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Sci-Fi Saturday: Doctor X

Week 8:

Film(s): Doctor X (Dir. Michael Curtiz, 1932)

Viewing Format: DVD

Date Watched: July 2, 2021

Rationale for Inclusion:

As mentioned last week, the critical and box office success of Frankenstein (Dir. James Whale, 1931, USA) resulted in a rush to make additional horror and/or mad scientist films. This trend would slow after 1934, in part because the beginning of enforcement of the Motion Picture Production Code sought to limit gruesome and violent content in American movies. The following weeks will include a handful of noteworthy examples of Pre-Code horror sci-fi. The first is Doctor X (Dir. Michael Curtiz, 1932, USA).

The main reason I included Doctor X in this survey, other than being a fan of the film, is that it was shot in two-color Technicolor. The color system, often incorrectly called "two-strip Technicolor", was the third iteration of the Technicolor motion picture color process. The color images produced originated on black and white film where each frame was captured first through a red filter, then a green one. Separate red and green color matrices would be created, dyed cyan-green and orange-red respectively, and in combination during the dye imbibition printing process created semi-realistic color images. 

It's only "semi-realistic" because blues and purples are not reproduced, thus not replicating all colors perceivable to the human eye. This lack would soon be corrected by adding a third color matrix in the fourth iteration of the process: three-strip Technicolor, the famous "glorious Technicolor" of mid-century Hollywood and British cinema.

Part of the joy of going through science fiction cinema chronologically is watching technology advance over time. So far we've gone from silent to sound, and with Doctor X we introduce the first film of the survey shot with a subtractive color process.

Reactions:

Despite the overly elaborate lie-detector and laboratory set pieces in play, Doctor X is more of a horror film than a science fiction one. The main group of characters is a group of scientists and their leader Doctor Xavier (Lionel Atwill) uses a scientific contraption to suss out which of his colleagues is the allegedly cannibalistic serial killer on the loose, but the plot is more concerned with the crimes of the allegedly cannibalistic serial killer on the loose. The film also includes a beautiful woman being menaced by the reporter investigating Doctor Xavier's connection to the crimes, Lee Taylor (Lee Tracy), and the actual killer, in the form of a dark haired Fay Wray, as Doctor Xavier's daughter Joanne. Even before her legacy defining performance in King Kong (Dir. Merian C. Cooper and Ernest B. Schoedsack, 1933, USA), Wray was an established scream queen.

As the film goes on it is revealed that the serial killer was not taking away parts of his victims to eat, as originally thought, but as research samples for creating synthetic flesh. This synthetic flesh can also apparently create muscles, tendons, bones, capillaries and all the other complex structures of the human body because, in addition to using his invention to disguise his face, the killer fashions a fully functional synthetic arm from the magical puddy. It's a shame that this technology is limited to a plot point instead of a core part of the narrative because it is conceptually fascinating. I suppose that's what Clayface plotlines in Batman media are for though.

Interestingly from a production and trivia standpoint is the fact that the horror effects make-up for the synthetic flesh was created by Max Factor. The company was known for its innovations in cosmetics with the specific demands of cinematic production in mind, but its focus was on creating beauty, not monsters. Granted, even Universal Studios' maestro of monsters Jack Pierce had a workload of applying mostly conventional beauty make-up. Specialists in special effects make-up, like Rick Baker, would not exist until after the disillusionment of the studio system.

The Technicolor shows off its ability to display color, but does not descend into what I call "Technicolor abuse," which I define as the use of color for spectacle more than contributing to the overall diegesis of the film. (For examples of Technicolor Abuse see The Adventures of Robin Hood (Dir. Michael Curtiz, 1938, USA) and Babes in Toyland (Dir. Jack Donohue, 1961, USA)) Given the overall emphasis on green in the film's color palette, the red heart beating in the jar in Dr. Wells' (Preston Foster) lab adds to the intended shock value of the moment. Cinematographer Ray Rennahan makes the most of two-color Technicolor's limited range to create beautifully composed, vivid scenes.Doctor X may be more horror than sci-fi, but it's still an entertaining genre flick. It was successful enough at the box office to result in Warner Brothers Studios making a follow up film again starring Atwill and Wray, with direction by Curtiz and Technicolor cinematography by Rennahan, The Mystery of the Wax Museum (1933). Like Doctor X it shows off two-color Technicolor at its best, but unlike its predecessor it's pure horror.

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