Grave robbing is one thing, but murder is quite another.

Dr. MacFarlane and John Gray share a murky past, but just what is this hold that the lurching Gray has over the eminent Doctor? Based on a Robert Louis Stevenson short story, The Body Snatcher contains tight direction from Mr Versatile, Robert Wise - all the classy Gothicism one comes to expect from producer Val Lewton - and a stunningly effective performance from Boris Karloff. The piece neatly puts itself out as a kind of sequel to the infamous story of Burke & Hare, where here our main protagonists are clouded over by a link to the dastardly duo who purloined cadavers for cash in the 1820s.

What stands out with this picture is its wonderful pacing, nothing is rushed to try and jolt fear into the viewer, it's sedate and framed in a marvellous Gothic texture by the makers. The core story line is of course one of great distaste, but its a medical quandary in the name of research that makes for a very interesting piece indeed. We are put into a position very early on where we so want to see a young girl cured of her ills, this axis of the film is neatly surrounded by the horror unfolding. Great writing from Stevenson, Lewton & MacDonald.

Boris Karloff is Gray, a large shuffling man who is the body snatcher of the title, a smirking and well spoken Gent, it really shouldn't be scary, but Karloff manages to chill the blood in every scene that he is in. Henry Daniell is MacFarlane, a very emotive performance as the character is twisted by his pursuit of medical achievement whilst having Gray's looming presence constantly hovering over him. Rounding out the cast with effect is Russell Wade as protégé in waiting, Donald Fettes, Bela Lugosi (a classic horror fans dream comes real in one great sequence with Karloff) as Joseph, and Edith Atwater as loyal love interest Meg Camden.

However, they all play second fiddle to the makers' work here. Gloomy cobbled streets come shining to the fore, Gray's hovel like abode cloaked in dark shadows with the odd flicker of fire light, and stone surrounds that come across as monolithic structures. Some great sequences as well, a particular one uses the characters' shadows to tell the story under the watchful gaze of Gray's cat, and then the final reel, which is moodily excellent and perfectly puts closure on this fine piece of Gothic fevered work. Highly recommended. 9/10