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

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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.

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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.
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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.
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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.  

 

 

 

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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.

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!”

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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.  

 

 

 

 

 

IN THE SPOOKLIGHT: THE MUMMY (1932)

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the mummy 1932 poster

Here’s my latest IN THE THE SPOOKLIGHT column, on the Boris Karloff classic, THE MUMMY (1932), appearing now in the August 2016 edition of the HWA NEWSLETTER, and it’s a reprint of a column which originally appeared in those pages back in August 2009.

Thanks for reading!

—Michael

 

IN THE SPOOKLIGHT:  THE MUMMY (1932)

By Michael Arruda

“It comest to life!” screams its movie poster.  It’s a Universal monster classic from the 1930s, and it stars Boris Karloff, but it’s not FRANKENSTEIN (1931).  It’s THE MUMMY (1932).

THE MUMMY showcases a masterful lead performance by Boris Karloff as the undead mummy, Im-Ho-Tep, exceptional direction by DRACULA (1931) cinematographer Karl Freund, remarkable mummy make-up by Jack Pierce, and unlike FRANKENSTEIN and DRACULA, a music score.

The screenplay for THE MUMMY was written by John L. Balderston, no stranger to classic horror tales.  Balderston adapted the play used for the screenply for FRANKENSTEIN (1931), which of course was adapted from the Mary Shelley novel, and he also wrote one of the stage versions of DRACULA, which served as the model for the Universal Bela Lugosi movie DRACULA (1931).

THE MUMMY opens in 1921 in Egypt, where an expedition led by Sir Joseph Whemple (Arthur Byron) has just discovered the remains of an ancient mummy, Im-Ho-Tep (Boris Karloff).  Doctor Muller (Edward Van Sloan) warns Whemple and his young assistant Ralph Norton (Bramwell Fletcher) not to ignore the ancient curse discovered along with the mummy, but the young assistant is too eager, and as he reads from the Scroll of Thoth, behind him, the mummy awakes.

It is probably the film’s most famous scene.  As the words are read, the camera focuses on the dead mummy’s face, and ever so slowly, the eyes open, and then the arm slowly moves.  When the mummy takes the scroll, the young assistant bursts into uncontrollable mad laughter, and as we learn later, “he died laughing.”

The action switches to 1932 (which was present day when THE MUMMY was released).  Im-Ho-Tep has shed his bandages and is using the alias “Ardath Bey.”  The make-up here by Jack Pierce is superb.  Without his bandages, Karloff really does look like the walking dead.

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Jack Pierce’s haunting mummy make-up, turning Boris Karloff into the resurrected undead mummy, Im-Ho-Tep.

 

Im-Ho-Tep attempts to bring his long lost love, the princes Anck-es-en-Amon back to life.  He discovers that her soul is now in the body of Helen Grosvenor (Zita Johann), who happens to be in love with Joseph Whemple’s son, Frank (David Manners).  Im-Ho-Tep wants to kill her so he can resurrect her as an undead, but Frank Whemple and Doctor Muller stand in his way.

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Helen (Zita Johann) falls under the spell of Im-Ho-Tep (Boris Karloff) in THE MUMMY (1932).

In THE MUMMY, Karloff delivers another wonderful performance.  His mummy is much more evil than the later depictions of a mute bandaged monster lumbering around the countryside strangling people.  Yet, Karloff also makes Im-Ho-Tep a somewhat sympathetic character.  We feel for the guy, and his plight to get his long lost love back.

But the best part of THE MUMMY is the cinematography and direction by Karl Freund.  Freund does a more impressive job at the helm of THE MUMMY than either of his more famous counterparts, Tod Browning directing DRACULA and James Whale directing FRANKENSTEIN.

Freund creates an unforgettable opening sequence of the mummy resurrected, a haunting and dreamlike flashback sequence (the scene where the slaves get spears thrust through their chests still makes me wince), and he imbues the scenes inside the museum with creepy shadows and mysterious lighting.

If there are any flaws, it’s the ending, which is quick and shot in a choppy clumsy manner, not at all like the rest of the movie.

So, as we make our way through the lazy hazy days of summer, grab a beverage, dig your toes into the sands of the Egyptian desert, and welcome Im-Ho-Tep into your living room.  Just don’t say the words of that ancient curse too loud.

One guy dying laughing is more than enough.

—END—

 

Kevin Costner Is Criminally Entertaining in CRIMINAL (2016)

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When I think of Kevin Costner,  the word “bad-ass” isn’t what comes to mind.

That might change after watching CRIMINAL (2016), the new thriller starring  Costner as a death row inmate who through untested experimental surgery is given the memories of a dead CIA agent.

Why?  Because the agent died before completing his mission, and in order for his superiors to learn the vital information he took with him to his grave, they need to ressurect his memory.  Enter Kevin Costner.

When the movie opens, CIA agent Bill Pope (Ryan Reynolds) is being chased by the bad guys, and he doesn’t make it, which is very bad for the good guys, because Pope was bringing in a computer hacker who had gained control of the U.S. military’s missile launch system.  Pope’s boss, Quaker Wells (Gary Oldman) recruits Dr. Franks (Tommy Lee Jones) to perform experimental surgery on Pope to transfer Pope’s memories into the brain of another man.

Franks chooses Jericho Stewart (Kevin Costner), a death row inmate and career criminal, because Jericho has a rare brain condition as a result of a childhood brain injury which makes him a perfect candidate for the surgery.  Trouble is, the same injury has also made Jericho an unstoppable unfeeling brutal criminal who doesn’t know right form wrong, doesn’t feel emotion or pain, and basically is Michael Myers without the mask.  Well, almost.

Franks performs the surgery, but Jericho escapes, and now armed with Pope’s CIA agent knowledge and skills, sets out to steal the money that Pope was going to use to bring in the computer hacker.  But when Jericho visits Pope’s wife Jill (Gal Gadot) and his young daughter, he begins to relive happy memories from Pope’s past and suddenly he’s experiencing emotions, something he had never been able to do before, which changes his outlook on life.

Meanwhile, the hacker is still out there, CIA boss Quaker Wells is going nuts because every move he makes seems to be the wrong one, and the main baddie in the movie, terrorist Xavier Heimdahl (Jordi Molla) is intent on using Jericho to lead him to the hacker so he can gain control of the U.S. military’s missile launch codes and blow up the world.

And he’ll succeed, unless Jericho, the relentlessly brutal career criminal who’s now armed with CIA agent skills, making him more dangerous than ever, can stop him.  And he wants to stop him for the simple reason that Xavier has irked him.  As Jericho says early in the movie, “You hurt me.  I’ll hurt you worse.”  Well, Xavier put the hurt on him, and for Jericho, that’s enough.

I went into CRIMINAL not expecting much, but I was pleasantly surprised.  It’s a very entertaining movie, and the biggest reason for this is Kevin Costner.

For me, it’s usually hit or miss with Costner.  Sometimes I enjoy him, and other times not so much.  For example, his recent action thriller 3 DAYS TO KILL (2014) I thought was meh, and he didn’t really do all that much for me in that movie.  Yet, he was terrific in last year’s MCFARLAND, USA. (2015), and I also enjoyed him in the two thrillers THE NEW DAUGHTER (2009) and MR. BROOKS (2007).  Of course, Costner’s career goes way back to THE UNTOUCHABLES (1987) and was followed by a career of hits [DANCES WITH WOLVES (1990)] and misses [WATERWORLD (1995)].

Costner knocks it out of the park here in CRIMINAL.  I haven’t seen Coster this good in years.  Part of the fun is it’s a role Costner doesn’t usually play.  As Jericho Stewart, he’s in-your-face abrasive, rough, crude, and incredibly entertaining.  His gritty yet realistic performance is reminsicent of the work of Tom Hardy, who also could have easily played this guy.

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Jericho Stewart (Kevin Costner) takes aim at an enemy in CRIMINAL (2016).

Costner is also supported by a fine cast.  While neither Gary Oldman nor Tommy Lee Jones really stand out or do anything we haven’t seen them do before, they are both very good and their presence certainly helps the movie.  As does Gal Gadot (Wonder Woman herself!) as Pope’s beautiful wife Jill.  Gadot is not in the movie a whole lot, but when she is, it gets that much better.

Jordi Molla is meh as main baddie Xavier Heimdahl.  I’ve seen better villains, and I’ve seen worse.  Likewise, Michael Pitt as hacker Jan Stroop aka “The Dutchman” is also simply okay.

Better than these two are the other women in the cast.  Alice Eve makes her mark in a brief bit as CIA Agent Marta Lynch who for a time is Quaker Wells’ go-to person before she meets an untimely demise.  Even better than Eve is Antje Traue as Elsa Mueller, Xavier’s top assassin.  Traue gives the second best performance in the movie, behind Costner’s, and I really enjoyed her work as Elsa, who was one of the better characters in the movie.  Then again, maybe I just have a thing for sexy assassins.

And while it was nice to see Ryan Reynolds as Bill Pope, his performance was more of an afterthought, since he’s only in the movie for a few minutes.

CRIMINAL also has a really good script by Douglas Cook and David Weisberg.  It’s chock full of good lines, mostly spoken by Kevin Costner, and the idea behind the story, transferring one man’s memories into another, was pretty interesting.

I couldn’t help but think of FRANKENSTEIN while watching this movie.  The memory transplant, the brain surgery, the fact that Costner’s Jericho behaves like the Frankenstein Monster, especially how he doesn’t feel emotion and goes about scaring people and beating them senseless every chance he gets.  Plus Tommy Lee Jones’ character is named Dr. Franks, which immediately made my Hammer Films brain think of Peter Cushing’s Dr. Franck at the end of THE REVENGE OF FRANKENSTEIN (1958).

That whole part of the story is really interesting and compeletely worked for me, mostly because Costner’s performance brings Jericho to life.

The other part of the story, the stealing of military secrets and wanting to blow things up, didn’t work as well.  That was all standard action movie fare and offered nothing new.

Director Ariel Vromen does a nice job, especially with the pacing.  This one flew by.   The action scenes were all decent, although none of them were all that spectacular.

By far, the best part of CRIMINAL and the main reason to see this one is Kevin Costner’s completely satisfying performance against type as rough, tough, unstoppable and often insane Jericho Stewart.

It’s Costner’s most entertaining role in years.

—END—

 

 

 

 

 

 

 

 

 

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

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.

IN THE SPOOKLIGHT: DEAD MEN WALK (1943)

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Here is my latest IN THE SPOOKLIGHT column, on the George Zucco/Dwight Frye horror movie DEAD MEN WALK (1943), up now in the January issue of THE OFFICIAL NEWSLETTER OF THE HORROR WRITERS ASSOCIATION.

Enjoy!

—Michael

dead man walk - poster

 

IN THE SPOOKLIGHT

By

Michael Arruda

January.  The dead of winter.

The time of year when DEAD MEN WALK (1943).

At least if you’re George Zucco, anyway.

George Zucco is one of my favorite character actors from the 1940s.  In the horror films of that decade, he often played a villain or a mad scientist, and while he never achieved a name for himself like Bela Lugosi or even John Carradine, he was quite good in many, many movies.  I always remember him for his brief bit as Professor Bruno Lampini in the Universal monster fest HOUSE OF FRANKENSTEIN (1944), and he also played the High Priest Andoheb in three of the Universal Kharis MUMMY movies, THE MUMMY’S HAND (1940), THE MUMMY’S TOMB (1942), and THE MUMMY’S GHOST (1944).

Zucco plays the lead in DEAD MEN WALK, and as expected he’s quite good.  He plays a dual role in this one, as he portrays twin brothers, one good, the well-respected doctor Lloyd Clayton, and the other, the devil worshiping  Dr. Elwyn Clayton, not so good.

And if this weren’t enough, Dwight Frye even shows up as Zucco’s hunchbacked assistant, Zolarr.  As a result, in spite of being a no-budget thriller, DEAD MEN WALK is a real treat.

DEAD MEN WALK opens with a funeral, as Elwyn Clayton (George Zucco) lies dead in his coffin.  His twin brother Dr. Lloyd Clayton (George Zucco) declares his brother better off dead, since he was such an evil soul.  When Elwyn’s hunchback assistant Zolarr (Dwight Frye) shows up, he accuses Lloyd of murdering his brother.  Lloyd dismisses Zolarr’s accusations and says he acted in self- defense.

Anyway, faster than you can say “Fritz” or “Renfield” (take your pick) Zolarr resurrects Elwyn’s body and brings him back to life, and it’s easy to do, because we learn that Elwyn is now a vampire!  As a vampire, Elwyn wastes no time putting the bite on Lloyd’s niece Gayle (Mary Carlisle).  It’s now up to Lloyd to protect his niece and stop his undead brother once and for all.

DEAD MEN WALK isn’t anything more than a Grade Z horror movie, but Zucco and Frye raise it up a few notches and make it worth watching, which is a good thing because visually this one has little to offer.  There are very few exciting scenes, nor is there much atmosphere.  Director Sam Newfield’s idea of suspense is to have Dwight Frye peer menacingly through a window.

Even the vampire elements are downplayed.  All the bites occur off-camera, and when George Zucco plays the vampire twin, he wears no make-up.  The two characters are distinguishable because the good doctor wears eyeglasses and the evil vampire brother doesn’t.  Maybe his vision improved as an undead!

The script isn’t bad though.  It’s written by Fred Myton whose credits go back to the silent era.  In fact, his earliest credits date back to 1915.  One hundred years ago!  How about that?  The dialogue in DEAD MEN WALK really isn’t bad at all.  In fact, it’s actually pretty good, and for the most part, when the characters speak, they sound like real people.

Zucco’s great as he always is.  And he’s much more than just a screen villain.  In fact, his evil twin is pretty one-dimensional.  It’s the good brother, Lloyd, who Zucco actually makes more interesting.

And what else can you say about Dwight Frye other than it’s a shame he wasn’t able to make more movies.  After his roles as Renfield in DRACULA (1931) and Fritz in FRANKENSTEIN (1931), he was typecast as weirdos and hunchbacks.  He died young, at the age of 44 in 1943.  A shame.  Only Frye could give a dignified death to a character whose last lines are cries of “Master!  Master!”  Most other actors screaming these lines would be laughable.  When Frye screams them, as Zolarr lies trapped in a burning house, he generates legitimate sympathy for the character.

Dead_Men_Walk- Frye & Zucco

Dwight Frye and George Zucco prepare to scare an unsuspecting victim in DEAD MEN WALK.

 

And really, Dwight Frye and George Zucco are the only reasons to see DEAD MEN WALK.  They lift the material and make this otherwise Grade Z movie enjoyable.

It’s cold.  It’s January.  It’s that time of year we’re all stuck inside.

To beat that claustrophobic feeling go out for a walk.  It’ll do you good.  And you won’t be alone.

Not when DEAD MEN WALK.

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