Halloween just wouldn’t be Halloween without listening to “The Monster Mash”! Bobby ‘Boris’ Pickett hit the charts multiple times with his novelty song tribute to Frankenstein, Dracula, and all things monster! From 1964, here’s Bobby (and AB host Dick Clark) with THE MONSTER MASH:
Another rarity from the dark vault of live TV horror! This time it’s Boris Karloff starring in a spooky tale called “A Night at an Inn”! Brought to you by Auto-Lite spark plugs (“From bumper to headlight, you’re always right with Auto-Lite”), here’s King Karloff in a 1949 thriller from SUSPENSE:
HALLOWEEN Meet and Greet!
Is Friday tomorrow here in US is HALLOWEEN let’s Celebrate with our weekly event!
Meet and Greet and discover new Bloggers!
Please everyone leave your links into the comments…
and if you really want to help this event to be successfully great a reblog would be awesome!!!
Tomorrow a new “Featured of the Week”! Who would be???
I love how great is to be able to support other artists and creators that are walking steps into this amazing world of beautiful creativity, being able to be unified trough the universal love and light surrounding this cosmos.
Being here Blogging our souls out is like there is not distances or barriers between all of us.
Stay connected and leave your link see you tomorrow with a New Feature Blog!
DRACULA is the film that ushered in The Golden Age of Horror. Sure, there were silent films with elements of the macabre, especially those starring Lon Chaney Sr, and the German expressionist films of Ufa Studios. But this tale of a bloodthirsty vampire on the loose in London struck a collective nerve among filmgoers for two reasons. First was it talked…sound films were barely out of their diapers, and the chilling voice of star Bela Lugosi mesmerized the masses. Second, the country was in the midst of The Great Depression, and audiences were hungry for escapist fare to take their minds off their troubles. DRACULA took them to another world, a world populated by undead creatures of the night, fiends who were ultimately stopped by the forces of good.
No need to rehash the plot of DRACULA…if you don’t know the story by now, you’re reading the wrong blog! Instead, I’ll take a look at what works in the film and what doesn’t. Though the movie has lost much of its power in the 84 years since its release, the performance of Bela Lugosi certainly hasn’t. The Hungarian actor originated the role on Broadway, and perfected it to the point where he’s still imitated today. While not as ferocious as Christopher Lee’s interpretation of the Vampire King, Lugosi is in full command here. His slow manner of speaking and impeccable wardrobe make Bela the suavest of ghouls, while those burning eyes let the audience know this isn’t someone to mess with. And those long, splayed fingers reaching to clutch his victim’s throats became a Lugosi trademark, often imitated but never duplicated.
Tod Browning’s direction is somewhat static, saved by the marvelous camerawork of the great Karl Freund. The eerie sets of Castle Dracula and Carfax Abbey are filled with shadows, cobwebs in every corner, and a variety of vermin. Dwight Frye adds to the atmosphere as Renfield, driven to madness by the Count’s power. Edward Van Sloan as Van Helsing isn’t as athletic as Peter Cushing, but is convicing as the occult expert (as he was in The Mummy). But David Manners and Helen Chandler as the young lovers just don’t cut it for me. Their blandness drags the scenes they’re in down, their acting stiff and wooden. The film is slow paced as it is, and the pair doesn’t help matters. Manners, in his jodhpurs, is particularly annoying, while Chandler just isn’t appealing. Sorry, but I’d rather have Frances Dade (who plays Lucy, one of Drac’s victims).
Historically important, DRACULA today pales compared to other horror pics of the era. But it was the first, and without it we wouldn’t have those other movies to savor. I usually watch DRACULA every year around Halloween, just to see Bela Lugosi in his most famous (and arguably greatest) role. And despite some of its faults, you should, too. DRACULA has been remade and reworked hundreds of times, but let’s be honest…nobody plays the Count better than Bela. Nobody.
Here’s a real rarity…the world’s first horror film, courtesy of Lisa Marie Bowman on THROUGH THE SHATTERED LENS!!
Oh my God, y’all — are you ready to see the very first horror movie ever made!?
Okay, so I guess I should be honest and admit that this is more of a comedy than a horror film. But it was reportedly the first film ever made to contain horror elements. (In this case, the film takes place in a haunted castle and features ghosts.) The Haunted Castle is only 3 minutes long and it’s definitely a bit primitive but that’s understandable when you consider that The Haunted Castle was made in 1896!
The Haunted Castle was a French film and it was directed by George Melies. Yes, the same George Melies who was played by Ben Kingsley in Hugo.
Watch it below!
Good morning! Out of the musty, cobwebbed vault of TV horror comes Bela Lugosi in a rare television appearance on 1949’s SUSPENSE. Complete with commercials for sponsor AutoLite spark plugs, here’s Bela in Edgar Allen Poe’s THE CASK OF AMONTILLADO:
Horror movies vanished from the screen in 1936 due to two factors. One was the ban on horror by British censors, closing a major market for the films. The other, a regime change at Universal, in which the Laemmle family sold the studio. The new owners attempted to reinvent the company’s image, but instead almost ran it into the ground. It wasn’t until 1939, when an enterprising theater owner exhibited a revival of the classics FRANKENSTEIN, DRACULA, and KING KONG, that Universal decided to plunge forth with SON OF FRANKENSTEIN. The third sequel was a success, and the floodgates opened for the second horror cycle. Universal brought their monsters back from the dead, and cast a young contract player named Vincent Price in THE INVISIBLE MAN RETURNS, putting Price on a career arc that would build to a long career as a horror star.
Geoffrey Radcliffe is scheduled to hang for the murder of his brother. Family friend Dr. Griffin is allowed to visit Geoffrey in his cell at Langley Prison, while the condemned man’s fiancé Helen and his cousin Richard wait at home for a reprieve. Griffin leaves the cell, but when the guards go to check on Geoffrey, nothing remains of him but a pile of clothes! Inspector Samson is called in to investigate, and he recalls hearing the name Griffin somewhere before….
Samson goes to Griffin’s lab and tells the doctor he knows his brother was Jack Griffin (pulling out a file with a picture of original INVISIBLE MAN Claude RAains). Geoffrey was given an injection of duocane, the late Jack’s invisbility formula, and is now free to search for the real killer. But the drug has a dire side-effect: it slowly drives the user insane. Can Geoffrey, aided by Helen, find the culprit before he loses his grip on his sanity?
Joe May was a pioneer German producer/director who, like many of his countrymen, fled Europe during the Nazi regime. His career in America wasn’t long or particularly successful, and he became a Hollywood restauranteur. Screenwriter and fellow ex-pat Curt Siodmak did much better in Tinseltown (see my post on THE WOLF MAN for more on him). The cast was stuffed with fine character actors, including Sir Cedric Hardwicke as cousin Richard (and with Hardwicke in the role, any doubt on who the real murderer was??). Nan Grey (Helen) earned her horror wings in 1936’s DRACULA’S DAUGHTER. Cecil Kellaway (Inspector Samson) was the charming Irishman with the twinkle in his eye in far too many films to mention here. John Sutton (Griffin) played in fright films RETURN OF THE FLY and THE BAT with Price later in his career. And Alan Napier’s (drunken foreman Willie Spears in this) credits stretch from CAT PEOPLE and ISLE OF THE DEAD, to THE MOLE PEOLE and JOURNEY TO THE CENTER OF THE EARTH, but will forever be remembered as Alfred the butler on TV’s 60s smash BATMAN.
THE INVISIBLE MAN RETURNS is a welcome return to the H.G.Wells-inspired theme. The movies don’t have a recurring character, it’s a different Griffin in every entry, which is probably why they weren’t as popular as Universal’s other monster series. It’s not particularly scary but enjoyable, and a chance to see Vincent Price in his first starring horror role. Errr… well, we don’t actually SEE him til the end of the flick. So it’s a chance to HEAR Vincent anyway. Uhhh, you know what I mean!
I’m pressed for time, so no 1000 word essay tonight. Instead, let’s look at one of Universal’s lesser horror films, THE MAD GHOUL. The movie’s a “stand alone”, not connected to any of the studio’s monster series (Frankenstein, etc). I chose it because it stars one of horror’s unsung stars, George Zucco. The bug-eyed British character actor with the smooth delivery plied his trade in A list films (THE HUNCHBACK OF NOTRE DAME) and Grade-Z clunkers (SCARED TO DEATH). He was the evil high priest Andoheb in three of Universal’s Mummy movies, Professor Moriarty in THE ADVENTURES OF SHERLOCK HOLMES, and played a pivotal role in the monster fest HOUSE OF FRANKENSTEIN. Like his contemporary (and frequent costar) Bela Lugosi, Zucco wasn’t picky about where he worked, getting top billing in a string of PRC chillers. In THE MAD GHOUL, Zucco gives his best performance in a gruesome little tale about bringing “death to life”, graverobbery, and murder.
The plot concerns college instructor Dr. Morris (Zucco) recreating a “poison gas” used by the Mayans to put people in a zombie-like state. The only way to revive them however, is by combining certain herbs with fluids from a fresh heart. His assistant Ted (David Bruce) is exposed to the gas and becomes a fiend. Ted has a girlfriend Isabelle (Evelyn Ankers of course), a singer also loved by Morris. When she confides to Morris she doesn’t love Ted anymore, the doctor thinks she wants him and exposes Ted to the zombie gas to get him out of the way. But it’s not the vain doctor she loves, it’s her pianist Eric (Turhan Bey). But Ted’s zombieism can’t be reversed without fresh hearts, so Morris and Ted go on a graverobbing and murder spree, as they follow Isabelle on her concert tour.
The cast also features King Kong’s Robert Armstrong as a hot-shot reporter, Milburn Stone of TV’s GUNSMOKE as a cop, and tough guy Charles McGraw as his partner. It’s Universal’s most out-there 40s films, with it’s ghastly subject matter well ahead of its time. The director is James Hogan, better known for his Bulldog Drummond and Ellery Queen mysteries. This was Hogan’s first foray into horror, and sadly his last; he died soon after making this one. THE MAD GHOUL doesn’t get much attention from classic horror fans, but it’s well worth seeking out for a creepy B shocker unlike anything else made in its era. So show some love to George Zucco and THE MAD GHOUL, won’t you? And stay away from the zombie gas!
Boris Karloff is as slow and still as death itself in THE MUMMY. His performance as Ardeth Bey/Imhoptep conveys the horror of a living dead man with the romance of a love across the ages. This Mummy isn’t just a shuffling instrument of some High Priest; Imhotep was a High Priest himself, brought back to half-life by foreign interlopers and now searching for the woman he lost 3700 years ago. Aided by two of Jack Pirerce’s fantastic make-up jobs, Karloff brought all his sinister power to the role and created yet another masterful characterization that still frightens audiences today.
A British Museum expedition in 1921 digs up the sarcophagus of Imhotep, high priest of Karnak who, according to the hieroglyphics, was buried alive for committing sacrilege. A smaller box comes with an ominous warning: “Death, eternal punishnet, for anyone who opens this casket…Amon-Ra”. While Sir Joseph Whemple and occult expert Dr. Muller discuss the ramifications of the find, impetuous young Ralph Norton opens the box and begins reading from the Scroll of Thoth. As he mouths the ancient incantation, the mummy of Imhotep slowly opens its eyes, its hands sliding down its dusty, gauze-wrapped body. Norton screams as Imhotep grabs a papyrus and slinks out of the tent. Whemple and Muller come running, only to find Norton laughing hysterically. “It decided to take a little walk”, Norton howls, driven mad by the ghastly sight he witnessed.
We only get a brief glimpse of Karloff as Imhotep in the first mummy make-up by Pierce. Universal reused it for its 40s Mummy series, with Tom Tyler as Kharis in THE MUMMY’S HAND, then Lon Chaney Jr. in three sequels. The rest of THE MUMMY has Karloff as Ardeth Bey dressed in fez and kaftan, coal black eyes shining from his wrinkled face, eyes that have stared into the face of death and know it’s terrible dark secrets.
Fade in to 1932 and another expedition, this one headed by Whemple’s son, Frank. This is where Ardeth Bey arrives on the scene, telling Frank and Prof. Pearson he knows where to find the tomb of Princess Ankh-es-en-amon. The workers find steps buried in the sands, and the discovery is made. The princess’s coffin and other artifacts go on display at the Cairo Museum, and Bey hides in the shadows afterhours, lighting incense and reading from that ancient papyrus. Across town, Helen Grosvenor, patient of Dr. Muller, is compelled by an unseen force to the museum, banging on the door until fainting.Frank and his father bring the girl to their hotel. Helen mutters a name familiar to the elder Whemple…Imhotep!
Frank is enamored of the enigmatic Helen, who has no recollection fo being at the museum. Bey arrives at the Whemples and Helen is immediately drawn to her (“Haven’t we met before, Miss Grosvenor?”). Bey has come for the Scroll of Thoth, and Muller and Whemple realize he’s Imhotep incarnate. “If I could get my hands on you”, says Muller, “I’d break your dried flesh to pieces”. But Bey’s willpower is too strong, and he leaves after telling Whemple to have his Nubian servant (now under Bey’s control) to bring him the scroll or suffer the consequences.
Muller urges Whemple to burn the scroll, but when he attempts it, Bey’s mystical powers cause him to have a heart attack. The Nubian retrieves the scroll and delivers it to Bey. Summoning Helen, Bey puts her in a trance and, in his pool, shows her “memories of love and crime and death”. The scene turns to ancient Egypt, where after the death and burial of Ankh-es-en-amon, Imhotep steals the Scroll of Thoth and goes to her forbidden tomb to revive her. Caught in the act, he’s wrapped completely in gauze (except his eyes) and buried alive, the slaves who buried him killed so no one will find his grave. Helen awakes, remembering nothing. Frank and Muller decide the only way to stop Bey is let Helen lead them to her. When next she’s summoned, Bey dresses her in the clothing of Ankh-es-en-amon. She’s now overtaken by the dead princess’s spirit, and Bey tells her she must be sacrificed in order to be resurrected as he was those centuries ago. Frank and Muller arrive but are powerless over Bey, but Helen, now truly Ankh-es-en-amon, prays to the statue of the god Isis for help. The statue’s arm lifts and destroys both Bey and the scroll, freeing Helen and letting the princess’s spirit have its final peace. Ardeth Bey/Imhotep’s flesh turns to dust, with nothing left of him save a skeleton and a pile of rotted rags.
Director Karl Freund’s career has been discussed this month in my look at MAD LOVE, so I’ll just say e does a tremendous job with the supernatural material. The set designs are superb, evoking ancient Egypt, and Pierce’s make-ups are always meticulous in their design. The cast features exotic-looking Zita Johann (Helen), whose screen career was short but was well known on the Broadway stage (and was once married to actor/producer John Houseman). Universal’s resident heartthrob David Manners (Frank) served the same function in horror classic DRACULA and THE BLACK CAT. Then there’s Edward Van Sloan (Muller), the Grand Old Man of Horror. The original Van Helsing to Lugosi’s DRACULA, Van Sloan contributed support to macabre movies like FRANKENSTEIN, DRACULA’S DAUGHTER, THE BLACK ROOM, the serial THE PHANTOM CREEPS, and dozens of other films in his distinguished career. Arthur Bryan, Bramwell Fletcher, Leonard Mudie, and Noble Johnson add strong support in their roles as well. Boris Karloff was a star for almost 40 years, acting right up until his death in 1969. His presence in THE MUMMY and other shockers helped give them the longevity they deserve. Horror movies wouldn’t exist without these early excursions into the fantastic, and I’m grateful to be able to revisit these classics and turn new generations on to Karloff, Lugosi, and all the other pioneers of dark cinema. .
Universal’s “Twin Titans of Terror” teamed up for the second time in THE RAVEN. Their 1934 pairing in THE BLACK CAT was the studio’s top grossing film that year, so it was only logical to reteam the two stars in another Poe based outing. But while in THE BLACK CAT they were evenly matched, here Boris plays second fiddle to Bela’s mad Dr Vollin. Lugosi takes center stage and creates one of his nastiest villains, a sociopath out to avenge his unrequited love.
Young Jean Thatcher loses control of her car and crashes off a cliff. The doctors, including her boyfriend Jerry Holden, agree only Dr. Richard Vollin can save her. Vollin refuses over the phone, stating he’s retired from practice, so Jean’s father, Judge Thatcher, travels to Vollin’s estate and, appealing to his vanity, convinces the doctor to do the surgery. He does so, and falls in love with his young patient in the process.
When we first meet Vollin, he’s in his study with a representative from the local museum, reciting Edgar Allan Poe’s “The Raven” (as only Bela can!), while a staute of the bird casts an ominous shadow on the wall behind him. “The raven is my talisman”, he says. “Death is my talisman”. Vollin isn’t interested in donating any of his large Poe memorabilia to the museum; in fact, he tells the gentleman he’s building the torture devices made famous in Poe’s tales. When told that’s an interesting hobby, Vollin replies (again as only Bela can), “It is mooore…than just a hobby”. The thin veneer of sanity is already beginning to give way to Vollin’s madness.
Jean has recuperated well enough to give a dance recital in Vollin’s honor. Her interpretive dance “The Spirit of Poe” is accompanied by an actor reciting the poem, music swirling while she performs her ‘danse macabre’ for the audience. Vollin is enraptured, but the Judge is worried about where this is all heading. Confronting Vollin at his home, he realizes the doctor is more than just infatuated. Warning him away from Jean adds fuel to the madness burning within Vollin. Fugitive criminal Edmund Bateman shows up unexpectedly at Vollin’s door. Bateman’s been told the doctor can “change my face” to avoid the police, but Vollin has other plans. He operates on the criminal’s “nerve ends” causing Bateman to become a grotesque looking monstrosity. When his face is revealed to him before a wall of mirror, Bateman angrily shoots them out (Welles’ inspiration for LADY FROM SHANGHAI, perhaps?) Vollin tells Bateman he’ll turn him back if Bateman’s willing to “torture and kill” for him. Reluctantly, Bateman agrees to assist in Vollin’s demented scheme.
Karloff’s Edmund Bateman, though a killer, is played for sympathy. Born with an ugly mug, Bateman felt driven to “do ugly things”. Like the Frankenstein Monster, Bateman’s been battered and beaten by a world he never made, lashing out at the injustice of his lot in life. Boris always gave his best characters a touch of humanity (the monster, Grey in THE BODY SNATCHERS, Elman in THE WALKING DEAD), and makes us feeling sorry for the brutish Bateman.
Vollin invites Jean, her father, Jerry, and two other couples to spend the weekend at his estate. A storm is brewing outside, but inside Vollin it’s already raging. Bateman abducts Thatcher and hauls him down to Vollin’s basement, where his torture devices are set up. Strapping Thatcher to a slab, Vollin gazes up at the blade hanging above the judge’s prone body. He flips a switch and, like in Poe’s “The Pit and The Pendulum”, the blade slowly descends, swinging to and fro aimed at Thatcher’s midsection. “Try to be sane, Vollin”, Thatcher pleads, but it’s far too late for that. Laughing manically (as only Bela can!), he replies with glee, “Death will be sweet, Judge Thatcher!”
Another switch is flipped, and Jean’s entire room drops to basement level. Jerry and one of the couples (the other is fast asleep) hear Jean’s screams and find a panel leading to the basement. Vollin orders Bateman to throw Jean and Jerry in a steel-walled room, and locking them in, the walls begin to close in on them. Now completely insane, Vollin rails the two “will never be separated, never!…What a torture! What a delicious torture!” Bateman, realizing Jean’s about to be crushed to death (she was kind to him earlier despite his hideous kisser), shuts the switch off, but not before Vollin gut-shoots him. Struggling to his feet, Bateman overpowers the doctor and, in a last heroic feat, drags him in the room and pulls the lever, causing Vollin to be crushed by his own devious torture chamber.
Lugosi’s descent into madness is one of the great accomplishments in horror. Building slowly, by the end he’s completely over-the-top deranged. I don’t think anyone could pull off the role of Richard Vollin the way Beal Lugosi does, and it’s one of his top acting jobs. Karloff gets the most out of his subservient role, and milks it for all the sympathy he can. Irene Ware (Jean) makes a fine damsel in distress (she worked with Bela before in CHANDU THE MAGICIAN), while stalwart Lester Matthews (Jerry) plays the romantic lead (Matthews also was in the bizarre Savage Intruder with Miriam Hopkins). Samuel S. Hinds (Judge Thatcher) is no stranger to horror movie buffs, appearing in MAN MADE MONSTER and SON OF DRACULA, while Ian Wolfe (Snuffy, one of the guests) made over 300 appearences in a career that stretched from 1934 to 1990.
Director Louis Friedlander moves the film briskly along from a top-notch script by David Boehm. Friedlander would change his name to Lew Landers, a workhorse of a director who did everything from Gene Autry Westerns to Boston Blackie mysteries. Landers worked again with Karloff on THE BOOGIE MAN WILL GET YOU (1942) and Lugosi on RETURN OF THE VAMPIRE (1943). Grinding em out quickly was Landers’ forte, and though he worked strictly in the B-realm, his films were generally well received. Television called in the 50s, and Landers made a home there, most notably on KIT CARSON, HIGHWAY PATROL, and RIN TIN TIN.
Karloff and Lugosi made eight films together (including their cameo in 1934’s GIFT OF GAB), and while most genre fans rate THE BLACK CAT as their best pairing, I’m kind of partial to THE RAVEN. Neither film is literally based on Poe (“suggested by” the title cards say), but this one is more close to the “Spirit of Poe”. It’s a showcase for the talents of Bela Lugosi at the peak of his acting powers, with Boris Karloff lending good solid support. If you can only see one Karloff/Lugosi team-up this Halloween, I highly recommend you make it THE RAVEN.