Wednesday, October 19, 2022

THE BAT WHISPERS (Roland West, 1930)


With a big brain like a steel trap, it’s ironic that Chiroptera is brought low by one! Bob Kane, the co-creator of the iconic Batman, stated that the criminal antagonist of this film was an inspiration for the primary part of the dynamic duo! The story is basically nonsensical and veers towards inane humor at times, but it’s the Expressionist widescreen (!!) cinematography that makes this memorable. Frank Miller redefined The Dark Knight in 1986 and paid homage to this film in the creation of Sgt. Merkel, who only appeared off-panel or in silhouette. 

I won’t rehash the plot because I’m not sure it actually makes sense! But the story involves mastermind criminal The Bat who steals a famous necklace from a safe surrounded by police then “retires” to the country, which is code for another theft of $500,000 Depression-era banknotes that are stashed in a secret room in the stately Fleming manor. Director Roland West isn’t concerned with exposition or introduction of characters, as dark figures, strangers, and silhouettes haunt the frames at lightening pace, while Matriarch Cornelia Van Gorder and her annoying maid Lizzie, who are merely renting the estate temporarily, are caught in this criminal nexus of murder and mayhem. This sets up nearly every “Old Dark House” trope, as ghostly whispers, disappearing bodies and thumps in the dark and stormy night keep the characters (and audience) on edge! 

The real star of the film is DP Robert H. Planck who shot in 60mm widescreen (2:1) which gives the film an unreal atmosphere from the first frame. His dark and sinewy compositions are full of action and shadows, allowing movement across the extended frame creating a palpable tension. His camera moves and captures Point-of-View shots in moving cars and utilizes model work with dissolves into live action. Fucking brilliant! There’s even a shot on the bank vault in the First Act where the extreme high angle shot moves through a skylight and peers down towards the action. In retrospect, it evokes Gregg Toland’s work on CITIZEN KANE! The low-key lighting also elicits comparison to German Expressionism, such as Karl Freund’s photography with Fritz Lang or Fritz Arno Wagner’s legendary work with F. W. Murnau. Planck’s work is brilliant but still seems restrained, as he balances compositions much like a 4:3 frame: the three medium close-ups used center the image instead of warping or imbalancing with use of negative space or bringing the subject in for an extreme wide-angle close-up (think Sergio Leone). 

The film ends with a curtain-call declaration to the audience that breaks the fourth wall, stating that we will be safe from the murderous antagonists (who isn’t really a bad guy, deep down) as long as we keep his identity a secret. After all, no prison (or Bear trap) can hold The Bat forever! 

Final Grade: (B)