(4/10) In a nutshell: Universal’s 1945 film marks the end of the era of the original Universal monsters, and at the same time the end of the American sci-fi film of the forties, more or less. Lon Chaney Jr. and John Carradine star alongside Onslow Stevens and Poni Adams in this rushed, inconsistent last huzzah for the monsters. Despite flashes of originality, it feels as if we are re-heating the same TV dinner for the umpteenth time as Frankenstein’s monster is once again found, buried in quicksand in a cave under a castle after having six building collapse on him in previous films, Dracula re-emerges after having been destroyed by the sun’s rays a third time in the last film, and we get to wonder if the Wolf Man will cheat death for a third time.
House of Dracula. (1945). Directed by Erle C. Kenton. Written by Edward T. Lowe Jr, George Bricker, Dwight V. Babcock. Starring: Lon Chaney Jr, John Carradine, Onslow Stevens, Lionel Atwill, Martha O’Driscoll, Jane Adams, Ludwig Stössel, Glenn Strange, Skelton Knaggs. Produced by Joseph Gershenson and Paul Malvern for Universal. Tomatometer: 56 %. IMDb score: 5.8
John Carradine as Dradula and Martha O’Driscoll as his love interest.
This here is the movie that ended the original Universal monster franchise, unless you count The Creature of the Black Lagoon (1954) to the same series. Personally I consider it more of a symptom of the second wave of monster films kicked off by the science fiction craze of the fifties, even though the films have since been repackaged in DVD boxes along with the original monster films. It was also the last film that featured the original Universal monsters before they began to get spoofed in the Abbot & Costello films, which you won’t see reviewed on this blog. Continue reading
(4/10) In a nutshell: Universal’s horror stars gang together for the franchise’s second monster bash in a film that is a mix of good and mad. There’s too much going on in a too short period of time, Dracula is thrown by the wayside and the plot holes are big enough to fill a stadium. But there’s also a dash of originality and some first-class acting in this 1944 film.
House of Frankenstein. 1944, USA. Directed by Erle C. Kenton. Written by Curt Siodmak, Edward T. Lowe Jr. Starring: Boris Karloff, J. Carrol Naish, Lon Chaney Jr, John Carradine, Anne Gwynne, Peter Coe, Elena Verdugo, George Zucco, Lionel Atwill, Glenn Strange, Sig Ruman. Produced by Paul Malvern for Universal. Tomatometer: 55 %. IMDb score: 6.2
Glenn Strange, Boris Karloff and Lon Chaney in House of Frankenstein.
Quick! Give me the five greatest mad scientists of the forties! Did you say Boris Karloff, John Carradine, Lionel Atwill, George Zucco and J. Carroll Naish? Great, now you have them all in one film! This was the second monster mash movie after the success of Frankenstein Meets the Wolf Man (1943, review), starring Lon Chaney Jr, Bela Lugosi and Lionel Atwill. Lon Chaney also turns up in House, again as Larry Talbot/The Wolf Man. The film is sometimes referred to as ”The House of Frankenstein” and sometimes without the prefix. Continue reading
(3/10) In a nutshell: The first of Universal’s monster mashes, made in 1943, sees the studio finally dropping the ball in their monster franchise. What could have been a decent, fun B horror flick is ruined by Univseral first casting Bela Lugosi as the Frankenstein monster and then doing its best to erase him from the film.
Frankenstein Meets the Wolf Man. 1943, USA. Directed by Roy William Neill. Written by Curt Siodmak. Sort of suggested by Mary Shelley’s novel Frankenstein. Starring: Lon Chaney Jr, Bela Lugosi, Ilona Massey, Patric Knowles, Maria Ouspenskaya, Lionel Atwill, Dennis Hoey, Rex Evans, Dwight Frye. Produced by George Waggner for Universal. Tomatometer: 25 %. IMDb score: 6.5
Bela Lugosi and Lon Chaney Jr. have a standoff in a promo shot for Frankenstein Meets the Wolf Man.
By 1943 Universal’s Frankenstein franchise had lost all roots to Mary Shelley’s Frankenstein apart from the name. Scriptwise there isn’t even much proof that it is part of the same francise as the original 1931 Frankenstein (review). There isn’t even a Dr. Frankenstein in the film (on screen anyway). The original Dr. Frankenstein, Colin Clive, passed away in 1937 and one must say that it is to the studio’s credit that they didn’t try to replace him with another actor (apart from a brief hallucination sequence in The Ghost of Frankenstein (1942, review), but instead had not one, but two, sons of Frankenstein take up the mantle, Basil Rathbone and Cedric Hardwicke. One might suppose that Universal thought that a third son might be pushing it. We do, though, get a granddaughter of Frankenstein in the shape of Ilona Massey, but she is no doctor (she’s a woman, d’uh). Continue reading
(5/10) In a nutshell: The magic is all but gone from the fourth Universal Frankenstein picture, made in 1942. Although well-paced and fairly entertaining, the film stumbles on a ridiculous script with more holes than a Swiss cheese and a low budget. Decent acting from Misters Hardwicke, Lugosi and Atwill, but substituting Karloff with Chaney was a bad move.
The Ghost of Frankenstein. 1942, USA. Directed by Erle C. Kenton. Written by Scott Darling & Eric Taylor. Inspired by the novel Frankenstein by Mary Shelley. Starring: Cedric Hardwicke, Lon Chaney Jr, Bela Lugosi, Lionel Atwill, Ralph Bellamy, Evelyn Ankers, Barton Yarborough. Produced by George Waggner for Universal. Tomatometer: 75 %. IMDb score: 6.1
Ludwig Frankenstein (Cedric Hardwicke) and Theodore Bohmer (Lionel Atwill) inspecting Lon Chaney Jr. in The Ghost of Frankenstein, made in 1942.
This is the fourth instalment in Universal’s Frankenstein saga, and notable for a number of reasons. The Ghost of Frankenstein is the first Frankenstein film to be relegated to the studio’s B movie unit, resulting in slashed funding. It is the first film to replace Boris Karloff as the monster with another actor, in this case Lon Chaney Jr. It is also the last film where the Frankenstein monster was the solo monster in Universal’s cannon. The next film, Frankenstein Meets the Wolf Man (review), well the title says it all. Continue reading
(6/10) In a nutshell: Bela Lugosi’s Ygor is the best thing to come out of the Universal horror stable since The Bride of Frankenstein, but unfortunately the rest of The Son of Frankenstein isn’t really up to the same standard as its predecessors. The expressionistic style is stunning and the acting good across the board, with team members Boris Karloff, Lionel Atwill and Basil Rathbone joining forces with Lugosi. But we mourn the reduction of Frankenstein’s monster to a mute, brute prop.
The Son of Frankenstein. Directed by Rowland V. Lee. Written by Wyllis Cooper, Rowland V. Lee (uncredited). Inspired by Mary Shelley’s novel Frankenstein. Starring: Basil Rathbone, Bela Lugosi, Boris Karloff, Lionel Atwill, Josephine Hutchinson, Donnie Dunagan. Produced for Universal. Tomatometer: 89 %. IMDb score: 7.2
Karloff in close-up in Son of Frankenstein.
Son of Frankenstein (1939) was the Universal smash hit that wasn’t supposed to be made. In fact, Universal didn’t release any horror films in 1937 or 1938, mainly because of pressure from the PCA, Production Code Administration, set up in 1934 to enforce the infamous Hays code on the US film industry. But happy coincidences and a new-found confidence in the genre made this semi-classic a reality, and once again kicked off a horror-fest in the States. Continue reading
(9/10) In a nutshell: With Bride of Frankenstein James Whale created the greatest of all Universal horror films. Superb acting, great casting, a script that balances between drama, horror and campy humour, all rounded up with fluid, expressionistic filmmaking and Soviet-styled montage editing. All this, plus the marvellous Elsa Lanchester as the Bride, Boris Karloff in high form, and a chilly, funny, scary Ernest Thesiger. Greatness abounds, but thematically the film is a bit sloppy.
The Bride of Frankenstein. 1935, USA. Directed by James Whale. Written by John L. Balderston, Edmund Pearson, William Hurlbut. Based on the novel Frankenstein by Mary Shelley. Starring: Boris Karloff, Colin Clive, Ernest Thesiger, Valerie Hobson, Elsa Lanchester, O.P. Heggie, Una O’Connor, Dwight Frye, John Carradine. Produced by Carl Laemmle Jr. for Universal. Tomatometer: 100 %. IMDb score: 7.9
The superb Elsa Lanchester in her most iconic role as the Bride of Frankenstein.
The Bride of Frankenstein (1935) is one of those films that has been analysed into shreds, so that the legacy of the film somehow overshadows the film itself, very much like 2001: A Space Odyssey (1968). It is one of those rare horror films that even reviewers not generally infatuated with genre films like to promote to the same status as groundbreaking works like Battleship Potemkin (1925) or Citizen Kane (1941) – or at least that is the sense that one sometimes gets from people who are adamant that Bride is one of the most important films in American cinematic history (an interesting notion as most of the key personnel were British). Although it is true that along with Paramount’s Island of Lost Souls (1933, review) this Universal classic is the finest of the American horror films of the thirties, some of its reputation stems from the fact that people like to read topics between the lines that simply aren’t there. Continue reading
(9/10) In a nutshell: Island of Lost Souls (1932) is probably the most refined of the sci-fi horror films of the thirties, and probably the best acted. The H.G. Wells tale about a mad doctor trying to create humans out of animals by surgical means is still thoroughly creepy today.
Island of Lost Souls. 1932, USA. Directed by Erle C. Kenton. Written by Philip Wylie & Waldemar Young. Based on the novel The Island of Dr. Moreau by H.G. Wells. Starring: Charles Laughton, Richard Arlen, Bela Lugosi, Kathleen Burke. Cinematography: Karl Struss. Make-up: Charles Gemora, Wally Westmore. Produced for Paramount. Tomatometer: 96 %. IMDb score: 7.6
Charles Laughton as Dr. Moreau being attacked by his creations.
”Not to walk on all fours! That is the law! Are we not men?” chants Bela Lugosi in heavy manimal make-up in as scene from the 1932 film Island of Lost Souls, that has since become a classic. Although it is often clumped together with the Universal horror pictures of the time, like Frankenstein (review) and Dracula (both 1931), it was in fact made by Paramount, who also made Dr Jekyll and Mr Hyde (1931, review). In both these Paramount horrors, you can see a sort of refinement and style that was lacking from the Universal pictures, Bride of Frankenstein (1935, review) perhaps being the exception. Continue reading
(8/10) In a nutshell: James Whale’s seminal Frankenstein (1931) is a far cry from Mary Shelley’s novel, and it is marred by some stiff acting and a low budget. But it is still a visual work of art, and a film that in many ways became the benchmark for American horror sfi-fi pictures for years to come, and the duo of Colin Clive and Boris Karloff as the mad scientist and his monster is part of our cultural legacy.
Frankenstein. 1931, USA. Directed by James Whale. Written by Francis Edward Farragoh, Garrett Fort, Robert Florey (uncredited), John Russell (uncredited), based on the play by Peggy Webling, John L. Balderston, in turn based on the play Presumption by Richard Brinsley Peake (uncredited), based on the novel by Mary Shelley. Starring: Colin Clive, Boris Karloff, Mae Clarke, John Boles, Edward van Sloan, Dwight Frye. Cinematography: Arthur Edeson. Make-up: Jack Pierce. Produced by Carl Laemmle Jr. for Universal. Tomatometer: 100 %. IMDb score: 8.0
The great Boris Karloff (William Henry Pratt) in chains as The Monster in Frankenstein from 1931.
Tod Browning’s Dracula, featuring a Bela Lugosi that would forever be ingrained in our minds as the dark count of the undead, was Universal’s first horror picture in sound. It was also the film that started the golden age of the studio’s horror franchise. But the ultimate film that would define the genre was Frankenstein. Both films were released in 1931, and gave birth to a torrent of horror – and science fiction – films, that has never fully ran dry. Frankenstein was the film that cemented the dark, expressionist gothic style of future American horror films, it was the film that defined the mad scientist, and of course introduced film history’s most recognizable monster in the form of the heavily made-up Boris Karloff. Today it is often overshadowed by director James Whale’s 1935 sequel Bride of Frankenstien (review), that is in many ways a superior film, and a true American classic. It is certainly true that Frankenstein is somewhat hampered by some wooden acting, an illogical and seemingly jumbled script and a fairly tight budget. But the beautiful, suspenseful and innovative visual style of Whale, and the multi-layered and ultimately sympathetic portrait that Whale and Karloff create for the Creature make up for the film’s shortcomings, and it is certainly well deserved of its place among the immortal pieces of art that make up the backbone of much of our cultural heritage. Continue reading