Also known as: The Brain of Frankenstein (working title) Release Date: June 15th, 1948 Directed by: Charles Barton Written by: John Grant, Robert Lees, Frederic I. Rinaldo Based on: characters by Mary Shelley, Bram Stoker, Curt Siodmak, H.G. Wells Music by: Frank Skinner Cast: Bud Abbott, Lou Costello, Lon Chaney Jr., Bela Lugosi, Glenn Strange, Lenore Aubert, Jane Randolph, Frank Ferguson, Charles Bradstreet, Vincent Price (voice, uncredited cameo)
Universal International Pictures, 83 Minutes
“Young people making the most of life – while it lasts.” – Dr. Lejos/Dracula
I’m actually surprised that I hadn’t yet reviewed any of the Universal Monsters pictures with Abbot and Costello in them. I have an immense love of both things and having them come together, which they did a handful of times, was really cool.
Overall, this one was always my favorite but I like all of them.
In this one, we don’t just get Frankenstein’s Monster, we also get Dracula, the Wolf Man and a little cameo by the Invisible Man. With that, we also got Bela Lugosi, Lon Chaney Jr. and a voice cameo by the legendary Vincent Price.
Unfortunately, Boris Karloff didn’t come back to play Frankenstein’s Monster but we did get Glenn Strange, who had already played the monster twice before this and who is really underappreciated in that role.
The only problem with this is one that doesn’t actually effect the film itself but instead, effects the ones that followed. You see, they blew their nut really early by cramming a ton of monsters into this one, so the following movies felt a bit underwhelming after the precedent this one set. But honestly, it’s why this particular one is the best of the lot.
Abbot and Costello are both hilarious per usual and their camaraderie was so solid by this point that they could’ve entertained in their sleep.
All in all, this was a really good horror comedy that took the best parts of two very different things and merged them together very well, not diminishing the performances of the two comedic legends or the coolness of the classic monsters and the legends who played them.
Rating: 7.75/10 Pairs well with: the other Abbot and Costello monster movies.
Also known as: Santo y Blue Demon vs Drácula y el Hombre Lobo (original Mexican title), Santo and Blue (US subtitled version) Release Date: July 26th, 1973 (Mexico) Directed by: Miguel M. Delgado Written by: Alfredo Salazar Music by: Gustavo Cesar Carrion Cast: El Santo, Blue Demon, Aldo Monti, Agustin Martinez Solares, Nubia Marti
Cinematográfica Calderón S.A., 90 Minutes
I have the same sort of love for Mexican lucha libre movies that I do for Japanese tokusatsu. In fact, they’re very similar in a lot of ways, other than lucha pictures don’t tend to feature giant monsters and they always star a big professional wrestling superstar.
In the case of Santo y Blue Demon vs Drácula y el Hombre Lobo, we’ve got a film with two big lucha libre superstars: El Santo and Blue Demon.
But the real treat here is that we’ve also got a pair of classic monsters with Dracula and the Wolf Man. Granted, they aren’t played by Bela Lugosi and Lon Chaney Jr. or Christopher Lee and Oliver Reed but they’re still classic horror monsters squaring off against lucha libre stars in a showdown for the ages!
Sadly, the showdown is pretty weak and the film doesn’t seem to follow the rules of these two classic monsters, as the Wolf Man is killed alongside Dracula by being impaled by wooden stakes.
Most people in the States will probably find this movie to be unpalatable. Lucha libre is certainly an acquired taste as an athletic competition, as well as in the movies. For those that love it and the legendary lucha stars of yesteryear, this goofy movie will be a lot of fun in its action heavy sequences.
Most of the non-action stuff is pretty boring and its hard for an American such as myself to follow, as all the details are in Spanish and that isn’t my native tongue. I know enough to get by and I get the gist of the plot but tracking down subtitled or dubbed versions of these films is very difficult.
The special effects are bad, the make up is laughable and the sets look like they’re from a community theater production but it all works for what this is.
I actually liked how they filmed the wrestling matches. Instead of doing them in an arena with thousands of screaming fans, they’re done against a solid, colored backdrop with canned cheers added in. While this is a really cheap way to create these wrestling scenes, it fits the strange tone of the film and its clunky, cheap sets. But it also feels otherworldly, which just works here.
Santo y Blue Demon vs Drácula y el Hombre Lobo is not a film that most people will enjoy but out of the long history of lucha libre motion pictures, this is one of the better productions that I’ve seen. Plus, two superstars are better than one.
Rating: 5.25/10 Pairs well with: other movies starring El Santo and/or Blue Demon.
Also known as:Densetsu-no Kyoju Ookami Otoko tai Gojira, lit. Legendary Beast Wolfman Against Godzilla (Japan) Release Date: Never released in a completed form (made in 1983) Directed by: Shizuo Nakajima Written by: unknown Based on:Godzilla by Toho Co. Ltd., The Wolf Man by Universal Pictures Music by: Akira Ifukube (stock music) Cast: unknown
Unknown Running Time (about 15 Minutes has been released)
Godzilla vs. The Wolfman is a motion picture that was never completed. So I guess it is hard to review the film as a full body of work but being a big fan of Godzilla and the Wolf Man, as well as kaiju movies and “what ifs”, I had always been curious about this unfinished film.
This has been something that I’ve heard about for a few years but wasn’t sure whether or not it was some wild rumor or actually true. Well, I have now seen the footage that still exists and even shared it below, as opposed to the typical trailer I throw at the end of my film reviews.
From what I know of the plot, there is a werewolf loose in Japan. He happens to get irradiated and thus, grows to kaiju size. Godzilla crosses paths with this new menace and a big battle ensues. Godzilla is more similar to the ’50s Godzilla and what we would see a year after this in The Return of Godzilla. What I mean by that, is he isn’t the happy and heroic kid friendly kaiju of the late ’60s and early ’70s, he is more of a badass that doesn’t really care whether or not he ruins your town.
The werewolf transformation looks a lot like what was done in An American Werewolf In London and The Howling, a few years before this was made. For limited resources and not being made by an actual studio, it isn’t half bad.
The full-size giant Wolf Man suit is pretty damn cool. He looks like a white, arctic wolf and resembles a lynx more than an actual wolf but I dig it. As a monster, he is certainly very different than anything Godzilla has faced before. I love the unique take on the classic Wolf Man character. I guess he would be most similar to King Caesar from 1974’s Godzilla vs. Mechagodzilla but even then, he is his own kaiju.
While this film did employ several people who had worked on Godzilla pictures before and after this, this was not being made by Toho like all the other films. This was essentially a fan film made by real kaiju movie makers.
Filming started in 1983 and went into the mid-’80s. The editing, sound design and visual effects production is still ongoing from what I’ve read. Currently, the clips that exist have Akira Ifukube’s old school Godzilla scores mixed into the action. I’m not sure if it is a place holder for something else to come or if this will even be completed. It’s hard to say but director Shizuo Nakajima claims that there is over ten hours of raw footage.
It is really well done for what it is and seeing it actually come together one day would be really cool. I just don’t know if Toho would ever allow that, as they’re very protective of the Godzilla brand.
As for now, I guess the world will have to enjoy the only footage that exists but at least we have something real to look at, as opposed to just rumors and speculation as to whether or not this film was just legend or fact.
Rating: 6/10 Pairs well with: It’s pretty unique as a Godzilla movie but the tone is probably most like 1984’s The Return of Godzilla.
Release Date: August 14th, 1987 Directed by: Fred Dekker Written by: Shane Black, Fred Dekker Music by: Bruce Broughton Cast: Andre Gower, Duncan Regehr, Stephen Macht, Stan Shaw, Tom Noonan, Jonathan Gries, Jason Hervey, Mary Ellen Trainor
Home Box Office, Keith Barish Productions, TAFT Entertainment Pictures, TriStar Pictures, 82 Minutes
The Monster Squad is one of the best kids movies from the 1980s. Coming out in the decade when I was a kid, I was more susceptible to the pop culture of this era than any other. Also, when this film came out, these kids were essentially the same age as me. I also loved classic monsters like these kids, so it wasn’t a hard film for me to connect to.
This film is constantly compared to The Goonies, which was a bigger budget, more popular film that had Steven Spielberg’s and Richard Donner’s names on it. The Monster Squad had Shane Black’s and Fred Dekker’s names on it. At the time, neither were really well known but Dekker had written and directed the pretty stellar Night of the Creeps a year prior. Both men have gone on to make some great films and still work together on some projects. They’re currently working together on a reboot of Predator (Shane Black acted in the original).
Getting back to The Goonies comparison, I find this film to be much better. In fact, I felt that way even in 1987 when this movie came out. To start, you’ve got a group of kids fighting five of the classic Universal Monsters: Count Dracula, Frankenstein’s monster, the Wolf Man, the Mummy and the Gillman (or as many call him, “the Creature From the Black Lagoon” or just, “the Creature”.).
While Dracula and the Mummy both look very much like their Universal Monsters incarnations, the other creatures are updated. The Gillman is now scary and frightening, while the Wolf Man is more bad ass. And while still on the monsters, Duncan Regehr (best known as Zorro in the late 80s) was a perfect Dracula, Jon Gries (Uncle Rico in Napoleon Dynamite) did a fantastic job as the human form of the Wolf Man and Tom Noonan (known for being the Ripper in Last Action Hero) truly owned the role of Frankenstein’s monster and should be considered one of the best to play that character.
The other thing that makes this film better than The Goonies, in my opinion, is that the kids are more real. They cursed, they were often times perverts, they watched slasher films and their parents didn’t give a shit and they felt like boys I’d hang out with at school where the Goonies crew was cool but they seemed like a bunch of kids doing their own thing and came off as less authentic and less organic.
I also love the names in this movie. The token fat kid is called “Fat Kid” even though he reminds people that his name is Horace. The creepy old recluse dude that ends up being totally awesome is only ever called “Scary German Guy”. The character of Patrick has a slutty sister that is only ever referred to as “Patrick’s Sister”. By the way, “Fat Kid” is way better than Chunk from The Goonies, as he doesn’t just eat ice cream and do the truffle shuffle. No, the token fat kid in this movie, picks up a shotgun and saves the kids who bullied him – winning their respect.
This film is campy as hell, fun as hell and just a great fucking motion picture. If you love The Goonies but haven’t seen this, you are doing yourself a huge disservice. If you love classic monsters, you definitely need to get off of your ass and watch this now.
I’ve now gotten up to the Wolf Man’s series of films. Only two films here actually feature that character: The Wolf Man and Frankenstein Meets the Wolf Man. So in addition to that, I am also reviewing the two other werewolf films put out by Universal during this era. Plus, they are also included in the Wolf Man collection of my Universal Monsters DVD box set.
The Wolf Man character was a late bloomer in the Universal Monsters franchise. Granted, he beat the Gillman of Creature From the Black Lagoon by more than a decade but unlike the Gillman, at least the Wolf Man got to mix it up with Frankenstein’s monster and Dracula a couple of times.
The Wolf Man (1941):
Release Date: December 12th, 1941 Directed by: George Waggner Written by: Curt Siodmak Music by: Charles Previn, Hans J. Salter, Frank Skinner Cast: Lon Chaney Jr., Claude Rains, Bela Lugosi, Ralph Bellamy, Warren William, Patric Knowles, Maria Ouspenskaya, Evelyn Ankers
Universal Pictures, 70 Minutes
In The Wolf Man we are introduced to Larry Talbot, played by the great Lon Chaney Jr. Chaney’s interpretation of this character is almost heartbreaking at times, as he really connects with the audience and conveys real genuine emotion as the tragic title character of this film. In fact, the Wolf Man is probably one of the top five most tragic figures in film history. And without Chaney in the role, chances are that the Wolf Man would’ve been just a pretty one-dimensional monster.
In quality, this film really could rival the James Whale films Bride of Frankenstein, Frankenstein and The Invisible Man, as well as the first Dracula film under the Universal Monsters banner. The Wolf Man like every other first film in each of Universal’s classic horror series was the pinnacle and a great kickoff to what would become a reoccurring character in the larger shared mythos.
This film also gives us two other horror icons: Claude Rains and Bela Lugosi. Rains plays Larry Talbot’s father, Sir John. Bela Lugosi plays the gypsy man who is the werewolf that infects Talbot. Lugosi was awesome in this role and it is my favorite thing that he did for Universal after Dracula.
There isn’t a lot that anyone can criticize this film for. It is a classic horror gem and still plays well today, over 70 years later.
Frankenstein Meets the Wolf Man (1943):
Release Date: March 5th, 1943 Directed by: Roy William Neill Written by: Curt Siodmak Based on:Frankenstein by Mary Shelley Music by: Hans J. Salter Cast: Lon Chaney Jr., Ilona Massey, Lionel Atwill, Bela Lugosi, Patric Knowles, Maria Ouspenskaya, Dwight Frye
Universal Pictures, 74 Minutes
This is my favorite of the Universal Monsters team-up or versus movies.
It truly is a Wolf Man movie that Frankenstein’s monster just happens to appear in but isn’t much of a focal point, as Lon Chaney Jr.’s performance as Larry Talbot takes over this film.
The film follows Talbot, who comes to life in his tomb after being disturbed by grave robbers. Coming to the realization that he cannot die, he seeks out the legendary Dr. Frankenstein in hopes that he can find a way to euthanize him by scientific means.
Dwight Frye from Frankenstein and Dracula shows up in this film in a minor role. Bela Lugosi returns again but this time as Frankenstein’s monster.
This film is awesome and it feels like a true sequel to The Wolf Man, as opposed to just a crossover film. It is much less of a sideshow attraction than the films that followed it: House of Frankenstein and House of Dracula.
Werewolf of London (1935):
Release Date: May 13th, 1935 Directed by: Stuart Walker Written by: Robert Harris, John Colton Music by: Karl Hajos Cast: Henry Hull, Warner Oland, Valerie Hobson, Lester Matthews, Spring Byington, Clark Williams, Lawrence Grant
Universal Pictures, 75 Minutes
This is not part of The Wolf Man storyline and is its own film. In fact, it came out before the Lon Chaney Jr. masterpiece. The Wolf Man’s adventures continue in the films House of Frankenstein and House of Dracula, which I already reviewed in my pieces about the Frankenstein and Dracula series of films.
Getting into this film, it is well done and the special effects are great. This was Universal’s first werewolf film and this was a good early version of the effects they would employ in later werewolf films.
This film works all on its own and in fact, is considered a classic in its own right, regardless of The Wolf Man being more popular and launching its own mini-franchise.
I love this movie. It is real good classic Victorian horror and it has a lycanthrope in it. What’s not to love?
She-Wolf of London (1946):
Release Date: May 17th, 1946 Directed by: Jean Yarbrough Written by: George Bricker Music by: William Lava Cast: June Lockhart, Don Porter
Universal Pictures, 61 Minutes
As a stand alone film, this thing is pretty good. As a horror film, it is pretty bad.
The marketing for this film was all wrong. With the title of this film, it was trying to tap into the previously released Werewolf of London. However, don’t watch this expecting some werewolf action. What you get is a mystery film with some suspense and a not so ingenious plot.
The acting of June Lockhart and Don Porter was top notch but it didn’t save this film from being poorly marketed and being represented as something it is not. I say all this so that if someone is to watch it, they don’t go into it expecting the Universal Monster supernatural horror formula.
One more Universal Monsters review is coming. Next up will be the Creature From the Black Lagoon series.
I recently reviewed the classic Frankenstein film series by Universal and am continuing on in my quest to cover all their old school horror franchises. This round, I am reviewing the Dracula series.
Release Date: February 12th, 1931 (New York Premiere) Directed by: Tod Browning, Karl Freund (uncredited) Written by: Garrett Fort Based on:Dracula by Bram Stoker Cast: Bela Lugosi, Helen Chandler, David Manners, Dwight Frye, Edward Van Sloan
Universal Pictures, 85 Minutes
Dracula was released the same year as Frankenstein and both of these films started what became the Universal Monsters franchise, which also encompassed a film series for The Mummy, The Wolf Man, The Invisible Man and The Creature From the Black Lagoon. By the end of the franchise’s run, these monsters started crossing over into each other’s films. In the beginning however, they were focused on one monster and on creating a terrifying piece of film art. Dracula in many ways is a masterpiece.
Starring the iconic and legendary Bela Lugosi as Count Dracula, the first film in the series was eerie, chilling and an incredibly fantastic adaptation for the resources of the time. It was directed by Tod Browning and Karl Freud (who was uncredited). Browning was also known for directing the infamous film Freaks, a year later. Regardless of which director was responsible for what, the end result was a film that still holds a place in the upper echelon of great horror films. Historically, it is still one of the top five Dracula films ever made.
This movie made Bela Lugosi a household name. He is still the most recognized version of Dracula in human history. In fact, just about every Dracula since has tried to emulate what Lugosi did in this film. He made the role his and this is one of the most iconic performances in cinema history.
Apart from the mesmerizing performance of Bela Lugosi, I have to point to Dwight Frye. Frye gave us the best version of Renfield that has ever appeared on film, even to this day – 83 years later.
Additionally, Dracula is gothic horror perfection, visually speaking. There are very few films that have been able to emulate the ambiance of this picture. Although, hundreds have tried.
If you are ever going to give a course on the history of horror movies, this, along with Universal’s Frankenstein, must be showcased.
Dracula – The Spanish Version (1931):
Release Date: March 11th, 1931 (Havana Premiere) Directed by: George Melford Written by: Baltasar Fernández Cué, Hamilton Deane, John L. Balderston Based on: Dracula by Bram Stoker Cast: Carlos Villarías, Lupita Tovar, Barry Norton, Pablo Álvarez Rubio, Eduardo Arozamena
Universal Pictures, 104 Minutes
The Spanish language version of Dracula is pretty unique. It was filmed alongside the Bela Lugosi film using the same sets. The English version filmed during the day and the Spanish version filmed at night. Both movies had two entirely different casts and the Spanish cast and crew had the benefit of watching the English version being made, which gave them an edge when they went on to film the same scenes. The Spanish cast and crew wanted to make the superior version and according to many historians and critics, they did.
Conde Dracula was played by the very talented Carlos Villarías, who may not have been as iconic as Bela Lugosi in the role but wasn’t too far behind him either. Villarías was legitimately scary and acted with his facial expressions much more than Lugosi.
A notable difference with this film is that the girls were able to show a bit more skin. The dresses were different even though the wardrobe for the male stars was generally the same.
Also, some of the scenes played out longer, giving the film a slower pace. Actually, the film is about a half hour longer than the English version.
While I prefer the English version, the Spanish film is a solid piece of work and worth a watch by classic horror aficionados.
Dracula’s Daughter (1936):
Release Date: May 11th, 1936 Directed by: Lambert Hillyer Written by: Garrett Fort Based on: Dracula by Bram Stoker
Music by: Heinz Roemheld Cast: Otto Kruger, Gloria Holden, Marguerite Churchill
Universal Pictures, 71 Minutes
Dracula’s Daughter was the first sequel to the Bela Lugosi classic. Unfortunately, Lugosi would never reprise the role of Dracula (for fear of being typecast) but Universal wanted to capitalize on the character after the success of Bride of Frankenstein.
This film follows a completely new character, Countess Marya Zaleska played by Gloria Holden. Zaleska is the daughter of Dracula and she shows up after her father’s death to properly dispose of his corpse in an effort to free herself from vampiric urges. One thing leads to another and eventually, the urges take over.
Holden’s performance as Zaleska was pretty enthralling and the premise was interesting enough but I feel like this film was a pretty weak sequel, especially after how well Bride of Frankenstein followed Frankenstein.
This film wasn’t as huge of a hit as Dracula but it did go on to spawn more sequels in the franchise.
Son of Dracula (1943):
Release Date: November 5th, 1943 Directed by: Robert Siodmak Written by: Curtis Siodmak, Eric Taylor Based on: Dracula by Bram Stoker
Music by: Hans J. Salter Cast: Lon Chaney Jr., Robert Paige, Louise Allbritton, Evelyn Ankers
Universal Pictures, 80 Minutes
How do you get things rolling again after a seven year hiatus in the Dracula series? Well, you hire Lon Chaney Jr. to play the son of Dracula. In this film, Dracula’s offspring uses the name Count Alucard (Dracula spelled in reverse). While that has been done in other Dracula tales, I believe that this was where it originated.
This chapter is also unique in that it takes place in and around New Orleans, which is a place that would become synonymous with vampire-lore after Anne Rice penned Interview With A Vampire decades later.
I prefer this film to the previous one and it is the best of the Dracula sequels. Chaney does a great job as the antagonist and even if he is villainous, he feels like a tragic character in the same fashion that he does when he plays the Wolf Man.
House of Dracula (1945):
Release Date: December 7th, 1945 Directed by: Erle C. Kenton Written by: Edward T. Lowe Jr., Dwight V. Babcock, George Bricker Based on:Dracula by Bram Stoker, Frankenstein by Mary Shelley Music by: William Lava (uncredited) Cast: Lon Chaney Jr., Martha O’Driscoll, John Carradine, Lionel Atwill, Glenn Strange
Universal Pictures, 67 Minutes
This is the film where all of the classic monsters ended their run. There was one other film that featured them Abbott and Costello Meet Frankenstein but that was more of a parody than anything.
Like House of Frankenstein, the year before it, this film featured Dracula, Frankenstein’s monster and the Wolf Man. It also had a mad scientist and a hunchback character – this time a female. I’m not quite sure why they never threw the Mummy or the Invisible Man into these crossover pictures and the Gillman from The Creature From the Black Lagoon is excluded because his first film actually came out nine years later.
This film features John Carradine returning as Dracula, Lon Chaney Jr. returning as the Wolf Man and Glenn Strange returning as Frankenstein’s monster. This film would’ve benefited from the inclusion of Boris Karloff, Bela Lugosi, Claude Rains and Basil Rathbone but that much star power may have caused the Earth’s magnetic poles to reverse.
This film is entertaining and it is a proper goodbye to these beloved characters. While I have no problem with Carradine as Dracula and Strange as Frankenstein’s monster, it would have been nice to see these characters go out with the original actors back in these parts. The amazing believably that Lon Chaney Jr. can bring to any role actually propelled this film forward and once again showed how talented he was as he stole the scene every time he walked on screen.
More Universal Monsters reviews are coming as soon as I rewatch them. Next up will be the Mummy series.
I decided to rewatch all of the old Universal Monsters films. I wanted to rank them all for a list (which I already posted) but while I was watching them, I figured that I’d review them too.
The Frankenstein series is the first one I have watched this go around and it starts with two films that are arguably the best out of all the Universal Monsters films.
Well, let me just get into the reviews.
Release Date: November 21st, 1931 Directed by: James Whale Written by: Francis Edward Faragoh, Garrett Fort, Peggy Webling, John L. Balderston, Robert Florey, John Russell Based on:Frankenstein by Mary Shelley Music by: Bernard Kaun Cast: Colin Clive, Mae Clarke, John Boles, Boris Karloff, Dwight Frye
Universal Pictures, 71 Minutes
Frankenstein is pretty damned close to a masterpiece. It was directed by James Whale, who was a legend most known for this film and its first sequel but had a catalog that reached outside of horror and encompassed many styles and genres. Unfortunately, most of his work is unknown today and has fallen into obscurity, but I was lucky enough to have a friend that showed me some of his other work.
This film also introduced us to Boris Karloff and his interpretation of the monster, which has gone on to become the definitive version of the character, as people today are still most familiar with Karloff’s makeup and overall visual style and behavior.
The film sets the tone that would be well represented and maintained throughout the other Frankenstein films. It borrows heavily in style from the silent German Expressionist films of the early 1920s – most notably F.W. Murnau’s Nosferatu (1922) as well as Robert Wiene’s The Cabinet of Dr. Caligari (1920). Granted, this was a bit of a modernization and a more realistic interpretation of that style, but it does carry that same sort of German Expressionist vibe into a new decade and presents it to a new audience on another continent.
The acting by Boris Karloff as the monster is spectacular. The real gems of this film however are Colin Clive as Dr. Henry Frankenstein and his sidekick Fritz played by horror icon Dwight Frye (who also played Renfield in Universal’s 1931 Dracula film).
This film is perfection for its time but it was eclipsed by its first sequel, which I will review now.
Bride of Frankenstein (1935):
Release Date: April 22nd, 1935 (Los Angeles Premiere) Directed by: James Whale Written by: William Hurlbut, John L. Balderston Based on:Frankenstein by Mary Shelley Music by: Franz Waxman Cast: Boris Karloff, Elsa Lanchester, Colin Clive, Dwight Frye, Ernest Thesiger
Universal Pictures, 75 Minutes
How do you take a legendary film, which was already legendary just four years after its release, and attempt to top it? Well, you stick to the formula and style that made the original successful and you up the ante without compromising the original vision. Bride of Frankenstein is a great answer to the popular question, “Name one sequel better than the original.”
First of all, Boris Karloff and Colin Clive are back. The film is missing Dwight Frye as Fritz (he plays a less dynamic character in this one) but it gains much more with the additions of Ernest Thesiger as the villainous Dr. Pretorious and Elsa Lanchester as the title character of the film. Lanchester does double duty however, as she also portrays original Frankenstein author Mary Shelley in the opening scene of the film.
This movie takes the tone and style of the original and magnifies it. James Whale created a beautiful world in his original film and expands on its magnificence in this chapter. Bride of Frankenstein should be required viewing for any film studies class, as well as any real art class (in addition to some of the German Expressionist films it is certainly an homage to).
This film is unique, especially for its time, in that it is a true sequel that goes beyond just the material it is based on. It revisits Shelley’s concept in a new way and expands on it. While purists may not consider it true to the nature, tone and overall point of Shelley’s original Frankenstein novel, it explores uncharted territory nonetheless and does so with gusto and style and although being limited in scope and the production value of the era it was created in, it is a near flawless companion piece to the ideas of the original tale – one of the greatest novels ever written.
Son of Frankenstein (1939):
Release Date: January 13th, 1939 Directed by: Rowland V. Lee Written by: Wyllis Cooper Based on:Frankenstein by Mary Shelley Music by: Frank Skinner Cast: Boris Karloff, Basil Rathbone, Bela Lugosi
Universal Pictures, 99 Minutes
So what do you do when you lose Colin Clive, Dwight Frye and the awesome additions of Ernest Thesiger and Elsa Lanchester? Well, you bring back Boris Karloff as the monster and you bring in horror legends Bela Lugosi and Basil Rathbone. And being frank, this is one of my favorite Basil Rathbone performances of all-time.
Now this film is the start of the decline in the series but it doesn’t mean that this film and the ones after it were crap. Quite the contrary, these films are still great and play well today as classic horror masterpieces. The problem is that after the James Whale films, it was hard for Universal to replicate his quality and ability to weave a timeless tale visually – conveying emotion through the sets, the lighting, the make-up and the subtle nuances he brought forth in directing such an elite group of talent in those first two films.
Basil Rathbone owns the screen in this film as the very likable son of Henry Frankenstein named Baron Wolf von Frankenstein. Bela Lugosi is beyond fantastic as the now iconic Ygor, who wants nothing more than to control the monster in an effort to exact revenge on the townsfolk who wronged him.
I really loved the set design in this film. The use of lights and shadow brought me back to the old German Expressionist vibe even more so than James Whale’s application of the style. The style was done in a more primal and straightforward way here, which lost the lushness and complexity of Whale’s films but gained in the more obscure and supernatural atmosphere that they created. The Frankenstein house, through lighting techniques on the set was able to be inviting and haunting all at the same time. The strange non-symmetrical architecture inside, especially the staircase and its ominous shadows, were a sight to behold. You never feel quite safe or comfortable with these sets. While I prefer Whale’s refined style, this film is visually more unsettling.
Ultimately, this film is also another gem in Universal’s Monster catalog. Then again, this is from an era where they had to try really hard to produce a bad film.
The Ghost of Frankenstein (1942):
Release Date: March 13th, 1942 Directed by: Erle C. Kenton Written by: Scott Darling, Eric Taylor Based on:Frankenstein by Mary Shelley Music by: Hans J. Salter Cast: Boris Karloff, Lon Chaney Jr., Cedric Hardwicke, Ralph Bellamy, Lionel Atwill, Bela Lugosi, Evelyn Ankers
Universal Pictures, 67 Minutes
Boris Karloff sat this one out. So who did Universal get to play the monster? Well, they went to Lon Chaney Jr., son of Lon Chaney – the man who starred in several classic Universal horror films of the 1920s. Chaney Jr. had also already played the title character in Universal’s The Wolf Man, which was released just before this film. This movie also reunited Chaney Jr. with Bela Lugosi, who also had a part in The Wolf Man. Lugosi again played Ygor, whose streak of sinister villainy was not yet over.
This film introduces us to another Frankenstein son, this time Ludwig Frankenstein – played by Cedric Hardwicke. This film also gives us the uber-talented Ralph Bellamy.
I find this film to be the weakest of the series. I still love it but it seems to be more of a rehash of the previous film with a few minor changes. The most interesting thing really is that Ygor controls the monster with a special horn he plays.
The style is still consistent but at this point it is also becoming a bit of a caricature to itself and maybe a detriment. Either that or the formula and this franchise has ran its course regardless of this still being an enjoyable piece of film history. You definitely get the vibe that this is where the franchise was just being used to milk money from pockets instead of being more concentrated on making great films like the ones that preceded it.
House of Frankenstein (1944):
Release Date: December 15th, 1944 (New York City Premiere) Directed by: Erle C. Kenton Written by: Edward T. Lowe Jr., Curt Siodmak Based on:Frankenstein by Mary Shelley, Dracula by Bram Stoker Music by: Hans J. Salter, Paul Dessau Cast: Boris Karloff, Lon Chaney Jr., John Carradine, J. Carrol Naish, Glenn Strange
Universal Pictures, 71 Minutes
How does one jump the shark before that was even a term Hollywood knew anything about? Well, you jam pack as many monsters and stars into one film as you possibly can because if you own the rights to a bunch of monsters, why not have them duke it out in a free-for-all? And honestly, at this point in the Universal Monsters timeline, across all their multiple horror franchises, this pretty much had to happen in order to keep things fresh and interesting.
Boris Karloff returns but this time he is a mad scientist with a hunchback assistant played by J. Carrol Naish, who is brilliant in this film, as you really pull for him and then find yourself somewhat distraught after he goes over the edge in the end.
Lon Chaney Jr. shows up as the Wolf Man, John Carradine shows up as Count Dracula (a role he would also play in House of Dracula a year later).
This film plays like an anthology piece, where the first half of the film follows the Dracula story and the second half follows the Wolf Man story while Frankenstein is mostly on a table the whole film and doesn’t do much. It isn’t as epic as the Frankenstein Meets the Wolf Man confrontation between the two characters, which was released the year prior to this (and will be reviewed when I cover The Wolf Man series of films in an upcoming post).
I like this film, even though this is where things just got silly.
More Universal Monsters reviews are coming. Next up will be the Dracula series.
I recently watched all of the Universal Monsters films in each infamous monster’s own franchise. In fact, I own the box set for each monster, so it made it much easier. I also reviewed every film, which will be released here over time.
In regards to the list, I also added in the two Phantom of the Opera films: the 1925 one with Lon Chaney Sr. and the 1943 one with Claude Rains. The Hunchback of Notre Dame from 1923, also starring Lon Chaney Sr. is also included, as it is considered a part of Universal’s canon and led the way for the hunchback staple in their films.
After watching and reviewing them all, I wanted to rank them.
Here is my list:
1. Bride of Frankenstein
2. The Phantom of the Opera (1925)
3. The Invisible Man
6. Creature From the Black Lagoon
7. The Wolf Man
8. Dracula – Spanish Version
9. The Hunchback of Notre Dame
10. Werewolf of London
11. The Phantom of the Opera (1943)
12. The Creature Walks Among Us
13. Son of Frankenstein
14. The Invisible Agent
15. The Mummy
16. Son of Dracula
17. The Invisible Man Returns
18. Frankenstein Meets the Wolf Man
19. Revenge of the Creature
20. The Mummy’s Tomb
21. The Ghost of Frankenstein
22. House of Frankenstein
23. House of Dracula
24. She-Wolf of London
25. Dracula’s Daughter
26. The Mummy’s Ghost
27. The Invisible Man’s Revenge
28. The Mummy’s Curse
29. The Mummy’s Hand
30. The Invisible Woman