Halloween Special 2: Karloff, Lugosi, Chaney,Jr., Lee, and Cushing Talk Monsters

0
Lugosi_Karloff

Bela Lugosi and Boris Karloff

Welcome back to another Halloween Special.

Once again I’m conducting a mock interview with horror greats Boris Karloff, Bela Lugosi, Lon Chaney Jr., Christopher Lee, and Peter Cushing. And while this interview is completely imaginary, their answers to my questions are real, taken from quotes they really said.

So, without further hesitation, let’s get started.

MICHAEL:  Welcome everyone to a very special treat.

Joining me today on this Monster Panel are Boris Karloff, Bela Lugosi, Lon Chaney Jr., Christopher Lee, and Peter Cushing. Thank you all for joining me today.

Today I want to talk about monsters, specifically, your thoughts on just who is the greatest movie monster of all time.  And before you answer, I’m going to guess that you all will be partial to the monsters you played in the movies.  And as a famous comedian once said, “Not that there’s anything wrong with that.”

Bela, let’s start with you.  Your thoughts on the greatest movie monster of all time.

BELA LUGOSI: Every actor’s greatest ambition is to create his own, definite and original role, a character with which he will always be identified. In my case, that role was Dracula.

dracula-1931-bela-lugosi

Lugosi as Dracula in DRACULA (1931).

MICHAEL:  So, you’re going with Dracula?

(Lugosi nods)

CHRISTOPHER LEE:  I agree.

Dracula is different; he is such an exciting person.

And it doesn’t bother me to be remembered as Dracula.
Dracula-Prince-of-Darkness_lee

Christopher Lee as Dracula in DRACULA – PRINCE OF DARKNESS (1966).

MICHAEL:  It doesn’t?
CHRISTOPHER LEE: Why should it? What does bother me is when people say, “Ah yes, there goes Dracula,” or “There goes the horror king.” It simply isn’t true. I’m quite annoyed when people don’t acknowledge that I’ve done anything else.
PETER CUSHING:  People look at me as if I were some sort of monster, but I can’t think why.
 (Everyone laughs)
 PETER CUSHING: In my macabre pictures, I have either been a monster-maker or a monster-destroyer, but never a monster. Actually, I’m a gentle fellow. Never harmed a fly. I love animals, and when I’m in the country I’m a keen bird-watcher.
 MICHAEL:  Boris, what about you?
 BORIS KARLOFF: The Frankenstein Monster.
Yes, the monster was the best friend I ever had.
Frankenstein-1931-Boris-Karloff

Karloff as the Monster in FRANKENSTEIN (1931).

 PETER CUSHING:  I know what you mean.
It gives me the most wonderful feeling. These dear people love me so much and want to see me. The astonishing thing is that when I made the Frankenstein and Dracula movies almost 30 years ago the young audiences who see me now weren’t even born yet. A new generation has grown up with my films. And the original audiences are still able to see me in new pictures. So, as long as these films are made I will have a life in this business — for which I’m eternally grateful.
curse of frankenstein - you're going to help me paul

Peter Cushing as Baron Victor Frankenstein in THE CURSE OF FRANKENSTEIN (1957).

CHRISTOPHER LEE:  Yes, and for me, quite frankly, I’m grateful to Dracula.
If people today remember me in the role and still enjoy it, I’m flattered. If, through some strange twist of fate, I was able to take a character some 25 years ago and create an impact where by I suddenly became known throughout the world, how can I complain?
 BELA LUGOSI: And never has a role so influenced and dominated an actor’s role as has the role of Dracula.
 MICHAEL:  We haven’t heard from you yet, Lon.  What’s your opinion on these classic movie monsters?
 LON CHANEY JR.: All the best of the monsters played for sympathy. That goes for my father, myself and all the others. They all won the audience’s sympathy.
  The Wolf Man didn’t want to do all those bad things. He was forced into them.
wolf man fog

Lon Chaney Jr. as The Wolfman, in THE WOLFMAN (1941).

 MICHAEL:  So, monsters are pretty special.
BORIS KARLOFF: My dear old monster. I owe everything to him. He’s my best friend.
 LON CHANEY JR.: The trouble with most of the monster pictures today is that they go after horror for horror’s sake. There’s no motivation for how monsters behave.
  CHRISTOPHER LEE:  That’s one of the reasons I will play no more monsters.
 Now villains are different.
Most people find my villains memorable because I try to make them as unconventional as possible. They are not overt monsters.
It’s easy to play a “heavy” straight down the middle, 100%, but it’s boring. I don’t think I’ve ever played a villain who didn’t have some unusual, humanizing trait. When I look back at my men with the black hats, they’ve always had something else going for them, whether it be a sardonic sense of humor or a feeling of desolation. I always try to throw as many curves the audience’s way as possible. That’s probably why people enjoy my villainy.
 LON CHANEY JR.:  There’s just too much of that science-fiction baloney.
 BELA LUGOSI:  Science fiction, perhaps.  Baloney, perhaps not.
Dracula has, at times, infused me with prosperity and, at other times, he has drained me of everything.
It’s a living, but it’s also a curse. It’s Dracula’s curse.
chaney lugosi

Lon Chaney Jr. and Bela Lugosi in THE WOLFMAN (1941).

 PETER CUSHING:  Yes.  In the early days I played a lot of comedy in the theater and on television. But once an actor becomes well-known in any kind of part, he tends to get stereotyped.

After I played Frankenstein, I was only thought of in that light. Of course, some actors are better at drama and some are better at comedy. But they can certainly have a stab at both. An actor should be able to do it all.

(Laughter)

BORIS KARLOFF: Before we go, since we’re talking about movie monsters, I just want to acknowledge Jack Pierce— the best make-up man in the world.

I owe him a lot.

MICHAEL:  Thank you all for joining me tonight.  I appreciate your taking the time to answer my questions.  And that’s all the time we have.

Thanks for reading, everybody!

—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.  

 

 

 

Advertisements

Happy Birthday, Bela Lugosi!

1

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.  

 

 

 

PICTURE OF THE DAY: BORIS KARLOFF In THE BODY SNATCHER (1945)

1
boris_karloff_thebodysnatcher

Boris Karloff as John Gray, the body snatcher, in, no surprise,  THE BODY SNATCHER (1945)

The film is THE BODY SNATCHER (1945), the character is John Gray, and the actor, of course, is Boris Karloff.

THE BODY SNATCHER is one of my favorite Boris Karloff movies.

Karloff plays John Gray, the man who robs graves for Dr. Wolfe “Toddy” MacFarlane (Henry Daniell).  This story is loosely based on the true story of Dr. Knox and grave robbers Burke and Hare.

Karloff’s John Gray is basically Burke and Hare put together.  It’s one of Karloff’s scariest roles, and it’s certainly one of his best roles in a non-Universal horror movie.  He’s got some great lines in this one.

The screenplay by Philip MacDonald is based on a short story by Robert Louis Stevenson. It’s an atmospheric thriller, well-directed by Robert Wise.

This one also features Bela Lugosi in a small role.

But it’s Karloff who dominates this movie, who’s as frightening here as John Gray as he ever was. The photo above captures perfectly Karloff’s interpretation of Gray’s persona. Fearlessly robbing graves, he’s only too happy to collect his money, and happier still to torment his employer, the proper Dr. MacFarlane, reminding the good doctor that he’s every bit as guilty as those robbing the graves.

If you haven’t seen Karloff in THE BODY SNATCHER, you’re missing quite a treat.

Just look at that smile.  Makes you want to visit a cemetery late at night, doesn’t it?

So, if you get the sudden urge in the middle of the night to take a nature walk through a graveyard or to venture across the countryside in search of dead bodies, you can thank Boris Karloff in THE BODY SNATCHER, featured in today’s Picture of the Day.

Thanks for reading!

—-Michael

IN THE SHADOWS: EDWARD VAN SLOAN

0
edwardvansloan_draculasdaughter

Edward Van Sloan as Professor Van Helsing in DRACULA’S DAUGHTER (1936).

 

Welcome back to IN THE SHADOWS, the column where we look at character actors in the movies, especially horror movies.

Character actors add so much to the movies they’re in, it’s hard to imagine these movies without them. Never receiving the praise heaped upon the major actors and stars of the genre, these folks nonetheless are often every bit as effective as the big name leads.

Up today, an actor known to horror fans for three key roles in three classic horror movies, and that actor is Edward Van Sloan.

Edward Van Sloan played three similar roles in three of Universal’s best horror movies from the 1930s.  He played Professor Van Helsing in DRACULA (1931), Dr. Waldman in FRANKENSTEIN (1931), and Dr. Muller in THE MUMMY (1932).

As Dr. Van Helsing, a role he had played earlier on stage opposite Bela Lugosi’s Dracula, he’s one of the best.  While Peter Cushing is my all time favorite movie Van Helsing, Edward Van Sloan came closer to the Stoker interpretation than Cushing did, but even he deviated from the way Stoker wrote the character.  Probably the closest I’ve seen an actor capture the literary Van Helsing on-screen would be Frank Finlay’s performance as the vampire hunter/professor in the BBC production COUNT DRACULA (1977), starring Louis Jordan as the Count.

EdwardVanSloan_BelaLugosi_Dracula

Van Sloan and Lugosi square off in DRACULA (1931)

But for Edward Van Sloan, it’s all about presence and authority, something he definitely wields in DRACULA.  Bela Lugosi is absolutely mesmerizing as Dracula, and his performance dominates the movie.  Yet Van Sloan is up to the task of matching wits with Lugosi, and his Van Helsing is a worthy opponent for the vampire king.  The scene where Dracula tries to use hypnosis to overpower Van Helsing is one of the strongest scenes in the film, acted so expertly by Van Sloan, as you can see it in his eyes as he’s resisting Dracula’s powers, and for a split-second, Van Sloan’s eyes go blank, and at this instant the audience shudders, begging that he doesn’t succumb to Dracula’s powers, and when he rallies and resists Dracula, it’s a great moment in the movie.

As Dr. Waldman in FRANKENSTEIN, Van Sloan plays Henry Frankenstein’s former professor, who for most of the movie, acts as the voice of reason.  He tries throughout to talk sense to Henry Frankenstein and is constantly urging caution.  As Dr. Waldman, he gets one of the best lines in the movie, when he warns young Henry.  “Your success has intoxicated you!  Wake up!  And look facts in the face!—  You have created a monster, and it will destroy you!”

edwardvansloan_Frankenstein

Edward Van Sloan as Dr. Waldman in FRANKENSTEIN (1931).

Prophetic words.  Actually, they were more on the money regarding Waldman’s fate, because later in the movie, the Monster (Boris Karloff) kills the professor.  In fact, Professor Waldman’s death is one of the more shocking moments in FRANKENSTEIN, a film which contains more than a few of them, and it’s a testament to Edward Van Sloan’s screen presence.  Van Sloan was so effective as Professor Van Helsing in DRACULA, so convincing when he destroys Dracula, it strikes audiences as an absolute shock when he doesn’t do the same in FRANKENSTEIN, when in fact it’s the Monster who kills Professor Waldman, and not the other way around.

And Edward Van Sloan is one of only two actors— the other being Dwight Frye who played Renfield in DRACULA and Fritz in FRANKENSTEIN— to star in both DRACULA and FRANKENSTEIN.

In THE MUMMY (1932), Van Sloan plays Dr. Muller, a variation of his Van Helsing/Waldman characters.  This time, he’s an expert on Egyptology, and he matches wits with Boris Karloff’s Mummy, Imhotep.  THE MUMMY is an excellent horror movie, as good if not better than DRACULA and FRANKENSTEIN.  Once again, Van Sloan nails the role of the heroic professor and is completely believable as the knowledgable scholar who takes on the supernatural Imhotep.

edwardvansloan_BorisKarloff_TheMummy

Edward Van Sloan takes on Boris Karloff’s Imhotep in THE MUMMY (1932).

As for the rest of  Edward Van Sloan’s career, here’s a partial look at his 88 screen credits, focusing mostly on his horror film roles:

SLANDER (1916) – Joseph Tremaine – Edward Van Sloan’s first film credit is in this silent movie from 1916, the only silent film Van Sloan made.

DRACULA (1931) – Professor Van Helsing – probably Van Sloan’s most famous role, and the role he is most remembered for.  Van Sloan’s work as Van Helsing in this movie is as memorable as Lugosi’s Dracula and Dwight Frye’s Renfield.

FRANKENSTEIN (1931) – Dr. Waldman – Another famous role for Van Sloan, this time playing Henry Frankenstein’s former professor and the man who tries to convince Frankenstein to destroy his creation.  We all know how that turned out.

BEHIND THE MASK (1932) – Dr. August Steiner/Dr. Alec Munsell/Mr. X – a crime drama marketed as a horror movie due to the presence of Boris Karloff in a small role.  Van Sloan plays the villain here, in a role that Karloff probably would have played had this movie been made a few years later.

THE DEATH KISS (1932) – Tom Avery – a comedy/mystery notable for reuniting three cast members from DRACULA:  Bela Lugosi, David Manners, and Edward Van Sloan.

THE MUMMY (1932) – Doctor Muller – takes on Boris Karloff’s evil Imhotep in this horror classic.

DELUGE (1933)- Professor Carlysle – early “disaster” film as New York City is threatened by an earthquake and tidal wave.

AIR HAWKS (1935) – Professor Schulter – weird hybrid of drama and science fiction. Ralph Bellamy plays the owner of an airline company who hires a mad scientist— played by Edward Van Sloan— to build a death ray to force down his competitors’ planes.

THE LAST DAYS OF POMPEII (1935) – Calvus – Historical adventure set in the doomed Roman city, directed by KING KONG directors Ernest B. Schoedsack and Merian C. Cooper. With Basil Rathbone as Pontius Pilate.  A box office flop.

DRACULA’S DAUGHTER (1936) – Professor Van Helsing – reprises his Van Helsing role in this well-made sequel to DRACULA.  The movie starts right where DRACULA left off, and Van Helsing finds himself arrested for the murders of Dracula and Renfield.  Before he can be officially charged, however, the bodies disappear, whisked away by Countess Zaleska (Gloria Holden) who happens to be Dracula’s daughter, and who’s now in London with an agenda of her own. Smart horror film, well-written, acted, and directed.

THE PHANTOM CREEPS (1939) – Jarvis – Science fiction serial from Universal reunites Van Sloan with Bela Lugosi, as Lugosi plays a scientist hell-bent on taking over the world.

BEFORE I HANG (1940) – Dr. Ralph Howard – This time Van Sloan is reunited with Boris Karloff, as Karloff plays a doctor on death row for mercy killings, who injects himself with a serum that turns him into a Hyde-like villain.

THE MASK OF DIIJON (1946) – Sheffield – Erich von Stroheim plays a magician who uses his hypnotic powers to seek vengeance.

SEALED VERDICT (1948) – Priest – Edward Van Sloan’s final screen credit in a World War II war drama starring Ray Milland.

THE UNDERWORLD STORY (1950) – Minister at Funeral – Edward Van Sloan’s final film appearance, an uncredited bit as a minister at a funeral in this film noir crime drama.

There you have it, an abbreviated look at the film career of Edward Van Sloan.

Edward Van Sloan died on March 6, 1964 at the age of 81 in San Francisco, California.

While he enjoyed a long and successful career as a character actor in the movies, for horror fans, he will always be remembered for his roles in three of Universal’s best horror movies from the 1930s:  DRACULA, FRANKENSTEIN, and THE MUMMY.  Van Sloan made for a fine hero in all three of these films.

Edward Van Sloan -November 1, 1882 – March 6, 1964.

I hope you enjoyed this IN THE SHADOWS column.  Join me again next time when we look at the career of another notable character actor.

Thanks for reading!

—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.  

 

 

 

 

 

HALLOWEEN SPECIAL: Karloff, Lugosi, Chaney, Lee, Cushing, and Price Talk Horror

1

The following mock interview uses real quotes spoken by horror icons BORIS KARLOFF, BELA LUGOSI, LON CHANEY JR., CHRISTOPHER LEE, PETER CUSHING, and VINCENT PRICE.  The quotes and answers, therefore, are real.

My interview, obviously, is not.

That being said, I hope you will read on as I “interview” these horror stars with questions on their thoughts on horror.

boris-and-bela

Bela Lugosi and Boris Karloff

MICHAEL ARRUDA:  Welcome to a special Halloween column.

Here with me today to discuss horror are six of horror movies’ biggest stars, BORIS KARLOFF, BELA LUGOSI, LON CHANEY JR., CHRISTOPHER LEE, PETER CUSHING, and VINCENT PRICE.  Thank you all for joining me tonight.

Let’s get right to it.  Your thoughts on the horror genre and horror movies.  Boris, we’ll start with you.

BORIS KARLOFF:  Thank you, Michael.

MICHAEL ARRUDA:  What does horror mean to you?

BORIS KARLOFF:  Horror means something revolting.

Anybody can show you a pailful of innards. But the object of the roles I played is not to turn your stomach – but merely to make your hair stand on end.

CHRISTOPHER LEE (to Karloff):  You’ve actually said you don’t like the word “horror.”  You’ve said the same thing, Lon.  (Chaney nods).  And I agree with the both of you.

MICHAEL ARRUDA:  They said that?

CHRISTOPHER LEE:  Oh yes.  Both Lon and Boris here don’t like the word “horror”. They– like I— go for the French description: “the theatre of the fantastique.”

LON CHANEY JR.:  But on the other hand, nothing is more natural to me than horror.

chaney-lugosi

Lon Chaney Jr. and Bela Lugosi

PETER CUSHING:  Strangely enough, I don’t like horror pictures at all. I love to make them because they give pleasure to people, but my favorite types of films are much more subtle than horror.

I like to watch films like BRIDGE OVER THE RIVER KWAI (1957), THE APARTMENT (1960), or lovely musicals.

VINCENT PRICE:  I sometimes feel that I’m impersonating the dark unconscious of the whole human race. I know this sounds sick, but I love it.

cushing-price

Peter Cushing and Vincent Price

MICHAEL ARRUDA:  Second and final question tonight.  Your thoughts on the roles you have played?

BELA LUGOSI:  Every actor’s greatest ambition is to create his own, definite and original role, a character with which he will always be identified. In my case, that role was Dracula.

And Dracula never ends. I don’t know if I should call it a fortune or a curse, but Dracula ever ends.

CHRISTOPHER LEE:  There are many vampires in the world today – you only have to think of the film business.  (Everyone laughs)

Seriously, though, I’ve always acknowledged my debt to Hammer. I’ve always said I’m very grateful to them. They gave me this great opportunity, made me a well-known face all over the world for which I am profoundly grateful.

PETER CUSHING:  Agreed.  I mean, who wants to see me as Hamlet? Very few. But millions want to see me as Frankenstein so that’s the one I do.

cushinglee

Christopher Lee and Peter Cushing

LON CHANEY JR.:   All the best of the monsters played for sympathy. That goes for my father,myself and all the others. They all won the audience’s sympathy.

The Wolf Man didn’t want to do all those bad things. He was forced into them.

VINCENT PRICE:  I don’t play monsters. I play men besieged by fate and out for revenge.

BORIS KARLOFF:  For me it was pure luck.

You could heave a brick out of the window and hit ten actors who could play my parts. I just happened to be on the right corner at the right time.

MICHAEL ARRUDA:  And often that’s really what it comes down to.  Being in the right place at the right time, and of course, being persistent.

Thank you gentlemen, for joining me this evening.

And thank you all for reading!

Happy Halloween!

—Michael

 

 

 

 

SHOCK SCENES: DRACULA’S DEMISE- A Look at the Hammer DRACULA Endings- Part 1

0
horror-of-dracula-ending

Dracula (Christopher Lee) screams in agony in the conclusion to HORROR OF DRACULA (1958)

SHOCK SCENES:  DRACULA’S DEMISE- A Look at the Hammer Dracula Endings

Part 1

By

Michael Arruda

Welcome back to SHOCK SCENES, the column where we look at famous scenes in horror movie history.  Up today, a look at the Hammer DRACULA series, specifically the endings, those scenes where Dracula meets his demise, which is a strange thing when you think about it:  the King of the Undead is an undead, immortal, and yet at the end of every movie he’s thrust back down into the world of ashes and dust.  It’s a wonder how he survived so long in the first place!

Anyway, we’ll be looking at the various endings to these Dracula movies to see how Dracula met his end in each one.  So, if you haven’t seen these films, be forewarned, there are spoilers galore, so consider this a major spoiler alert.  If you have seen these films, read on and enjoy!

Here we go:

horrorofdracula poster

HORROR OF DRACULA (1958)

The first Hammer Dracula film, HORROR OF DRACULA (1958)  is widely considered to be Hammer Films’ best movie, as well as one of the finest Dracula movies ever made.  A big reason for this is the ending. Van Helsing (Peter Cushing) chases Dracula (Christopher Lee) into Castle Dracula.  They scuffle, and Dracula pins Van Helsing into a corner, but the clever doctor sees a sliver of sunlight shing through the curtains, and he climbs onto the long table, runs across it, and leaps up at the window, tearing the curtains down.

The sunlight knocks Dracula to the ground, and Van Helsing keeps him there by grabbing two candlesticks and using them to make a cross, forcing Dracula into the sunlight, where the shrieking vampire disintegrates into dust before our very eyes.

horror of dracula ending

This is one of those endings where once you see it, you never forget it.  Hands down, this is the best ending of any Dracula/vampire movie.  Ever.  Period.  Not even close.  If you have not seen HORROR OF DRACULA, you owe it to yourself to check it out.  The ending alone makes it worth it, and of course, fans know the rest of the movie is every bit as effective as its famous conclusion.

There’s lots to talk about here.  First off, the special effects, for 1958, are amazing.  Dracula’s disintegration looks horrific and authentic at the same time.  It’s all done with a series of cutaways.  The camera cuts back and forth between Dracula’s disintegration and Van Helsing’s reactions.  It’s all very quick, but effective.  The last stage is pretty much a dummy of a rotting Dracula head with red lights inside lighting up his eyes. It’s a really cool image.

Of course, for years, the original uncut ending was not shown to Western audiences, until just a few years ago (and I’ve written several blog posts on this along with the video links, so feel free to check them out.) when the uncut footage was discovered in a vault in Japan.  The footage, which shows a few more scenes of disintegration, as well as one very cool shot of Dracula clawing the flesh off his face— again, for 1958 these were some incredibly bold effects— was finally released to European audiences but for some reason has still not been included in U.S.versions.  That being said, I did include a link of this footage on my blog post so feel free to check it out.

Strangely, when Hammer chose to restore HORROR OF DRACULA several years ago and insert the “lost” scenes from the Japanese version, they didn’t include all the scenes. For some reason, there are still scenes from the finale in the Japanese version which did not make it into the recently restored print of the film.  I don’t know why they were not restored.  Anyway, if you check YouTube, you can sometimes find the complete ending from the Japanese version.

The other reason this ending stood out in 1958 was before this, the endings to the Universal DRACULA series had been pretty much anticlimactic.  Heck, Dracula was staked off camera in the original Lugosi DRACULA (1931) and none of the subsequent Universal films contained dramatic endings, but that’s a story for another column.

A few other items about the ending to HORROR OF DRACULA:  supposedly, it was Peter Cushing himself who suggested the infamous run across the table and leap to tear down the curtains from the window.  The original script had Van Helsing taking out a crucifix from inside his coat to ward off Dracula, but as Cushing once put it, he felt like a “crucifix salesman” pulling out crosses in nearly every scene, and so he suggested the more dramatic leaping from the table.

And as far as I know, since I’ve never read or heard otherwise, that is Peter Cushing himself and not a stuntman making that run and leap at the curtains.  If anyone out there has information to the contrary, I’d love to hear from you.

Of course, the ending takes liberties with the tradition of a crucifix warding off a vampire.  In this ending, rather than using a blessed religious crucifix, Van Helsing forms two candlesticks into the shape of a cross and uses that to fend of Dracula.  It probably shouldn’t work, but it sure makes for great cinema!  And it also has made it into vampire lore.  In one of my favorite lines from the vampire movie FROM DUSK TILL DAWN (1996) George Clooney asks the folks trapped with him by the gang of vampires what they know about vampires, and one guy suggests making crosses out of anything they can find.  When Clooney asks if that will work, the guy replies, “Peter Cushing does it all the time.

HORROR OF DRACULA not only contains the best ending in the Hammer Dracula series, but it’s also the most dramatic and memorable ending of any Dracula movie period.

It’s one for the horror movie history books.

 

THE BRIDES OF DRACULA (1960)

Christopher Lee declined to play Dracula again in Hammer’s proposed sequel to HORROR OF DRACULA from fear of being typecast.  Of course, he would change his mind several years later.

But in 1960 Hammer went ahead without Lee and made THE BRIDES OF DRACULA (1960), a film that in spite of its title did not feature Dracula, but instead one of Dracula’s disciples, Baron Meinster (David Peel).  Hammer did get Peter Cushing to return to play Van Helsing once again.

The ending to THE BRIDES OF DRACULA, while not as memorable as the ending to HORROR OF DRACULA, is very good.  The film was directed by Hammer’s best director, Terence Fisher, who also directed HORROR, and he goes all out with this one.  THE BRIDES OF DRACULA may be the best looking of the Hammer DRACULAS- it’s certainly the most atmospheric, and is one of the most atmospheric vampire movies ever made.  For some fans, THE BRIDES OF DRACULA is their favorite Hammer Dracula, and considering that Christopher Lee isn’t in the movie,that’s saying quite a lot.

The ending, as directed by Fisher, is every bit as atmospheric as the rest of the film.  One of my favorite shots is when Van Helsing (Peter Cushing) enters the old windmill in search of Baron Meinster.  Its shot with purple lighting, and Van Helsing is backlit, and it makes for an indelible image.  It’s also reminiscent of the scene in THE EXORCIST (1973) when Father Merrin (Max Von Sydow) first enters Regan’s home.  I’ve often wondered if EXORCIST director William Friedkin was influenced by this scene in THE BRIDES OF DRACULA.

van helsing entrance

One of the most memorable parts of the ending comes when Meinster and Van Helsing battle, and this time Meinster wins and actually bites Van Helsing, setting up one of the most memorable scenes in the film, where Van Helsing uses a hot poker to burn the bites on his neck before dousing them with holy water, in effect curing him of the vampire’s bite.  Once again, Hammer takes liberties with vampire lore, but it again sure makes grand horror cinema!

vh-burns-the-evil-out

Later, Van Helsing burns Meinster’s face with holy water, setting up the film’s dramatic conclusion, where Van Helsing leaps onto the wings of the windmill, using it to form a shadow of a cross which falls on Meinster and destroys him.  Terence Fisher purposely did not show the shadow of the windmill but only of the wings, and he did this for full dramatic cinematic effect.

BridesofDraculashadow

As Hammer Dracula endings go, this one is one of the more understated, as Meinster simply collapses, and we do not see him distintegrate.  For story purposes, this makes sense, since unlike Dracula who was centuries old, Baron Meinster had only been a vampire for a relatively brief time.

The ending to THE BRIDES OF DRACULA, like the rest of the movie, is wonderfully atmospheric and cinematic.

Of course, this wasn’t the original ending.  Originally, Van Helsing was to use a little black magic to conjure up the forces of darkness to unleash a barrage of vampire bats which would descend upon Baron Meinster and tear him apart.  Peter Cushing objected to this sequence because he felt it out of character for Van Helsing to turn to black magic rather than religion and science, and I agree with him. I’m glad they changed it.  Hammer would use a variation of the vampire bats sequence for the ending to their next vampire movie, KISS OF THE VAMPIRE (1964), which once more did not feature Dracula.

That’s it for now.  Join me next time for Part 2 of SHOCK SCENES:  DRACULA’S DEMISE- A Look at the Hammer Dracula Endings, when we’ll look at the endings of the next two Hammer Dracula movies, DRACULA-PRINCE OF DARKNESS (1966) and DRACULA HAS RISEN FROM THE GRAVE (1968).

See you then!

—Michael

 

 

 

 

 

 

 

 

 

 

IN THE SPOOKLIGHT: SON OF FRANKENSTEIN (1939)

1

Here’s my latest IN THE SPOOKLIGHT column, available now in the February 2016 edition of THE OFFICIAL NEWSLETTER OF THE HORROR WRITERS ASSOCIATION, on the third Universal Frankenstein movie, SON OF FRANKENSTEIN (1939) starring Boris Karloff and Bela Lugosi.

It’s my 150th IN THE SPOOKLIGHT column.

Enjoy!

—Michael

son of frankenstein poster

 

IN THE SPOOKLIGHT

By

Michael Arruda

Welcome to the 150th IN THE SPOOKLIGHT column!

To celebrate, let’s look at the Universal Monster classic, SON OF FRANKENSTEIN (1939).

SON OF FRANKENSTEIN is the third film in the Universal Frankenstein series.  It marked the third and final time that Boris Karloff would play the Monster, and while Karloff’s presence in this one is still key, really, the biggest reason to see this movie is to watch Bela Lugosi play Ygor, arguably his second best film role after Dracula.

SON OF FRANKENSTEIN takes place several decades after the events of THE BRIDE OF FRANKENSTEIN (1935).  Henry Frankenstein (Colin Clive) has died, and his adult son Baron Wolf von Frankenstein (Basil Rathbone) returns home to his father’s estate along with his wife and young son, after being away for many years.

Wolf and his family are given the cold shoulder by the villagers, who remain scarred by memories of the Monster.  In fact, the local police inspector, Inspector Krogh (Lionel Atwill) even offers Frankenstein and his family protection from the villagers, an offer which the proud Wolf scoffs at.

While searching the ruins of his father’s laboratory, Wolf comes across old Ygor (Bela Lugosi), a man who had once been hung for the crime of stealing bodies but survived the hanging.  When Ygor learns that Wolf is a scientist like his father, he brings Wolf to an underground cave beneath the laboratory where he shows him the sleeping body of the Monster (Boris Karloff).

Intrigue, Wolf decides to bring his father’s creation back to full strength, which pleases Ygor, since he uses his “friend” the Monster to murder the members of the jury who had sent him to the gallows.

SON OF FRANKENSTEIN is the most elaborate of the Universal Frankenstein series and it’s also the lengthiest, clocking in at 99 minutes.  While it can be a bit talky, it does a terrific job developing its characters, as the three new characters in this film, Wolf Frankenstein, Inspector Krogh, and Ygor are among the series’ best.  It was originally going to be shot in color, but the decision was made to film it in black and white when initial screen tests of the Monster in color failed to impress.

While SON OF FRANKENSTEIN has a lot going for it, it’s nowhere near as good as the first two films in the series, FRANKENSTEIN (1931) and THE BRIDE OF FRANKENSTEIN (1935).  That being said, it’s the one film in the series that is closest in style to the Hammer Frankenstein movies which were to follow twenty years later, as it spends more time on characterizations and less on the Monster, and it features opulent sets.

Even though director Rowland V. Lee does an admirable job at the helm, the film really misses the direction of James Whale, who directed the first two Frankenstein movies.  Those films were paced better and possessed a chaotic energy about them that really captured the persona of the Monster, and in both those films, Karloff’s performance as the Monster stole the show.

Here in SON OF FRANKENSTEIN, Karloff turns in his least effective performance as the Monster, mostly because he doesn’t have much to do. For reasons that are not explained, the Monster in SON OF FRANKENSTEIN no longer speaks.    One can infer that he may have suffered further brain damage in the explosion at the end of THE BRIDE OF FRANKENSTEIN, which could have taken away his ability to speak.  Whatever the reason, without speech the Monster is a far less interesting character than when we last saw him in BRIDE.

Also, the Monster becomes a “patient” in this movie, spending lots of time lying on a lab table waiting to be energized by Doctor Frankenstein.  Unfortunately, this trend would continue as the series went on, with the Monster spending more and more time reclining on his back, rather than  moving around terrorizing people.  It’s also established for the first time in SON OF FRANKENSTEIN that the Monster cannot die, that Henry Frankenstein created him in such a way that he would live forever.  This would make it convenient for Universal to keep bringing the Monster back in subsequent movies.

Karloff’s best scene as the Monster in SON OF FRANKENSTEIN is when he meets Wolf Frankenstein for the first time.  As he gets right in Wolf’s face, easily terrifying the man, he seems to be thinking back to the man who created both of them, Wolf’s father, Henry Frankenstein.

Ygor and Monster

Ygor (Bela Lugosi) and the Monster (Boris Karloff) are up to no good in SON OF FRANKENSTEIN (1939).

But again, the best part of this movie is Bela Lugosi’s performance as Ygor.  He steals nearly every scene he’s in.  My favorite bits include his coughing on a jury member in a courtroom scene, and his answer to Wolf when asked if he killed their butler Benson:  “I scare him to death.  I don’t need to kill him to death!”  And then he laughs.  Of course, he’s also lying since the Monster did murder Benson.

Basil Rathbone is adequate as Wolf Frankenstein, though he does tend to ham it up a bit.  I definitely miss Colin Clive as Henry Frankenstein.  Of course, the writers went with the “son” story-line rather than another Henry Frankenstein tale because Clive had sadly passed away shortly after making THE BRIDE OF FRANKENSTEIN.  

Lionel Atwill also has one of his best roles here as Inspector Krogh, the one-armed inspector spoofed so effectively by Kenneth Mars in Mel Brooks’ YOUNG FRANKENSTEIN (1974).  Krogh is a memorable character, with a great back story:  he has one arm because the Monster ripped it from its socket when he was a child.  Yikes!

atwill-rathbone-son-of-frankenstein

Inspector Krogh (Lionel Atwill) prepares to tell Wolf Frankenstein (Basil Rathbone) the story of his childhood encounter with the Monster.

The screenplay by Willis Cooper is definitely talky, but it does tell a good story and does a terrific job developing its characters.  SON OF FRANKENSTEIN also features arguably the best music score of the series, by Frank Skinner.

SON OF FRANKENSTEIN  is a fine third film in the series, not as effective as the first two, but definitely better than the films which would follow it, and its cast, which features Boris Karloff, Bela Lugosi, Basil Rathbone, and Lionel Atwill is second to none.

The biggest of the Universal Frankenstein movies, SON OF FRANKENSTEIN is a well-made and worthy installment in the Frankenstein canon.