The Dark Tower
The Dark Tower
| 18 October 1943 (USA)
The Dark Tower Trailers

While working at a circus, a man hypnotizes a trapezist to kill her partner.

Reviews
MartinHafer

In the 1930s, several major studios opened studios in the UK in order to comply with a British law mandating that a specific percentage of the movies shown in the country be made there as well. So, studios like MGM and Warner Brothers opened up British branches...and "The Dark Tower" is from Warner's British studio. The story begins at a nearly bankrupt circus. Receipts are poor and so it's not surprising that the manager tells Torg (Herbert Lom) to go away when he comes looking for a job. However, shortly after this a lion breaks loose and Torg miraculously is able to get the animal under control using his hypnotic ways. The circus agrees that Torg is pretty amazing and they hire him. His job is an odd one, however. He coaches a lady trapeze artist to give her the ability to do amazing stunts without a trace of fear. However, he soon has so much control over her that their relationship seems much like Svengali and Trilby. Torg also begins behaving like a nasty jerk--treating everyone in the circus like they are beneath him. Where will all this end?The best thing about this film is Herbert Lom's wonderful performance. He is well mannered but menacing...almost like a malevolent version of Charles Boyer. The story is good, though VERY similar to the Svengali movies which preceded it...but has enough different about it that both stories are well worth seeing.By the way, this is an odd film because the war is never mentioned...yet it came out in 1943...during the height of WWII.

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Alex da Silva

Mysterious Herbert Lom (Torg) wanders into circus life and starts to take over from circus owner Ben Lyon (Phil). Lyon has a brother David Farrar (Tom) who is top-billed with his girlfriend Anne Crawford (Mary) as the trapeze and high-wire act. However, once Lom arrives he takes over the top bill and also takes Crawford to be his partner in his hypnosis stage act. Just how far is Lom going to take the hypnosis act? He's pretty handy at revenge.Herbert Lom is what this film is all about. From his first entrance, dressed all in black, you just know he's evil. He can control a lion and he can control people. What I didn't get about this film was why everyone was so nasty to him. I ended up taking his side but I feel that was not the point of things. Anyway, he alienates himself, nicks Farrar's girlfriend and starts to have a power over her in everything that she does. The rest of the cast aren't very interesting and the two top-billed male actors aren't very likable. This is Lom's film.I don't like circuses so the film's setting just doesn't do it for me. I find clowns scary and not at all funny. And how about that laughing sailor dummy? That is pure nightmare material. Not funny. I'm not too bothered about this film either way – it sits firmly mid-scale."Look into my eyes" "Look into my eyes" – "Go and mow the lawn" "Go and mow the lawn"

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bkoganbing

The Trilby&Svengali saga is given another version in The Dark Tower. This is a film made by Warner Brothers at its British studio facilities and it's a well done piece of work.Ben Lyon is boss of a circus that's hardly the operation of Ringling Brothers. It's a failing small show and at the beginning of the film he can't even meet the payroll. Into his life walks Herbert Lom, a strange and brooding man who has a great gift as a hypnotist. On both animals and people.The main attraction of the circus is the aerial act that Lyon's brother David Farrar does with Anne Crawford and Crawford has fears that may be insurmountable. With hypnosis not so says Lom and he hypnotizes her to conquer her fears. Pretty soon she's his puppet.With his mesmerizing methods the show becomes a success. But Lom starts intruding on everything in the show and extorts a partnership out of Lyon. To a person they all hate him in the show save Crawford, but know he's their meal ticket. In the end something is done about Lom.Lom is the center of this film, he gives a fascinating performance about a brooding and vengeful man. In a key scene with Crawford he tells of being bullied as a child and then discovering his gift made a lot of people bend to his will. A lot of bullied kids and former bullied kids who watch this film will cheer on Herbert Lom.Don't miss this film if broadcast especially if you are fan of Herbert Lom's work.

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lordreith

A curious little movie that deserves to be better known. Based on "The Dark Tower," a play by George S. Kaufman and Alexander Woolcott, which was also the inspiration for the better-known "The Man With Two Faces," it shares little except for its title and the theme of hypnotism with the boilerplate melodrama by the two celebrated Algonquin Roundtable wits of the 1930s. Well-acted,well-written, well-shot, and well-lit, this motion picture operates on two levels, both of them terrifying. Superficially, it's a neat horror film starring an excellent Herbert Lom as "Torg," a Peter Lorre-type -- a rather off-putting and unhappy gentleman from some Central European country who, while absolutely loathing people, can mesmerize them to do his bidding. Ingratiating himself into a rundown provincial traveling circus in a pre-war England -- think an anglicized "La Strada" -- he makes himself indispensable, turning around the fortunes of this one-lion show.On another level, the circus can be interpreted as a metaphor for Nazi Germany, with the Lom character standing in for the master propagandist Dr. Josef Goebbels, sans a limp. Every utterance of his drives home this resemblance, as "Torg," morphs from just plain Torg to Mr. Torg to ... Doctor Torg, using his power "to cloud men's minds" to bully his way into a position of power. To draw attention to this subtext, the circus parade features a platoon of uniformed blondes marching with arms extended (are they Sieg Heiling?), and a Col. Blimpish ringmaster who could be a stand-in for Field Marshal von Hindenburg.This secondary theme isn't all that obvious,and perhaps it may not even exist (as Sigmund Freud himself said, sometimes a cigar is just a cigar) but for one viewer it does lift this 1943 movie out of the realm of still another film of fright and frisson and instead, with its unspoken chilling and sinister message, places it in Hell.

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