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Overrated and overhyped

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

An old-fashioned movie made with new-fashioned finesse.

There is something to be said for professional hackery in a hurry: shot in a month with reliable artisans -- running time around an hour -- simple gruesome plot -- in short, the bread and butter of Columbia and Universal in the 1930s. Everything about this film is competent -- photography, sets, costumes. Nice to look at, cuts to the chase, gets the job done. It's all good nasty fun, so it doesn't matter that every plot point is telegraphed enough to make children and the adult masses feel like very smart detectives.Karloff plays two roles in this early version of the 'evil twin' drama, and manages to get in some laudably subtle work as the plot whizzes by. Marian Marsh is lovely and makes the most of her stock 'damsel in peril' character.Also, great dog acting by the pup portraying undying loyalty and fearless courage, and great mob acting by a citizenry persecuted and betrayed by aristocracy.All that and a 'pit of death' . . .

Nicely plotted period horror tale that just goes to show the kind of talent that the legendary Boris Karloff possessed. As directed by Roy William Neill, it's great fun, with a fine supporting cast, an adequate pace, thunderous music, and respectable atmosphere. It leads to a solid action climax and a satisfying denouement. This may not be one of Karloffs' better known vehicles, but it does deserve more exposure.Karloff plays twin brothers (one good and one evil, naturally) who have a nasty family prophecy hanging over their heads, seemingly solved when a room inside their castle is sealed up. Also helping matters is the fact that Anton, the nice younger twin, travels the world for a while before being summoned home by his brother, a cruel despot who abuses his position of power. This leads to a great twist, but it won't be revealed here. Gregor, the evil twin, has his eye on beautiful young Thea (the radiant Marian Marsh), and intends to marry her despite the fact that she's already attached to another man, Lt. Lussan (Robert Allen), whom he frames for murder."The Black Room" does have its assets, but chief among them are the dual Karloff performances; he's superb at creating two very different personalities. His delicious villainy when he plays Gregor easily rivals his equally compelling turn in "The Body Snatcher" a decade later. Also doing creditable work are Thurston Hall, Katherine DeMille, John Buckler, and Henry Kolker. The dog, Thor, is great too.Highly recommended to Karloff fans.Eight out of 10.

I love Boris and in this movie he shines as the set of twins. I saw it for the first time last year. I recorded it and have watched it numerous times since. If you are his fan...this movie can not be missed. All the supporting actors are wonderful as well, and the beautiful Marion Marsh easy on the eyes. I knew Karloff was an under rated actor...But this movie proves it. Why more fuss was never made about this film, I just don't know. I will tell you I never saw the out come of this movie coming. Or maybe I just didn't want to spoil the shock for myself. Thank goodness for Halloween movies and TCM's airing of them or I would have caught this flick. Enjoy it, I know you will.

If you're going to have a plot involving an evil twin, who could do it better than Boris?The evil Baron Gregor, who has a habit of luring women from the local village and then "disposing" of them, has a public relations problem. Everyone hates him, and he seems to spend most of his day fending off assassins. So why not invite his nice twin, Anton, to come for a visit, let the villagers meet the "good guy," and then take his place? Clever old Gregor, and of course he wants the hand (and other bits) of the lovely Thea as part of the deal.There are plenty of horror-movie clichés, such as Balkan military uniforms, sealed rooms, terrified peasants, scary hounds, and of course the storming of the castle. But there are some really wonderful touches here and there: like the shot when Thea's father sees Gregor/Anton in the mirror, or the look on Thea's face when they announce her lover's sentence.And at the center is the great Boris, doing wonderful characterizations as the two brothers. Along with "The Body Snatcher," I would rate this film at the top of Karloff's performances.