Son of Frankenstein (1939) – An OCF Classic Movie Review

As a kid this was one of my favorite Universal horror movies.  In a way it was the last of the legitimate Frankenstein movies from the series.  Boris Karloff played the Monster for the third and final time.  And they even brought back a couple of the actors from the original Frankenstein movie although as different characters. So, there was a certain amount of continuity with the first two movies.  Basil Rathbone adds his considerable talents to the production as the titular son of the original Dr. Frankenstein.  Lionel Atwill makes his turn as the memorable Inspector Krogh; he of the prosthetic right arm (which the Monster had torn off when Krogh was a child).  And even poor Bela Lugosi is there as Ygor to lend his legitimacy as a part of one of the earlier Universal films (Dracula) that had a lot of “prestige.”  Yes, this movie has everything.  Not only does the younger Dr Frankenstein have a very pretty wife but he also has a curly-haired young son whom the Monster befriends.  After this film the later Frankenstein films became kind of campy to my mind.  So, this is the climax of the original films.

I won’t worry about spoilers because we know that the Monster will come back for endless sequels so let’s just talk about the story.  Dr. Frankenstein and his family have arrived from the United States where he had met his wife.  They find the villagers surly and suspicious because mysterious deaths have continued to occur in the village and the Monster is still blamed for these.

We find out that Ygor has been hiding the Monster below the ruins of the destroyed laboratory but recently the Monster was struck by lightning (!) and hasn’t regained consciousness since.  Ygor wants the doctor to restore the creature.  Ygor was a grave robber who was hanged for his crimes but somehow the hanging didn’t kill him so he went free.  And now he’s befriended the Monster and it does his bidding.  Doctor Frankenstein is intrigued by his father’s creation and we are shown him using “modern” medical equipment like a fluoroscope to examine the Monster.  There’s some gibberish about his rapid heart rate, high blood pressure, cellular structure and we even find out that he has two bullets lodged in his heart which don’t seem to bother him at all.

So, the doctor sets up the generator and zaps the Monster but other than a short bout of consciousness he seems to have failed to rouse the Monster.  But later on, we hear that the doctor’s little boy met a “giant.”  And so, when the murders begin happening again both the doctor and Inspector Krogh are sure the Monster is on the loose again.  After a dart game between Doctor Frankenstein and the Inspector (which was thoroughly lampooned in Mel Brook’s movie; “Young Frankenstein) we have the climax of the movie.  Doctor Frankenstein kills Ygor in self-defense and the Monster kidnaps the little boy and brings him back to the lab.  At this point both the Inspector and the doctor attack the Monster.  Even after the creature tears off Krogh’s prosthetic arm, he manages to fire a number of bullets into the Monster.  And Doctor Frankenstein outdoes him by a swashbuckling rope swing that propels the Monster over the lip of a ledge and into a very convenient, bubbling pool of 800-degree F sulfur-bearing magma.

Alright.  It’s a silly movie.  But it’s a lot fun.  I’ve got a warm spot for this one.  All the hand waving to make the Monster’s existence “scientific” appeals to the ten-year-old kid in me.  They even go so far as to clarify that the “ray” that the original movie said was “beyond the ultraviolet” was actually cosmic rays.  Well, cosmic rays!  What more could you ask?  Highly recommended for ten-year-old boys and other folks who like a good monster movie in black and white.

Abbott and Costello Meet Frankenstein (1948) – An OCF Classic Movie Review

We have a family get together on Saturday and I was looking for a movie for the grandkids in case things get too quiet.  By luck I had recorded this monster themed comedy movie back in October.  Now of course I’ve seen this movie many times.  One of my local tv stations back in New York City during my childhood would cycle through the Abbott and Costello movies on Sundays.  Annoyingly, the movie always coincided with church which really made me wonder about God’s priorities and sense of humor.

So, I put it on tonight.  And just as I remembered, it’s the perfect movie for boys between the ages of seven and eleven.  All of the jokes are corny as hell and the monsters are about as tame as rabbits.  But Bela Lugosi as Dracula and Lon Chaney Jr. as the Wolfman still look the part.  And Lou Costello sells his constant hysterical fear with his signature screams of panic and running around in circles.

The plot is laughably bad.  Dracula and the Frankenstein monster have been shipped to America disguised as exhibits for a “House of Horror.”  Bud and Lou work for the company that is supposed to deliver them.  The Wolfman is in America to foil the plan and Lou’s girlfriend Sandra is a mad scientist who is working with Dracula to re-energize the weakened monster.  In addition, she has selected Lou’s brain to be transplanted into the monster’s body to give it a more controllable personality for Dracula’s plans.  Of course, Lou doesn’t know about these plans.

Add in a beautiful insurance claims investigator named Joan who is searching for the missing monster exhibits and a non-evil medical doctor who is assisting Sandra and you have a showdown at the island castle laboratory with Sandra, Dracula, Frankenstein’s monster and Lou in the operating room when Larry Talbot (the Wolfman), Bud Abbott and the Doctor break in and stop the surgery.  Eventually the Wolfman grabs Dracula in his bat form and the two of them fall from the castle heights into the ocean.  The doctor rescues Bud and Lou from the monster by setting on fire the dock that the monster is trapped on.  In the last scene Bud and Lou are in a rowboat and are rejoicing that Dracula, Frankenstein’s monster and the Wolfman are dead and they don’t have to be scared anymore.  Suddenly the Invisible Man chimes in that he wants to join the fun and the boys jump overboard.

I didn’t give a spoiler alert because the plot really doesn’t matter at all.  It’s just an excuse for Universal Studios to cross-pollinate their monster movie franchise with their most successful comedy team.  They would follow this up with several of the other monster characters (the Mummy, the Invisible Man and Dr. Jekyll and Mr. Hyde) meeting the “boys” but I would say this first effort was the most successful and most enjoyable.  It works as an Abbott and Costello comedy and as an homage to the Universal horror movies of the 1930s and 1940s.

I’m very hopeful that the younger grandkids will enjoy this ancient comedy.  I’ll report back with an update.

October Viewing – 3

And now a return to form.  Whereas Charles Laughton can make a “horror” movie into a semi-legitimate film, putting Boris Karloff and Bela Lugosi into a movie ensures that the full Universal horror treatment will ensue.

The Black Cat was such a pairing.  Bela Lugosi is a German medical doctor who was taken prisoner by the Russians during the First World War and eighteen years later he is looking to take revenge on Karloff who was the German commander who sold his troops out before the battle.  Also, while Lugosi was in prison Karloff stole away his wife telling her that Lugosi was dead.  Lugosi comes back to the scene of the battle where strangely Karloff has built an art deco palace on the site of the fort that he had commanded.  Later on, we learn that the whole hill is still booby-trapped with dynamite.  Well, you never know when that might come in handy.

There is a young American couple honeymooning in this Hungarian locale (sure why not) and Lugosi befriends them and then because of a motor vehicle accident during a rain storm, Lugosi is forced to bring them both to Karloff’s house where the doctor performs minor medical procedures that require putting her under a powerful sedative that makes her somewhat prescient upon meeting Karloff.

While the Americans sleep that night Lugosi and Karloff have a conference and we find out that Lugosi’s wife died of “pneumonia” years before.  Unsurprisingly Karloff decided to have her embalmed and put on display in his basement.  Well, sure, who wouldn’t!  And if all that isn’t bad enough Karloff tells Lugosi that his young daughter also died.  Next, we find out that Karloff is a satanic priest and the next night is the new moon and he will be celebrating a black mass at which he wants to sacrifice the American girl to Satan or something.  Lugosi objects and Karloff offers to play a game of chess to see whether she will die.  And Lugosi loses.  Darn.  Meanwhile we discover that Lugosi’s daughter is not dead but is married to Karloff and living in the house they are in.  The American girl meets her but somehow Lugosi still hasn’t heard about her.

A lot of goofy stuff happens with Lugosi’s servant pretending to obey Karloff and the American man being trapped in a room that eventually he escapes by just opening the door.  And even though the satanic mass is quite crowded Lugosi somehow easily manages to rescue the American girl.  And then everyone heads down into the basement for the climax.

So, let’s see.  Lugosi stumbles on the dead body of his daughter.  Karloff and Lugosi get into a fight that ends when Lugosi’s fatally wounded servant helps him over power and chain up Karloff to a dungeon wall (yes dungeon).  Then Lugosi decides to finally revenge the deaths of his wife and daughter on Karloff by skinning him alive.  But when the American girl sees this going on she screams and her husband finds their location and mistaking Lugosi’s intention he shoots the doctor.    Lugosi calls him a fool but tells the American couple to rush out of the building and get away from the hill because he is about to set off the timer that will trigger the dynamite to blow up the satanists, Karloff and Lugosi.  And in the last scene the happy honeymooners continue their railway journey to Budapest.

This movie has so many hokey things going on.  Why would Karloff believe that Lugosi’s loyal servant would do his bidding instead of his master?  Why would Karloff still have the timer and detonator for the dynamite not only intact but on prominent display in his basement?  Why wouldn’t Lugosi have killed Karloff as soon as he saw his wife stuffed and mounted in Karloff’s basement?  Are all art deco architects, satanists?  Or are all satanists art deco devotees?  What did Lugosi’s morbid fear of black cats have to do with anything else in the movie except the title?  So many questions.

The strange thing is I enjoyed the movie.  Sure, it made no sense.  But there was a style and an energy to it that was fun.  You sort of knew the American couple would emerge unscathed so really, we were watching the duel between Lugosi and Karloff and we knew that some kind of justice would prevail.  And those lousy satanists would get blown up.

In a way, with its modernist architecture juxtaposed against the medieval stonework of the underground fort it was a perfect way for the modern (1930s) world to intrude on the gothic horror that is the stock in trade of the Universal horror movies.  Art deco horror.  Well done Bela and Boris.

October Viewing – 1

I was thinking of watching the Vance/Walz debate.  But I just didn’t feel like it.  Around ten o’clock I was browsing my X timeline and noticed that several of the people I follow were saying that Vance was doing serious damage to Walz.  But I just couldn’t be bothered.  I figure by tomorrow if he really did serious damage to Walz there would be all kinds of highlights to watch and if there weren’t I would have saved myself a lot of annoyance.  Instead, I decided to celebrate October by watching some Universal Horror.  I watched Dracula.

Now. I’ve seen that movie dozens of times.  I know it inside and out.  But what I did was to try to watch it as if for the first time.  I divorced it from the familiarity that renders it just a collection stereotypes and associated memories and tried to look at the images and the dialog to see how they strike me as cinema.

And it’s a funny thing.  It occurred to me that an audience that was used to cowboy movies and had only in the last year or so begun watching talking pictures might have been very excited by the visuals and the scenes portrayed.  The opening scene of Renfield travelling by horse drawn carriage into the Carpathian Mountains was very atmospheric.  The backdrops of the mountains were very well done.  And Castle Dracula was equally well done.

Renfield’s interview with Dracula was just the right combination of comedy and menace.  I will confess that I never found Bela Lugosi menacing enough to make his Dracula compelling but Van Helsing’s scientific vampire hunter is highly entertaining.  When he confronts Dracula with the mirror and later during his conversation with the vampire where he promises to find Dracula’s coffin and drive a stake through his heart, we are witnessing the central tension of the movie.  Everyone else is blind to how their neighbor from Transylvania is the nexus for all of the death and inexplicable occurrences.  But once Van Helsing shows up with his wolfbane and crucifixes even Renfield starts talking sense.

And that brings me to another aspect of the movie.  The humor between Renfield and the psychiatric orderly Martin is hammy and over the top but provides a very enjoyable counterpoint to the wildly unrealistic dramatic story.  The working-class manners and behavior of Martin and the rest of the staff contrasts to the more aristocratic manners and speech of the Sewards and their friends.  Even the madman Renfield is humanized in his dealings with Martin who affectionately calls Renfield “old fly-eater” and seems genuinely friendly to this vampire-in-training.

The final climax of Van Helsing and Harker storming Carfax Abbey and finishing off Dracula with the promised stake through the heart is a little underwhelming but I think that at the time and at first view Dracula must have been an exciting motion picture that thrilled audiences, especially young women who would have personalized the erotic danger that Dracula was meant to imply for them.

Now of course, for us, after nearly a century of time in which the movie has accreted mostly comical connections to everything from breakfast cereals to Sesame Street characters it’s hard to imagine real fear associated with this film.  But looked at as a piece of art it can definitely be enjoyed for what it is.  There is still blood left in the movie.  And as Bela reminds us, “The blood is the life.”

Update:

War Pig commented:

To the contrary, since I first saw it as a child, Lugosi was the perfect Dracula. While Christopher Lee was more intimidating, Lugosi was the epitome of the Count. Suave, debonaire, charming, intelligent, faultless evening dress which he wore with dignity and aplomb. So smooth and with the east European accent. Yet he was also the very image of evil when he went for the throat.

Mom and my sister sat and watched it with rapt attention. The vampire is, of course, the ultimate Casanova, as well.

 

2024 Summer Movie Talk – Part 9

Classic Horror Movies

Okay, the category is one of those inconsistent constructs.  Why not call them classic monster movies?  How do you define classic?  What is the allowable chronological range?  Are silent movies included?  Well, I’m fudging all of these and just selecting what I want to, no matter that logical consistency probably goes out the window.

Let’s look at my list.  Basically, it’s the Universal monster movies in their heyday along with “Nosferatu,” “Island of Lost Souls” and “House on Haunted Hill” thrown in for dubious reasons (basically because I like them).  I’ve left out a dozen Universal films that could just as easily have been included and I’ve included “The Invisible Man” and “Dr. Jekyll and Mr. Hyde” which really belong in a list of early science fiction stories.  But that probably applies to the Frankenstein movies too.  So, the whole thing is incredibly subjective and personal in nature.

So, I won’t belabor the point any longer and will instead chalk this up to a labor of love.  As a little kid I thoroughly enjoyed these movies and hundreds more that provided a similar thrill.  List your favorites in the comments.  If you want my detailed reviews of most of these movies do a search on the site by title.

  1. NOSFERATU (1922)
  2. THE PHANTOM OF THE OPERA (1925)
  3. DRACULA (1931)
  4. FRANKENSTEIN (1931)
  5. JEKYLL AND MR. HYDE (1931)
  6. THE MUMMY (1932)
  7. ISLAND OF LOST SOULS (1932)
  8. THE INVISIBLE MAN (1933)
  9. BRIDE OF FRANKENSTEIN (1935)
  10. THE WEREWOLF OF LONDON (1935)
  11. THE WOLF MAN (1941)
  12. HOUSE ON HAUNTED HILL (1959)

 

UPDATE

War Pig’s picks:

Black Sabbath 1963

Black Sunday 1960

Night o/t Living Dead

Dr Jekyll & Mr Hyde 1931

Psycho

The Birds

Phantom o/t Opera 1925

Last Man On Earth 1964

Incredible Shrinking Man

Curse o/t Demon

Island of Dr Moreau 1932

Murders in the Rue Morgue

The Tingler

M (also under film noir, crime, etc.)

 

 

 

The Wolfman (2010) – A Horror Movie Review

The 2010 film, the Wolfman was made by Universal as a remake of their 1941 film The Wolf Man.

(Spoiler Alert – Skip down to last paragraph to avoid spoilers and read recommendation)

Benicio del Toro stars as Lawrence Talbot.  Lawrence left his home in England after the death of his mother under mysterious circumstances.  His father Sir John Talbot (played by Anthony Hopkins) still lives at the ancestral home with his other son Ben and Ben’s fiancée Gwen Conliffe (played by Emily Blunt).  Lawrence is contacted by Gwen and asked to return home after Ben disappears.

When Lawrence arrives, he discovers that Ben’s body has been discovered horribly mutilated as if by some enormous predator.  Rumors in the village point to some involvement by a gypsy camp nearby.  Lawrence promises Gwen that he will investigate and find Ben’s killer.

Lawrence goes to the village and the locals tell him that the grisly killing is like one that occurred twenty-five years ago and was attributed by the locals to a werewolf.  Other villagers are convinced that a trained bear that the gypsies keep is responsible.  Lawrence determines to go to the gypsy camp to investigate but his father warns him that the full moon is that night and he should stay home.

Lawrence goes to the camp and the wolf-like creature goes on a spree killing and maiming gypsies and villagers alike.  Lawrence chases after the creature with a rifle but eventually the creature attacks him and tears his neck severely.  A gypsy woman named Maleva stitches up his wound while another tells her to let him die because he is now destined to become a werewolf too.

Lawrence is sent home and makes a miraculous recovery from his wounds.  During his convalescence Inspector Francis Aberline of Scotland Yard (played by Hugo Weaving) interviews Lawrence and hints that based on Lawrence’s childhood bout with mental illness (his father had had him committed to an asylum for a year) that perhaps he is a suspect in the horrific attacks.

And in the village, news that Lawrence’s wounds had healed unnaturally well, convinced the people that he was about to become a werewolf himself at the next full moon.  When they come to drag Lawrence away by force, Sir John shows up with a shot gun and forces them off the estate.

But sure enough the next night is the full moon and Lawrence makes the metamorphosis into a wolf man and goes on a horrendous rampage killing and tearing to pieces the villagers who have come out to catch and kill him.  Aberline is witness to some of the killings and the next morning when Lawrence wakes up outside the manor house soaked in blood, the inspector and the local police capture Lawrence and bring him to the same insane asylum he was committed to as a child.

There he is treated with shock treatments using ice water and electricity.  At the end of a month Sir John visits him and tells him his own story.  Twenty-five years earlier Sir John was bitten by a werewolf and became such a creature.  He was able to avoid the monthly murdering by having his servant Singh lock him up each full moon in a reinforced cell.

He admits to the murder of both his wife and his son Ben.  And gives Lawrence a straight razor in case he cannot face the murderous life he is faced with and would prefer suicide.  That night is the full moon and Lawrence once again transforms into a beast, breaks out of the asylum and goes on another killing spree through London.  In the morning he goes to the home of Gwen and tells her of what he knows of Ben’s murder and his father’s guilt.  He plans to kill his father and then himself to end the curse.  Gwen tries to dissuade him from suicide but he heads home.

That night Lawrence confronts his father in their home and the two werewolves battle.  During the fight the manor house catches fire.  At first Sir John has the best of the fight but finally Lawrence heaves his foe into the fire which weakens him enough to allow his son to decapitate him.

Following this battle both Gwen and Inspector Aberline confront the surviving beast.  Aberline is wounded by Lawrence but is spared when the wolf chases after Gwen into the night.  When he finally catches her and pins her to the ground, she is able to awaken his humanity and he spares her.  And while he is distracted by the approaching villagers Gwen shoots him with a pistol.  Lawrence returns to human form and before he dies, he thanks Gwen for releasing him from his curse.  Inspector Aberline witnesses Lawrence’s death and it’s obvious that he knows his own fate is sealed when next the moon is full.

Alright, here’s my take.  When you go to a movie called the “The Wolfman” you’re not going to get Shakespeare.  In fact, you’re not even going to get drama.  You’re going to get a fairy tale.  And that’s exactly what you get here.  What you want is good special effects, lots of blood and gore and some good guys to pity and some bad guys to hiss at.  It would be nice if the script isn’t too silly and the actors not completely inept.  And in those particulars, I think this picture is above par for the genre.  After all, Anthony Hopkins can make even nonsense sound interesting.  And the rest of the cast do their best.  As a remake of the 1941 film, I think this movie is quite close.  Benicio del Toro approaches the part in a similar vein to how Lon Chaney Jr. did.  Anthony Hopkins and Claude Rains are both distinguished English actors that project intelligence into their characters.  And the atmosphere of the film hits all the right notes.  This movie lost money so it’s been declared a bomb.  I disagree.  It’s a highly successful fairy tale.  Of course, you have to like fairy tales to enjoy it.  I recommend this to fans of horror movies.

Horror Then and Now

My longtime readers know that I indulge myself in the run-up to Halloween with book and movie reviews that concur with my preferences for that holiday.  A couple of years ago I wrote reviews for all the Universal Classic Monster movies of the 1930s and 1940s.  I usually take the season as an excuse to reread Bradbury’s “Something Wicked This Way Comes” and watch the movie for good measure.

But last year I reviewed Psycho and this year I intend to review the Thomas Harris novels that include the character Hannibal Lecter.  Many years ago, a friend gave me his copy of Red Dragon and I found it to be one of the most unsettling things I had ever read.  And although the violence and insanity were pretty extreme by the standards of that happier time, the thing about the book that truly frightened me was the plausibility of the killer’s method for stalking his victims and the impossibility of protecting your family from someone who was determined to kill in that fashion.  I guess it was the fact that I had a young family at that time and the idea that I might be powerless to save them that horrified me.  And that is when I first became aware that true horror always has a human face.  It won’t be a normal human but it will look out of a face that is attached to a driver’s license and a cellphone and a bank account.

So, there is a difference between the good old days and the bad new days.  We stopped trying to gently scare children and now we horrify adults by showing them what’s really out there.  I’ll be the first to admit that watching Frankenstein or Dracula doesn’t actually involve any fear for anyone over the age of ten.  It was natural that movie makers and writers would escalate the violence and cart out the gore to tempt adult thrill-seekers, mostly in their teenage years, to spend their entertainment dollars on the latest fright fest.  Back in the 1970s Texas Chainsaw Massacre was the poster child for exploitation movies aimed at frightening audiences out of their seats.  Since then every year has upped the ante until lately the content has gotten so bad that the real name for what this represents has been designated.  These movies are portraying torture through grisly dismemberment.

I consider that a distinction can be made between these gore fests that are almost bereft of meaningful characters and plot and crime drama like “Silence of the Lambs” which while it does include the description of horrible violence and depravity is not focused on flinging gore across the screen to delight the demented.  It tells the story of people.  This includes the victims, the police and even the murderer.  We supposedly learn a little about what drives some of these characters to become monsters.

I’m not a devotee of crime drama or fiction.  As I said I was given the Red Dragon book long ago and because of it I went to see the Silence of the Lambs when it came out.  Out of a sense of curiosity I read the rest of the Lecter books and saw the movies and tv series.  I don’t think the later books were as good as the first two but I will review them all for general interest purposes.

But I have all the Universal Monster movies on DVD and I intend to watch them all with my younger grandsons as soon as the lockdown ends.  They’re the correct age and they’ll get a kick out of them.  And truth be told, so will I.

More Wolf’s Bane?

Wolfs Bane Coming Into Bloom

This has been a goofy mixed up year for weather.  The spring and early summer were extremely cool and delayed many plants by almost a month from their normal cycle of growth.  For the most part this wasn’t too bad but one plant that blooms late in the summer is wolf’s bane.  And as of today, the very last gasp of summer, the leaves on the plants are turning yellow and the flowers aren’t even buds yet, they’re bumps.  What we have here is a foot race between flowers and frost.  Last night it got down to 36°F.  That is dangerously flirting with freezing.  There are two more nights of near freezing temperatures coming up before a warm up is predicted.  I don’t like my chances here.  I need a miracle.

Maybe you’re saying to yourself, “What’s the big deal if some stupid plant doesn’t flower?”  Well, that’s a fair question.  I’ll try to explain.

The Calendar tracks the path of Earth as it performs its seemingly eternal dance with the Sun.  And here at the Autumnal Equinox we mark the point where the northern latitudes lose their grip on the sun and slip into darkness.  For millennia the inhabitants of the North have recognized this moment and celebrated it with various harvest festivals and religious myths like the Death of Tammuz or the Rape of Persephone.  These solemn occasions were meant to memorialize the end of summer and the beginning of the harvest.

Nowadays most of us aren’t involved in farming and the advent of electric lights has lessened the impact of shorter days on our lives.  But for some of us the end of summer is still an extremely meaningful time.  As I have so often stated here on the site I am an avowed therophile (lover of summer) and the autumnal equinox is like a death knell for me.  Like some primitive soul I atavistically search for a formula or spell to help me fight off the fear of darkness and believe that summer will reemerge on the other side of the sun all those months in the future.  And for me the first step is to take the last gasp of summer, the blooming of the wolf’s bane flowers and tie that to the next great festival on my calendar, Halloween.

For Halloween begins  for me with watching the classic Universal horror movies.  And I always start with Dracula.  Here we see Dracula square off against Dr. Van Helsing for possession of the soul of Mina Seward.  And in this battle one of the prime weapons is a garland of wolf’s bane.  Vampires hate it and all good vampire fighters carry it with them.  And later on in the Universal series we will come to the Wolfman.  Here we are told:

Even a man who’s pure at heart

And says his prayers by night

May become a wolf when the wolf’s bane blooms

And the autumn moon is bright

And that is the link between summer and wolf’s bane and autumn and Halloween.  And Halloween gets you to Thanksgiving.  And Thanksgiving gets you to Christmas.  And Christmas has to get you to Easter and the beginning of spring.  But it all starts with wolf’s bane.  So wish me luck.  If nature lets me down I’ll have to take drastic action and invoke the only other Summer/Halloween talisman I know of.  I’ll have to have an early showing of “Something Wicked This Way Comes.”  Bradbury’s story provides a direct link between summer and Halloween by way of the carnival theme.  Carnivals are summer and end of summer events.  But in the story we have a Halloween arrival of a dark carnival that is looking to ensnare souls.  The battle between good and evil is to my mind the battle between summer and autumn.  Between life and death.  Okay, that’s the end of my raving.

31OCT2019 – Happy Halloween!

Even a Man who’s pure at heart
And says his prayers by Night
May become a wolf when the wolfsbane blooms
And the Moon is full and bright

Wolfsbane Blooming in October 7

There haven’t been any really good horror movies lately so I think this year I’ll just put up my links to the Universal Classic Monster Movies.

https://orionscoldfire.com/index.php/2018/10/12/universal-classic-monster-movies-an-ocf-classic-movie-review-part-1/

https://orionscoldfire.com/index.php/2018/10/12/universal-classic-monster-movies-an-ocf-classic-movie-review-part-2-dracula/

https://orionscoldfire.com/index.php/2018/10/14/universal-classic-monster-movies-an-ocf-classic-movie-review-part-3-frankenstein/

https://orionscoldfire.com/index.php/2018/10/17/universal-classic-monster-movies-an-ocf-classic-movie-review-part-4-wolfman/

https://orionscoldfire.com/index.php/2018/10/19/universal-classic-monster-movies-an-ocf-classic-movie-review-part-5-the-mummy/

https://orionscoldfire.com/index.php/2018/10/21/universal-classic-monster-movies-an-ocf-classic-movie-review-part-6-the-invisible-man/

https://orionscoldfire.com/index.php/2018/10/23/universal-classic-monster-movies-an-ocf-classic-movie-review-part-7-the-lesser-works-and-a-final-verdict/

https://orionscoldfire.com/index.php/2018/02/22/dr-jekyll-and-mr-hyde-1931-version-a-classic-monster-movie-review/

https://orionscoldfire.com/index.php/2018/10/28/psycho-an-ocf-classic-movie-review/

 

Happy Halloween.

 

Universal Classic Monster Movies – An OCF Classic Movie Review – Part 7 – The Lesser Works and A Final Verdict

Re-posted from October 2017

The follow-on episodes to each of the primary monster movies vary in quality but the one given is that anything with a title that begins with “Abbott and Costello Meet …” isn’t going to be scary.  It could be funny, but definitely not scary.

Sort of in a class by itself is the first sequel to Frankenstein, “The Bride of Frankenstein.”  This movie has a lot of interesting things going on.  The actors who portrayed Dr. Frankenstein and the Monster in the first film reprise their roles here (Colin Clive and Boris Karloff).  The script is leavened with a little humor.  Some scenes add some human interest to the Monster’s otherwise predictable behavior of grabbing people and things and tossing them about.  One of the best known of these is the Blind Man Scene.  The Monster escapes from his enemies.  He’s been shot and is on the run.  He wanders into the cottage of a blind man who welcomes him and treats him with kindness.  The Monster is sheltered and his wounds treated.  The blind man teaches him to speak and introduces him to bread and wine and even the pleasure of a good cigar.  And he learns what music is and he calls the Blind Man friend.  Of course, inevitably, reality strikes back and a couple of hunters show up at the Blind Man’s cottage and tell the blind man he’s living with a monster.  And somehow, they manage to burn down the cottage before fleeing from the Monster.

Standouts performances in the movie are Dr. Praetorius and Minnie, Elizabeth Frankenstein’s Housekeeper.  Dr. Praetorius is a competing mad scientist who has also dabbled in the creation of human life and wants to convince Dr. Frankenstein to create a woman.  Minnie is an almost Shakespearean character who combines the qualities of busybody and wise fool with the ability shriek like an air raid siren.

 

The Monster meets Dr. Praetorius while he is selecting body parts for the Monster’s bride in the catacombs beneath the graveyard.  The Dr. offers him wine and a cigar and they become quite chummy.  So much so that the Monster becomes Praetorius’ henchman in a plan to kidnap Elizabeth to force Dr. Frankenstein to complete the Bride project.

 

Appended to the story is a foreword that portrays Lord Byron, Percy Shelley and the Frankenstein authoress (his wife Mary) discussing the story on a stormy night and segueing to the creation of a mate for the Monster.  Interestingly, they cast the same actress, Elsa Lanchester, to play both Mary and the Monster’s mate.

 

The final scene where we see the meeting between the Monster and his prospective bride the atmosphere is bizarre and overwrought to say the least.  Suffice it to say that Monster love does not conquer all.  The spurned monster decides to blow up the laboratory taking himself, Dr. Praetorius and the Bride “to kingdom come.”  But interestingly, he decides to spare Dr. and Mrs Frankenstein.  So, once again, the producers decided that a non-literary happy ending was the way to go.  Assuming that they realized they would need descendants of Dr. Frankenstein to allow for further sequels I guess you could say this decision was at least monetarily warranted.  Artistically, maybe not.  It is pretty much acknowledged that the quality of the Frankenstein sequels after the “The Bride” falls off almost asymptotically.  The next installment “The Son of Frankenstein” has a few good moments that mostly don’t involve the Monster but otherwise is mediocre.  After that the rest of the series is almost unwatchable.

 

And unwatchable is how I would describe the rest of the sequels and reboots that fill out the Universal Classic Monster movies.  The later installments of the Dracula, Frankenstein, Wolfman and Mummy series are very poor indeed.  The Mummy series was not continued after the original film but instead rebooted with the new Mummy character identified as Kharis played by our old friend the Wolfman, Lon Chaney Jr.  In these later movies, the Mummy is never given any personality but mutely wanders through each of the movies of this series wrapped in his bandages and chasing ponderously after the protagonists who are murdered one by one for possessing the Scroll of Thoth (or whatever they called it in the later series).  I think in the last of the series I remember he is somehow or other running around the bayous of Louisiana hunting the scroll and its owners.  In the last scene, he is seen plodding into the swamp until he is lost to sight under the muddy water, apparently ending his undead life far from the deserts of Egypt as a soggy meal for alligators and crawfish.  A fitting end.

 

So, what’s the verdict?  Is the Universal Classic Monster series a worthwhile cinematic collection or an embalmed thing that is only noteworthy as a museum piece to be fussed over by academics and fanatics?  I vote worthwhile.  Granted the movies are antique and the audience surely won’t be scared in the same way your great grandparents were.  But the movies still provide the fantasy experience that they originally were designed for.  In the same way, a nursery rhyme can still charm children who have never seen lambs and cows and ducks except on a screen so these movies give an archetypal experience of the dark fantasy world they are meant to represent.  Dracula is the evil seducer of young innocents.  Frankenstein’s Monster is the raging step-child of God.  The Mummy is a Promethean character punished forever for attempting to preempt the prerogatives of the gods.  Each of these movies is an outdated but enjoyable attempt to entertain an audience with a passion play of what happens when humans are juxtaposed with the darker side of the fantastic.  And because of the gap in time since they were made I think that the best audience for enjoying these films are kids.  I’d say 9 to 11 is about the optimal age group for maximum effect.  That age is old enough not to be scared by the images but not old enough to be jaded by modern movie magic.  And come to think of it, I think that’s how old I was when I thought these movies were great fun.