starts losing his visibility one day at the breakfast table, with Julie and her fiancé Mark present. He tricks Mark to follow him down into the wine cellar, where he knocks the man out, starting another, second blood transfusion with Mark's blood. Chief Constable Travers arrives at the estate after he has found out about Robert's return. With some help from Herbert and Jasper they break into the cellar just as the transfusion is about to be completed, in time to save Mark's life. Robert is attacked by the still very much alive Brutus, and killed. Mark tells the others that Griffin went insane when he was locked up in the asylum, and meant no one any harm until he escaped. Cast Production Universal first announced the plan for The Invisible Man's Revenge on June 10, 1943 with the hopes of having Claude Rains performing in the lead. Other cast members who were lined up for the film were Edgar Barrier who opted out of the production on January 6, after being disenchanted with the roles he had in films like Phantom of the Opera and Cobra Woman. Jon Hall had also played an Invisible Man character for Universal in Invisible Agent (1942), two years before this film. Prior to the first day of shooting the film, Universal's attorneys made a deal with H. G. Wells for the rights to make two more Invisible Man sequels between July 1943 and October 1951. Production on the film began on January 10, 1944 and continued for five weeks and three days finishing in mid-February. After this, John P. Fulton took over to complete the special effects sequences. The film's final cost was $314,790. Release The Invisible Man's Revenge was distributed theatrically by the Universal Pictures Company on June 9, 1944. The film's worldwide gross was $765,700. The film was released on DVD on as part of the "Invisible Man: The Legacy Collection" set, which included The Invisible Man, The Invisible Man Returns, The Invisible Woman and Invisible Agent. It was released again on blu ray as part of the "Invisible Man: The Complete Legacy Collection" on August 28, 2018. Reception From contemporary reviews, Howard Barnes of The New York Herald-Tribune found the film "singularly unexciting" finding John Fulton's special photography as "the most striking aspect of the picture [but] the tricks have been done too often before by the camera to make