Film Review: The Mad Monster (1942)

Release Date: May 8th, 1942 (premiere)
Directed by: Sam Newfield
Written by: Fred Myton
Music by: David Chudnow
Cast: Johnny Downs, George Zucco, Anne Nagel, Reginald Barlow

Producers Releasing Corporation, 77 Minutes

Review:

“Gentlemen, I wish you were here to see the proof of my claim that the transfusion of blood between different species is possible. Perhaps you will change your mind one day soon when Petro tears at your throat.” – Dr. Lorenzo Cameron

More often than not a studio from Poverty Row would remind the world why they were a studio on Poverty Row. It’s not to say that they were incapable of quality, they made some good stuff now and again, but when you don’t have the finances or the nice studio to compete with the big dogs in the old Hollywood era, every project was an attempt to make chicken salad with chicken shit.

The Mad Monster looks and feels like a Poverty Row film. It’s poorly filmed with bad sound, bad camera work, bad acting and a script that didn’t need refinement, it just needed to be thrown out.

I’d imagine that this gem of awfulness would have been completely forgotten by this point, had it not been featured in the first nationally televised season of Mystery Science Theater 3000. Because of that, it found new life and will always exist, as that show’s die hard fans won’t let anything die.

It should go without saying that the effects are terrible, the acting is dog shit and the monster is cheesier than a Philly steak sandwich buried under Velveeta nachos. But there is an endearing quality to it because of those things.

Sadly, the film is pretty damn boring for the most part and relies on the same small swamp set over and over. The film feels confined, cheap and barely has any redeeming qualities other than the fact that a monster was created by a transfusion of a dog’s blood into a man’s body.

So as is customary with movies like this, I have to run it through the Cinespiria Shitometer. The results read, “Type 3 Stool: Like a sausage but with cracks on its surface.”

Rating: 2.25/10
Pairs well with: The Monster MakerThe Corpse Vanishes and The Vampire Bat

Film Review: Cat People (1942)

Release Date: December 6th, 1942
Directed by: Jacques Tourneur
Written by: DeWitt Bodeen
Music by: Roy Webb
Cast: Simone Simon, Kent Smith, Tom Conway, Jane Randolph

RKO Radio Pictures, 73 Minutes

Review:

“I like the dark. It’s friendly.” – Irena Dubrovna

Cat People was the first picture produced by Val Lewton for RKO. It was also his first collaboration with director Jacques Tourneur. And like their other collaborations, it is very much horror but sort of has a film-noir flair to it in a visual sense.

The story takes the typical werewolf tale and gives it a few new twists. Firstly, the were-monster is a woman, as opposed to it being a man, as seen in 1935’s Werewolf of London or 1941’s The Wolf Man. Secondly, the creature is a cat, as opposed to a canine. RKO was trying to compete with Universal’s horror franchises, so taking a familiar formula and breathing new life into it made this picture unique and stand out from the pack, pun intended.

The main character is Irena, a Serbian fashion designer. She marries an American man but she is afraid of intimacy because of a curse she believes she has. She assumes that if she is sexually turned on or becomes angry, that she will transform into a killer cat. Her husband thinks it is old country nonsense and that her fears are just Serbian superstition. He ends up confiding in a pretty co-worker, which angers Irena and sets the really dark part of the story in motion.

Due to budgetary constraints, Cat People is a film that utilizes the less is more approach. The film completely hides its monster and the horror mostly happens out of frame. It forces you to have to use your imagination but the direction by Tourneur, enhanced by the enchanting cinematography of Nicholas Musuraca, pulls you in and doesn’t let go. The part where the character of Alice is being stalked through the night is an amazing sequence that really is one of the best horror moments of the 1940s.

This definitely seems to be the most popular of the Lewton and Tourneur collaborations. I like I Walked With A Zombie just a bit more but this is an incredibly well produced and directed film. It was also the start of a good string of work from both men. Plus, Cat People builds suspense and a feeling of real dread in a way that Universal’s were-creature movies did not.

Film Review: The Corpse Vanishes (1942)

Release Date: May 8th, 1942
Directed by: Wallace Fox
Written by: Harvey Gates, Sam Robins, Gerald Schnitzer
Cast: Bela Lugosi, Luana Walters, Tristram Coffin, Minerva Urecal, Elizabeth Russell

Banner Productions, Monogram Pictures, 64 Minutes

Review:

“You should forget all that silly nonsense about those brides dropping dead.” – Alice Wentworth

Bela Lugosi fell on troubled times as he got out of the 1930s, which was the height of his career following 1931’s Dracula. By 1942, he was mostly relegated to making schlock. He tried to work as much as possible but even just a decade later, his Dracula had become sort of a caricature.

The Corpse Vanishes is one of his better known B-movies but that doesn’t mean it’s good. It is a film that would go on to be lampooned in the first season of Mystery Science Theater 3000 and for several very good reasons.

The plot is awful, the script is worse and the acting is pretty horrendous. Even Lugosi couldn’t carry this picture and by this point, Lugosi always played Lugosi and was pretty one-dimensional. He was simply dialing it in, as were the crew and the other actors.

Lugosi plays the evil Dr. Lorenz, a mad scientist that sends a peculiar orchid to young women on their wedding day. The orchid has an effect that causes these women to drop dead at the altar. In reality, he is putting them into a form of suspended animation. He goes on to rob the “corpses” of the brides before burial and takes them to his evil lab.

While not too far outside of the box of what were normal plots for these sort of films, the premise is still pretty ridiculous.

The Corpse Vanishes is a disaster and it is sad to see how far Lugosi has fallen in a decade. Where Boris Karloff seemed to continue to get quality roles all the way up until his death in the 1960s, Lugosi wasn’t so lucky. But at the same time, Karloff was just a lot more versatile as an actor.

Out of respect for Lugosi, I’ll refrain from running this through the Cinespiria Shitometer.

Film Serial Review: Spy Smasher (1942)

Release Date: April 4th, 1942 (first chapter)
Directed by: William Witney
Written by: Ronald Davidson, Norman S. Hall, William Lively, Joseph O’Donnell, Joseph F. Poland
Based on: character by C.C. Beck, Bill Parker
Music by: Mort Glickman
Cast: Kane Richmond, Marguerite Chapman, Sam Flint, Hans Schumm, Tris Coffin

Republic Pictures, 214 Minutes total (12 episodes), 100 Minutes (film)

Review:

Spy Smasher might not be a well-known and beloved character in modern times, but he was the focal point of what is considered by many to be the greatest serial of all-time.

The character of Spy Smasher was a comic book hero published by Fawcett Comics, similar to their other hero Captain Marvel. And also like Captain Marvel, he is now owned by DC Comics and appears in their titles now and again.

What makes his serial Spy Smasher so well regarded is the fact that it had superb writing for its genre. Also, it had some unique cliffhangers. It also bucked trends when one of the cliffhangers saw a character die. The serial formula, at the time, always showed the person escape danger in some miraculous way.

Spy Smasher also has some of the best cinematography and writing a serial has ever had. The bulk of the acting duties were on the shoulders of Kane Richmond and his leading lady Marguerite Chapman.

The serial is twelve chapters but each one is well paced and executed. It also resonated well with audiences as our hero was pitted against Nazis during the World War II era.

As far as serials go, Spy Smasher was damn good and one of the most historically significant to come out.

Film Review: Universal Monsters, Part IV – The Invisible Man Series (1933-1944)

The next branch of the Universal Monsters tree that I have rewatched is the Invisible Man series of films.

This character and the other invisible characters in this series, were like the Mummy in that they never really got to crossover with the other monsters of their era. I would’ve loved to have seen how Claude Rains’ Dr. Jack Griffin a.k.a. the original Invisible Man would have fared against Dracula, Frankenstein’s monster and the Wolf Man.

Like other characters in the Universal Monsters mythos, this one was milked to death. It also spawned a total of five films.

The Invisible Man (1933):

Release Date: November 13th, 1933
Directed by: James Whale
Written by: R.C. Sherriff
Based on: The Invisible Man by H.G. Wells
Music by: Heinz Roemheld
Cast: Claude Rains, Gloria Stuart

Universal Pictures, 71 Minutes 

the-invisible-manReview:

Directed by James Whale, who gave us Frankenstein and Bride of Frankenstein, this film is another classic gem in the catalog of his stellar work. Whale, once again, gave us some amazing cinematography even though this was an insanely difficult film to shoot for its time. The tone, the humor, the dread, all of it worked to a tee and came together like a perfectly woven tapestry.

Claude Rains is one of those actors that I cannot praise enough. He was a genius and between this film and his Phantom of the Opera adaptation, he proved that he was not just a master of horror but a master thespian able to perform at a level far exceeding many of the well-known dramatic actors of his era. There are few things in life that I prefer watching to Rains playing Dr. Jack Griffin in this film. His voice work, his body work, all of it was perfection.

This is the best film in the series and a solid, if not still the best, interpretation of H.G. Wells’ classic novel, The Invisible Man. This is a great example of James Whale’s supremacy as a director, especially in the horror genre, as well as one of the very best films put out by Universal – not just in their classic monster series and not just in that time period but of all-time.

The Invisible Man Returns (1940):

Release Date: January 12th, 1940
Directed by: Joe May
Written by: Joe May, Kurt Siodmak, Lester Cole
Based on: The Invisible Man by H.G. Wells
Music by: Hans J. Salter, Frank Skinner
Cast: Sir Cedric Hardwicke, Vincent Price, Nan Grey, Alan Napier

Universal Pictures, 81 Minutes 

the_invisible_man_returnsReview:

The title is somewhat misleading, as this is a different character entirely. Although Dr. Jack Griffin’s brother Frank is a new character in this film and weirdly, Jack is referred to as “John” in this movie.

The film stars Vincent Price, a legendary horror icon in his first ever horror role. Price would gain more fame and legendary status several years later after starring in House of Wax. Regardless of that, Price played a likable and not so horrific character as this film’s incarnation of the Invisible Man. His character, Sir Geoffrey Radcliffe is sentenced to death for a murder he didn’t commit. Knowing that he is innocent, the brother of the original Invisible Man injects himself with the invisible serum so that he can escape and clear his name.

One thing leads to another and we get the happy ending.

Alan Napier who played Alfred in the 1960s Batman TV series has a big role in this film. Vincent Price would later go on to star as the villain Egghead in that same series.

This was a solid sequel and I really enjoyed it. It wasn’t a rehash of the original film, it was a pretty original idea and it was executed greatly.

The Invisible Woman (1940):

Release Date: December 27th, 1940
Directed by: A. Edward Sutherland
Written by: Kurt Siodmak, Joe May
Based on: The Invisible Man by H.G. Wells
Music by: Frank Skinner
Cast: Virginia Bruce, John Barrymore, John Howard, Charlie Ruggles, Oscar Homolka

Universal Pictures, 72 Minutes 

inviswomanReview:

With Universal pumping out an insane amount of sequels to their horror franchises, they wasted no time in releasing The Invisible Woman the same year they released The Invisible Man Returns. Sequel-mania was running rampant at Universal!

This was the first film in the series to really take a plunge. There was nothing really “horror” about it and in fact, it was a comedy.

The plot sees a recently fired department store model get revenge on her boss after she is made invisible by a loony scientist. It was basically like the plot from 9-to-5 starring Jane Fonda, Lily Tomlin and Dolly Parton. Except it was about one woman and she was invisible.

This is a pretty forgettable film and had it not been wedged into this series – ending up in box sets like the one I own, it would’ve been lost in the sands of time.

The Invisible Agent(1942):

Release Date: July 31st, 1942
Directed by: Edwin L. Marin
Written by: Curtis Siodmak
Based on: The Invisible Man by H.G. Wells
Music by: Hans J. Salter
Cast: Ilona Massey, Jon Hall, Peter Lorre

Universal Pictures, 81 Minutes 

invisibleagentReview:

This film takes The Invisible Man formula and gives us something pretty awesome: an invisible agent fighting the Nazis and a Japanese associate during World War II. Additionally, Peter Lorre is in this as the Japanese villain, which is intriguing, bizarre and just totally awesome! Sir Cedric Hardwicke plays the villainous Nazi, making his second appearance in this series, as he also played the villain in The Invisible Man Returns.

This is my favorite sequel in the series, as the plot is awesome and it was well-executed.

Coming out at the height of World War II, this must have been an exciting film to watch. The special effects are once again top notch and the acting was good from all parties involved.

The Invisible Man’s Revenge (1944):

Release Date: June 9th, 1944
Directed by: Ford Beebe
Written by: Bertram Millhauser
Based on: The Invisible Man by H.G. Wells
Music by: Hans J. Salter
Cast: Jon Hall, John Carradine, Evelyn Ankers

Universal Pictures, 78 Minutes 

invisiblemansrevengeReview:

The final film in the series gives us John Carradine as a scientist who is another new character with the power of invisibility.

New character wants to harness the power, new character gets the power, new character seeks revenge against those who wronged him. Sound familiar?

Well, at this point the traditional formula of this series has run its course and unfortunately, we didn’t get something as original and new as the previous film in the series.

This film isn’t a complete waste and it is okay but you’ll watch it swearing that you’ve seen it already. Plus, I really love John Carradine.

More Universal Monsters reviews are coming as soon as I rewatch them. Next up will be the Wolf Man series.

Film Review: Universal Monsters, Part III – The Mummy Series (1932-1944)

Continuing on with my quest to rewatch and review all the classic Universal Monsters franchises, I have now gotten to the Mummy series.

The Mummy (1932):

Release Date: December 22nd, 1932
Directed by: Karl Freund
Written by: John L. Balderston, Nina Wilcox Putnam, Richard Schayer
Music by: James Dietrich
Cast: Boris Karloff, Zita Johann, David Manners, Edward van Sloan, Arthur Byron

Universal Pictures, 73 Minutes 

the_mummy_1932Review:

Immediately following the success of 1931’s Dracula and Frankenstein films, Universal went with the next monster needing to scare the crap out of theatergoers: the Mummy. And who did they get to portray the now iconic character of Imhotep a.k.a the Mummy? Well, they went to Frankenstein’s monster himself, Boris Karloff.

This film was directed by Karl Freund and it was his official directorial debut. For a rookie director behind the camera, Freund had a great eye for capturing intense dread and a very visual gothic style of storytelling. The film was consistent with the vibe of Universal’s other early monster films. While not exactly on the level of what James Whale created in the first two Frankenstein films, this movie does deserve to be applauded as a feat of cinematography and lighting.

Karloff was as amazing as he always is and that should be no surprise. He gave us a much more organic Imhotep than what was given to audiences in the bad 1999 remake of this film. Karloff’s face, especially his eyes, during the waking of Imhotep from his 2,000 year slumber was pretty enchanting and frightening.

I think that this film is overlooked in comparison to the other franchises under the Universal Monsters banner and looking back at it now, I am not sure as to why. It is just as chilling and just as effective as their other early films.

The Mummy’s Hand (1940):

Release Date: September 20th, 1940
Directed by: Christy Cabanne
Written by: Griffin Jay, Maxwell Shane
Cast: Dick Foran, Peggy Moran, Wallace Ford, Cecil Kellaway, Eduardo Ciannelli, George Zucco, Tom Tyler

Universal Pictures, 67 Minutes 

the_mummys_handReview:

After an eight year hiatus, the Mummy returned! Except this mummy was a new character.

The mummy in this film is named Kharis and although his origin story is very similar to Imhotep in the first film, there are some differences. Additionally, this is almost the start of a new series itself, as Kharis continues on as the series antagonist leaving Imhotep behind. In this film, Kharis is played by Tom Tyler, who was best known for starring in low-budget westerns and as Captain Marvel in the serial Adventures of Captain Marvel.

This film uses some pretty awesome sets and that was the biggest takeaway for me in the realm of design and art direction.

This film also introduces the concept of the mummy needing tanna leaves to survive and to be controlled. It is a fictitious plant, so there is no need to worry about people actually using tanna leaves to animate mummified corpses.

This film is generally forgettable and the weakest in the series other than its set design.

The Mummy’s Tomb (1942):

Release Date: October 23rd, 1942
Directed by: Harold Young
Written by: Neil P. Varnick
Cast: Lon Chaney Jr., Dick Foran, John Hubbard

Universal Pictures, 61 Minutes 

the_mummys_tombReview:

In this film, we get Lon Chaney Jr. playing Kharis the mummy. This is actually the first of three films where Chaney takes over as the undead monster. So Chaney has played the Mummy, Dracula, the Wolf Man and Frankenstein’s monster. He’s been four out of the six monsters from the Universal Monsters franchises. If only he were the Gillman and the Invisible Man and he would’ve done a clean sweep.

I liked this film better than the previous one. Chaney brought a level of credibility and emotion to Kharis and he made him more relatable.

The problem with this and this branch of the Universal Monsters’ tree is that these films almost blend together too much. There isn’t a lot that sets each one apart and they feel like a retelling over and over again. It is hard to make the Mummy character as compelling as the other Monsters as it is really just a slow moving guy in bandages that wobbles around and moans. Yes, it is a scary concept, especially at the time it came out but it is the most one-dimensional of the Universal Monsters.

Lon Chaney Jr. did a good job and he owned the role probably more so than Boris Karloff did. Besides, Karloff was barely in bandages and spent most of his film playing an Egyptian dude in disguise.

The Mummy’s Ghost (1944):

Release Date: July 7th, 1944
Directed by: Reginald Le Borg
Written by: Griffin Jay, Henry Sucher
Music by: Frank Skinner
Cast: Lon Chaney Jr., John Carradine, Robert Lowery, Ramsay Ames

Universal Pictures, 61 Minutes 

mummysghostReview:

Here we go again, another Mummy film.

At this point, I am growing tired of the formula and I am a pretty big old school horror aficionado. This is where I realized, that this is probably the weakest of the Universal Monsters sub-franchises.

Lon Chaney Jr. returns but even he can’t make this as interesting as I hoped it would be. I also don’t understand why Universal made the poor mummy walk up and down a steep sloped roller coaster track that led to his hideout. Why wouldn’t the evil jerk who is controlling the mummy pick easier terrain for his tortoise-like assassin?

But at least when it comes to style and cinematography, it is consistent.

The Mummy’s Curse (1944):

Release Date: December 22nd, 1944
Directed by: Leslie Goodwins
Written by: Leon Abrams, Dwight V. Babcock
Music by: William Lava, Paul Sawtell
Cast: Lon Chaney Jr., Peter Coe, Virginia Christine

Universal Pictures, 62 Minutes 

themummyscurseReview:

Two Mummy films in the same year? Man, wasn’t Universal getting burnt out on the most mediocre of their Monsters series? And wasn’t Lon Chaney Jr. in desperate need of a break between these movies and all the others he was pumping out?

The mummy wants his bride and that is the plot of this one. Well, that and the fact that some bad guy has nine tanna leaves once again and can therefore control Kharis to do his evil bidding.

At five deep, these films just keep blending together more and more. There is nothing to really set this film apart. Plus, these movies are so short, that it was like watching five different pilots for the same show.

But, the series is over.

More Universal Monsters reviews are coming as soon as I rewatch them. Next up will be the Invisible Man series.

Film Review: Universal Monsters, Part I – The Frankenstein Series (1931-1944)

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.

Frankenstein (1931):

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-1931Review:

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 

bride_of_frankensteinReview:

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 

son_of_frankensteinReview:

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 

ghost_of_frankensteinReview:

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

Universal Pictures, 71 Minutes 

house_of_frankensteinReview:

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.