Memorable Movie Quotes: FRANKENSTEIN MEETS THE WOLF MAN (1943)

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chaney lugosi frankenstein meets the wolfman

Larry Talbot (Lon Chaney Jr.) and the Frankenstein Monster (Bela Lugosi) busy searching Frankenstein’s castle for Dr. Frankenstein’s records in FRANKENSTEIN MEETS THE WOLF MAN (1943).

Welcome back to MEMORABLE MOVIE QUOTES, that column where we look at memorable quotes from classic movies.

Up today it’s FRANKENSTEIN MEETS THE WOLF MAN (1943), the classic Universal monster movie that put two Universal monsters in the same movie for the first time. FRANKENSTEIN MEETS THE WOLF MAN is the sequel to both THE WOLF MAN (1941) and THE GHOST OF FRANKENSTEIN (1942).

Both films starred Lon Chaney Jr.. He played the Frankenstein Monster in THE GHOST OF FRANKENSTEIN and of course he played Larry Talbot/aka “the Wolf Man” in THE WOLF MAN. Early on the idea was Chaney would play both monsters in this one, but that’s not what happened.

Instead, the role of the Frankenstein Monster went to Bela Lugosi, which made sense, since the character he played in THE GHOST OF FRANKENSTEIN, Ygor, ended up at the end of that movie having his brain transplanted inside the body of the monster. The original screenplay to FRANKENSTEIN MEETS THE WOLF MAN had Lugosi’s Monster speaking as the evil Ygor, but this was also changed, and sadly, all of Lugosi’s lines in the movie were cut before the film’s release.

So, there won’t be any memorable quotes from Lugosi’s Monster here! In fact, a lot of the memorable quotes in FRANKENSTEIN MEETS THE WOLF MAN come from supporting players.

Let’s have a look at some of them, from a screenplay by Curt Siodmark, who also penned the screenplay for THE WOLF MAN.

The movie opens in a graveyard in one of the more atmospheric scenes in a Universal monster movie. The first half of FRANKENSTEIN MEETS THE WOLF MAN is a direct sequel to THE WOLF MAN, and so this opening scene features two grave robbers attempting to rob Larry Talbot’s grave. Little do they realize that when the light of the full moon touches Talbot’s body, he’ll come back to life.  Yup, you can’t keep a good werewolf down!

Anyway, the two grave robbers have an interesting conversation. Let’s listen:

GRAVEROBBER #1: (reading from the headstone) “Lawrence Stewart Talbot, who died at the youthful age of thirty one. R.I.P.”

That’s it. Give me the chisel.

GRAVEROBBER #2: Suppose they didn’t bury him with the money on him.

GRAVEROBBER #1: Everybody in the village knows about it – his gold watch and ring and money in his pockets.

GRAVEROBBER #2: It’s a sin to bury good money when it could help people.

 

There’s something very sad and sincere about that last line.

 

When Larry Talbot (Lon Chaney Jr.) comes back to life, he finds himself in the care of Dr. Mannering (Patric Knowles) at the local psychiatric hospital, while Police Inspector Owen (Denis Hoey) tries to learn Talbot’s true identity. After learning Talbot’s name, the inspector calls Talbot’s home town to learn more about him.

INSPECTOR OWEN: This is Inspector Owen speaking, in Cardiff. Have you got anything in your files about a man named…

POLICE SERGEANT: Lawrence Talbot? Why of course, he lived here.

INSPECTOR OWEN: Well, that’s all right, then. We’ve got him up here in our hospital.

POLICE SERGEANT:  I wouldn’t want him in our hospital. He died four years ago!

 

When Mannering and Inspector Owen confront Larry Talbot with the news that the man he claims to be is dead, Talbot realizes he cannot die. Frustrated he tries to escape, but not before giving Mannering and Owen some advice:

DR. MANNERING: Mr Talbot, if you want us to help you, you must do as we say. Now, please lie down.

LAWRENCE TALBOT: You think I’m insane. You think I don’t know what I’m talking about. Well you just look in that grave where Lawrence Talbot is supposed to be buried and see if you find a body in it!

 

And Mannering and Inspector Owen decide to do just that. They discover that Talbot’s body is indeed missing, and once they establish there’s a close resemblance between the two men, Mannering calls his hospital to check on Talbot but learns some unsettling news instead, which he relays to Inspector Owen:

INSPECTOR OWEN: What happened to Talbot? Did he die?

DR. MANNERING: No. He tore off his strait jacket during the night and escaped.

INSPECTOR OWEN: Tore off his strait jacket? How?

DR. MANNERING: Bit right through it. Tore it to shreds with his teeth.

INSPECTOR OWEN: His teeth?

 

Later, Talbot seeks out Maleva (Maria Ouspenskaya) the gypsy woman who helped him in THE WOLF MAN. Her fellow gypsies warn her about Talbot.

GYPSY: You’re not leaving us. You’re not going with him. He has the sign of the beast on him.

MALEVA; He is dangerous only when the moon is full. I shall watch over him.

GYPSY: He will murder you.

 

Maleva and Talbot travel to Vasaria in search of Dr. Frankenstein, who Maleva believes can help Larry. When they arrive in Vasaria, they learn that Dr. Frankenstein is dead. Before they leave the village, the moon becomes full and Talbot transforms into the Wolf Man. After he murders a young girl, the villagers wonder if the Frankenstein Monster has come back to life:

RUDI: Could it be the monster again? Frankenstein’s monster?

GUNO: No, the monster was burned to death by Dr. Frankenstein.

FRANZEC: Yes, we found his bones and buried them.

VARJA-BARMAID: How do you know they were the monster’s bones?

GUNO: She wasn’t killed by the monster. An animal bit her to death. I saw the wound on her throat.

RUDI: What animals are around here that can kill people?

(A wolf howls.)

RUDI: A wolf!

 

Eventually, Dr. Mannering catches up with Talbot in Vasaria and tries to convince him to come back with him so he can care for him, but Talbot isn’t having any of it.

LARRY TALBOT: Why have you followed me?

DR. MANNERING:  Talbot, you’re a murderer.

LARRY TALBOT: Prove it.

DR. MANNERING: You’re insane at times and you know it. You’re sane enough now though to know what you’re doing. Why don’t you let me take care of you?

LARRY TALBOT: You think it would do any good to put me in a lunatic asylum?

DR. MANNERING: You know that’s where you belong. It’s the only thing to do.

LARRY TALBOT: Oh that wouldn’t do any good. I’d only escape again sooner or later.

DR. MANNERING: We might be able to cure you. It might prevent you…

LARRY TALBOT: I only want to die. That’s why I’m here. If I ever find peace I’ll find it here.

 

 

When the villagers of Vasaria find themselves dealing with both the Wolf Man and the resurrected Frankenstein Monster (Bela Lugosi) they discuss a plan on how to deal with the Monster. Lionel Atwill plays the Mayor.

MAYOR: We must be more clever this time. We must pretend to be friends with the monster.

VAZEC (sarcastically): Yes, why not elect it mayor of Vasaria!

 

And we finish with one of Lon Chaney Jr.’s more dramatic scenes, at the Festival of the New Wine, where a performer sings about living eternally, causing Talbot to explode in an emotional tirade:

LARRY TALBOT: Stop that! Stop it! Quit that singing! Eternally! I don’t want to live eternally! Why did you say that to me? Get away from me! Stay away! Go away, all of you! Let me alone! Stay away!

 

I hope you enjoyed today’s Memorable Movie Quotes column, on the Universal classic FRANKENSTEIN MEETS THE WOLF MAN, one of the more entertaining Universal Monster movies, and that you’ll join me again next time when we look at notable quotes from another classic movie.

That’s it for now.

Thanks for reading!

—Michael

 

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Leading Ladies: FAY WRAY

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Ann Darrow (Fay Wray) in King Kong’s clutches in KING KONG (1933).

Welcome back to LEADING LADIES, that column where we look at leading ladies in the movies, especially horror movies.  Up today, it’s Fay Wray, the woman who King Kong carried to the top of the Empire State Building in KING KONG (1933).

Fay Wray had a ton of credits.  She began her career as a teenager in silent movies, and so by the time she made KING KONG in 1933 at age 26, she had already amassed fifty four screen credits!

All together, Fay Wray had 123 screen credits, but none bigger than her role as Ann Darrow in KING KONG.

Here’s a partial list of Wray’s movie credits:

GASOLINE LOVE (1923) – Fay Wray’s first screen credit.

THE COAST PATROL (1925) – Beth Slocum- Wray’s first feature film role.

DOCTOR X (1932) – Joanne Xavier- horror movie with Lionel Atwill, famous for being shot in Technicolor.

THE MOST DANGEROUS GAME (1932) – Eve Trowbridge – Thriller directed by KING KONG director Ernest B. Schoedsack and featuring Carl Denham himself, Robert Armstrong.

THE VAMPIRE BAT (1933)- Ruth Bertin- classic horror movie featuring Lionel Atwill, Melvyn Douglas, and Dwight Frye.  Atwill is the mad scientist, Douglas the hero, Wray the heroine, and Frye is the creepy guy the villagers think is the vampire— but they’re wrong.  Very atmospheric creepy horror movie.

MYSTERY OF THE WAX MUSEUM (1933) – Charlotte Duncan – Reunited with Lionel Atwill in yet another classic horror movie.  Like DOCTOR X, it was also shot in color and was believed to have been lost for decades before being re-discovered in the late 1960s.  Directed by Michael Curtiz, who also directed that little wartime movie, CASABLANCA (1942).

KING KONG (1933) – Ann Darrow – the film that made Fay Wray a star, and she spends most of it screaming, as she is abducted and chased by Kong throughout.  Directed by Merian C. Cooper and Ernest B. Schoedsack, with an outstanding music score by Max Steiner, and starring Robert Armstrong, Bruce Cabot, Wray, and of course King Kong.  Amazing special effects by Willis O’Brien.  This classic movie still holds up wonderfully today.  By the way, Wray was not blonde.  She wore a wig for her most famous role.  That is her real scream, though.

MASTER OF MEN (1933)- Kay Walling- The last of eleven movies Wray made in 1933!

BLACK MOON (1934) – Gail Hamilton – Horror movie about a voodoo curse, directed by Roy William Neill, the man who in addition to directing many of the Basil Rathbone Sherlock Holmes movies also directed FRANKENSTEIN MEETS THE WOLF MAN (1943).

WOMAN IN THE DARK (1934) – Louise Loring – Crime movie starring Ralph Bellamy and Melvyn Douglas, based on a book by Dashiell Hammett.

THE CLAIRVOYANT (1934)- Rene – Effective mystery/horror movie with Claude Rains as a fake clairvoyant who suddenly finds himself with real predictive powers.

HELL ON FRISCO BAY (1955) – Kay Stanley – Film-noir with Edward G. Robinson and Alan Ladd.

CRIME OF PASSION (1957) – Alice Pope- more film-noir, this time with Barbara Stanwyck, Sterling Hayden, and Raymond Burr.

TAMMY AND THE BACHELOR (1957) – Mrs. Brent-  First of four “Tammy” movies, starring Debbie Reynolds, Leslie Nielsen, and Walter Brennan.

ALFRED HITCHCOCK PRESENTS – “Dip In The Pool” (1958) – Mrs. Renshaw/  “The Morning After” (1959) – Mrs. Nelson – two appearances on the ALFRED HITCHCOCK PRESENTS TV show.

PERRY MASON – “The Case of the Prodigal Parent” (1958) – Ethel Harrison/ “The Case of the Watery Witness” (1959)- Lorna Thomas/ “The Case of the Fatal Fetish” (1965) – Mignon Germaine – several appearances on the classic PERRY MASON TV show starring Raymond Burr.

GIDEON’S TRUMPET (1980) – Edna Curtis – Fay Wray’s final screen credit, in this TV movie starring Henry Fonda based on the true story of Clarence Earl Gideon.

Even though she never had a bigger role than Ann Darrow in KING KONG, Fay Wray enjoyed a long and successful movie career.  She passed away in 2004 at age 96.

Fay Wray – September 15, 1907- August 8, 2004.

I hope you enjoyed this edition of LEADING LADIES.  Join me again next time when we look at the career of another Leading Lady.

Thanks for reading!

—Michael

 

 

 

 

 

 

 

 

 

IN THE SPOOKLIGHT: ALIEN VS. PREDATOR (2004)

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This IN THE SPOOKLIGHT column on ALIEN VS. PREDATOR (2004) originally appeared in the HWA NEWSLETTER in March 2008.  It’s being reprinted this month in the March 2016 edition of the HORROR WRITERS ASSOCIATION NEWSLETTER.

Enjoy!

—Michael

alien-vs-predator-movie-poster

In the tradition of FRANKENSTEIN MEETS THE WOLF MAN (1943) and KING KONG VS. GODZILLA (1963), we have ALIEN VS. PREDATOR (2004).

I hate to admit it, but I like ALIEN VS. PREDATOR.  Here’s why.

The number one reason? It’s the monsters, stupid.  For those of us who love our movie monsters, it’s hard not to like a film like ALIEN VS. PREDATOR.  That’s not to say the film doesn’t have flaws.  It does.

The story is simple.  A group of experts make an expedition to the Antarctic in search of a strange underground pyramid.  While there,  they discover a breeding ground and learn that the predators are breeding the aliens for hunting practice.  Of course, to breed the aliens, the predators need humans to serve as hosts.  Nice vacation spot.

By far, this plot point of the relationship between the predators and the aliens is the worst part of the movie.  The first time these creatures meet it should have been something special.  We the audience should have been privy to it, but we’re not.  Imagine if in KING KONG VS. GODZILLA (1963) the filmmakers revealed that these two behemoths had already met, frequently, and that Godzilla uses King Kong for target practice on a regular basis.  Would you still want to watch the movie?  It just wouldn’t be the same.

It’s a major blemish on the screenplay by Paul W.S. Anderson, who also directed.

Still, it doesn’t ruin the entire movie, and to his credit, director Anderson does craft a neat first meeting between a predator and an alien in this movie.  It’s just that we know through the story that these creatures have met before, and so, much of the zing of what is to follow is lost.

Even so, the battle sequences are still entertaining, but oh what could have been.  Director Paul W.S. Anderson does a good job for the most part helming these cinematic monster battles, which at the very least are not boring.

And the film looks good.  The shots in the icy Antarctic bring to mind John Carpenter’s THE THING (1982), and the special effects aren’t that bad either.

Absent from the film however is the gripping suspense from the earlier ALIEN movies, though this isn’t a complete surprise because the suspense was also absent from the previous two ALIEN installments, ALIEN 3 (1992) and ALIEN RESURRECTION (1997).

The cast is pretty good though.  I enjoyed the lead character (Sanaa Lathan).  Nathan turns in a strong performance, in keeping with the ALIEN tradition of having a strong female lead, taking over the job from Sigourney Weaver.  She gets to say such tough gal lines as “When I lead my team, I don’t ever leave my team,” and “We’re in the middle of a war.  It’s time to pick a side.”  And did I mention she looks good?

The rest of the cast is OK, even though Lance Henriksen, a fine actor who appeared in ALIENS (1986) and ALIEN 3 (1992) is somewhat of a disappointment.  Compare Henriksen’s performance in this film to his performance in ALIENS as the android Bishop, and you’ll find that Henriksen showed more range as the android than as a human.

But who are we kidding?  ALIEN VS. PREDATOR is about the monsters, not the people, and there are plenty of monsters in this movie.  For this reason alone, it’s fun.

All in all, ALIEN VS. PREDATOR is a well-produced and well-acted film that in spite of its flaws, satisfies that hunger which those of us  who love movie monsters all share, a hunger for monsters.

—END—

And remember, if you enjoyed this column, you can read 150 of my IN THE SPOOKLIGHT columns in my book, IN THE SPOOKLIGHT.  It’s available as an Ebook at http://www.neconebooks.com, and if you’d like a print edition, just visit the “About” section of this blog for ordering details.

Thanks!

—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

IN THE SHADOWS: MARIA OUSPENSKAYA

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Maria Ouspenskaya as Maleva in THE WOLF MAN (1941).

Maria Ouspenskaya as Maleva in THE WOLF MAN (1941).

In The Shadows:  MARIA OUSPENSKAYA

 

By Michael Arruda

Welcome to another edition of IN THE SHADOWS, that column where we look at character actors in the movies, especially horror movies.  Today we look at the career of Maria Ouspenskaya, the actress most famous among horror fans for her portrayal of the gypsy woman Maleva in the Lon Chaney werewolf films THE WOLF MAN (1941) and FRANKENSTEIN MEETS THE WOLF MAN (1943).

As Maleva, Ouspenskaya endeared herself to horror fans as the sympathetic gypsy woman who befriends Lon Chaney Jr.’s cursed Larry Talbot.  In THE WOLF MAN, it was Maleva’s werewolf son (played by Bela Lugosi!) who bit Larry Talbot and turned him into a werewolf.  Later, it’s Maleva who helps Talbot understand his new condition.

In the sequel FRANKENSTEIN MEETS THE WOLF MAN, it’s Maleva again who comes to Larry’s aid, this time leading him to Castle Frankenstein in search of Dr. Frankenstein, hoping that he can help cure Larry. Unfortunately for them, Dr. Frankenstein is dead, and they find the Monster (Bela Lugosi) instead.

Ouspenskaya shines as Maleva in both these movies, and she’s one of the highlights of both films.

Ouspenskaya taught acting in the 1920s, and she opened her own acting school, the Maria Ouspenskaya School of Dramatic Arts in 1929.  Some of her students included John Garfield, Stella Adler, and Lee Strasberg.  Strasberg honed his famous Method Acting techniques under Ouspenskaya’s guidance, and Adler went on to teach among others Marlon Brando.

Ouspenskaya enjoyed a successful movie career, mostly in non-genre films.  It was a brief one, as she didn’t start acting in movies until late in her career, and it was cut short due to an untimely tragic death.

Here’s a look at some of these movies:

DODSWORTH (1936) – Baroness Von Obersdorf-  Ouspenskaya’s film career gets off to a rousing start as she’s nominated for an Oscar for Best Supporting Actress in her movie debut at age 60 in this Academy Award winning film by director William Wyler which won an Oscar for Best Art Direction.

LOVE AFFAIR (1939) – Grandmother – nominated for an Oscar again for Best Supporting Actress.  This film was nominated for six Academy Awards including Best Picture but won none.

DR. EHRLICH’S MAGIC BULLET (1940) – Franziska Speyer – Bio pic written by John Huston about Dr. Paul Ehrlich (Edward G. Robinson) who developed the first synthetic antimicrobial drug, which he called a “magic bullet.”

WATERLOO BRIDGE (1940) – Madame Olga Kirowa- Oscar-nominated World War I romance starring Vivien Leigh and Robert Taylor.

THE MORTAL STORM (1940) – Mrs. Breitner – World War II drama (contemporary for its time) about a family in Germany divided by the Nazis’ rise to power.  Stars James Stewart, Margaret Sullavan, and Robert Young.

DANCE, GIRL, DANCE (1940) – Madame Lydia Basilova – Musical about ballerinas in a dance troupe starring Maureen O’Hara and Lucille Ball.  Also stars Ralph Bellamy who would co-star again with Ouspenskaya in THE WOLF MAN.

THE WOLF MAN (1941) – Maleva – one of the greatest horror movies ever made, with a superior cast that includes Lon Chaney Jr., Claude Rains, Ralph Bellamy, Evelyn Ankers, Patric Knowles, Warren William, Bela Lugosi, and Maria Ouspenskaya in the role which would make her famous among horror fans.

KINGS ROW (1942) – Madame von Eln – Mystery romance starring Ann Sheridan, Robert Cummings, and Ronald Reagan.  Also features Ouspenskaya’s WOLF MAN co-star Claude Rains.

MYSTERY OF MARIE ROGET (1942) – Mme. Cecile Roget – Mystery based on an Edgar Allan Poe tale stars Ouspenskaya’s WOLF MAN co-star Patric Knowles as Poe detective Paul Dupin trying to solve the mystery behind the death of an actress.  Also stars KING KONG’s Frank Reicher.

FRANKENSTEIN MEETS THE WOLF MAN (1943) – Maleva – reprises her role as Maleva the Gypsy Woman, in this sequel to THE WOLF MAN which brings the Wolf Man (Lon Chaney Jr.) together with the Frankenstein Monster (Bela Lugosi).  WOLF MAN actor Patric Knowles plays Dr. Mannering, a different role from the one he played in THE WOLF MAN.

TARZAN AND THE AMAZONS (1945) – Amazon Queen – Ouspenskaya is Queen of the Amazon in this Tarzan adventure starring Johnny Weismuller as Tarzan.

A KISS IN THE DARK (1949) – Mme. Karina – Ouspenskaya’s final role in this comedy starring David Niven.

Maria Ouspenskaya died tragically in December 1949 when she fell asleep while smoking in bed.  She suffered severe burns and died shortly thereafter.

Maria Ouspenskaya –   July 29, 1876 – December 3, 1949.  Age – 73.

For those of us who love horror movies, Maria Ouspenskaya will always be remembered for her endearing portrayal of Maleva, the strong-willed gypsy woman who was always there for Larry Talbot in THE WOLF MAN and FRANKENSTEIN MEETS THE WOLF MAN.  She delivers a masterful performance in both movies.

I hope you enjoyed this edition of IN THE SHADOWS, and I’ll see you again next time when we look at another character actor from the horror movies.

Thanks for reading everybody!

—Michael

PICTURE OF THE DAY: FRANKENSTEIN MEETS THE WOLF MAN (1943) – ICY CAVE

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Larry Talbot aka The Wolf Man (Lon Chaney Jr.) and the Frankenstein Monster (Bela Lugosi)  emerge from an icy cave in FRANKENSTEIN MEETS THE WOLF MAN (1943).

Larry Talbot aka The Wolf Man (Lon Chaney Jr.) and the Frankenstein Monster (Bela Lugosi) emerge from an icy cave in FRANKENSTEIN MEETS THE WOLF MAN (1943).

PICTURE OF THE DAY:  FRANKENSTEIN MEETS THE WOLF MAN (1943) – ICY CAVE

Whenever we’re stuck in a cold and snowy winter, I think of FRANKENSTEIN MEETS THE WOLF MAN since a key scene in this classic monster movie bash from Universal pictures takes place in a snowy icy cave.

The scene I’m talking about, pictured here in today’s PICTURE OF THE DAY, is when Larry Talbot (Lon Chaney, Jr.) discovers the Frankenstein Monster (Bela Lugosi) frozen in a slab of ice.  It begins when the mob of angry torch-wielding villagers chase the Wolf Man into the countryside.  The beast, fleeing the mob, accidentally falls through some loose earth and lands in a frosty subterranean cave.  After trying futilely to escape the cave, and after some dramatic flip flops in the snow, looking like a pet dog playing in the snow for the first time, the Wolf Man passes out.

When he awakes, he’s back in his human form as Larry Talbot, and as Talbot, he notices the body of the Frankenstein Monster buried in ice.  He chips away at the ice and releases the Monster from his icy grave, and he’s interested in the Frankenstein Monster because he’s looking for Dr. Frankenstein’s notes on his experiments, because Talbot believes that since Frankenstein was such a medical genius, in his notes there may be something there indicating how he Larry Talbot- a man cursed to eternal life as a werewolf- could actually die.  Why Talbot doesn’t get hold of a silver bullet and do the job himself, I don’t know!

Also, since he’s never laid eyes on the Frankenstein Monster before, how does he know that that’s the Monster frozen in the ice?  Perhaps those electrodes sticking out of his neck gave him away!

And of course the Monster comes right to life— no need for any new electric shocks to recharge his batteries— because, like Talbot, he’s cursed with eternal life.  That’s because Dr. Frankenstein made him so he could never die.  Quite the scientist, that Dr. Frankenstein from the Universal monster movies.  Not only did he create life, build a body from other bodies, and then brought it to life, he also built so it would live forever!

In this photo, we see the Frankenstein Monster in the familiar pose with his arms stretched out in front of him.  As I’ve written in previous articles, Bela Lugosi was the first actor to portray the Monster in this fashion, with his arms outstretched in front of him, and this was because in the original script for FRANKENSTEIN MEETS THE WOLF MAN, the Monster was blind, as he lost his vision at the end of the previous film in the series, THE GHOST OF FRANKENSTEIN (1942).  Sadly, all references to the Monster’s blindness were eventually cut from the film, making Lugosi’s performance puzzling until you realize he was supposed to be blind.

It’s really too bad this was cut from the film because it made perfect sense.  At the end of THE GHOST OF FRANKENSTEIN, Dr. Bohmer (Lionel Atwill) puts the brain of the evil Ygor (Bela Lugosi) into the Monster.  So, in FRANKENSTEIN MEETS THE WOLF MAN, it made sense for Lugosi to play the Frankenstein Monster, because the brain of Ygor was now inside the Monster’s body, and originally the Monster was to speak with Ygor’s voice in FRANKENSTEIN MEETS THE WOLF MAN.  Again, to the misfortune of Lugosi, all of dialogue as the Monster in FRANKENSTEIN MEETS THE WOLF MAN was cut from the final film, again taking away from Lugosi’s performance as the Monster.  Evidently, Universal thought an evil Frankenstein Monster speaking with Ygor’s voice was too frightening for movie audiences, and they balked at the idea and cut all references to Ygor from the film.  There was also some concern, supposedly, that the Monster’s plans to take over the world were too close to the real life rants of Adolf Hitler who in 1943 was trying to do just that.  We can only imagine how much better FRANKENSTEIN MEETS THE WOLF MAN would have been had the original concept of the Monster with Ygor’s brain been kept in the film.  Lugosi would have had a field day.

So, back to walking with his arms outstretched, again Lugosi was the first actor to play the Monster in this fashion, and it would make sense for a blind person to walk this way.  Karloff’s Monster didn’t move this way, nor did Lon Chaney Jr. in THE GHOST OF FRANKENSTEIN.  Interestingly enough, Glenn Strange in his three performances as the Monster in the final three films of the series, did walk this way with his arms outstretched, even though in those three films his sight was restored.  How do we know this?  Well, at the end of FRANKENSTEIN MEETS THE WOLF MAN, with Dr. Mannering (Patric Knowles) pumping electricity into his body, Lugosi gives his Monster a sinister smile, and it’s because it’s the first time in the film that he can see again.

But early on, as he is in the scene pictured here, he’s as blind as a bat, which is why he walks with his arms stretched out in front of him.

Hey, bundle up guys!  It’s freezing in that cave and neither one of you are wearing a heavy coat!

Maybe that’s where the Monster is taking Larry Talbot.  He knows where the winter gear is stored.

Thanks for reading!

—Michael

STOCKING STUFFERS 2014: Gifts I’d Like to Find Under My Tree This Year

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"I hope you like my gift, Larry.  I picked it out of the graveyard myself."

“I hope you like my gift, Larry. I picked it out of the graveyard myself.”

STOCKING STUFFERS – 2014

Gifts I’d Like to Find Under My Tree This Year

By

Michael Arruda

 

Here are a few horror movie goodies that I’d like to find under my Christmas tree this year, in no particular order:

 

-A newly discovered unedited complete version of KING KONG (1933) including the infamous lost “spider in the pit” sequence.  Sorry folks, this still hasn’t been discovered yet and as of right now only exists in our collective imaginations.

 

-For the recently restored unedited version of HORROR OF DRACULA (1958) to be made available here in the United States.  This one does exist, but no sign of it in the U.S. yet.  What’s the hold up???

 

-A boxed set of all the Universal monster movies with long lost scenes restored, including Bela Lugosi’s scenes of dialogue as the Frankenstein Monster in FRANKENSTEIN MEETS THE WOLF MAN (1943), Dwight Frye’s extended scenes as Karl in THE BRIDE OF FRANKENSTEIN (1935), and the original cut of THE WOLF MAN (1941) where Lon Chaney’s Larry Talbot only becomes a werewolf in his own mind.

 

-A horror movie with Johnny Depp in a serious role instead of the over-the-top goofy roles he’s been taking of late.  It’s as if he’s quit being Depp and instead has adopted the persona of Jack Sparrow from the PIRATES OF THE CARIBBEAN movies, and it’s Sparrow making all these recent films like DARK SHADOWS, THE LONE RANGER, and INTO THE WOODS, not Depp.

 

-More horror films with Chloe Grace Moretz.  She was phenomenal in LET ME IN (2010) and pretty darn good in the re-boot of CARRIE (2013) as well.  And the best part?  Chloe Grace Moretz is not a scream queen!  She’s a force to be reckoned with.

 

-Speaking of LET ME IN, how about some more horror movies by director Matt Reeves?  He’s directed two of the best horror movies in the past decade, CLOVERFIELD (2008) and LET ME IN (2010), not to mention the excellent DAWN OF THE PLANET OF THE APES (2014).  He’s one of the most talented genre directors working today.

 

-Speaking of CLOVERFIELD, how about the long awaited sequel which has been rumored for years finally coming out?  That would be nice.

 

-A reversal in the decision to turn the Universal monsters into superheroes.  The powers that be at Universal are making a huge mistake here.  To me, this decision is a concession that these monsters are no longer scary, and that’s simply not true.  All it takes is a good writer, combined with a talented director, and these monsters could be relevant again.  Don’t bother remaking the origin stories- we all know them.  What we need are new tales of these monsters in frightening horror movies which will scare modern audiences to death.  Leave the superheroes to Marvel!

 

-Speaking of Marvel, I’d like to see Robert Downey, Jr. in a horror movie.  Scarlett Johansson too, for that matter.

 

-Speaking of people making horror movies, Woody Allen made his decision to move on from comedies years ago and continues to churn out quality films year after year.  I sure wish he’d channel his keen writing talents and write a horror tale someday.  I think it would be pretty cool.

 

-Lastly, to all my writer friends, I’d like to find a copy of your latest book under my tree so I could read your work throughout the year.  My Christmas wish for all of us is that we have books in print year after year for years to come!

 

Thanks all!

 

Merry Christmas, happy holidays, happy winter!

Thanks for reading!

 

—Michael