Dr. Larry Forbes (Shepperd Strudwick) visits the château of Dr. Robert Renault (George Zucco), uncle of his fiancée Madelon (Lynne Roberts), who is idolized by Renault's assistant (J. Carrol Naish), a strange émigré from Java.The movie's screenplay was inspired by the lost 1927 film, "The Wizard", based on a novel by Gaston Leroux. It seems that Leroux needs more praise, as he is now thought of as only the "Phantom of the Opera" guy. He had more in him, though that may have been his greatest work.Although this film is only 58 minutes long (far too short), it captures the mad scientist vibe, and sort of straddles the line between the 1930s (Frankenstein) and the 1950s (the more sci-fi type of scientist). I think it is great that this film is starting to get a new set of eyes on it.

George Zucco plays a mad scientist who experimented on an ape and turned him into a (sort of) human, played by J. Carrol Naish. That's the secret in the title, by the way. I doubt I'm spoiling too much because you'll probably figure it out quickly given how Naish looks and acts. Nice production values from Fox keep this from being like any number of Poverty Row mad scientist cheapies from the time. George Zucco and Mike Mazurki are always nice to watch. But the whole show is really legendary character actor J. Carrol Naish, who gives a wonderfully sympathetic performance. He was an amazing actor who rarely got to shine in starring parts but always delivered in his many supporting roles. It's not as sophisticated as the Lewton RKO films or as fun as the Universal horror films. But it's a good time-passer that has enough things going for it to merit fans of classic horror films check it out.

Although I've been aware of the existence of this film for years, the sheer fact that I found next to no reading material on it in my father's books on my favorite genre (which I devoured as I was growing up) has led me to believe that it was merely just another ordinary escapist wartime horror programmer. Until it was surprisingly given a recent DVD release – as part of the second entry in the "Fox Horror Classics" collection along with the higher-profile CHANDU THE MAGICIAN (1932; featuring Bela Lugosi) and DRAGONWYCK (1946; with Vincent Price) – I had no previous opportunity to watch it and, now that I have, it's safe to say that it's been one of the most pleasant surprises I've had during this year's bumpy Halloween Challenge.Unlike Universal, Paramount, RKO and even MGM, 20th Century Fox was hesitant to jump onto the Horror bandwagon and seemed to do so only half-heartedly – as evidenced by John Brahm's all-style-but-no-substance werewolf picture THE UNDYING MONSTER (1942) which, incidentally, was actually paired with DR. RENAULT'S SECRET on original release as the upper half of a double-bill. I'm not sure if it's because I thought the Brahm film suffered in comparison to Universal's THE WOLF MAN that I've found RENAULT to be more satisfactory or merely because I haven't yet watched any of the latter's own progenitors – the Silent French Gaston Leroux adaptation BALAOO (1913), Fox's own intriguing Silent foray into the genre THE WIZARD (1927) and Paramount's well-cast THE MONSTER AND THE GIRL (1941) – or perhaps because it's undoubtedly superior to a similarly-themed contemporaneous Bela Lugosi vehicle THE APE MAN (1943) – which wasn't really all that bad to begin with – but, ultimately, I now consider DR. RENAULT'S SECRET to be an unjustly forgotten vintage gem of this most prolific, beloved and yet maligned of genres.In essence, the story set in France is typical 'mad scientist' fodder with the titular ultra-Darwinian medico/part-time jungle explorer (George Zucco) attempting to prove conclusively his idol's controversial evolution theories by surgically turning an ape into a man. The cast of characters is supplemented by the doctor's lovely niece (Lynne Roberts), her fiancée who also happens to be a doctor (Shepperd Strudwick – billed here as John Shepperd!), Renault's ex-con gardener (Mike Mazurki) and equally shady butler (Jean De Val), a suspicious Police Inspector (Arthur Shields) and, best of all, J. Carrol Naish as Roberts' enigmatic and highly sensitive protector Noel. The ensemble cast is generally good and sympathetic to the material at hand, but it's clearly Naish's show here in a very poignant performance as the result of Zucco's questionable experiments: a soft-spoken, love-struck handyman, subtly but effectively made to look simian in appearance via a shaggy wig and enlarged nostrils (incidentally, he would play a variation on the role as a hunchback in Universal's HOUSE OF FRANKENSTEIN [1944] – in which Zucco also appears, by the way). Although Zucco made a slew of similarly ghoulish potboilers around this time (and so did Naish, as already mentioned), I've only watched a couple of them myself so far; seeing him turn from a suave gentleman by day into a whip-wielding sadist with the poor, unfortunate Naish at the receiving end of it, one can't blame producers for simply offering him more of the same in subsequent years! Being the product of a major studio (albeit a low-budgeted one and running a trim 58 minutes), the solid production values were to be expected but one other aspect that impressed me about DR. RENAULT'S SECRET was the intermittent stylishness of Harry Lachman's direction, all tinted angles (down to the very last shot of the film with Naish's lifeless body practically falling onto the camera!) and evocative chiaroscuro lighting (Zucco's own come-uppance is simply depicted as a shadowy struggle between him and the finally-rebellious Naish). I'm not about to assign auteur status to Lachman (whose last film this proved to be despite going on to live for another 33 years!) or anything, but it's a well-known fact that his version of DANTE'S INFERNO (1935) starring Spencer Tracy (also for Fox) is highlighted by a memorable nightmare sequence set in Hades and also that OUR RELATIONS (1936) was Laurel and Hardy's most polished production and one of their most satisfactory vehicles overall.

George Zucco is a scientist and to fans of the horror genre, it's not at all surprising that he's a mad scientist since he's played this in so many low-budget films. His assistant is the rather dim and violent J. Carrol Naish. It's obvious SOMETHING is wrong here, but at first it is a bit vague. Unfortunately, though, the film telegraphs its "dark secrets" and the plot seems awfully familiar, so when things do heat up, it never really gets very exciting. I'm not a genius, but I pretty much figured out the plot after watching the film for 10 minutes.So why, then, did I watch this very bland film? Well, I like the genre and assume those who like these cheesy old horror films would also probably stick it out until the end--especially since this film is less than an hour long. However, if this isn't your style of film, there's nothing about this one that will convince you to watch another.By the way, my wife says I'm too picky, but this was a sloppy film in several places. In one scene, a man is strangled to death but as his corpse is being thrown out a window, the "dead man" visibly moves his arms to give his attacker and easier time tossing him! A short time later, a man is killed in a barber shop where there is a shade drawn over the glass door. But, when the police break the glass to enter, the shade is up, not down!