A deluge of horror features was piled higher and higher by Bela Lugosi in his post-Dracula high. He and other contemporaries spent much of their later careers chasing the initial success that had awarded them with the role of a lifetime as a great monster of literature. Boris Karloff at least fared somewhat better than Lugosi, who by the time The Dark Eyes of London was dumped on him had been assigned to the B-Movie merry-go-round after Paramount changed their production focus. It left Lugosi as a man whose name value would swiftly diminish, but could be capitalised on in the few years it had left to bulk up some smaller features that weren’t going to be remembered all that well. Case in point, The Dark Eyes of London, which has aged poorly and been remembered by few.