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Director Robert Florey, who gave the Marx Brothers their cinema start with The Cocoanuts in 1929, worked with Metropolis cinematographer Karl Freund to give a German Expressionism look to Murders in the Rue Morgue, with Bela Lugosi as a mad scientist running a twisted carnival sideshow in 19th-century Paris, and murdering women to find a mate for his talking ape main attraction. (Eureka Entertainment)

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kaylin 

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English The conclusion of Murders in the Rue Morgue is basically a variation on Frankenstein. The humans go after the monster, only to have the monster, which is actually the bane of his master’s existence, take the final hit. There is not much of a lesson here. There is nothing groundbreaking. It is just a variation on a tired theme where the director is attempting to make what he originally wanted to make, albeit differently from when they gave Frankenstein to Whale. ()

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