I started watching the above British thriller, in which Herbert Lom plays identical twin circus acrobats, and then The Chiseler came banging at my door demanding articles, so I wrote something about the first five minutes of it. Here.
Then I turned to THE DARK TOWER, an earlier Lom vehicle, also set in the world of the circus, with Herbert playing a hypnotist — only one of him this time — prefiguring his famous turn as a hypno-shrink in THE SEVENTH VEIL. Both these earlier vehicles are, to a large extent, cheap rubbish, padded out with circus acts and inexpensive bit players. THE DARK TOWER has a young David Farrar, and a thoroughly unlikable shit he plays, too. The interesting thing about this one — where Lom turns up as a tramp, just as he does at the start of DUAL ALIBI — is that nobody’s very appealing. Lom, the hated outsider, is actually more sympathetic than his resentful fellow circus artistes, even when he decides to use his powers of mesmerism to try to kill Farrar. Do it!
After a play by George S. Kaufman & Alexander Woolcott — long, long after, I suspect. Though I would like to be able to credit them with naming a minor character “Dora Shogun.”