The Bat (1926)
directed by Roland West
starring Louise Fazenda, Jack Pickford
Undercrank Productions
Old dark house mysteries were all the rage on Broadway and in movies throughout the 1920s and ’30s. Even if you’ve never actually seen one of these films, you know the tropes: a secluded, eerie mansion filled with hidden doors, secret passageways, and an eclectic group of people all trying to stay alive long enough to find a treasure, while a mad killer lurks in the dark, spooky corridors. The cycle of these stories really kicked off with Mary Roberts Rinehart’s novel The Bat, which was adapted for the stage in 1920 and for the silent screen in 1926 by director Roland West. The film is a clear inspiration for Bob Kane’s Batman, and the influence of the film and the old dark house cycle can still be found in everything from Scooby Doo to Ready or Not. The Bat itself was twice remade, in 1930 as The Bat Whispers and a 1959 version starring Vincent Price, which became a staple of late night horror hosts and bargain VHS and DVD bins.
Throughout the city a mysterious thief known only as The Bat is looting the wealthy. The Bat, who favors a full-head bat mask and cape (sound familiar?) enjoys toying with his prey by sending notes telling where he is going to strike next and leaving his calling card behind so everyone knows The Bat has struck. As the dragnet intensifies, at the country estate of the recently deceased bank owner, Courtleigh Fleming, a disparate group assembles, each with their own agenda. The plot is too intricate and twisty to summarize briefly, but when Courtleigh Fleming’s scheming nephew is shot to death on the mansion’s grand staircase, the race is on to unmask the killer, stop The Bat, and find a fortune in stolen money hidden within the house.
Despite the often gothic trappings, The Bat is a breezy, often overtly comic affair that doesn’t skimp on the spooky. Roland West’s production has plenty of comic relief thanks to comedy maid Lizzie, played with gusto by Louse Fazenda. Fazenda, a Mack Sennett veteran, really shines, acting as an audience surrogate. Lizzie is constantly trying to solve the mystery and being the voice of reason that if there is a desperate killer in the house, then the safe place to be is anywhere else. She may be ridiculed and a bit ridiculous, but Lizzie’s instincts prove sage and her bit of broad comic business of placing a bear trap outside of her bedroom window early in the film proves invaluable during the climax.
The Bat also gets high marks for its visual flair. For a film based on a stage play, director Roland West’s production is a grand affair replete with dynamic stunts and impressive visual effects work, including fun miniatures and impressive sets. The main house features a functional two-story interior that lends a great deal of scale and scope to the production, and there is some gorgeous miniature work early in the film that is a joy to behold. The film gets a bit too complicated, especially in the middle act where its stage roots really show, but it is saved by its razor sharp comedic performances and a thrilling climax. Although less polished than some of the films that came later, the tropes laid out in this film would be expanded in future films like The Cat and the Canary, The 13th Chair, The Old Dark House, and Roland West’s own sound remake, The Bat Whispers, which was also an early experiment in widescreen filmmaking.
Undercrank Productions’ release of Roland West’s The Bat is an utter delight. The elements preserved by the UCLA Film & Television Archive from 35mm materials and scanned in 2k are gorgeous and and the entire affair is punctuated by a terrific organ score by Ben Model. The Blu-ray also includes a fun bonus short, A Fraternity Mixup (1926), and a video feature on the career of director Roland West.
