Happy Birthday, Bela Lugosi!

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bela lugosi - dracula

October 20 is Bela Lugosi’s birthday.

Lugosi was born on October 20, 1882.  And what better way to celebrate his birthday than by watching one of his movies this Halloween.  DRACULA (1931) is the obvious choice, but if you’re looking for something different, there is no shortage of classic Bela Lugosi movies, films like MURDERS IN THE RUE MORGUE (1932), WHITE ZOMBIE (1932) , and THE RAVEN (1935), with Boris Karloff, to name just a few.

You could watch him in his second most memorable role after Dracula, as Ygor in SON OF FRANKENSTEIN (1939) and THE GHOST OF FRANKENSTEIN (1942).

son of frankenstein ygor

Bela Lugosi as Ygor.

Or if you really want to have fun, watch Bela in one of the many Grade Z horror movies he made, films which would be long forgotten if not for Lugosi’s appearance in them, films where in spite of their non-existent budget, bad acting, and often silly writing, Lugosi would bring his “A” game and save the show.  Films like THE DEVIL BAT (1940), THE APE MAN (1943), THE CORPSE VANISHES (1942), or Lugosi’s only color film, SCARED TO DEATH (1947).

bela lugosi_scared_to_death

Bela Lugosi in SCARED TO DEATH (1947).

Or maybe you want to see Lugosi play a vampire in movies other than DRACULA.  In that case, check out MARK OF THE VAMPIRE (1935) or THE RETURN OF THE VAMPIRE (1943), two films in which Lugosi delivers memorable performances as an undead.

Or you could watch Lugosi’s only other screen appearance as Dracula, in the comedy classic ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948).  Lugosi delivers a commanding performance here, and like his fellow horror actors in this one, remains dignified and scary throughout, allowing Bud Abbott and Lou Costello to get all the laughs, although truth be told, Bela does get to deliver a few comedic zingers here and there, and they work.

Whichever you choose, be sure to invite Bela into your home this Halloween.  Light some candles, eat some cake, make a wish, and settle in for a fun night at the movies with the Bela Lugosi movie of your choice.

Happy Birthday Bela!

 

—Michael

 

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

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THE HORROR JAR: The Universal DRACULA Series

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THE HORROR JAR:  UNIVERSAL DRACULA Series

Bela Lugosi as Dracula in DRACULA (1931).

Bela Lugosi as Dracula in DRACULA (1931).

 

By Michael Arruda

Welcome back to THE HORROR JAR, your home for lists of odds and ends about horror movies.

Up today, a list of the UNIVERSAL DRACULA movies, a series that began and ended with Bela Lugosi playing Count Dracula, but the rest of the movies in between, strangely enough, did not feature Lugosi.  And the fact that Lugosi is so identified with the character when he only played him in the movies twice is a true testament to his performance in the original DRACULA.  He’s pretty much remembered as Dracula based on his work in that film alone.

Unlike Boris Karloff, who played the Frankenstein Monster in the first three films of the Universal Frankenstein series, and then returned in HOUSE OF FRANKENSTEIN (1944) to play the evil Dr. Niemann, thus appearing in four of the eight Frankenstein movies, Lugosi only played Dracula on two occasions in the movies, and the second time was in the comedy ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948), yet he is just as readily identified as Dracula as Karloff is as the Frankenstein Monster.

Let’s look at the movies:

DRACULA (1931)

Dracula:  Bela Lugosi

Van Helsing:  Edward Van Sloan

Renfield: Dwight Frye

Mina:  Helen Chandler

Harker:  David Manners

Directed by Tod Browning

Screenplay by Garrett Fort, adapted from the play by Hamilton Deane and John L. Balderston, based on the novel by Bram Stoker.

Running Time:  75 minutes

Released before FRANKENSTEIN (1931), this was the movie that began the Universal monster series of the 1930s and 40s.  Tod Browning’s masterpiece, the movie that made Bela Lugosi a star.  Silent star Lon Chaney was originally intended to play Dracula, but his untimely death from throat cancer paved the way for Lugosi ultimately getting the part.

At times talky and slow-paced, DRACULA nonetheless is full of hauntingly rich images. The decrepit Castle Dracula, Dracula walking the streets of London, and simply Lugosi himself all contribute to the iconic visuals found in this film.

Lugosi steals the show as the undead king of the vampires, but receives fine support from Edward Van Sloan as Van Helsing, Dwight Frye as Renfield, and Helen Chandler as Mina.  Indeed, Frye is every bit as memorable as Renfield as Lugosi is as Dracula, and if you’ve seen this movie, it’s hard to forget either one of them. DRACULA is chock-full of classic lines uttered by Lugosi.  A must-see at Halloween time.

“The blood is the life, Mr. Renfield.”

 

 

THE SPANISH VERSION OF DRACULA (1931)

Dracula:  Carlos Villarias

Eva:  Lupita Tovar

Directed by George Melford and Enrique Tovar Avalos

Screenplay by Baltasar Fernandez Cue, based on the screenplay by Garrett Fort, adapted from the play by Hamilton Deane and John L. Balderston, based on the novel by Bram Stoker.

Running Time:  104 minutes

Back in the day, Universal used to film Spanish versions of their movies using an all-Spanish cast and crew on the same sets as the American version, and so as a result, we have this special treat of a movie:  an entirely different director, screenwriter, and actors using the same sets as DRACULA making an entirely different movie.

Technically, the Spanish version of DRACULA is superior to the Tod Browning version. There’s more going on with the camera and it plays much more like a movie than a stage play.  It’s also a more risqué production, as it highlights the sexual side of the story in ways the Browning version didn’t.

However, I won’t go so far as to call it a superior version of the tale for the simple fact that the Tod Browning version had Bela Lugosi, and he alone made the U.S. version the better movie.  Of course, I would have absolutely loved to have seen Lugosi star in this Spanish version.  Now that would have been one remarkable movie!

 

 

 

DRACULA’S DAUGHTER (1936)

Contessa Marya Zeleska (Dracula’s Daughter):  Gloria Holden

Jeffrey Garth:  Otto Kruger

Janet:  Marguerite Churchill

Van Helsing:  Edward Van Sloan

Directed by Lambert Hillyer

Screenplay by Garrett Fort

Music by Heinz Roemheld (uncredited)Dracula's Daughter - Poster

Running Time:  71 minutes

The first of two very underrated movies in the DRACULA series.  Evidently, back in 1936, the writers hadn’t figured out yet how to resurrect a vampire, and so Count Dracula remains dead in this one, as this story focuses on his daughter.  So, no Dracula and no Bela Lugosi, two strikes which have forever worked against this film.

That being said, DRACULA’S DAUGTHER is a very good horror movie, one of Universal’s best!  It has a solid story, immediately beginning right where DRACULA ended, and finds Van Helsing (Edward Van Sloan) facing a murder charge for the death of Dracula.  He turns to his friend Jeffrey Garth (Otto Kruger) for help, who in turn becomes embroiled with Contessa Zeleska (Dracula’s Daughter), who unlike her father, seems uncomfortable as a vampire and wants to be cured.  Still, she’s every bit as deadly as her daddy!  Gloria Holden is very good as Dracula’s daughter, and it’s nice to have Edward Van Sloan back as Van Helsing, but it’s Otto Kruger and Marguerite Churchill who steal the show in this one, Kruger as the intellectual hero Jeffrey Garth and Churchill as his sassy secretary Janet.  These two share so much chemistry I wish they had returned to take on other Universal monsters.

 

 

SON OF DRACULA (1943)

Count Dracula:  Lon Chaney Jr.

Katherine Caldwell:  Louise Allbritton

Claire Caldwell:  Evelyn Ankers

Frank Stanley:  Robert Paige

Doctor Brewster:  Frank Craven

Lon Chaney Jr. as Dracula in SON OF DRACULA (1943).

Lon Chaney Jr. as Dracula in SON OF DRACULA (1943).

Professor Lazlo:  J. Edward Bromberg

Directed by Robert Siodmak

Screenplay by Eric Taylor

Music by Hans J. Salter

Running Time:  80 minutes

Another underrated Dracula film. Lon Chaney Jr. takes on the role of Count Dracula, and he’s actually quite good here.  In spite of the film’s title, he’s not really playing Dracula’s son— or is he?  He’s identified only as Dracula in the film, and there’s nothing in the story to indicate for a fact that he’s the son of Dracula other than the movie’s title. There is speculation among some of the characters in the film that he might be a descendant of Dracula, but another character states that he is the original Dracula.  I suppose, you could imagine him to be Dracula’s son, but since this isn’t ever clarified in the story, it would be purely speculation. Regardless, Dracula uses the name Alucard (Dracula backwards) in this movie, in order, I guess, to travel about incognito.

This one is steeped in atmosphere as it takes place in the Deep South of the United States, and you can also feel the humidity.  The atmosphere almost reminds me of an old zombie movie.  It also has a neat story where Dracula’s main love interest, the occult-loving Katherine Caldwell, has her own agenda and is more manipulative than Dracula here.

Chaney is quite good as Dracula, and he gives the role a completely different feel than Lugosi did.  It’s nice to see Chaney play evil, as opposed to sympathetic Larry Talbot aka the Wolf Man.  Chaney’s Dracula possesses an aura about him that immediately makes the characters around him uncomfortable and uneasy.  He’s less charming than Lugosi, less mysterious, but more in-your-face evil.

 

 

 

HOUSE OF FRANKENSTEIN (1944)

Dracula:  John Carradine

The Monster:  Glenn Strange

Doctor Niemann:  Boris Karloff

Larry Talbot/ The Wolf Man:  Lon Chaney Jr.

The Frankenstein Monster:  Glenn Strange

Daniel:  J. Carrol Naish

Directed by Erle C. Kenton

Screenplay by Edward T. Lowe, Jr.

Music by Hans J. Salter

Running Time:  71 minutes

Ah, let the Universal Monster Bash begin!  Yup, beginning with HOUSE OF FRANKENSTEIN, Universal would make three straight movies featuring their three main monsters:  the Frankenstein Monster, Dracula, and the Wolf Man, all of this happening of course due to the success of their earlier hit FRANKENSTEIN MEETS THE WOLF MAN (1943).

John Carradine takes over the role of Dracula here, and finally, we get to see Dracula resurrected (it took the writers long enough to figure this out!) as we watch the nefarious Dr. Niemann (Boris Karloff) remove the stake from Dracula’s skeleton, and before our very eyes, Dracula materializes back to life.

HOUSE OF FRANKENSTEIN has a rather uneven plot.  The first third of the movie features Dracula, and once he is killed off, it morphs into a straight sequel to FRANKENSTEIN MEETS THE WOLF MAN as Dr. Neimann leaves Dracula behind and sets his sights on the Frankenstein Monster and the Wolf Man.

John Carradine is very good as Dracula, although I’ve always preferred Lugosi and even Lon Chaney Jr. in the role.  Carradine adds a sense of elegance to the Count, and he definitely has a presence about him, but to me, his performance has always had one major flaw:  I never found him scary in the role.

 

 

 

 

HOUSE OF DRACULA (1945)

Dracula:  John Carradine

Larry Talbot/ The Wolf Man:  Lon Chaney Jr.

John Carradine as Dracula.

John Carradine as Dracula.

The Frankenstein Monster:  Glenn Strange

Doctor Edelmann:  Onslow Stevens

Directed by Erle C. Kenton

Screenplay by Edward T. Lowe, Jr

Music by William Lava

Running Time:  67 minutes

All three Universal monsters return, and this time Dracula gets more to do and survives a bit longer than he did in HOUSE OF FRANKENSTEIN.  Unfortunately, HOUSE OF DRACULA isn’t quite as good as HOUSE OF FRANKENSTEIN.  Everything about this production seems rushed.  It screams for an additional twenty minutes or so.

Again, Carradine is respectable as Dracula, and again, he’s simply not all that scary.

 

 

 

ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948)

Dracula:  Bela Lugosi

The Frankenstein Monster:  Glenn Strange

Larry Talbot/ The Wolf Man:  Lon Chaney Jr.

Chick:  Bud Abbott

Wilbur:  Lou Costello

Directed by Charles Barton

Screenplay by Robert Lees, Frederic I. Rinaldo, and John Grant

Music by Frank Skinner

Running Time:  83 minutes

This was originally going to be called HOUSE OF THE WOLF MAN before Universal decided to add Abbott and Costello and turn it into a comedy.  Strangely, this decision, which many people including Lon Chaney Jr., hated, didn’t stop this movie from becoming one of the best in the Universal Monster series.

The big news here was that Bela Lugosi returned to play Dracula, a role he hadn’t played since the original DRACULA in 1931.  It still amazes me that these are the only two movies in which Lugosi ever played Dracula, although he did play a vampire in MARK OF THE VAMPIRE (1935) and THE RETURN OF THE VAMPIRE (1943).

ABBOTT AND COSTELLO MEET FRANKENSTEIN works so well for two main reasons.  One, it’s hilariously funny.  It’s one of Abbott and Costello’s best movies.  And two, the monsters in this film all have much bigger moments than they did in the previous two movies.

Lon Chaney Jr. has a major role.  As Larry Talbot, he’s involved in the hunt for Dracula, and he has lots of scenes as the Wolf Man.  Glenn Strange, reduced to having little more than a cameo as the Frankenstein Monster in the previous two movies, has lots of screen time here and even speaks lines of dialogue!

But it’s Lugosi who steals the show in his return as Dracula.  Other than Abbott and Costello, he’s the main character in this movie, as it’s his plot to take Lou Costello’s brain and put it into the skull of the Frankenstein Monster, in the hope that he’d be able to control the Monster better with Costello’s simple mind.

Lugosi has many fine moments.  He gets to be scary and he seems to be having a lot of fun.

Terrific movie, terrific performance, and a fine way to end the Universal Dracula series.

“Young people.  Always making the most out of life. While it lasts.”  — Bela Lugosi as Dracula in ABBOTT AND COSTELLO MEET FRANKENSTEIN.

 

 

Hope you enjoyed this edition of THE HORROR JAR, and I’ll see you again next time with more horror movie lists.

Thanks for reading!

—Michael

SHOCK SCENES: IT’S ALIVE!!!!!

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SHOCK SCENES:  IT’S ALIVE!!!!! Frankenstein - 8mm

By Michael Arruda

Welcome back to SHOCK SCENES, the column where we look at memorable scenes in horror movie history.

We’re celebrating a birthday today.

Sort of.

Today we celebrate the birth— and rebirth— of the Frankenstein Monster in the Universal Frankenstein series.

We’ll be looking at the various creation scenes in the Universal Frankenstein movies.  Technically, the Monster was only created once, in the first film, FRANKENSTEIN (1931) but Henry Frankenstein did such a good job creating life that his Monster in spite of the best efforts of angry villagers and exploding castles and laboratories just couldn’t seem to die.  So, while the Monster would be “killed” at the end of each movie, he’d be “revived” in subsequent films.

In today’s SHOCK SCENES column, we’ll look at the Monster’s various turns in the laboratory and compare how they all stack up.

By far, the best creation scene was the first, in James Whale’s classic FRANKENSTEIN.  Who can forget Colin Clive shrieking “It’s alive!!” as he watches his creation come to life.  The lab equipment by Ken Strickfaden (later used again in Mel Brooks’ YOUNG FRANKENSTEIN (1974) with its flashing lights and zip-zapping electrical sounds was strictly for show and had very little scientific relevance, but oh what a show!  It set the precedent for all the Frankenstein movies to come.

Henry Frankenstein (Colin Clive) prepares to create life in FRANKENSTEIN (1931).

Henry Frankenstein (Colin Clive) prepares to create life in FRANKENSTEIN (1931).

Even more memorable than the whirring electrodes and blinking lights was the everlasting dramatic image of the lab table with the unborn body of the Monster lying on it rising to the top of the towering ceiling of Frankenstein’s lab making its way through a giant opening high into the sky into the raging thunder and lightning.  Henry Frankenstein literally raises his unborn creation into the heavens to give it its life spark.

And when he brings the table back down to the ground, and we see the Monster’s hand moving and witness Henry Frankenstein’s reaction, “It’s alive!” it provides one of the most iconic scenes in horror movie history.

I can only imagine how terrified movie audiences were back in 1931 watching this story unfold for the first time of a dead body coming to life, and in that moment, seeing for the first time that the corpse on the table wasn’t a corpse anymore but a living being.  It must have been chilling.

The creation scene in FRANKENSTEIN is not only the best creation scene in the Universal series, but it’s also the best creation scene in any FRANKENSTEIN movie period!  Countless Frankenstein movies have been made since.  None have matched this scene, and few have come close.  The closest is Hammer’s THE CURSE OF FRANKENSTEIN (1957) but that’s a story for another day.

James Whale’s sequel to FRANKENSTEIN, THE BRIDE OF FRANKENSTEIN (1935) has the distinction of being the only Frankenstein film in the series in which the Frankenstein Monster (Boris Karloff) doesn’t spend any time on a laboratory table getting zapped with life-reviving electricity.

When the film opens, it’s revealed that the Monster survived the fire in the windmill at the end of FRANKENSTEIN, and so he’s already up and running when this movie begins.  There’s no need for him to receive a laboratory “pick me up.”

Of course, there is a creation scene in BRIDE, and it’s the climactic scene near the end where the Monster’s Bride (Elsa Lanchester) is finally brought to life.  As creation scenes go, it’s a good one, and the staging here by director James Whale is more elaborate than in FRANKENSTEIN, but as is often the case, bigger isn’t necessarily better.  And it is bigger, as the lab set is larger, and the sequence where the lab table rises through the roof is on a grander scale than the original and includes kites flying into the lightning-charged sky.

There’s a lot to like in this scene.  The dramatic electrical equipment is back again, and not only do you have Colin Clive back as Henry Frankenstein, but you also have Ernest Thesiger’s Dr. Pretorious, as well as Karloff’s Monster who’s in the lab to prompt Henry to keep working to make his bride.  Heck, Clive even gets to shout “She’s Alive!’

It’s a very good scene.  However, it’s nowhere near as shocking or dramatic as the creation scene in the original FRANKENSTEIN.

SON OF FRANKENSTEIN (1939) is the first film in the series in which the Monster (Boris Karloff) is viewed as a patient in need of ongoing medical treatment.  Ygor (Bela Lugosi) tells Wolf Frankenstein (Basil Rathbone), the adult son of Henry Frankenstein, that the Monster is “sick” and “weak” and needs to be strong again.

Ygor (Bela Lugosi) and Wolf Frankenstein (Basil Rathbone) examine their "patient", the Monster (Boris Karloff) in SON OF FRANKENSTEIN (1939).

Ygor (Bela Lugosi) and Wolf Frankenstein (Basil Rathbone) examine their “patient”, the Monster (Boris Karloff) in SON OF FRANKENSTEIN (1939).

The Monster “died” at the end of THE BRIDE OF FRAKENSTEIN when the entire lab blew up, but as we learn in this movie, Henry Frankenstein and his electric rays were so successful at creating life that basically the Monster cannot die- or at least he’s more difficult to kill than ordinary human beings.  And so when we first see him in this film, he’s lying on a table in a semi-conscious state.  In fact, he spends a lot of time in this movie in a semi-conscious state which is why a large chunk of this film is less compelling than the two movies which preceded it.  The Monster isn’t up and running and scaring people until two thirds of the way into this one.

There really isn’t a creation scene in SON OF FRANKENSTEIN.  After some preliminary examinations, Basil Rathbone’s Wolf Frankenstein uses a much smaller assortment of electrical devices to attempt to bring the Monster back to full strength.  It’s all very undramatic. SON OF FRANKENSTEIN is a very entertaining movie, the most elaborate of the entire series, but its “creation” scene is a dud and probably the least dramatic of the entire series.

The fourth film in the series THE GHOST OF FRANKENSTEIN (1942) saw Lon Chaney Jr. taking over the role of the Monster, replacing Boris Karloff.  Chaney played all four of the major movie monsters (the Wolf Man, Dracula, the Frankenstein Monster, and the Mummy) and played them well; however, his portrayal of the Frankenstein Monster was his least satisfying.

In THE GHOST OF FRANKENSTEIN, the Monster (Lon Chaney Jr.) is revived without the help of electrical equipment in a laboratory, as Ygor (Bela Lugosi) simply finds his friend buried in a Sulphur pit where he fell at the end of SON OF FRANKENSTEIN and he simply digs him out.

The more dramatic laboratory scenes come later.  Ygor takes the Monster to see Henry Frankenstein’s second son Ludwig (Sir Cedric Hardwicke), who’s a doctor who treats mental illness, but no, he doesn’t hold psychiatric sessions with the Monster in this one.  He does attempt to use his laboratory equipment to destroy the Monster, before changing his mind when he’s visited by the “ghost” of his father who inspires him to keep the Monster alive.

The more dramatic “creation” scene happens at the end of THE GHOST OF FRAKENSTEIN when the devious Dr. Bowmer (Lionel Atwill) conspires with Ygor to secretly transplant Ygor’s brain into the Monster in order to give the all-powerful creation a sinister mind to use on a world-conquering power trip.  Alas, the actual transplant occurs off-screen, and so visually this scene has little to offer, but in terms of story, it’s all rather dramatic and exciting.

The next film in the series, FRANKENSTEIN MEETS THE WOLF MAN (1943) contains my second favorite creation scene in the entire series.  Again, the Monster doesn’t need a lab to bring him back to life.  This time around, Wolf Man Larry Talbot (Lon Chaney Jr.) discovers the body of the Monster (Bela Lugosi) frozen in ice and simply digs him out.   The Monster doesn’t even have to be revived after being frozen for all those years, as he simply steps out of the ice and is feeling as right as rain.

The creation scene once again comes at the end of the movie, a pattern which would continue for the rest of the series.  This time around, Dr. Mannering (Patric Knowles) agrees to use Dr. Frankenstein’s notes to put Larry Talbot out of his misery, a plan proposed by Talbot himself, as he’s seeking release from his werewolf curse.  So, they set up shop in Dr. Ludwig Frankenstein’s old laboratory from THE GHOST OF FRANKENSTEIN, and Mannering attempts to transfer Talbot’s energy (thus killing him) into the Monster, but Mannering, like all good scientists in these movies, becomes obsessed with the Monster and decides to pour all the electrical juices into the creature to bring him back to full strength.

The Monster (Bela Lugosi) regains his sight in FRANKENSTEIN MEETS THE WOLF MAN (1943).

The Monster (Bela Lugosi) regains his sight in FRANKENSTEIN MEETS THE WOLF MAN (1943).

When the Monster finally gains his strength, he smiles a sinister smile, and it’s a great moment for Lugosi’s Monster.  In the original script, the Monster was supposed to be blind, a side-effect of the brain transplant at the conclusion of THE GHOST OF FRANKENSTEIN, and it’s this moment when the Monster regains his sight, which is why he smiles.  All references to the Monster being blind were cut from the final print, but even so, Lugosi’s smile here is still very effective.

And what follows is the climactic battle between the Monster and the Wolf Man inside the laboratory.  It’s a great sequence, one of the best in the series.

Sadly, the Monster would take a huge step backwards in the next two films in the series, as would the creation scenes. HOUSE OF FRANKENSTEIN (1944) is significant because it added Dracula (John Carradine) to the mix, giving the movie three monsters, as the Frankenstein Monster (now played by Glenn Strange) and the Wolf Man (Lon Chaney Jr.) returned.  It also marked the return of Boris Karloff to the series, although not as the Monster but as the evil Dr. Niemann, a protégé of Dr. Frankenstein, who is more insane and ruthless than any of the Dr. Frankensteins who appeared earlier.  Niemann is much closer in spirit to Dr. Pretorious from BRIDE and Peter Cushing’s interpretation of Baron Frankenstein in the Hammer movies.

Alas, the Monster spends the majority of this movie as an unconscious body, lying in wait for Niemann to restore his strength.  This occurs at the end of the movie, in a brief sequence, and the Monster is only on his feet long enough to be instantly chased and “killed” by the angry mob of torch wielding villagers who chase him into a pit of quicksand where he and Dr. Neimann sink to their deaths.

Ditto for the next film in the series, HOUSE OF DRACULA (1945).  All three monsters return again here, but once again the Frankenstein Monster is reduced to being a reclining patient and isn’t revived until the final seconds of the movie.  Very sad.

Ironically, it would take turning the series into a comedy with ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948) to return the monsters to prominence.  Bela Lugosi returned as Dracula, Lon Chaney Jr. was back as the Wolf Man, and Glenn Strange finally had much more to do as the Frankenstein Monster than just lie on a table— he even gets to talk!—and so in spite of the fact that this is a comedy, the monsters all fare well.

Likewise, the creation scene in ABBOTT AND COSTELLO MEET FRANKENSTEIN is also a good one.  This time around, Dracula plans to put Lou Costello’s brain into the Monster.  With the electrical equipment whirring and buzzing, both Lou and the Monster are strapped to tables, but when Bud Abbot and Larry Talbot burst into the lab to the rescue, Talbot turns into the Wolf Man and instantly tangles with Dracula, while the Monster breaks from his binds and promptly tosses Dracula’s sexy female assistant out a window!

Seriously, this creation scene in spite of being played for laughs, is one of the more memorable scenes in the series.

Who knew that it would take Abbott and Costello to give the Universal Monsters a proper send off?  This would be the final film in the series.

So, there you have it.  A look at the creation scenes in the Universal Frankenstein movies.  By far, the original creation scene in FRANKENSTEIN is the best.  None that followed even come close, but if I had to rank the next couple, I’d go with the creation scene in FRANKENSTEIN MEETS THE WOLF MAN second, THE BRIDE OF FRANKENSTEIN third, and ABBOTT AND COSTELLO MEET FRANKENSTEIN fourth.  The rest hardly warrant a blip.

Hope you enjoyed today’s column, and I look forward to seeing you again next time on a future installment of SHOCK SCENES.

Thanks for reading!

—Michael

LEADING LADIES: EVELYN ANKERS

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LEADING LADIES:  Evelyn Ankers evelyn ankers

By Michael Arruda

Welcome back to LEADING LADIES, the column where we look at leading ladies in horror movies, especially from years gone by.

Today we look at the career of Evelyn Ankers, the Universal starlet best remembered for starring opposite Lon Chaney Jr. in the classic horror movie THE WOLF MAN (1941).  She would go on to star in a bunch of horror movies in the 1940s, most of them with Chaney, and when the horror boom died down after World War II, Ankers’ career quieted as well.  In the 1950s, while only in her thirties, she “retired” from the big screen to raise a family with her actor husband Richard Denning [THE CREATURE FROM THE BLACK LAGOON (1954)], although she continued to appear on the smaller screen of TV sets across the nation in guest spots on various television shows. She came out of retirement for one last movie role in 1960 co-starring with her husband Richard Denning in NO GREATER LOVE, a drama about Christian missionaries in Africa.

I’ve always enjoyed Evelyn Ankers’ performances in the Universal horror films from the 1940s.  She was particularly good as Gwen Conliffe in THE WOLF MAN, the woman who Larry Talbot (Lon Chaney Jr.) falls in love with.  The role of Gwen Conliffe was more than the usual standard love interest.  For starters, Gwen is engaged to be married to Frank Andrews (Patric Knowles) and so she has no business giving Larry Talbot the time of day, yet she does.  Further complicating matters is her fiancé Frank is the gamekeeper for the wealthy Talbots, and so he works for Larry Talbot’s family, a reminder that she— the daughter of a storekeeper— really isn’t supposed to be in the same social class as Larry Talbot.

For Larry, he’s taken with Gwen as soon as he lays eyes on her, and Gwen for her part is clearly interested in Larry, not enough to break off her engagement, but enough to take a moonlit walk with him to see the gypsy fortune tellers, a walk that directly leads to Larry’s being bitten by a werewolf.  In fact, Gwen is directly connected to Larry’s ill-fated destiny to become the wolf man.  She’s the first character to mention werewolves to Larry, citing the “even a man who is pure in heart” ditty.  She makes that walk with him to see the gypsy fortune teller, who unbeknownst to them is a werewolf.

She’s also the last person to see Larry before he turns into a werewolf for the first time, and he gives her the pendant he received from Maleva (Maria Ouspenskaya) so she can protect herself from the werewolf.  And if there’s any doubt about her true feelings towards Larry, at the end of the movie, she’s searching the fog filled woods for Larry, which puts her directly in the path of Larry’s murderous alter ego, the Wolf Man.

Gwen Conliffe is a complicated female lead, and Ankers nails Gwen’s character completely.

Ankers also starred as Dr. Ludwig Frankenstein’s (Sir Cedric Hardwicke) daughter Elsa in THE GHOST OF FRANKENSTEIN (1942) in which Lon Chaney Jr. played the monster, and she also starred as Claire Caldwell opposite Lon Chaney’s Dracula in the underrated SON OF DRACULA (1943).  She’s very good in both these movies.

Here’s a partial look at Ankers’ 62 screen credits, concentrating mostly on her horror film roles:

FORBIDDEN MUSIC (1936) – A Lady of the Court – Ankers’ first film role, uncredited.

MURDER IN THE FAMILY (1938) – Dorothy Osborne – Ankers’ first credited role in a feature-length film.

HOLD THAT GHOST (1941) – Norma Lind – stars opposite Abbott and Costello in this comedy in which Bud and Lou spend time in a haunted house.

Larry Talbot (Lon Chaney Jr.) and Gwen Conliffe (Evelyn Ankers) on their fateful moonlit walk through the fog shrouded woods.

Larry Talbot (Lon Chaney Jr.) and Gwen Conliffe (Evelyn Ankers) on their fateful moonlit walk through the fog shrouded woods.

THE WOLF MAN (1941) – Gwen Conliffe – Ankers’ signature role, and the role she’s most remembered for today.  She’s more than just Larry Talbot’s love interest in this film.  For starters, it’s a forbidden love, since she’s engaged to another man, and secondly, she’s instrumental in leading him towards his fate of becoming the wolf man, introducing him to the idea of werewolves and being with him on the fateful night when he was attacked and bitten by a werewolf.

NORTH TO THE KLONDIKE (1942) – Mary Sloan- co-stars with Lon Chaney Jr. and Broderick Crawford in this adventure about settlers tangling with outlaws in the Klondike.  This was actually shot before THE WOLF MAN but released after it, making it the first time she co-starred in a movie with Lon Chaney Jr.

THE GHOST OF FRANKENSTEIN (1942) – Elsa Frankenstein- again co-starring with Lon Chaney Jr.  Ankers plays Elsa Frankenstein, the daughter of Dr. Ludwig Frankenstein, while Chaney plays the Monster, taking over the role from Boris Karloff.  Bela Lugosi’s second stint as Ygor is the best part of this movie, while Chaney’s Monster lacks all of Karloff’s nuances and emotion.  Ankers is OK as Elsa Frankenstein, but the role is rather standard.

SHERLOCK HOLMES AND THE VOICE OF TERROR (1942) – Kitty – meets up with Sherlock Holmes (Basil Rathbone) and Dr. Watson (Nigel Bruce) as they take on the Nazis.

CAPTIVE WILD WOMAN (1943) – Beth Colman – Universal monster movie where mad scientist John Carradine turns a female gorilla into a human woman.

SON OF DRACULA (1943) – Claire Caldwell – Once more Ankers plays opposite Lon Chaney Jr., this time going up against him as he plays Count Dracula.  Her role in this one is rather peripheral, as the main heroine in this underrated thriller from Universal is Louise Albritton as Claire’s mysterious sister Katherine who loves the supernatural and actually allows Dracula to make her a vampire so she can in turn make her true lover Frank (Robert Paige) immortal and ditch Dracula!  Take that, Drac!  I told you this one was underrated.  I actually really like Chaney’s interpretation of Dracula.  While it’s not Lugosi, it is a far cry from his sympathetic Larry Talbot, and it’s nice to see Chaney play a true evil character.

THE MAD GHOUL (1943) – Isabel Lewis- another mad scientist movie, this one with George Zucco, Robert Armstrong and Turhan Bey, about a scientist who turns a student into a ghoul.

WEIRD WOMAN (1944) – Ilona Carr- Back with Lon Chaney Jr. again, Ankers plays a woman suspicious of Chaney’s new wife, who has an island native heritage and is mixed up with voodoo.  She’s one weird woman!

JUNGLE WOMAN (1944) – Beth Mason – it’s the return of the ape woman from CAPTIVE WILD WOMAN, this one with J. Carrol Naish.

THE INVISIBLE MAN’S REVENGE (1944) – Julie Herrick – The third film in the INVISIBLE MAN series, none of them direct sequels, follows a fugitive Robert Griffin (Jon Hall) who becomes invisible and then exacts revenge on a family he believed had cheated him.  Ankers’ Julie is the daughter of the couple Griffin terrorizes, and she’s also the object of his affection, although she is not interested in him.  Smart girl!

THE PEARL OF DEATH (1944) – Naomi Drake – back with Sherlock Holmes (Basil Rathbone) and Dr. Watson (Nigel Bruce) again, this time in a tale about murder and a valuable pearl.

THE FROZEN GHOST (1945) – Maura Daniel – Ankers co-stars with Lon Chaney Jr. for the last time in this thriller about a mentalist (Chaney) who feels his powers are to blame for a man’s death and decides to get away from it all by hanging around a mysterious wax museum.  Hmm.  I think he needs a better travel agent.  Ankers’ final genre film.

BLACK BEAUTY (1946) – Evelyn Carrington – co-stars with her husband Richard Denning in this horse drama.

TARZAN’S MAGIC FOUNTAIN (1949)-  Gloria James Jessup – Tarzan film written by THE WOLF MAN screenwriter Curt Siodmak starring Lex Barker as Tarzan in a tale involving the fountain of youth.

NO GREATER LOVE (1960) – Evelyn Ankers’ final film appearance, co-starring with her husband Richard Denning in this tale about missionaries in Africa.

While I’ll always remember Evelyn Ankers for her role in the classic THE WOLF MAN, she added a lot of class to a lot of other movies as well, especially horror movies from the 1940s, and I certainly enjoyed her performances in such films as THE GHOST OF FRANKENSTEIN and SON OF DRACULA.

Evelyn Ankers passed away on August 29, 1985 from ovarian cancer.  She was 67.

Evelyn Ankers.  August 17, 1918 – August 29, 1985

Thanks for reading!

—Michael

THE HORROR JAR: LON CHANEY JR. WOLF MAN Movies

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Lon Chaney Jr. as the Wolf Man in FRANKENSTEIN MEETS THE WOLF MAN (1943)

Lon Chaney Jr. as the Wolf Man in FRANKENSTEIN MEETS THE WOLF MAN (1943)

THE HORROR JAR:  Lon Chaney Jr. WOLF MAN Movies

By Michael Arruda

 

Welcome back to THE HORROR JAR, the column that lists odds and ends about horror movies.  Up today a look at the movies in which Lon Chaney Jr. played Larry Talbot, aka the Wolf Man.

Lon Chaney Jr. played the Wolf Man in a total of five movies, all of them for Universal, starting with arguably the best werewolf movie ever made, the classic THE WOLF MAN (1941).  He also made two other screen appearances as a werewolf that wasn’t Larry Talbot.

But it all started with THE WOLF MAN, a film that has aged well over the years, cementing its standing as perhaps the best werewolf movie ever made.

After working several years in bit parts using his real name, Creighton Chaney changed it to Lon Chaney Jr. upon the insistence of a producer, in order to take advantage of his deceased father’s name, Lon Chaney, one of the biggest silent film stars in movie history.  It was a decision that Chaney never liked, yet his career took off shortly thereafter.

His first big break came in 1939, when he played the role of Lenny in OF MICE AND MEN (1939) to great critical acclaim.  Two years later he took on the role which would make him famous, Larry Talbot, aka the Wolf Man, in THE WOLF MAN.

THE WOLF MAN is a remarkable film.  It boasts a fantastic cast that includes both Claude Rains and Bela Lugosi in addition to Chaney.  It’s one of Rains’ best roles, as he plays Sir John Talbot, Larry’s father, a strict moralistic man who means well but seems to hurt Larry with nearly every word he says.

Chaney is sensational as Larry Talbot, a tortured young man who wants no part of being a werewolf but becomes engulfed in the lycanthropic madness which surrounds him.  The original title of the movie was DESTINY, and it was to have featured Larry only becoming a werewolf in his own mind.   This idea was eventually scrapped, but you can still find traces and hints of this original concept in the final version.

Here they are now, the movies in which Lon Chaney Jr. played the Wolf Man:

THE WOLF MAN (1941)

Directed by George Waggner

Screenplay by Curt Siodmak

Music by Charles Previn, Hans J. Salter, and Frank Skinner

Larry Talbot/The Wolf Man:  Lon Chaney Jr.

Sir John Talbot:  Claude Rains

Maleva:  Maria Ouspenskaya

Gwen Conliffe:  Evelyn Ankers

Colonel Paul Montford:  Ralph Bellamy

Frank Andrews:  Patric Knowles

Bela:  Bela Lugosi

Running Time:  70 minutes

The cast alone makes this one a classic, but THE WOLF MAN is so much more.  It’s Lon Chaney Jr.’s first appearance as Larry Talbot, the Wolf Man, the role with which he would be forever identified.  This one has fine acting, an excellent script by Curt Siodmak, iconic Wolf Man makeup by Jack Pierce, and enough creepy atmosphere to make your skin crawl.  It also features an exciting conclusion, where young Gwen, Sir John Talbot, and the Wolf Man all cross paths in the fog-shrouded forest for the film’s heartbreaking finale.  Considered by many—myself included— to be the finest werewolf movie ever made.

FRANKENSTEIN MEETS THE WOLF MAN (1943)

Directed by Roy William Neill

Screenplay by Curt Siodmak

Music by Hans J. Salter

Larry Talbot/ The Wolf Man:  Lon Chaney Jr.

The Monster:  Bela Lugosi

Baroness Elsa Frankenstein:  Ilona Massey

Maleva:  Maria Ouspenskaya

Dr. Mannering:  Patric Knowles

Mayor:  Lionel Atwill

Rudi:  Dwight Frye

Running Time:  74 minutes

Universal decided one monster in a movie was no longer enough, which is too bad because had this been a straight Wolf Man sequel, Universal might have had another classic on its hands.  As it stands, FRANKENSTEIN MEETS THE WOLF MAN isn’t a bad film at all— it’s actually very good, and the novelty of two monsters appearing in one movie has held up over the decades, keeping this one a crowd-pleaser even today, but the first half of the movie, the part that is a direct sequel to THE WOLF MAN and resurrects Larry Talbot from the grave, is by far the best part of the movie.  Once Talbot discovers the Frankenstein Monster frozen in ice, and thaws him out, the film becomes less compelling and much more contrived.  Still, it’s a helluva show, and the film’s climactic battle between the two titled monsters although brief is still well worth the wait.

This one just might feature the best makeup job by Jack Pierce on the Wolf Man.  Chaney’s Larry Talbot is the most interesting character in the movie, and the Wolf Man even gets to be heroic as he saves the Baroness Frankenstein from the clutches of the Frankenstein Monster in the film’s conclusion.

 

HOUSE OF FRANKENSTEIN (1944)

Directed by Erle C. Kenton

Screenplay by Edward T. Lowe, Jr.

Music by Hans J. Salter

Larry Talbot/The Wolf Man:  Lon Chaney Jr.

Doctor Niemann:  Boris Karloff

The Monster:  Glenn Strange

Dracula:  John Carradine

Daniel:  J. Carrol Naish

Ilonka:  Elena Verdugo

Inspector Arnz:  Lionel Atwill

Rita Hussman:  Anne Gwynne

Professor Bruno Lampini:  George Zucco

Running Time:  71 minutes

After the success of FRANKENSTEIN MEETS THE WOLF MAN, Universal decided that even two monsters in one movie weren’t enough, and so they invited Dracula to the party.  While not as good as its predecessor, HOUSE OF FRANKENSTEIN is still a pretty good movie, and had it been twenty minutes longer and added some depth to its story, it might have been hailed as another Universal classic.  As it stands, things move incredibly quickly, and all the action is jam-packed in the film’s brief 71 minutes.

HOUSE OF FRANKENSTEIN is probably most notable for the return of Boris Karloff to the Frankenstein series, after he missed the previous two films.  Karloff returned not as the monster but as the evil Doctor Niemann, a nice precursor to Peter Cushing’s dark interpretation of Baron Frankenstein in the Hammer movies a decade and a half later.

Lon Chaney Jr. fares rather well here in his very brief screen time as Larry Talbot, as his scenes as the Wolf Man are quick and fleeting.  Still, he gets involved in one of the movie’s better subplots, a love story with the young gypsy girl Ilonka.  In fact, HOUSE OF FRANKENSTEIN contains one of the more dramatic sequences involving the Wolf Man in the entire series, as Ilonka decides to take it upon herself to “save” her lover, taking on the Wolf Man with a silver bullet.  This emotional little sequence really packs a wallop.

HOUSE OF DRACULA (1945)

Directed by Erle C. Kenton

Screenplay by Edward T. Lowe, Jr

Music by William Lava

Larry Talbot/ The Wolf Man:  Lon Chaney Jr.

Dracula:  John Carradine

The Monster:  Glenn Strange

Doctor Edelmann:  Onslow Stevens

Police Inspector Holtz:  Lionel Atwill

Nina:  Jane Adams

Running Time:  67 minutes

Follow-up to HOUSE OF FRANKENSTEIN isn’t as good, but it’s still not a bad little movie.  This one is notable because Doctor Edelmann who treats all the monsters in this film, actually cures Larry Talbot!  So, at the end of the film, Larry Talbot, no longer suffering the effects of being the Wolf Man, actually gets to play the hero and save the heroine from the Frankenstein Monster.

Jane Adams, who played the hunchback nurse Nina, just recently passed away, on May 21, 2014 at the age of 95.

ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948)

Directed by Charles Barton

Screenplay by Robert Lees, Frederic I. Rinaldo, and John Grant

Music by Frank Skinner

Larry Talbot/ The Wolf Man:  Lon Chaney Jr.

Dracula:  Bela Lugosi

The Monster:  Glenn Strange

Chick:  Bud Abbott

Wilbur:  Lou Costello

Running Time:  83 minutes

Originally proposed as HOUSE OF THE WOLF MAN, this serious idea was scrapped in favor of a comedy.

Strangely, it took the comedic presence of Bud Abbott and Lou Costello to return the Universal monsters to their glory days.   Chaney was disappointed that Universal decided to put their monsters in an Abbott and Costello comedy, but the truth is the monsters fare better in this movie than the previous two.  They enjoy more screen time and have more dialogue than ever before.  Heck, even Glenn Strange as the Frankenstein Monster says a few lines!  Plus, Bela Lugosi returned as Dracula, the first time he played the role since the 1931 original.  This one works because the monsters play it straight and keep their dignity, and of course it doesn’t hurt that Abbott and Costello are downright hilarious in this movie.

Chaney delivers another excellent performance as Larry Talbot, this time focused on stopping Dracula from spreading his evil on the world.  Lots of Wolf Man scenes in this one.

And now for Chaney’s two non-Larry Talbot appearances as a werewolf:

ROUTE 66

Season 3 Episode 6 “Lizard’s Leg and Owlet’s Wing” (October 26, 1962)

Directed by Robert Gist

Teleplay by Stirling Silliphant

Lon Chaney Jr. dons werewolf makeup in this playful episode of the popular 1960s TV show.  Chaney, Boris Karloff and Peter Lorre all play themselves, as they are planning their horror movie comeback.  Karloff dresses as the Frankenstein Monster and Chaney dresses as the Wolf Man to see if they can still scare people.

FACE OF THE SCREAMING WEREWOLF (1964)

Directed by Gilberto Martinez Solares, Rafael Portillo, and Jerry Warren

Screenplay by Juan Garcia, Gilberto Martinez Solares, Alfredo Salazar, Jerry Warren, and Fernando de Fuentes

Music by Luis Hernandez Breton

The Mummified Werewolf:  Lon Chaney Jr.

Running Time:  60 minutes

An aging Lon Chaney Jr. plays a werewolf for the last time in this little seen Grade Z horror movie from Mexico.  The most notable thing about this one is that it took five writers to write it!

And that wraps things up for today.  I hope you enjoyed this look at Lon Chaney Jr.’s Wolf Man movies, and I’ll see you again next time on the next HORROR JAR.

Thanks for reading!

—Michael

IN THE SHADOWS: GLENN STRANGE

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Glenn Strange as the Frankenstein Monster, perhaps the most recognizable of the movie Frankenstein monsters.

Glenn Strange as the Frankenstein Monster, arguably  the most recognizable Frankenstein monster of all time.

In The Shadows: GLENN STRANGE

By Michael Arruda

 

With a name like Glenn Strange, how could you not appear in horror movies?

Glenn Strange amassed a whopping 314 screen credits over his long career which spanned five decades, from 1930 to 1973.

Granted, most of these were in westerns, including the long running television series GUNSMOKE (1961-1973), but horror fans will forever remember Strange for his portrayal of the Frankenstein Monster in three of the Universal Frankenstein movies, the final three to be exact: HOUSE OF FRANKENSTEIN (1944), HOUSE OF DRACULA (1945) and ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948).  In fact, you can make the argument that it is the image of Glenn Strange as the Frankenstein Monster, not Boris Karloff who originated the role that is the most iconic image of the classic Universal Frankenstein Monster.  It’s Glenn Strange as the Frankenstein Monster we see in so many of the movie stills and posters.

Karloff may be the definitive Frankenstein monster (he is, without doubt), but Glenn Strange just might be the most recognizable.

Welcome everybody to another edition of In The Shadows, the column where we honor character actors from the movies, especially horror movies.  Today we look at the career of Glenn Strange, the actor whose image as the Frankenstein Monster may be the most iconic.

The majority of Glenn Strange’s 314 screen credits were in westerns, in a career that began in 1930. He finished his career on the TV show GUNSMOKE, where he enjoyed a recurring role as Sam the bartender which lasted for the full run of the series.

In addition to his three stints as the Frankenstein Monster, Strange also appeared in several other genre films. Here’s a look at Strange’s horror/science fiction credits:

 

FLASH GORDON (1936) – Robot/Soldier/Gocko – the famous Buster Crabbe serial.

THE MAD MONSTER (1942) – Petro – Gets turned into a werewolf by mad scientist George Zucco in this Grade Z thriller.

THE MUMMY’S TOMB (1942) – Man Riding Buckboard (uncredited) – bit part in this classic Lon Chaney Jr. Mummy movie from Universal.

THE BLACK RAVEN (1943) – Andy – mystery and murder in an old dark house, again with George Zucco.

THE MONSTER MAKER (1944) – Giant/Steve – another mad scientist movie. This time it’s J. Carrol Naish as Dr. Igor Markoff busy turning people into monsters.  Why?  Because he can!

HOUSE OF FRANKENSTEIN (1944) – the Frankenstein Monster – Glenn Strange was a natural choice to play the Monster, as he stood at nearly 6’7”. HOUSE OF FRANKENSTEIN, the sixth film in the Universal Frankenstein series, is memorable because it’s the first film which included all three of the major Universal monsters, Lon Chaney Jr. as the Wolf Man, John Carradine as Dracula, and Glenn Strange as the Frankenstein Monster.  Also notable because Boris Karloff returned to the series after a two film hiatus, not as the Monster, but as the demented Doctor Gustav Neimann.  Decent Universal monster movie, and Strange isn’t bad as the Frankenstein Monster, although he really isn’t in the movie all that much and doesn’t get to do much of anything until the film’s final reel.  But he was good enough to return as the Monster in the next two Universal Frankenstein movies.

HOUSE OF DRACULA (1945) – the Frankenstein Monster – Strange’s second stint as the Frankenstein Monster, again teaming up with Lon Chaney Jr.’s Wolf Man and John Carradine’s Dracula. Once more, has little to do until the film’s final reel where he comes back to life just in time to be destroyed yet again.

ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948) – the Frankenstein Monster- The third time Strange would play the Frankenstein Monster would be the best time. Ironically, his screen time as the Monster is greatly increased in this movie, and the character probably has the most to do since the early days of the series.  Once again teamed with Lon Chaney Jr. as the Wolf Man, but this time Bela Lugosi made his triumphant return as Dracula, reprising the role for the first time since the original 1931 classic!  All in all, in spite of it being a comedy, this is one of the better Universal Monster movies.  A classic in its own right.

MASTER MINDS (1949) – Atlas, the Monster – plays a monster in this Bowery Boys horror comedy featuring yet another mad scientist who turns people into monsters, this time played by Alan Napier, famous for playing Alfred on the Adam West BATMAN TV series.

SPACE PATROL (1950-1955) – Captain Jonas – guest spot in this early 1950s space television show.

THE COLGATE COMEDY HOUR (1954) – the Frankenstein Monster – appeared as the Frankenstein Monster in an episode featuring Bud Abbott and Lou Costello.

 

Glenn Strange passed away on September 20, 1973 succumbing to lung cancer at the age of 74.

Glenn Strange: August 16, 1899 – September 20, 1973.

Thanks for reading everybody!

—Michael

IN THE SHADOWS: LIONEL ATWILL

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Inspector Krogh (Lionel Atwill) confronts Wolf Frankenstein (Basil Rathbone) in SON OF FRANKENSTEIN (1939), arguably Atwill's finest role.

Inspector Krogh (Lionel Atwill) prepares to tell Wolf Frankenstein (Basil Rathbone) how the Monster tore his arm off when he was a child, in SON OF FRANKENSTEIN (1939), arguably Atwill’s finest role.

In The Shadows: LIONEL ATWILL

By Michael Arruda

Today In The Shadows, the column where we honor character actors from the movies, especially horror movies, we look at the career of Lionel Atwill, who divided his career between playing scary people and police inspectors in the Universal monster movies from the 1930s and 1940s.

He began his career as a leading man, appearing in the lead role in such films as MYSTERY OF THE WAX MUSEUM (1932), MURDERS IN THE ZOO (1933) and THE VAMPIRE BAT (1933) before being relegated to smaller roles in the Universal monster movies, usually as a police inspector.

He became typecast as a police inspector because of his terrific performance in SON OF FRANKENSTEIN (1939) where he played Inspector Krogh, and it’s one of his all-time best performances. Interestingly enough it wasn’t the first time he played a police inspector in a horror movie, as he played Inspector Neumann in MARK OF THE VAMPIRE (1935).

His performance as Inspector Krogh in SON OF FRANKENSTEIN is my favorite Lionel Atwill performance. Krogh suspects Baron Wolf Frankenstein (Basil Rathbone) has secretly brought his father’s creation, the Monster (Boris Karloff) back to life, putting both his family and the entire village in danger. Krogh spends the entire movie trying to prove this while protecting those under his watch in the process.

And Krogh has extra motivation, since as a young boy, he had his arm torn from his body by the Monster. Yes, he’s the one-armed Inspector, famously spoofed by Kenneth Mars in Mel Brooks’ YOUNG FRANKENSTEIN (1974). But there are no laughs here, as Atwill is as serious and focused as a Police Inspector can be. It’s a solid powerful performance, most likely Atwill’s best.

Atwill’s career was derailed by a sex scandal in which he was accused of hosting an orgy at his home, and there was a rape charge as well. His career never recovered, and he was shunned by the major film studios afterwards. He died in 1946 at the age of 61.

Here is a partial list of Lionel Atwill’s 75 movie credits, concentrating mostly on his appearances in horror movies from the 1930s and 1940s:

DOCTOR X (1932) – The lead baddie, the demented Doctor Jerry Xavier.

THE VAMPIRE BAT (1933) – Dr. Otto von Niemann – again an evil doctor, this time experimenting with vampire bats.

MYSTERY OF THE WAX MUSEUM (1933) – Ivan Igor – terrorizes Fay Wray in a role made famous twenty years later when Vincent Price starred in the 3D remake HOUSE OF WAX (1953).

MURDERS IN THE ZOO (1933) – Eric Gorman – another evil scientist, this time mixed up with deadly zoo animals.

MARK OF THE VAMPIRE (1935) – Inspector Neumann – plays a police inspector opposite Bela Lugosi’s vampire, Count Mora, in this atmospheric remake of Lon Chaney’s silent classic LONDON AFTER MIDNIGHT (1927), both versions, incidentally, directed by DRACULA director Tod Browning.

SON OF FRANKENSTEIN (1939) – Inspector Krogh- Atwill’s signature role, the relentless incorruptible Inspector Krogh, who matches wits with Baron Wolf Frankenstein and eventually tangles with the Monster (Boris Karloff).

THE HOUND OF THE BASKERVILLES (1939) – Dr. James Mortimer – Doctor who hires Basil Rathbone’s Sherlock Holmes to take on the Baskerville case.

MAN MADE MONSTER (1941) – Dr. Paul Rigas. Back in the mad scientist seat, this time zapping Lon Chaney Jr. with electricity and turning him into a monster.

TO BE OR NOT TO BE (1942) – Rawitch – Part of the ensemble cast in this classic Ernst Lubitsch comedy starring Jack Benny and Carole Lombard.

THE GHOST OF FRANKENSTEIN (1942) – Doctor Theodore Bohmer – Atwill’s second of five appearances in the Universal Frankenstein series. Here he plays Dr. Bohmer, a mad scientist who transplants Ygor’s (Bela Lugosi) brain into the body of the Monster (Lon Chaney, Jr.)

PARDON MY SARONG (1942) – Dr. Varnoff – messing around with Abbott and Costello.

NIGHT MONSTER (1942) – Dr. King – another disreputable doctor, in this murder mystery/horror movie co-starring Bela Lugosi.

SHERLOCK HOLMES AND THE SECRET WEAPON (1942) – Professor Moriarty – matching wits with Basil Rathbone’s Sherlock Holmes.

FRANKENSTEIN MEETS THE WOLF MAN (1943) – Mayor – received a promotion in this one, as rather than playing a police inspector, Atwill is Mayor of Vasaria.

HOUSE OF FRANKENSTEIN (1944) – Inspector Arnz – back to being a police inspector again.

HOUSE OF DRACULA (1945) – Inspector Holtz – yet another police inspector in a Universal monster movie. Atwill would die before the next film in the series, ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948).

And there you have it. A brief look at some of Lionel Atwill’s memorable film performances.

Lionel Atwill: March 1, 1885 – April 22, 1946

Thanks for reading everybody!

—Michael