User reviews

Boris Karloff seemingly can make a small film all the bigger with his fine performance. Such is the case with this lesser known Karloff film...Night Key. Though the film is in no way a horror picture, it does have some science fiction elements. The story tells about a Mr. Mallory..an aged man who has spent his life inventing a night key alarm system only to have it stolen from him by his former business partner and his own lawyer. Karloff is in fine fettle as the inventor, and even seems like a live Gepetto both in look and manner. The film is typical for its day.....not a very imaginative script nor great quality character acting, although Hobart Cavanaugh does a nice job as a petty hood helping Karloff get back at his enemies. What makes it stand out is the understated acting of Karloff...a role which he plays for sympathy and compassion. Not a big film but a little one...still a good one to see. The film is not on video so you may have to try and find it on video transfers from 16mm prints.

"Night Key" was a change of pace for Universal's horror star Boris Karloff. Playing largely horror related roles through most of the 1930's, this film offered him a chance to step out of that genre for a welcome change of pace.

Karloff plays mild mannered inventor David Mallory who lives with his daughter Jean (Jean Rogers), has invented a new "electric eye" security system. He had been cheated out of the profits of his previous wire based system by unscrupulous businessman and former friend Steven Ranger (Samuel S. Hinds). This time however, Mallory has also invented a "night key" system which disables his security systems.

Mallory's lawyer, Kruger (Edwin Maxwell) conspires with Ranger to cheat Mallory out of his rightful royalties for his new invention. With the help of petty crook Petty Louie (Hobart Cavanaugh) who he helps escape from Ranger's holding cell, the two set out to discredit Ranger's company. Meanwhile Ranger Officer Jim Travis (Warren Hull) tries to locate Mallory and in doing so falls in love with Jean.

Mallory using his "night key" disables the Ranger Security Systems of several business, taking nothing, in order to destroy consumer confidence in Ranger. A gangster, known only as "The Kid" (Alan Baxter) becomes interested in Mallory's invention. Petty Louie gives up Mallory's location thinking that the two will make some dough working for The Kid. The Kid has other ideas.

Karloff as always delivers a solid performance as the going blind inventor. No mad scientist here. The requisite romance between Rogers and Hull adds little to the story. Cavanaugh almost walks off with the film as the small time crook Petty Louie. Baxter is also good as The Kid. Ward Bond appears as one of Baxter's henchmen, Fingers. Also watch for long time character actor George Cleveland as Ranger's engineer and for "B" western fans, Roy Barcroft in an early bit as a Ranger technician.

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!

Initially, I had scoffed at this title's inclusion in Universal's "The Boris Karloff Collection" Set - but it turned out to be a 'B' film with plenty of interest: a fast-moving crime drama which leaves room for characterization, featuring a very good atypical performance by Karloff (playing an inventor far older than his current age).

The film (which demonstrates a novel obsession with gadgetry) could easily have seen the star turned into a criminal mastermind or another mad scientist-type - but he remains a victim, a pawn in the hands of unscrupulous manufacturer Samuel S. Hinds and baby-faced racketeer Alan Baxter. Romantic leads Jean Rogers and Warren Hull are actually quite appealing and the supporting cast includes Edwin Maxwell as Karloff's double-crossing lawyer, Ward Bond as one of Baxter's henchman and Hobart Cavanaugh - who actually steals the film - as a small-time hood who finds himself an unlikely partner to Karloff (his character, nicknamed "Petty Louie", has a penchant for slang with "Are we in?" and "It's in the bag!" as his favorite phrases).

Night Key is directed by Lloyd Corrigan and adapted to screenplay by Jack Moffitt & Tristam Tupper from a story by William A. Pierce. It stars Boris Karloff, Jean Rogers, Warren Hull and Samuel S. Hinds. Music is by Louis Forbes and cinematography by George Robinson. Plot sees Karloff as aging inventor David Mallory, who once again finds himself cheated by security business boss Stephen Ranger (Hinds). With his eyesight failing and a daughter (Rogers) he wants to set up before he passes on, Mallory decides to teach the scheming Ranger a lesson. However, the criminal element headed by The Kid (Alan Baxter) have designs on using Mallory and his "Night Key" device for their own ill gotten gains.

Well Louis! We are in.

Out of Universal Pictures, Night Key was knocked out in under a month and budgeted, unsurprisingly, on the cheap. Yet the film belies these matters to be a good old fashioned yarn for entertainment. Melodrama mixes with a touch of sci-fi as the story unfolds as an interesting character piece, the veins of which are mostly pumped by an honest versus dishonest theme. Within there's a burgeoning romance etched in to the narrative, but this is handled well by the director as it aids the flow and reason of plotting, while the odd bit of action here and there stops the film from being too staid. The effects from John P. Fulton, too, are good fun and leave a favourable mark late in the story.

Picture gets most of its strength from Karloff's performance. An undervalued talent at the best of times, Night Key gives viewers the chance to see just what he could do away from the horror iconography that defined his career. Here as the sombre and fragile David Mallory, Karloff isn't just looking the part because of make-up, he is able to match his body to the aged state of the character, simultaneously garnering great empathy from the viewers. It's a character, courtesy of performance, that firmly has us rooting for against the baddies. Around Karloff are effective turns from Rogers (bright), Hinds (weasel like), Hobart Cavanaugh (fun as the comedy side-kick, Petty Louis) and Ward Bond, who as henchman thug is an imposing presence.

It's all very daft and goes where we expect, and want, it to go, but with Karloff leading the way this is a comfortably recommended time filler. 7/10

NIGHT KEY (Universal, 1937), directed by Lloyd Corrigan, stars horror film icon Boris Karloff in a sort of change-of-pace project from his then current trend. Not exactly playing a night watchman with a skeleton key to get into every room in a warehouse where he works, but a kindly-old inventor with a device known as "The Night Key." Having recently played a scientist whose invention has him going on a murderous rampage in THE INVISIBLE RAY (1935), for NIGHT KEY, Karloff brings a new dimension to inventor/scientist, which, up to that time, typically one who becomes insane through the use of one of his own experiments. Here he's a middle-aged father figure, frail in appearance but strong in his actions which marked a new beginning for Karloff with similar roles to follow. Now back to NIGHT KEY.

In an original story by William Pierce set in New York City, the plot introduces Stephen (or Steven) Ranger (Samuel S. Hinds), president of the Ranger Protective Agency, celebrating his twenty years of successful business serving alarm systems for banks and businesses. Dave Mallory (Boris Karloff), his former partner who actually invented these devises years ago, has never received credit nor royalties for his work. Now living in a tenement apartment with his adult daughter, Joan (Jean Rogers), a cashier for Coast to Coast Restaurant, Dave, having worked fifteen years on his latest security system, is slowly going blind. Fearing the new and improved invention might put him out of business, Ranger agrees to talk financial terms with Dave and market the product. Willing to forget Ranger's past misdeeds, Dave entrusts him with the invention in exchange with $500 advance royalty. Once the contracts are signed, Dave soon learns he's been tricked again, with Ranger having no intention of marketing the product after all. After Dave releases the soon to be arrested thief,"Petty Louie" (Hobart Cavanaugh), from Ranger's detention room with his night key, the two men team together through a series of break-ins to ruin Ranger's business, all leaving a note signed by "Night Key" that reads, "What I create, I can destroy." All goes well as planned until mobsters headed by The Kid (Alan Baxter) force Dave and Louie to join in their crime wave. As Dave's daughter awaits to hear from her father and his undisclosed whereabouts, she finds herself being trailed by Jimmy Travers (Warren Hull), one of Ranger's security guards who takes a special interest in this case.

Often classified as a horror film due to the Karloff name and stock music lifted from Universal's own "Werewolf of London" (1935) on certain occasions, NIGHT KEY had formerly been linked along other Universal horror titles ("Dracula," "Frankenstein," "The Mummy," "The Wolf Man") whenever shown on broadcast television on Fright Night or Shock Theater festivals back in the sixties and seventies, and briefly on New York City's "Cinema 13 Horror" in 1981. Regardless, NIGHT KEY is actually a quaint little "from science fiction to crime thriller" stories that offers Karloff the opportunity of becoming more than a creepy character or man of evil tendencies as indicated in THE BLACK CAT (1934). In NIGHT KEY, Karloff's performance of the frail, white haired old man with bushy mustache, helpless without his glasses, is quite believable. Aside from the secondary performances by the blonde Jean Rogers (in a physical manner of fellow blonde actress, Mary Carlisle) and Warren Hull (billed as J. Warren Hull), honorable mention goes to the long forgotten Alan Baxter whose distinctive voice and mannerism best suited for gangster leader, the same type he enacted in his debut film, MARY BURNS, FUGITIVE (Paramount, 1935) starring Sylvia Sidney. Interestingly, in spite of Baxter's unique personality, he never ranked among Hollywood's legendary tough guy types of James Cagney, Humphrey Bogart or even Alan Ladd. While Hobart Cavanaugh often appeared in minor bits, NIGHT KEY is one of those rare cases next to I COVER THE WATERFRONT (United Artists, 1933) where he's gets the most out of his supporting stature. Others featured in the cast are: David Oliver (Mike); Ward Bond ("Fingers'); Frank Reicher (Carl); and Edwin Maxwell (Lawyer Kruger). Henry Armetta and Nina Campini as an Italian couple offer some amusing moments.

Though some might find NIGHT KEY disappointing for lack of horror content, it's actually quite good for its standard, fast-paced second feature material. It's become available on DVD double featured along with Karloff's medieval feature, "Tower of London" (1939), though prints provided happen to be taken from 1940s reissue from Real-Art Pictures. Because of its science fiction theme, NIGHT KEY would be best suited as a double-bill with Karloff's THE INVISIBLE RAY (1935) on the flip side instead. (**1/2 keys)

Hadn't heard much about this film before. I knew Karloff was in it, and that was just about it.

Had such a fun time watching it.

Boris was so great here, and the actress playing his daughter was also great. They actually felt like a realistic portrayal of a father and daughter's relationship. I also think the lead mobster guy was fantastic! There were moments where he didn't have to say anything, and yet his performance was very strong.

I highly recommend the movie to anyone whom hasn't seen it before-especially to Karloff fans. He steals the show, here.

In NIGHT KEY, Boris Karloff is kindly scientist, David Mallory, who has developed a unique alarm system. Unfortunately, Mallory is a bit too kindly, and is taken advantage of by someone who steals his ideas. The title device comes in handy when Mallory wants to get back at the man who robbed him. Unbeknownst to Mallory, some big time crooks find out about the device, abduct Mallory, and cause criminal mayhem.

Karloff is superb in his milquetoast role. Those accustomed to only seeing him play monsters or madmen must see this! No one does it better than Boris!...

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").

The almighty Boris Karloff is primarily an icon of horror cinema so it's a bit peculiar that this film, which is in no way horror-related, got included in the fancy and recently released Karloff DVD-collection (cover image displayed here on the main page). Personally, I'm glad it's there, as "Night Key" was completely unknown to me and it's always a great pleasure to discover a new film from your favorite actor, especially if it's as amusing and adequately plotted as this film! Boris is once again very convincing as the elderly inventor of burglar alarms who just reached a personal breakthrough with his new system of a beam-based alarm. When he attempts to sell his invention to a major company, the manager slash former business partner robs him for the second time and Mallory develops a plan to get even. By developing a way to crack the old alarm systems, he hopes to sell his new one quicker but unfortunately a gang of mobsters takes quite an interest in his burglary methods… "Night Key" is by no means a mesmerizing film, but it benefices from a good pace and excellent acting performances. Apart from Boris, there's the really great acting to admire of Alan Baxter, Ward Bond and Hobart Cavanaugh as a small time crook. It's a fun little film, albeit very politically correct and loaded with clichés and stereotypes.

Actor Lloyd Corrigan took a turn directing this little-seen but fun thriller that casts Boris Karloff as elderly inventor David Mallory, who has created a new state-of-the-art burglar alarm that former rival Steven Ranger(played by Samuel Hinds) has bought, but maliciously refuses to put on the market, ruining Mallory because he had married a woman that Ranger had loved. Furious, Mallory plans revenge by preventing the alarms going off in Ranger's stores during minor thefts, but this brings on the unwanted attention of gangsters, who kidnap Mallory's daughter Joan(played by Jean Rogers) to force him to work for them. Pretty good film has a sympathetic performance by Karloff and a good pace, with imaginative story. Deserves to be better known.

Boris Karloff plays an inventor of high-tech burglar alarm systems. Twenty years before he was ripped off by crooked Samuel S. Hinds, who took full credit for his invention and built a thriving security business out of it. Now Boris has invented a system to top his old one. He makes the boneheaded decision to trust Hinds again and is again ripped off. So he teams with small-time thief Petty Louie to break into places and make Hinds look bad, leaving behind notes signed Night Key. But then a gang of crooks kidnaps Karloff and forces him to help them commit real robberies.

It's a mix of science fiction and crime picture. Karloff is excellent as always. I don't think I've ever seen a bad Boris Karloff picture. Petty Louie, played by Hobart Cavanaugh, is lots of fun. Samuel S. Hinds plays a villainous role very far removed from Peter Bailey. Alan Baxter and Ward Bond are the two most noteworthy gang members. Only drawback is the insipid romantic subplot between Karloff's daughter Jean Rogers and security guard Warren Hull, but it doesn't intrude on things too much. It's a fun movie Karloff fans will love.

On my quest through the Classic Universal Horror Cannon, I've encounter many a film that isn't actually a horror movie, despite macabre advertising. This is one of those film. Curses. It's sort of weird to see Karloff playing a normal middle-age guy one year before in "The Invisible Ray," and then see him as what was the first of many old man parts the next year in this film. "Night Key" is a light-weight crime thriller with heavy comedic vibes and a vaguely sci-fi MacGuffin. Karloff plays the inventor of security systems who has spent fifteen years perfecting a new device, with the goal of selling it to a security company for big bucks, so he and his daughter can be set for life. Instead, the security company decides to sit on the patent. Karloff, teaming with a petty thief, decides to use his master key to cause a series of mischievous break-ins, as revenge. Naturally, things get complicated and a crime boss blackmails Karloff into using his key for real bank robberies.

"Night Key" rolls along at a decent pace. Karloff is as good as ever, playing a character who comes off as extremely naïve at times. He has good chemistry with Jean Rogers, as his daughter. She gets a love interest in the form of a cop, Warren Hull. The romance isn't well developed but Hull is nice enough. Hobart Cavanaugh as Petty Louie, the thief Boris teams with, provides most of the movie's humor, especially his confusion at his partner's good-nature pranks. Alan Baxter is the serious villain of the film, a monotone-voiced, appropriately threatening crime boss. You won't loose too much during the 67 minutes it takes to watch "Night Key," even if you could maybe use that time better, especially if you're looking for a horror movie.

Night Key although starring Boris Karloff in the prime of his horror film stardom is far from that. In this film Karloff plays an inventor who was ruined by the head of a security firm Samuel S. Hinds who stole a security system that could have made Karloff millions. Hinds made the millions and Karloff and his daughter Jean Rogers barely scraped by.

Now he goes and does it again even buying off Karloff's lawyer. This time Boris ain't taking it lying down. He's invented an electronic box he calls his Night Key that allows him to bypass and have all kinds of fun with the security system he created for Hinds. His first trick is to let out petty crook Hobart Cavanaugh from the cell Hinds was holding him for the cops. That's a great sequence and thoroughly embarrassing to the man who made millions on Karloff's ideas.

Cavanaugh who made a career out of playing drunks attachés himself to Karloff like a puppy and promises to introduce him to some big time crooks. Alan Baxter certainly sees all kinds of possibilities here, but a life of crime isn't what Karloff had in mind.

Instead of being a monstrously evil man Boris is a gentle old soul who just wants what is due him. There's also a reason behind what Hinds is doing to ruin Karloff at every opportunity, it's more than capitalistic greed.

Karloff is not frightening anyone in this film. Night Key even has a happy ending. Not too many Karloff films have that for him.

I just got through watching NIGHT KEY over the weekend and remembered why Boris Karloff was one of the top actors during Hollywood's Golden Age. Not only could he do horror with one hand tied behind his back just to make it fair to other actors, he could do mainstream and action fare as well. NIGHT KEY can be seen today as an ancestor to all those high-tech epics that we've seen these days. It's time to scope out NIGHT KEY. It is included in a five-movie DVD collection, but worth the trouble. That's all.

The inventor (Boris Karloff) of a new top-of-the-line burglar alarm system is kidnapped by a gang in order to get him to help them commit robberies.

Although Boris Karloff may be best known for his horror roles, he makes a great character in this crime story, too. A man who has been wronged, he tries to right that wrong, but things go badly for him. He just cannot catch a break, even when he is the mysterious Night Key.

Great plot, decent direction and crisp cinematography really help this one out. Some have noted that it has elements of science fiction. While nothing in the film is impossible, the security system was actually a bit advanced for 1937. It sort of anticipates the laser, which was not invented until 1960.

Highly enjoyable B-picture with a good cast, humor and excitement. Boris Karloff is Dave Mallory, an inventor-genius responsible for a clever alarm system. An old associate who had cheated him in the past is up to the same tricks, attempting to steal his latest ideas. It looks like it's going to work until a security guard who's interested in Mallory's daughter manages to foil the old guy's plot and that of a gang led by a scoundrel called "The Kid". A perfect example of the economic second feature, balancing an intriguing plot with a romantic subplot that's never over-played. Karloff is great and very sympathetic. With standouts Warren Hull, Samuel S. Hinds, Ward Bond and Alan Baxter as "The Kid". One of best of several minor films from Hollywood's no-horror period with Karloff in the lead.