The Mask of Diijon

A bottom-of-the barrel director at a bottom-of-the-barrel Poverty Row studio (Producers Releasing Corporation), Lew Landers’ single film in this collection rises above his standard fare because of one giant asset: Erich von Stroheim. In one of his many noirs playing an illusionist of some sort, Stroheim here stars as the titular, narcissistic magician, who, having quit performing, spends his time at home reading books about mental powers and tormenting his wife Victoria (Jeanne Bates), who has recently found herself drawn back toward ex-lover Tony Holliday (William Wright). After Victoria encourages him to take a one-night gig as a hypnotist during which the audience laughs him off stage, Diijon suspects his wife and Holliday set him up to fail. Coincidentally, he soon learns that he does indeed possess the power of hypnotism, which will serve as his weapon for exacting revenge. The surreal, painted eyes staring down the opening credits presage the handful of aesthetic wallops throughout the production: despite the miniscule budget, Landers and cinematographer Greenhalgh create brilliant night scenes in which extreme low-key lighting transforms cheap city street sets into a menacing noir atmosphere that swallows the black caped Diijon in between his criminal escapades. Keep your eye on the guillotine prop in the opening scene as it will return later to settle scores.