Home
search
more | tips
IMDb > The Man from Beyond (1922) > IMDb user comments

IMDb user comments for
The Man from Beyond (1922) More at IMDb Pro »

Filter: Hide Spoilers:
Index 6 comments in total 

6 out of 7 people found the following comment useful :-
Houdini's mysticism holds true., 11 October 2001
6/10
Author: rsoonsa (rsoonsa@bandbbooks.com) from Mountain Mesa, California

Written by the master escape technician, Harry Houdini, THE MAN FROM BEYOND is a fantasy of one who lived before, and is also produced and stars Houdini, who portrays Howard Hillary, an Arctic explorer who is revived after being encased within ice for 100 years aboard a ghost ship, and who then must deal with a vastly changed world. This is the first effort released by Houdini Picture Corporation, and is filmed in large part at and about Lake Placid in New York, and Niagara Falls to the brink of which the stalwart Hillary is whirled in his efforts to save his lady love, Felice (Jane Connelly), from apparently certain death by drowning and, previously, from designs of immoral blackguards. The plot is quite melodramatic, as Felice, in Hillary's eyes, was his fiancee aboard the Arctic vessel wherein he was trapped by a storm following a losing battle with the ship's captain, and he must, in 1922, convince her that she was his beloved in an earlier manifestation a century of years before, and thereby wrest her from her current beau, who has designs upon her fortune, and the latter's partner in crime, Marie La Grande (Nita Naldi in a brief appearance). Houdini, who utilized the sobriquet Man From Beyond, was enthralled by the possibility of linkage between the material world and a spiritual domain (although he detested spiritualists), and his script conveys his philosophy rather didactically as based upon his extensive study of the arcane.

Was the above comment useful to you?

3 out of 3 people found the following comment useful :-
Schmaltzy Melodrama but worth a look! On DVD, 8 December 2006
6/10
Author: WhoDub from Everett , Washington

I've been a Houdini fan since I was a kid, so when I ran across this movie on VHS I bought it. This is the story of a man frozen in time and coming to life to find himself finding his soul-mate about to marry a man after her money. He must convince her that she's making a mistake and show the fiancé up for the villain he is. During the course of the movie, Houdini shows us some of the escapes he was famous for.

While I agree with the comments that this movie is overly melodramatic, most of the silents of that era were. Yes, it's got all the overly-exaggerated gestures and wide-eyed looks.

In spite of this, I watched with fascination as Houdini, the man who help audiences in the palm of his hand, hammed it up through this movie. A great actor, he's not. But for most of us, it's the only chance we'll ever have to see the Great Houdini. Most magicians can out-perform him now, but in his heyday, he was the one and only.

As Houdini's only appearance on DVD, you can find this rare gem at Amazon, or Deep Discount DVD.

Was the above comment useful to you?

1 out of 1 people found the following comment useful :-
Brought Back to Life!, 17 April 2008
7/10
Author: JohnHowardReid

A very odd film indeed, which completely mystified me on the first run. I couldn't make sense of the story at all, let alone follow the complicated plot. It wasn't until a second viewing that it all came together. The reason, of course, is that it's edited in a very peculiar manner. This is not your standard Hollywood grammar of 1922 at all. It's the editorial grammar of "Caligari" and other German expressionist films of the period. Mind you, this is pretty identical to the editorial grammar in use in 2008—which is one reason I don't watch contemporary movies. I can't follow them. When I see a close-up, for example, I immediately conclude the director is going to special pains to draw this particular character to my attention, so in my mind I file away this player for further reference. Five minutes and fifteen close-ups later, I'm totally lost.

When "Grand Hotel" received its New York premiere, many critics (including Mordaunt Hall of The New York Times) walked out, claiming that director Goulding had used so many close-ups, they couldn't follow the story. But "Grand Hotel" is poverty indeed compared to the plethora of odd close-ups in "The Man from Beyond". True, it makes sense the second time through, but who wants to watch a melodrama like this twice? Even to see Houdini brave the rapids of Niagara Falls, "Niagara" fashion? And even to eye Nita Naldi at her slinkiest?

Mind you, the tinted print offered by Kino in their "Houdini" box is much easier on the eyes than both the black-and-white DVD versions available from Alpha and Grapevine. This said, however, I cannot recommend the Kino print unreservedly as it is missing the key sequence of Houdini's first recorded glimpse of his savior's home. This sequence features the most effective close-up in the whole movie.

On the other hand, although there seem to be other bits and pieces missing from here and there, the Kino copy does restore at least one important sequence that was presumably censored from the black-and-white prints.

Most peculiarly, none of the three current versions feature an actual brought-back-to-life sequence, although we do receive a tantalizing glimpse of it in a flashback. Presumably it was removed from the movie at an early stage.

Which brings me back to the very odd way in which the movie is edited. Another feature of German expressionism is that shots often don't match, a deliberately contrived device to startle the audience. The same device is used here. For example, in medium shot a character may be smiling placidly. In close-up, however, his features are contorted with rage. In long shot, his arm may be raised. In close-up, his arm is by his side. This device is used neither too often nor too sparingly so that I wonder if it was the result of a deliberate intent or merely due to either the director's or the film editor's incompetence. Fortunately, it is in dialogue (or sub-titled) scenes that this often occurs. The action sequences on the other hand are very astutely and effectively edited.

To enjoy the action highlights at their best—particularly the extended climax which culminates at Niagara Falls—it's essential to view the Kino edition. The tinting is not only so realistic that it immeasurably adds to the thrills, but the print is so sharp that it's obviously Houdini himself performing these dangerous stunts (and not Bob Rose as some critics have claimed).

Although Houdini had a much-publicized interest in life after death, his story is pure melodrama of the most ridiculous caliber imaginable. Even on its own puerile level (and disregarding its supernatural elements), the gaslight plot makes no sense whatever. (Of course, Bela Lugosi could have given the villain a good run, but Arthur Maude is far too conventional). Its purpose, however, is primarily to showcase Houdini's various escapist stunts and thrills; and this it does quite well. As an actor, however, his powers are somewhat limited, but these limitations are cleverly disguised by the role he plays here. He has seen to it that he is given plenty of close-ups and it's fascinating to watch this somewhat odd-looking, yet undoubtedly charismatic little man, go through his paces.

Was the above comment useful to you?

Good melodrama is far from magical and not what you'd expect from a Houdini film, 18 August 2007
6/10
Author: dbborroughs from Glen Cove, New York

Harry Houdini is found frozen in a black of ice and thawed out after 100 years. He finds what he thinks is the reincarnation of his lover and has to help her over come some bad guys.

Well made melodramatic thriller chugs along at a good clip until you suddenly realize that other than some great stunts Houdini isn't going to do anything "magical". Its not bad, actually far from it, its just that this is Houdini and you want something wondrous. Worse the one magical bit, the cell escape is cut up in such away as to make it dull and unbelievable. I'm guessing it wasn't filmed that way, but breaking it into the start of the event and then having it finish as a flash back kills it. From what I've read this is the problem with most of Houdini's films and was the reason it never really went anywhere. Worth a look for magic nuts who'll want to see Houdini in action, and for anyone else who wants to see an okay little melodrama.

Was the above comment useful to you?

1 out of 2 people found the following comment useful :-
Houdini, 29 February 2008
Author: MichaelElliott1 from Louisville, KY

Man From Beyond, The (1922)

** (out of 4)

Early science fiction mixed with drama has a man (Harry Houdini) frozen in the Arctic for 100 years. When he's discovered, a scientist thraws him out and when he awakens he wants the love of his life back. This is a pretty boring film even with its short running time of 61-minutes. There's really not too much going on as a murder sideplot is pretty boring. An exciting ending and seeing Houdini do some of his famous stunts are the only reasons to watch this.

Now available through Kino with other Houdini shorts. This version is a lot better than the public domain release by Alpha.

Was the above comment useful to you?

3 out of 22 people found the following comment useful :-
Lock it away - the Horror!, 6 August 2002
Author: philipdavies from United Kingdom

Granted, that only the grandest of silent films ever rises from the flailing ruins of those stuttering sentimental gestures, so mechanically struck by it's insubstantial shadow-marionnettes, faithful to the chattering death of the stilted society which rattled their bones like beads, only to shatter in the moonlight that drains any human warmth, just as night without a candle stiffly draws the blizzard of mothy ashes into the lime-light, light falling, frozen, dusty, over scenes that vision forgets - - - yet, at their best, these ghosts can demonstrate how to die with style.

Alas! not here the preposterous glories of a Phantom of the Opera.

Here, au contraire, a fitfully animated corpse rapidly freezes our living interest. The Man from Beyond, even as Houdini's alter ego, never succeeds in escaping his writer's block of ice. A notion not necessarily more preposterous than the gibbering of many a later entertainment, that has dabbled in the matter of Death, is quickly doomed by the unseeing eye of the director, and the shambling course of the plot.

The only escapade in which Houdini at last, though briefly, sloughs off his bonds of frozen celluloid is during the Niagra rescue sequence, when rapid cutting almost renders the drama fluid. But the trickle of inspiration issuing from the love-lorn block of ice, through the cold shower and restraint put on passion (in the cell where a heart was supposed to beat), gathering to an irresistible torrent of overwhelming passion above the Falls, just never gathers force. Perhaps Houdini's Freudian slipperiness was just too much for director Julian's imagination to hold on to?

Despite Julian's habitual Big White Hunter impersonation on set, with jackboots, johdpurs, and solar topee, this film is definitively the One That Got Away. Julian was himself the original and quintessential parody of the silent, Stroheim-fixated, movie director, and this film is the essential guide to everything we feared was true about Film before the sanity of sound came, and filled up the booming emptiness of those trackless wastes, where stranded, phosphorescent phantoms open and shut their useless mouths under the empty glare of the sand-filled lens of other days.

Let us restore these ashes to that Vault, from which no light escapes. This thing is a parody of light - a jerking, staggering, Dance of Death. Lock it away - the Horror!

Was the above comment useful to you?

Add another comment

Related Links

Ratings External reviews Plot keywords
Main details Your user comments Your vote history