The Mask (1961) (horror film review).
I first encountered the film The Mask, also known as The Eyes From Hell, during the transition from paying for cinema tickets as a child to paying as an underage adult. Although it was a Canadian film released in 1961, I didn’t watch it until a decade later. It was also my introduction to 3D cinema, so apart from wearing the 3D glasses, I had no idea what to expect. After watching it, I decided against seeing the 3D porn film scheduled for the following week, unsure of what might be figuratively thrown at me.
Years later, I decided to revisit this horror classic and obtained a copy from the long river website. Despite its American origins, the DVD is region-free. Included in the box is a 3D mask, and a brief introduction at the film’s start advises viewers to wear the filter mask whenever the protagonist, psychologist Allan Barnes (played by Paul Stevens), puts on the full-face mask. I was curious to see if the effect would translate to television, and it did so magnificently. In the film, Barnes encounters one of his patients, an archaeologist named Michael Radin (played by Martin Lavut), who experiences nightmares whenever he wears a mysterious mask and fears he may have killed someone the previous night. After Radin offers Barnes the mask but flees upon feeling disbelieved, he sends the mask to Barnes through his landlady and then commits suicide. Two detectives, Lieutenant Dan Martin (played by Bill Walker) and Detective Bill Anderson (played by W.B. Brydon), investigate Radin’s suicide. Radin’s tutor mentions the mask to them, but it is Barnes who ultimately receives it and finds himself unable to resist its allure. Barnes becomes obsessed with the mask, and his secretary, Miss Goodrich (played by Anna Collings), steals it and runs to the museum, with Barnes in hot pursuit.
Much of the film focuses on preventing Barnes from using the mask, as it gradually drives him to madness. Barnes’s girlfriend, Pam Albright (played by Claudette Nevins), joins in the effort to save him.
The 3D sequences are viewable without the mask, but wearing it adds an impressive depth to the experience. Even as a youngster, I experimented with watching the sequences with and without the 3D glasses, and from different perspectives, to test the effect. Being a black and white film, the additional touches of color enhance the depth, making it a fascinating novelty. Optimal viewing requires positioning at table height to fully encompass the TV in your field of vision, as sitting further back diminishes its effectiveness.
The screen resolution, particularly the TV’s anti-aliasing feature that smooths curved lines, is exceptionally sharp. After watching the film, I noticed a persistent sharpness and depth in my vision when I switched back to regular color TV, and no, I wasn’t still wearing the glasses—or perhaps I was metaphorically wearing the mask.
Among the extras, Julian Roffman: The Man Behind The Mask, a 21-minute feature by his son, Peter, and others, offers insight into Canadian director Julian Roffman (1915-2000). Roffman, initially focused on directing documentaries and movies between Canada and the USA, was not particularly impressed by the script of The Mask but was enthusiastic about the 3D aspects. He collaborated with several avant-garde talents for the film.
The theater trailer introduces the 3D concept and the necessity of wearing the mask.
Mystic Magic, a 19-minute segment explained by magician Harry Blackstone, was produced in 1982. It serves as an explainer for the 3D process and how to adjust American TVs for optimal viewing from six feet away. The inclusion of a cane appearing to extend into my living room was particularly delightful. It’s surprising that more 3D films haven’t been released on DVD.
To access the audio commentary by film historian Jason Pichonsky, one must navigate to the ‘Setup’ menu. Pichonsky discusses three different edits of the film, noting that this version is the complete one. It appears that Pichonsky prepared his commentary thoroughly, relying on research rather than memory alone. The live-action scenes were filmed quickly to preserve the budget for the three 3D sequences. The decision to go with Warner Bros for distribution was influenced by their lower bid and the perception that they were nicer people. The film features the mask in color, though there’s no mention of whether anyone has dared to wear it since.
GF Willmetts
February 2024
(pub: Kino Classics, 2015. 1 DVD 83 minute black and white film with extras. Price: $19.00 (US). ASIN: K20172)
cast: Paul Stevens, Claudette Nevins, Bill Walker and Anna Collings
check out website: www.klstudioclassics.com/film/the-mask-3d-blu-ray
