room to escape. Finally, Inspector Anderson figures it out. Dr Venrees and Fleming Sr robbed the bank together and hid the money in the house. Anderson arrests Venrees and locks him in a closet.A strange man suddenly stumbles into the room. He's been hit in the head and is suffering from amnesia. He remembers only that he tried to phone from the garage. As they search the secret room for the money and find nothing, Cornelia thinks that she sees someone out on the roof and Anderson goes outside to catch him. Shortly thereafter, the garage is set afire. The amnesic man grabs a gun and orders everyone to be silent. The fire was set to get everyone out of the room, he explains, and the person who set that fire will be back shortly to get the money. They blow out the candles and wait. The Bat enters the house. The amnesic man points the gun at the Bat and orders Inspector Jones to disarm him. Just as they prepare to remove the black hood from the Bat's face, the Bat creates a distraction by knocking over a chair and escaping...right into the bear trap that Lizzie set so many hours ago.The Bat has been captured. They remove his hood to see that it's Detective Anderson. The amnesic explains that he is the real Detective Anderson, but he was clobbered in the garage by the Bat, who took his IDs. But the Bat isn't ready to be captured. While he extols his great intellect, he pulls out a gun he found on the ground and forces everyone to put up their hands. Only Cornelia refuses. I took the bullets out of that gun only ten minutes ago, she says. Everyone jumps on the Bat, and the gun goes off. Cornelia was lying!As the movie closes and the curtain falls on the stage, the Bat drops down from the ceiling. Chester Morris, who played Detective Anderson and the Bat, then addresses the audience. He asks them not to reveal the identity of the Bat to anyone and promises that, if they keep the secret, the Bat will not haunt their homes, steal their money, or frighten their children. [Original synopsis by bj_kuehl]

Tags: melodrama

Review:
West filmed The Bat in 1926 as a silent, with great success.
(Being willing to "go with it" is pretty much a necessity in general for this film, which was a wild and unrealistic ride in its time, and deliberately so.)  The photography benefits from a number of technical innovations, including a lightweight camera dolly invented for this production that allowed the camera to be moved 18 feet vertically in a matter of moments.
She had made one previous film  in 1916  and made numerous subsequent ones, usually in bit parts, until she was nearly 80.)  Her no-nonsense dowager centers the film perfectly, keeping the other characters (and performances) from plunging completely off the deep end.The plot?
It's an excellent Old Dark House movie, complete with thunderstorms, secret passageways, a mysterious creature named "The Bat," comedic elements, a large old house, several murders, etc.
This is pure pulp from start to end.The Bat Whispers, is in many ways, a forerunner to today's gigantic comic book movies.
Everyone behaves as though they had a case of first night stage jitters--and the supposedly comic moments are painfully obvious and tainted with smokehouse ham.But aside from the theatrics of some of the cast, this is an entertaining and truly spooky old dark house kind of comedy-mystery that was so popular during the '30s and '40s.
It is worth seeing alone for the atmospheric sets and photography, especially considering that this was filmed in 1930 when sound itself was only two years old.Only Chester Morris among the performers delivers a really credible performance acceptable by today's standards of acting.
The others are way over the top--including Una Merkel and just about all of the supporting players with the exception of William Bakewell.If you're a fan of Mary Roberts Rinehart stories, you'll enjoy this version of her successful play.
Some remarkable photography (in 65mm, no less) in the disappearing silent gothic tradition makes this movie a link from the newly emerging horror scene to the old "haunted house with criminals" genre into which it more properly falls.
Roland West first filmed the story of the Bat, a killer that steals money and jewels for their value as well as for adventure, in 1926.
He then made The Bat Whispers in 1930, which is a sound version of his silent film.
That said this is probably the best version of the story.A fiend known as The Bat is lurking around the mansion of a rich family and its up to an intrepid detective to prevent him from getting the goods.This movie is a lot of fun, with several wonderful performances especially by Chester Morris as the detective.Interestingly the film was filmed both in the standard aspect ratio and in an early wide screen process (Both are on the DVD).
Retitled THE BAT, in 1920 it took Broadway by storm with its mixture of crazy characters, corny situations, and spooky atmosphere, and in 1926 film director Roland West brought the play to the screen.
Not so West: THE BAT WHISPERS would be noted for a remarkably fluid camera that made the most of detailed miniatures and lavish sets.
Planck's widescreen version is both visually beautiful and innovative--but Planck and director West were pretty much working without any precedent and they weren't quite sure of what do with the effect once they had it.
Both versions of THE BAT WHISPERS find the cast struggling in the gulf between old and new.
Part of the charm of the novel, the 1920 play, and the 1926 film was the use of already old-fashioned plot ideas that had not yet worn out their welcome--but by 1930 the whole thing was wearing very thin, and it emerges here as overworked and lacking the necessary light touch.
Every thing about the story had become very clichéd, and two years later director James Whale would wickedly spoof the entire genre with a film aptly titled THE OLD DARK HOUSE.
Although the Rinehart story received one more major turn before the cameras in 1959 with Vincent Price and Agnes Moorehead, the type of plot involved is now more often done tongue-in-cheek, with such films as MURDER BY DEATH and CLUE cases in point.So what, exactly, is the value of THE BAT WHISPERS for a modern, casual viewer?
The answer, rather sadly, is "not much." Hardcore fans of early 1930s film will likely enjoy the film, and film students interested in the history of cinematography cannot afford to miss it--but few others will be able to see beyond the awkward acting styles and now-absurd plot to experience the charm this film--in both widescreen and standard versions--had in 1930.The IMAGE DVD release is a bit problematic.
The film does feel creaky, the humor is laid a little too thick for my tastes at times (much like Paul Leni's THE CAT AND THE CANARY [1927], in fact) and Maude Eburne as the cowardly maid IS unbearablebut this is more than made up for, in my opinion, by the film's dazzling cinematography, atmospheric sets and deliberate theatricality (complete with asides to the audience in the finale).
Although hardly as well-known today or as easy to find, THE BAT WHISPERS is by no means West's only notable feature; as a matter of fact, based on the minute information I've managed to find on them in my reference books, I'd be very interested in watching THE UNKNOWN PURPLE (1923; an intriguing-sounding precursor to James Whale's THE INVISIBLE MAN [1933]), THE BAT (1926; the original Silent-film version of THE BAT WHISPERS), the gangster drama ALIBI (1929; which even earned Chester Morris a Best Actor Academy Award nomination) and CORSAIR (1931), his last film.
As for myself, the only other Roland West film I've seen is the atypical and rather unsatisfactory Lon Chaney vehicle THE MONSTER (1925), which also happens to be a bizarre 'old dark house' melodrama.Elliott Stein, in Richard Roud's indispensable tome, "Cinema: A Critical Dictionary  The Major Film-Makers" described Roland West as "one of America's supremely original visual stylists, the director of a series of stunning thrillers." He also names ALIBI "one of the most oppressive films ever madethe distorted sets, odd angles and restless camera make it West's most Germanic workthis claustrophobic little nightmare would be fully at home in a retrospective of the American avant-garde film." Furthermore, he acclaims THE BAT WHISPERS as "a pictorial knock-out" and CORSAIR "a visual treat"!
Neighbors heard them quarreling the night before the morning she was found in her garage overcome by carbon monoxide poisoning; though a suspect, he was never arrested but, of course, he could never work in Hollywood (or elsewhere) again.I've only watched THE BAT WHISPERS (twice), in Widescreen, on VHS and I've been meaning to pick up Image's DVD edition (comprising also the 'alternate' full-frame version, shot simultaneously by a different cameraman!) for the longest time.
When you hear the Bat whisper, you don't know whether to smile at the dated melodrama or admire some classy scenic set ups and camera work.
The film was shot in an early version of wide-screen as well as a standard release version, using different cinematographers, cameras and set-ups.
The thing that makes The Bat Whispers of interest is the use of miniatures, especially at the beginning, the use of camera tracking shots that pull us away while walls slide back or that take us from a clock tower down to a street.
Like `The Cat and the Canary', `The Bat' has been filmed many times and is a highly influential example of the `Old Dark House' type of spooky murder mystery popular in the 1920s and 30s.
The opening scenes of this version, `The Bat Whispers' are said to have greatly influenced the Batman cycle and Bob Kane.One can see why The gloomy 30s expressionist art-deco architecture, the shadowy figure of a man-sized, bat-like figure seen against walls and windows, and the way in which the character of the Bat is built up to give the master criminal an almost supernatural aura are very well done.
Unfortunately, the film's early promise is let down somewhat as it drifts into what amounts to little more than a filmed version of the stage play, somewhat hammily conducted y some of its stars.The plot  big-time crook the Bat takes time to haunt a mansion rented to a retired gentlewoman for the summer while other mysterious events are going on  keeps one generally entertained.
The high points of the film after the opening scenes establishing the exact nature of the Bat's criminal activities, featuring a daring robbery and murder, lie in the performance of star Chester Morris and some imaginative photographic tricks.
Certainly, director Roland West and his team were able to use tricks like this to their benefit at a time when few other directors had even grasped the effective use of sound (also used imaginatively in `The Bat Whispers').
Overall it is too talky and some of the performances, particularly Gustav Von Seyffertitz as Dr Venner (whose English is almost inaudible), occasionally make the film hard going.However, lovers of the old dark house genre will revel in it and the performances of Morris as slick city detective Andersen and Una Merkle as the love interest more than make up for the deficiencies of others.Certainly an unusual film and one many will want to come back to as each reviewing brings previously unseen images into the mind..
Some of those who have seen "The Bat Whispers" claim that it's dated - well, they should keep in mind that it's a REMAKE (and in fact, very true to the original concerning the plot) of the silent movie "The Bat"; if you're not a great friend of silents and don't like the 'hammy' acting style silent actors HAD to use to convey their feelings and intentions without words, then you might call "The Bat" dated.
But "The Bat Whispers" - despite the absolute faithfulness to the original, and to the stage play on which both movies are based - has got quite an innovative style for its age.Contrary to the silent film, which was shot largely in the traditional style regarding camera techniques and other technical features, "The Bat Whispers" introduces to the mystery genre of the 30s, which had just begun to thrive at the time of its making, new camera angles which confuse and scare the audience even further; and of course the sound that was 'missing' in the original version provides us with all kinds of creepy noises like bats screaming, wolves howling, thunder - and of course the housemaid's constant screams of terror!
Sound also made it easier for the scriptwriters to convey the rather twisted plot to the audience; and the dialogs are in NO way old-fashioned, neither do the actors overplay (except maybe for Chester Morris, who at times seems to take his role TOO seriously).
In fact, besides Grayce Hampton as the wacky, but enormously courageous lady writer who becomes the heroine this time, Una Merkel as her niece surprises everybody who has seen a certain number of movies from the era in a most positive way: instead of the silly, squeaking little girl she usually was cast as, here she plays a sensitive, even clever young woman who only breaks down when things really become TOO horrible to bear...And, of course, the dialogs also give more room to the comical element - the way the lady and her maid quarrel and tease each other all the time isn't only hilariously funny, but also pretty modern for the time!
And yet, those elements don't take anything away from the tense atmosphere and the suspense - because all the time you feel that any moment a thunder might crash or a shot might be fired, or a mysterious shadow might appear menacingly on the wall...So, the balance of comical relief and moments of extreme suspense is held perfectly, the direction is supreme and the technical quality of the picture very high for the standards of the early 30s.
Now, regarding the 'old mansion mystery' plot - that may not be 'en vogue' at the moment (but it's almost sure to return someday; Hollywood screenwriters are slowly running out of new ideas...); but the audience DOES seem to be very fascinated by 'escapist' movies: today the fashion are ghost ships, resurrecting mummies and vampire love stories; compared to that, "The Bat Whispers" is a VERY realistic crime movie with a VERY real killer!.
The Bat Whispers is filled with such effects.Yes, the film is static, despite all the goings on.
Roland West teams with star Chester Morris once again to give us "The Bat Whispers" a year after the same team gave us "Alibi", one of the very good films from 1929, and a Best Picture nominee from the 1928-1929 season.West uses some of the same photographic techniques that were ground-breaking in "Alibi".
It came before Batman and Universal's old dark house sound films, so it actually is more original than the modern viewer might give it credit..
What really shocked me is that a lot of these early sound films are quite horrid and hard to understand but that's not the case here as everyone from the director to the cast seem perfectly normal working with the sound.
The actors really take off and know how to work their dialogue, which again is something I wasn't use to seeing in such a early sound film.
Some might find the story or settings full of clichés must one must remember that this is the film that influenced everything that would follow, which is saying quite a bit for director West as his 1926 film influenced all the future silent old dark house films.
After the film we also get a quick "warning" from The Bat telling people not to spoil the movie for those who haven't seen it.The 65mm version features the exact same story and cast but of course it's shown in an early widescreen format and features all new shots by a different cinematographer.
While West's "The Monster" is a clever horror comedy in its borrowings from Shakespeare, Lewis Carroll and Buster Keaton, having now seen some of the director's other work, I suspect the reason that film works is due to its theatrical origins and to the effective mugging of Chaney, because the rest of West's slight oeuvre that I've seen are unexceptional, including this one.Paradoxically, two of his early talkies, this one and Best-Picture nominee "Alibi" (1929), are more daring in some of their camerawork and staging than his silent films "The Monster" and "The Bat." Right off the bat, so to speak, this one was filmed in both a 35mm and an experimental 65mm format, as well as another 35mm print for foreign release.
Both also feature phantom-ride type shots of traffic from the front of police cars, and there's also a phantom-ride shot here from the front of a train.While there are a few other impressive techniques employed throughout this one, including tracking shots and silhouettes and shadows standing out in low-key lighting, when "Alibi" and "The Bat Whispers" delve fully into their talkie sequences is when it becomes clear that West wasn't a great filmmaker, especially with a hack like his pal Chester Morris as the star.
In both silent and talkie versions, the play is all mystery plot and no characters--just caricatures.
Lastly, one could argue that much of the conflict in this film, along with many thriller and mystery movies, is based on a faulty personality by the characters, such as an extreme naivety in their surroundings and the ability to trust even the most suspicious- looking individuals without hesitation.Overall, The Bat Whispers is a fun film.
Moreover, he doesn't really "whisper" in this re-make of Mr. West's popular and influential silent version of "The Bat" (1926) - he talks.
For the re-make, Chester Morris (as Anderson) takes center stage, as part of an uneasily altered story development.While West's technical skill is brilliant, but the sound of "The Bat" whispering is startlingly inferior - with the thunder sounding more like a foghorn from "Anna Christie" (one of those films with that talking Swedish actress).
Both films are worth seeing - in any order; the endings are different, but the mystery never mattered.******* The Bat Whispers (11/13/30) Roland West ~ Chester Morris, Una Merkel, William Bakewell, Grayce Hampton.
Bad. A criminal called "The Bat" roams around the mansion house of Cornelia (Grayce Hampton) looking for a secret room with hidden money.
so, who is "The Bat"..?....The film starts well but unfortunately, it goes downhill when the action switches to the mansion house.
The only good things about the film are some of the camera shots and Grace Hampton who plays her role well.
Truly awful early talkie, which plays like something out of an amateur dramatics society.The story revolves around a masked super criminal who terrorises an isolated mansion in the search for some stolen money.The action and script are virtually incomprehensible, and the multitude of characters seem to make things up as they go along, hamming it up as and when they like.Film does have a point of interest in its use of miniature sets, allowing the camera to make some impressive sweeps.
In the late 1920s until about the mid 1930s, Hollywood produced quite a few 'old, dark house' films.
"The Old Dark House", "The Cat and the Canary" and "The Black Cat" are just a few examples of these films--as is "The Bat Whispers".
Jewel was married to Roland West and Bat was her final film.
"The Bat Whispers" boasts striking, spacious sets and some remarkably (for 1930) fluid camera-work, but it still can't completely shake off its staginess, and it includes not one, not two, but three unfunny comic relief supporting characters (the maid's squealing is absolutely insufferable).
The room had pretty much the same old dark house atmosphere of the mansion in this movie, and with very little lighting, the thing just scared the bejeezus out of me.