Protraph
Lack of good storyline.
ScoobyMint
Disappointment for a huge fan!
Janae Milner
Easily the biggest piece of Right wing non sense propaganda I ever saw.
begob
A rich widow meets a dark stranger on the beach after she hears her name being called by her late husband, and is pulled into a con-trick. But who's being conned? This starts out as an over-dialogued ghostly melodrama, but develops okay into a mystery-thriller and delivers a solid twist. So it's worth bearing with, but the initial pace really plods along and the lighting and visual clichés are just too dull. I saw a bad youtube copy, so don't want to be too harsh. Some of the effects are interesting if not convincing, and the music is the usual constant romantic background manipulation.The acting is fine, but the story doesn't inspire, and although there are noir touches it's not a patch on Chandler.Overall, won't be watching again.
piratecannon
X-FactorThe Amazing Mr. X is a fairly unknown little nugget that was released in 1948 and was advertised with the sensational taglines, "In his eyes… the threat of terror! In his hands… the power to destroy!" This, of course, was not uncommon for the "horror" films that were churned out during this era, but, after having just viewed this under-the-radar psychological thriller, it's clear that the promoters were really reaching.The frustrating thing about Mr. X is that it actually features some nifty effects and has one or two genuinely creepy occurrences. The premise, too, promises to be engaging. But, for a variety of reasons, the movie just doesn't work. Let's break this thing down so we can pinpoint why "X" does not, in fact, mark the spot.Plot. That's an important word when it comes to storytelling, right? Mr. X certainly has one, but here's the problem: it's absolutely ludicrous. The wealthy widow of a man two years deceased begins to have visions of his spirit trying to make contact with her. This woman then has a chance encounter with a man named Alexis (the Mr. X in question), who claims to be a supernatural medium. After a lot of prolonged voodoo it's revealed that Mr. X is nothing more than a con-artist. He uses an assistant and cheap effects to swindle depressed women out of their money. What Mr. X doesn't expect, though, is that the dead man in question actually makes a flesh and blood appearance. As it turns out, he was never really dead; he staged a car accident and included bogus remains so as to be declared a goner. After somehow managing to hide from society for two years, this well-groomed sleazeball appears and strikes up a deal with Alexis. In short, a lot of tomfoolery takes place, and a completely unrealistic conclusion sees Mr. X forgiven for all of his misdeeds and in the good graces of the very women he previously hustled.Again, given it's age, I do think Mr. X is due some credit for its ability to (very infrequently) drum up some genuine scares. But then there's the pesky "logic" factor: you know, the one that says "any rational person would react in ways A, B, or C." I guess they were hoping people would go for outcomes D through… er… X.I, for one, did not.
Spikeopath
The Spiritualist (AKA: The Amazing Mr. X) is directed by Bernard Vorhaus and collectively written by Crane Wilbur, Muriel Roy Bolton and Ian McLellan Hunter. It stars Turhan Bey, Lynn Bari and Cathy O'Donnell. Music is by Alexander Laszlo and cinematography by John Alton.Christine Faber ( Bari) thinks she hears the voice of her late husband calling out to her from the beach. Upon investigating she bumps into a mysterious stranger called Alexis (Bey) who seems to know all about her. It turns out that Alexis is a spiritualist, but is he genuine? Christine and her younger sister Janet (O'Donnell) quickly fall for Alexis' spiel and charms, but there are surprises in store for all involved… Sources suggest that preview screenings of The Spiritualist didn't go down too great, some of the more supernatural aspects of the story proved to be unintentionally funny. Apparently? In truth when viewing now it is a bit creaky in that department, but atmosphere is everything in a film like this and the makers get it mostly right. It sort of floats on ethereal waters, never hurried it indulges us in some impressive imagery whilst letting us into the trick laden world of a phony medium. The moon and the sea are characters in their own right, and Alton and Vorhaus bring them into the psychological play, while primary human characters are either gorging on obsession or manipulating to feather ones own nest. Then a twist comes that doesn't hinder the narrative or mood, in fact it aids the story considerably.Director Vorhaus pitches the film somewhere in between a noir and a ghost story, sprinkles a bit of romanticism on the top and has fun debunking the art of spiritualism in the process. There's also a fun glint in the eye during proceedings (with one incredulous reaction from Alexis particularly joyous), something that is clearly intentional and was most likely misread by those preview audiences mentioned earlier. With John Alton working his cinematography wonders (expressive light and angles, looming shadows and misty close ups) and a very agreeable cast (including a smart Raven) making the story work in spite of some credibility stretching in the script, it rounds out as a very enjoyable, sometimes intelligent, picture.Undeniably without Alton though, it wouldn't be half as decent, he is the guiding force in the production. Alton's book Painting with Light (1949) features The Spiritualist prominently and it's evident the great man was tinkering with his talents here. The other notable link to the film is a sad one, the role of Christine Faber was signed sealed and delivered to Carole Landis, but just before the film went into production she committed suicide, aged just 29. On to more cheery things, home format availability? Numerous releases of the film have surfaced over the years, most have been bad transfers from public domain sources, however, now we do have a definitive release from Sony Classic (under the title The Spiritualist) that is a very decent print and takes us viewers firmly into the strange world of Mr. X.It makes a nice accompaniment to John Farrow's Night of a Thousand Eyes, also from 1948, with both films serving as perfect appetiser's to Edmund Goulding's Nightmare Alley (1947). 7.5/10
Chad Halsman
The Amazing Mr.X starts off a little slow but then starts to pick up some speed. Its a very interesting and unique old School type thriller. It has an interesting way of shifting the bar to subtle to making you guess what could possibly happen next. Although this movie can appear boring at times, it is a great opening into a psychological portal of the late 1940's. The actors also play their character roles with great feeling that also adds to the mystique of the entire film. Old School movie fans will definitely enjoy this intriguing thriller. Overall the movie is decent with some minor kinks in it, it lacks in the action department but the story plot makes up for this flaw. I definitely recommend this to any Old School Horror/Thriller fan.
