Copyright 23 April 1937 by Universal Pictures Co., Inc. New York opening at the Central: 18 April 1937. U.S. release: 2 May 1937. U.K. release: June 1937. 6,098 feet. 67¾ minutes.SYNOPSIS: Dave Mallory invents a superior burglar alarm, but is swindled by his former partner. So he invents a neutralizing apparatus and stages a series of "burglaries".NOTES: Karloff's first starring role for Universal in comparatively normal make-up. Universal's publicity flacks made much of this little item of "news", pointing out that it took Jack Pierce only 90 minutes to prepare the actor for his role.COMMENT: No wonder Corrigan went back to acting! As a director, he was hopelessly inept, unable to pries respectable performances even from halfway decent actors. Samuel S. Hinds is the worst offender here, standing stiffly whilst he rattles off lines like a talking weighing machine.Karloff's dithery old scientist proves a disappointing bore. Not his fault. The main plot performs as well as tepid tea. A romantic sub- plot pans out equally mindlessly. A bit of action at the finale, plus one agreeably menacing shot between the heads of the crooks as they advance on our hero, fail to compensate for the picture's overall lack of sparkle and penny-pinching production values.OTHER VIEWS: Under Lloyd Corrigan's polished direction, this first- rate thriller is capably served throughout by enjoyable players. — The New York Times.

1937's "Night Key" came during Hollywood horror's lean period, proving that even at his home studio, Universal had no more idea what to do with 'horror star' Boris Karloff than did their counterparts over at Warners, who (after "The Walking Dead") cast him as a comic Oriental in "West of Shanghai," a milquetoast red herring in "The Invisible Menace," a railroaded doctor ala Samuel Mudd in "Devil's Island," and a master spy in "British Intelligence." At least Boris gets a starring vehicle to finish his one picture contract extension from "The Invisible Ray," unlike co-star Bela Lugosi, whose contract was thrown away on a minibudgeted programmer, "Postal Inspector," loaded with stock disaster footage, receiving a meager fourth billing as a nightclub owner gone bad. Previously billed at Universal only as 'Karloff' (beginning with "The Black Cat"), Boris does wind up somewhat diminished in this entertaining little 'B,' as elderly electronics wizard David Mallory, who foolishly signs away the rights to his latest burglar alarm system to the same unscrupulous partner who had swindled him 20 years before, Steven Ranger, ironically played by perennial nice guy Samuel S. Hinds ("The Raven," "It's a Wonderful Life"). Now faced with an uncertain future for himself and devoted daughter Joan (Jean Rogers), the nearly blind Mallory resorts to petty mischief, with the aid of a small-time crook appropriately named 'Petty Louie' (Hobart Cavanaugh), gleefully breaking and entering (but careful not to steal) using his own device to foil Ranger's security system. Trouble really starts when a criminal gang headed by 'The Kid' (Alan Baxter) decide to use Mallory's invention to commit real robberies, purposely leaving clues to incriminate their unwilling accomplice. Lovely Jean Rogers, Flash Gordon's Dale Arden, is ably supported by J. Warren Hull, Karloff's former co-star in "The Walking Dead," continuing his crime fighting ways by starring in "The Spider's Web," "The Spider Returns," "Mandrake the Magician," and "The Green Hornet Strikes Again." Interesting to see dependable Frank Reicher and Ward Bond in major villain roles, while Edwin Maxwell ("Mystery of the Wax Museum") is perfectly in character as Mallory's shady lawyer, selling him down the river. Director Lloyd Corrigan only had one further feature before switching to full time acting by 1939, gracing such future Universals as "Dark Streets of Cairo," "North to the Klondike," "Mystery of Marie Roget," "Eyes of the Underworld," "Captive Wild Woman," and "She-Wolf of London." Despite its inclusion in Universal's popular SHOCK! television package of the late 50s, "Night Key" has predictably remained under the radar ever since, even among Karloff fans. Classics like "Frankenstein" and "The Mummy" had already aired multiple times on Pittsburgh's Chiller Theater before they finally got around to this one (twice)- Sept 18 1976 (preceding 1934's "The Man Who Reclaimed His Head") and June 24 1978 (following 1946's "She-Wolf of London").

Kindly and brilliant inventor David Mallory (a fine and sympathetic portrayal by Boris Karloff) invents a new security system. Mallory gets abducted by a gang of nefarious burglars who force the old guy to assist them with a series of robberies. Directed with real flair by Lloyd Corrigan, with a nonstop brisk pace, colorful characters, crisp black and white cinematography by George Robinson (the artful use of fades and dissolves is especially impressive), a nice sense of playful humor, snappy dialogue, a tight and engrossing script by Jack Moffitt, a lighthearted tone, a robust score, and a lively and exciting climax, this movie overall sizes up as a highly entertaining item. Moreover, it's a total treat to see Karloff portray a rare decent and amiable good guy part: With his failing eyesight and gentle manner, David Mallory makes for a very appealing protagonist. The fetching Jean Rogers adds charm and spark as Mallory's perky daughter Joan, Alan Baxter does well as ruthless gang leader John Baron, Hobart Cavanaugh almost steals the whole show with his amusing turn as wormy low-life small-time crook Petty Louie, and Ward Bond is suitably menacing as hulking strong-arm thug Fingers. A fun flick.

Typecast as "Boris Karloff" the monster, William Henry Pratt (his real name) was cast almost exclusively as monsters and mad scientists. He shows glimmers of real humanity in most of these roles, but rarely got to play a hero.Here is the exception. A kindly old scientist steps over the line only slightly in order to compel a ruthless businessman who has twice cheated him to do the right thing. In the end, he proves himself loyal, kind, honest, and courageous, in spite of being elderly and nearly blind.A movie like this (though definitely a "B" movie) demonstrates that this did not have to be the case. Karloff/Pratt could easily have played many a kindly grandfather or filled many other likable roles. What a pity he so rarely got the chance!