IN THE SPOOKLIGHT: HOUSE OF FRANKENSTEIN (1944)

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After the success of FRANKENSTEIN MEETS THE WOLF MAN (1943), Universal decided that two monsters in one movie wasn’t enough, and so they added a third, Count Dracula, for their next monster movie romp, HOUSE OF FRANKENSTEIN (1944).

HOUSE OF FRANKENSTEIN is most notable for the return of Boris Karloff to the Universal FRANKENSTEIN series after a two film hiatus. Of course, Karloff previously had played the Frankenstein Monster.  Here, he plays the evil Dr. Niemann.

HOUSE OF FRANKENSTEIN is the story of Dr. Niemann, a protegé of Dr. Frankenstein. When the movie opens, Niemann is in prison, but he soon escapes along with his hunchbacked assistant Daniel (J. Carrol Naish.) When they happen upon the skeleton of Count Dracula (John Carradine) Niemann resurrects the vampire by pulling the stake from his heart. He then promises Dracula protection if in return the Count will kill the official responsible for putting Niemann in prison.

Later, as Niemann and Daniel search for Dr. Frankenstein’s records, they discover the frozen bodies of Larry Talbot/aka the Wolf Man (Lon Chaney Jr.) and the Frankenstein Monster (Glenn Strange), and at this point the film becomes a sequel to FRANKENSTEIN MEETS THE WOLF MAN. Like every good mad scientist, Niemann revives these monsters as well.

HOUSE OF FRANKENSTEIN flies by at a brisk 71 minutes. It really is too short to make much of an impact. Had this one been fleshed out a bit more, it would have been more effective.  It’s really not that strong a movie, as it plays like a shallow sequel, with the monsters resurrected only to be quickly done in once again. That being said, it does retain the Universal monster magic, and so while I recognize that this really isn’t that high quality a film, it’s a guilty pleasure that I enjoy each time I watch it.

It also does have some special moments, as well as a strong cast. It’s just that the whole thing seems terribly rushed.

It also doesn’t help that the Dracula storyline begins and ends before the Wolf Man and the Frankenstein Monster show up. Even the next film in the series, HOUSE OF DRACULA (1945) doesn’t really take full advantage of its three monsters. One has to wait until ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948), the comedic finale to the series, before one can enjoy a full and satisfying meeting of the monsters.

Finishing off Dracula so early was not a strength of Edward T. Lowe Jr.’s screenplay. Nor is the dialogue, some of which is laughable, and this one is not a comedy.

Director Erle C. Kenton fares better with the Dracula sequence. In spite of killing off Dracula so quickly, the chase scene just before the vampire’s demise is arguably the best chase scene in the entire Universal monster series.  It’s pretty impressive, as it features Dracula driving a horse-driven coach, pursued by police on horseback, and in front of them both, Niemann racing his carnival coaches, while Daniel runs atop the cars to get to the rear coach to toss Dracula’s coffin.  It’s a wildly exciting sequence.

Writer Lowe fares better with the Wolf Man story. In fact, other than the original THE WOLF MAN (1941) this brief appearance by Larry Talbot is one of the series’ best, because it involves his relationship with a gypsy girl Ilonka (Elena Verdugo), who falls in love with Larry and vows to end his pain by shooting him with a silver bullet.  Their classic confrontation is the most emotional of the series for Talbot other than his fateful encounter with his father Sir John (Claude Rains) at the end of the original WOLF MAN. It’s really neat stuff, but sadly, there’s just so little of it.  Chaney’s scenes here are all too brief.

But saddest of all is the treatment of the Frankenstein Monster, here played for the first time by Glenn Strange.  By this point, the Monster is treated only as a “patient” who lies still on a table until the final reel when he gets up only to be quickly done in by the frightened torch wielding villagers. It’s a far cry from Karloff’s original performances.

Alas, the Monster wouldn’t fare any better in HOUSE OF DRACULA. Again, it would take the comedic encounters with Bud Abbott and Lou Costello in ABBOTT AND COSTELLO MEET FRANKENSTEIN in order for the Monster to return to top form. In fact, in that film, the Monster even talks again! There’s a reason ABBOTT AND COSTELLO MEET FRANKENSTEIN is a classic. It’s hilarious, and for its three monsters, it’s their best screen time in years.

HOUSE OF FRANKENSTEIN is also blessed with a very strong cast.

Boris Karloff, while not as memorable as he was as the Frankenstein Monster, is very good as Dr. Neimann. His performance is a nice precursor to Peter Cushing’s darker take as Baron Frankenstein in the Hammer Films to follow a decade later.

Lon Chaney Jr. knocks it out of the park yet again as both Larry Talbot and the Wolf Man. For years, Chaney has lived in the shadow of the two other Universal stars, Karloff and Bela Lugosi, but as the years have gone by, his performances have grown in stature.  For some, he’s the best actor to have appeared in the Universal monster movies.

HOUSE OF FRANKENSTEIN is also one of the few times that Chaney and Karloff appeared in a movie together.

I’ve never been a fan of John Carradine’s take on Dracula, in both this movie and HOUSE OF DRACULA the following year.  He certainly makes for a distinguished Count, but he lacks the necessary evil and sensuality needed for the role. Bela Lugosi was originally slated to play Dracula again, which would have been his first time since the 1931 original, but he was unable to appear in HOUSE OF FRANKENSTEIN due to a schedule conflict. Fans would have to wait until ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948) before they could see Lugosi play Dracula again, and that would be the second and last time he played Dracula in the movies.

The supporting cast in HOUSE OF FRANKENSTEIN is exceptional.

J. Carrol Naish, one of my favorite character actors, is excellent as Daniel, the hunchback. His storyline where he is jealous of Talbot because he also loves Ilonka is one of the better parts of the film. As is Elena Verdugo’s performance as Ilonka. Verdugo makes Ilonka sexy and sympathetic.

The film also features George Zucco in a small role as Professor Bruno Lampini, and Lionel Atwill as yet another police inspector. Sig Ruman is memorable as Burgomaster Hussman. My favorite moment with Ruman is when he wakes up and says to Dracula, “As I was saying—-. I don’t know what I was saying. I fell asleep!”

The lovely Anne Gwynn plays Rita Hussman. Gwynn is the grandmother of actor Chris Pine.

HOUSE OF FRANKENSTEIN almost featured yet another Universal monster, as there were plans to include Kharis the Mummy in the film, but these plans were scrapped due to budget constraints.

HOUSE OF FRANKENSTEIN is certainly not regarded as one of Universal’s monster classics, as it has sequel written all over it and pales in quality compared to films like FRANKENSTEIN (1931), DRACULA (1931), and THE WOLF MAN. Even FRANKENSTEIN MEETS THE WOLF MAN is a far better film.

All that being said, HOUSE OF FRANKENSTEIN remains a guilty pleasure that I never grow tired of watching. This holiday season, when you’re out and about visiting friends and relatives, make a point to stop by the HOUSE OF FRANKENSTEIN.

I hear they have a monstrously good time.

—END—

 

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IN THE SHADOWS: J. CARROL NAISH

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J. Carrol Naish as Daniel the hunchback in HOUSE OF FRANKENSTEIN (1944)

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

Today in the shadows it’s J. Carrol Naish, one of the most respected character actors of his day, and while he’s certainly known for his horror roles, one of my favorite Naish roles is not from a horror flick at all, but from a superhero tale.

No, they weren’t making Marvel movies back in the 1930s and 40s, but they were making DC serials, and Naish starred in one of the best, BATMAN (1943), starring Lewis Wilson as Batman. This 15 episode serial marked the first time Batman would appear on the big screen, and it remains one of the better interpretations of the Caped Crusader, even all these years later. Another reason this one is so memorable? J. Carrol Naish plays the evil villain, Dr. Daka.

Since Naish was known for his multitudinous accents, he was a natural choice to play the Japanese Dr. Daka.  Remember, this was 1943, smack dab in the middle of World War II, and just two years after the attack on Pearl Harbor, and so it made sense to feature a villain of Japanese descent. Still, this one unfortunately contains some racial slurs which were redubbed in the VHS release, then restored in the later DVD release. Interestingly enough, Naish was originally signed to play the Joker, but the villain was changed to fit into a more contemporary and pressing storyline. Some remnants of the Joker still remain, like his hideout being inside a carnival.

I love Naish’s performance in BATMAN. Every time he gets the upper hand on one of his victims, and they lament, he tends to say, “Oh, that’s too bad.” Not quite a catch phrase, but there’s just something about his delivery that cracks me up every time.

But horror fans remember Naish for his horror roles, especially that of Daniel, the sympathetic hunchback in HOUSE OF FRANKENSTEIN (1944).

Here’s a partial look at Naish’s whopping 224 screen credits, focusing mostly on his genre films:

THE OPEN SWITCH (1925) – Naish’s first screen appearance is in this silent crime drama.

GOOD INTENTIONS (1930) – Charlie Hattrick – Naish’s first screen credit. Another crime drama.

DR. RENAULT’S SECRET (1942) – Noel – horror movie also starring George Zucco as the mysterious Dr. Renault. Naish plays Noel, Renault’s strange assistant, whose real identity, is Dr. Renault’s secret.

BATMAN (1943) – Dr. Daka – 15 episode serial remains one of the better screen interpretations of the Batman. Also the first. Naish plays the villain, the evil Dr. Daka, which happens to be my favorite Naish role.

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J. Carrol Naish as the evil Dr. Daka in the 15 episode serial BATMAN (1943). 

SAHARA (1943) – Giuseppe – Classic Humphrey Bogart World War II adventure tells the story of a group of survivors in an army tank facing the Nazis in the desert. Naish was nominated for an Oscar for Best Supporting Actor.

CALLING DR. DEATH (1943) – Inspector Gregg- Horror movie with Lon Chaney Jr. where Chaney plays a doctor who believes he has murdered his wife.

THE MONSTER MAKER (1944) – Markoff – Naish plays a mad scientist who injects his victims with a serum that causes them to become seriously deformed. Why? Because he can! Also stars Glenn Strange as the giant, who would go on later that year to play the Frankenstein Monster in HOUSE OF FRANKENSTEIN (1944), which would also star Naish.

JUNGLE WOMAN (1944) – Dr. Carl Fletcher – horror movie featuring Paula the ape woman. (Not to be confused with Mildred the Monkey Woman. Or Clara the Cat Woman. Or Madge the Avon Lady. Seriously, though, Paula the ape woman???) Also stars Evelyn Ankers.

HOUSE OF FRANKENSTEIN (1944) – Daniel – my second favorite J. Carrol Naish role after Dr. Daka. Naish plays the hunchback Daniel, assistant to Boris Karloff’s evil Dr. Niemann, who falls for the beautiful gypsy woman Ilonka (Elena Verdugo) but his love is not returned as she has eyes for the doomed Larry Talbot/The Wolf Man (Lon Chaney Jr.) in one of the film’s better story arcs. With Boris Karloff as Dr. Niemann, Lon Chaney Jr. as the Wolf Man, John Carradine as Dracula, and Glenn Strange as the Frankenstein Monster.

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Naish and Karloff searching the ruins of Frankenstein’s castle in HOUSE OF FRANKENSTEIN (1944).

A MEDAL FOR BENNY (1945) – Charley Martin – Second and final time Naish was nominated for an Oscar for Best Supporting Actor in this war drama based on a story by John Steinbeck.

STRANGE CONFESSION (1945) -Graham – another horror movie with Lon Chaney Jr.

THE BEAST WITH FIVE FINGERS (1046) – Ovidio Castanio – classic horror movie starring Peter Lorre about a murderous severed hand. Written by Curt Siodmark.

THE MAN FROM U.N.C.L.E (1966) – Uncle Giuliano- guest spot on the popular 60s spy TV show in the episode “The Super-Colossal Affair.”

GET SMART (1968) – Sam Vittorio – guest spot on the classic Don Adams comedy in the episode “The Secret of Sam Vittorio.”

DRACULA VS. FRANKENSTEIN (1971) – Dr. Frankenstein – Naish’s final film role is in this dreadful horror movie which falls under the “it’s so bad it’s good” category. Plays a wheel chair bound Dr. Frankenstein. Also notable for being Lon Chaney Jr.’s final movie. He actually fares worse here than Naish, as his character doesn’t even have any dialogue. Horrible, grade Z stuff.

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Lon Chaney Jr. and J. Carrol Naish in DRACULA VS. FRANKENSTEIN (1971), the final film roles for both these actors.

 

Naish passed away on January 24, 1973 from emphysema at the age of 77.

J. Carrol Naish – January 21,  1896 – January 24, 1973.

I hope you enjoyed this partial look at the career of J. Carrol Naish, one of the hardest working and most effective character actors of his day.  His horror movies were few and far between, but he was always memorable in them.

Thanks for joining me today on IN THE SHADOWS and I hope you’ll join me again next time when we look at the career of another great character actor.

Thanks for reading!

—Michael

 

 

 

 

Happy Birthday, Boris Karloff!

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Boris Karloff as the Frankenstein Monster in FRANKENSTEIN (1931)

Happy Birthday, Boris Karloff!

Karloff, the king of horror, was born on November 23, 1887.

Karloff made over 70 movies before playing the Monster in FRANKENSTEIN (1931), the film which changed his career and made him a household name.  He would reprise the role twice, in THE BRIDE OF FRANKENSTEIN (1935) and SON OF FRANKENSTEIN (1939), and of course would go on to make a ton of horror movies over the next four decades, from the 1930s to the 1960s.

To celebrate his birthday, here’s a look at a handful of Karloff’s most memorable horror movie performances:

FRANKENSTEIN (1931) – The Monster- there’s a reason this role turned Boris Karloff into a star.  His Monster is both brutal and sympathetic.  Insanely powerful, he can kill in a heartbeat, and yet this newly born creature is simply terribly misunderstood and maltreated.  With a remarkable make-up job by Jack Pierce, no movie Frankenstein monster has ever looked as much like a walking corpse as this one.  If you only see one Boris Karloff movie in your life (which would be shame- see more!) see FRANKENSTEIN.

THE MUMMY (1932) – Imhotep – For my money, Karloff’s interpretation of Imhotep remains the most effective movie mummy performance of all time.  There still has not been another one like it.  In spite of a plot that is very similar to DRACULA (1931), THE MUMMY is a superior horror movie, and Boris Karloff’s performance as Imhotep is a major reason why.

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Karloff as Imhotep in THE MUMMY (1932)

THE BLACK CAT (1934) – Hjalmar Poelzig – In this classic first-time pairing of horror icons Boris Karloff and Bela Lugosi, Karloff plays the devil worshipping Hjalmar Poelzig, pitted against Bela Lugosi’s heroic Dr. Vitus Werdegast.  Superior horror film has little in common with the Poe tale on which it is so loosely based, but it has a top-notch script full of classic lines, and it features two performances by Karloff and Lugosi in their prime, doing what they do best.  Best watched late at night with the lights out.

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Karloff in THE BLACK CAT (1934).

BRIDE OF FRANKENSTEIN (1935) – The Monster- The Monster speaks!  So boasted this movie’s tagline, and it’s true, Karloff’s monster learns to speak in this classic sequel to the iconic original.  Critics consider BRIDE to be the best FRANKENSTEIN movie of all time, but I still slightly prefer the original, if only because it remains much scarier.  But Karloff takes his performance as the Monster here to another level.  It’s arguably the best performance of the Frankenstein monster of all time.

THE RAVEN (1935) – Edward Bateman -The second Boris Karloff/Bela Lugosi pairing. Karloff plays Edward Bateman, a criminal transformed into a hideous monster by Lugosi’s insane Poe-obsessed Dr. Richard Vollin. Another classic pairing of these two iconic horror film stars.

THE BLACK ROOM (1935)- Baron Gregor de Berghman/Anton de Berghman – Karloff has a field day in a dual role as twins, one good, one bad.  Karloff delivers one of his best performances in this little known period piece horror drama.  Look fast for an uncredited Edward van Sloan as, of course, a doctor.

THE BODY SNATCHER (1945) – John Gray – Another superb Karloff performance.  He plays John Gray, the body snatcher who robs graves for Dr. “Toddy”  MacFarlane (Henry Daniell). Based on a short story by Robert Louis Stevenson and the real life story of Dr. Knox and grave robbers Burke and Hare.  Produced by Val Lewton and directed by Robert Wise. Horror film making at its best.  Also features Bela Lugosi in a small supporting role.

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Karloff in THE BODY SNATCHER (1945).

ISLE OF THE DEAD (1945) – General Nikolas Pherides- Karloff plays a hawkish general who uses his ruthless methods to protect a group of islanders who believe they are being hunted by a vampire-like creature in this intriguing well-made chiller by producer Val Lewton.

THE TERROR (1963) – Baron Victor Frederick Von Leppe –  An aging Karloff stars opposite a young Jack Nicholson in this haunted house tale, reportedly shot by director Roger Corman in four days.

BLACK SABBATH (1963) – Gorca – Karloff is at his scary best in this horror anthology by Mario Bava.  Karloff appears as a “Wurdalak” or vampire, and he’s downright frightening.  This is the only time Karloff ever played a vampire in the movies.

So, there you have it, just a few of Boris Karloff’s more memorable horror movie roles. To celebrate his birthday, you can’t go wrong watching these or any of Karloff’s 205 screen credits, for that matter.

Happy Birthday, Boris!

Thanks for reading!

—Michael

 

 

 

 

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.
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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.
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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.
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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.  

 

 

 

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

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

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

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

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

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

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

This one also features Bela Lugosi in a small role.

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

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

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

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

Thanks for reading!

—-Michael

IN THE SHADOWS: EDWARD VAN SLOAN

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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.  

 

 

 

 

 

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