The Black Cat: Universal's Dark Twisted Tale of Revenge and Madness

Today we are going to unravel the horrors, the mystery of one of the most twisted gems from the 1930s: The Black Cat, but before we jump into the shadows, let’s set the stage. It was the early 1930s, and Universal was at the height of its creative power. My Uncle Carl had given control of Universal to his son Junior as a 21st birthday gift, and under Junior’s leadership, Universal gave birth to the Universal Monsters and truly started embracing the dark and macabre.

The story of The Black Cat revolves around a newlywed couple whose path crosses with the mysterious Dr. Vitus Werdegast. Vitus seeks revenge against the malevolent Hjalmar Poelzig, a sinister architect who holds dark secrets within his eerie mansion. Aside from the dark storyline, what makes The Black Cat particularly captivating is its atmosphere. This was a true team effort. Director Edgar G. Ulmer, had previously worked under FW Murnau, and he was clearly inspired by German Expressionism, using stark contrasts of light and shadow, intensifying the sense of unease, and giving a constant feeling of impending doom.

Aside from the dark storyline, what makes The Black Cat particularly captivating is its atmosphere.

Then we have John J. Mescall, the cinematographer. He would later work on The Bride of Frankenstein and Show Boat. He became known for these long, sweeping camera movements that would revolve around the sets and actors, and they have this way of drawing you in. I noticed in many scenes, it seems like the camera is handheld instead of on a stand, so the scene never gets too stagnant, and the viewer never gets too comfortable. This is also one of first movies to have a complete score running through it, and it does wonders to build the tension.

Then we have the set design. Charles D. Hall is responsible for many of Universal’s most famous productions including Phantom of the Opera, Dracula, Frankenstein, Bride of Frankenstein - and that’s really just the beginning. Though obviously a vision in his own right, there’s no doubt that Ulmer had his hand in set design too. Ulmer’s studies in Germany clearly influenced the Bauhaus aesthetic in the film, and actually the character Hjalmar Poelzig is even named after German architect Hans Poelzig. There is this curved staircase and the block windows and the spiral staircase and metal and glass and structure everywhere. It’s honestly breathtaking. I’m telling you, the atmosphere in this film is unparalleled, even today.

Speaking of unparalleled, let’s not forget the two stars of our movie, Boris Karloff and Bela Lugosi. Now of course you know Bela Lugosi from Dracula, who brings an air of tragic elegance as Dr. Werdegast. He’s the one so afraid of the titular black cat that we hardly ever see. His is a man consumed by vengeance and torn between his desire for justice and his own inner demons.

Speaking of unparalleled, let’s not forget the two stars of our movie, Boris Karloff and Bela Lugosi.

Then we have Boris Karloff. As Hjalmar Poelzig, he exudes an aura of malevolence that sends shivers down your spine. I love seeing Bela and Boris’ distinct acting styles right next to each other on screen. Bela is so graceful, always moving like he’s in this choreographed dance. Then Boris, on the other side, is so methodical and specific and measured. I don’t know how to describe it, it’s like Bela moves in curves, and Boris in angles.

As two of the most famous names in horror, this was the first of six films they appeared in together at Universal. That alone was enough to get people excited about this movie, but of course Carl Laemmle did not let the publicity end there. You see, Uncle Carl was a master of publicity, and he came up with a fantastic plan to get the public excited about the film. Uncle Carl held a Black Cat contest and told all the kids in the area to bring black cats for a chance to be THE Black Cat in the movie. Hundreds of kids lined up for Boris and Bela to judge. Today, some of the great grand kittens of those very cats still roam the Universal backlot.

The Black Cat was released just two months before the Production Code started being enforced, and it shows. We are talking incest, Satanic worship, necrophilia, someone skinned alive. Maybe kids weren’t the right choice to bring cats for the black cat for the contest. Unlike many of its Universal predecessors, the Black Cat wasn’t about supernatural monsters or creatures, instead it was a psychological horror - the monsters were the people themselves. It’s disturbing and provocative themes sparked controversy, and some countries banned it or at least, insisted on toned-down versions for release.

Junior Laemmle was the driving force behind Universal’s 1930s horror films.

Critics were mixed, but The Black Cat was the biggest box office hit for Universal in 1934, and over time, critical reception has grown. Today, it’s a great example of how Uncle Carl and Junior Laemmle pushed boundaries during their tenure at Universal. This is definitely one of those movies where I wish I could sit down with them and say, “What you were thinking the first time you read this script?”

So, as we wrap up our journey through the twisted corridors of The Black Cat, let’s take a moment to appreciate the film’s legacy. For it united the iconic duo of Bela Lugosi and Boris Karloff, and it explored some really dark themes that would be controversial even today. If you haven’t seen The Black Cat, watch it, and I dare you to tell me that it doesn’t creep you out. For those of you who have seen it, what do you think is the darkest element explored in this film?