By 1935, Karloff's career was on the upswing. His work at Universal had cemented him as the king of horror, playing both the Frankenstein Monster and the Mummy by this point, but he also did work across town for other studios.
In the late 17th century/early 18th century, the Baron de Berghman (Henry Kolker) is pacing around his castle. He's worried as his wife is giving birth. His aides try to placate him, but the birth isn't what worries him. You see, the whole de Berghman line was founded by twin brothers. The older brother was murdered by his twin in the castle's black room. Thus, all twin boy births are considered signs of ill omens and it is even prophesied that the line will end if another set of twins are born.
When twin boys are born, the Baron is despondent, but one of his servants suggest simply boarding the room up. The Baron agrees, and the black room is sealed up, never to be opened.
By 1834, the oldest son has taken over as baron. Baron Gregor (Karloff) isn't the man his father was, lacking even a trace of empathy for his subjects or even his twin Anton (also Karloff). When he isn't indulging in petty cruelty, he's murdering anyone he feels like.
Anton returns after ten years of exile. He's the exact opposite of his brother. His kindness wins over the entire barony, including Thea (Marian Marsh). She's the current object of affection of Gregor, however, even though she really loves Lt. Lussan (Robert Allan).
When yet another maid disappears, the villagers have had enough and demand he resign. Gregor agrees without issue, and promise to turn the title and lands over to Anton. Now, if Anton will simply sign carefully and keep his back turned while Gregor admires the heft of his favorite knife...
The new Baron Anton seems awfully similar to Gregor though. Anton's favorite mastiff can tell the difference though, especially when the new 'Anton' moves his supposedly crippled arm. Lt. Lussan objects when he moves to marry Thea. Gregor counters by murdering Thea's father and framing the officer.
Lussan manages to escape prison as the wedding is starting. Also, Anton's dog is racing towards the church. Can Gregor talk his way out of this?
Darn good, and easily one of Karloff's best performances. He plays Gregor and Anton perfectly, but also Gregor pretending to be Anton. The rest of the film is a bit stuffy, but the performances salvage what could have been another historical pot boiler.
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