IN THE SHADOWS: EDWARD VAN SLOAN

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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.

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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!”

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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.

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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.  

 

 

 

 

 

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

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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.

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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.

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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.

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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.

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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

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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:

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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.

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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!

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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.

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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)

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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

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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!

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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.

NUMBERS: Halloween

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NUMBERS:  Halloween Jack O Lantern

 

By Michael Arruda

Here’s a list of some random fun numbers in time for Halloween:

350 million – copies sold of books written by Stephen King.

35 million- pounds of candy corn estimated to be bought for Halloween 2015 in the U.S., according to ABC news.

40,000– Dollar amount stolen by Marion Crane (Janet Leigh) in PSYCHO (1960).

278- The number of screen credits for Christopher Lee, according to IMDB.

22– The number of movies Peter Cushing and Christopher Lee made together

10 – The number of movies in the HALLOWEEN franchise.

8 – The number of times Colin Clive says “It’s alive!” in the creation scene in FRANKENSTEIN (1931)

5– The number of times Lon Chaney Jr. played Larry Talbot/the Wolf Man in the movies.

3– The number of times Boris Karloff played the Frankenstein Monster in the movies.

2– The number of times Bela Lugosi played Dracula in the movies.

1 – Number of times Christopher Lee played Frankenstein’s Creature in the movies.

Thanks for reading!

—Michael

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