Welcome back to IN THE SHADOWS, that column where we look at character actors in the movies, especially horror movies.
Up today, it’s Ralph Bellamy, who during his long and prolific career often flirted with leading man roles but most of the time played supporting roles and developed into one of the most respected character actors of his time. Bellamy is known for so much more than his appearances in some horror movies, but for purposes of this column, we will focus on those horror movie roles, especially since one of those roles was a prominent one in one of the greatest horror movies of all time, Universal’s THE WOLF MAN (1941).
Bellamy was also known for his tireless advocacy for actors behind the scenes, as he helped create the Screen Actors Guild and served as President of Actors’ Equity from 1952-1964, leading the charge against McCarthyism and its baseless accusations against actors of the time.
Here now is a partial look at Bellamy’s career, in which he amassed 194 screen credits, with special emphasis on his horror movie roles:
THE SECRET 6 (1931) – Johnny Franks – Bellamy’s first screen credit, in a gangster movie which also featured Clark Gable in the cast.
THE AWFUL TRUTH (1937) – Daniel Leeson- comedy starring Cary Grant and Irene Dunn in which Bellamy eventually loses Dunn to Grant. Bellamy would become known for playing roles in which his character would not end up with the girl.
HIS GIRL FRIDAY (1940) – Bruce Baldwin – one of my favorite Ralph Bellamy roles as the honest but dull Bruce Baldwin who once again loses out to Cary Grant for the affections of the leading lady.
ELLERY QUEEN, MASTER DETECTIVE (1940) – Ellery Queen – first in a series of movies in which Bellamy played famed detective Ellery Queen.
THE WOLF MAN (1941) – Colonel Montford – if you’re a horror fan, this is where you know Ralph Bellamy from, and for me, this is my favorite Bellamy role. As the village law enforcement officer, it’s up to Montford to solve the mystery of just what or who is killing the villagers. Further complicating matters is he is good friends with Larry Talbot (Lon Chaney Jr.) who just happens to be the Wolf Man, the creature who is committing all the murders. And what makes THE WOLF MAN so great is this compelling storyline isn’t even the main one, but only one of the many compelling storylines in the film, which includes an amazing cast. In addition to Bellamy and Chaney, there’s Claude Rains, Bela Lugosi, Evelyn Ankers, Maria Ouspenskaya, and Patric Knowles.
THE GHOST OF FRANKENSTEIN (1942)- Erik Ernst- Bellamy teams once again with fellow WOLF MAN stars Evelyn Ankers, Bela Lugosi, and Lon Chaney Jr. in this fourth Universal FRANKENSTEIN movie, the first and only time Lon Chaney Jr. played the Monster. Bellamy again plays the town’s top law enforcement officer, this time involved with Dr. Frankenstein’s (Sir Cedricke Hardwicke) daughter Elsa (Evelyn Ankers). Lugosi of course plays one of his all-time best movie characters, Ygor, the second and last time he would play the character, having created the role in the previous Frankenstein movie, SON OF FRANKENSTEIN (1939). Bellamy gets to be the hero here as he leads the charge to rescue Elsa and destroy the Monster.
ROSEMARY’S BABY (1968) – Dr. Sapirstein- it took nearly 30 years for Bellamy to appear in another horror movie, but his turn here as the sinister Dr. Sapirstein in Roman Polanski’s classic thriller is one of his best and most frightening performances.
SOMETHING EVIL (1972) – Harry Lincoln- TV movie about a haunted house starring Sandy Dennis and Darren McGavin, directed by a young Steven Spielberg!
THE MISSILES OF OCTOBER (1974)- Adlai Stevenson- Bellamy won an Emmy for his portrayal of Adlai Stevenson in this TV movie about the Cuban Missile Crisis, starring William Devane as JFK and Martin Sheen as Robert Kennedy.
OH, GOD! (1977) – Sam Raven- supporting role in this very popular Carl Reiner comedy in its day starring George Burns as God who communicates to unsuspecting John Denver. Also features Teri Garr and Donald Pleasence in its cast.
THE WINDS OF WAR (1983) – Franklin Delano Roosevelt- won another Emmy for his portrayal of FDR in this TV miniseries, the second time he played Roosevelt in a movie, the first being in SUNRISE AT CAMPOBELLO (1960).
TRADING PLACES (1983) – Randolph Duke- memorable pairing with Don Ameche in this funny John Landis comedy starring Eddie Murphy, Dan Aykroyd, Jamie Lee Curtis, and Denholm Elliott.
WAR AND REMEMBRANCE (1988-1989)- Franklin Delano Roosevelt- plays Roosevelt once again in this TV miniseries sequel.
PRETTY WOMAN (1990)- James Morse- Bellamy’s final film role in this insanely popular romantic comedy starring Julia Roberts and Richard Gere.
Bellamy passed away on November 29, 1991 due to a lung ailment. He was 87.
I hope you enjoyed this edition of IN THE SHADOWS, where we looked at the career of Ralph Bellamy, known to horror fans for his work in THE WOLF MAN, THE GHOST OF FRANKENSTEIN, and years later, in ROSEMARY’S BABY.
I hope you will join me again next time when we look at the career of another memorable character actor in the movies.
Today’s PICTURE OF THE DAY comes from James Whale’s classic THE INVISIBLE MAN (1933), and it’s the initial appearance of the Invisible Man, which remains for my money, one of the best first entrance scenes of any of the classic Universal Monsters.
The locals are all huddled together at the neighborhood pub, drinking and having a grand old time while a snowstorm rages outside, when the door opens, letting in both the howling blizzard winds and a strange man wrapped in bandages. The atmosphere in this scene is off the charts creepy.
This entrance is up there with the first time we see the Monster (Boris Karloff) in FRANKENSTEIN (1931), also directed by James Whale, and when Dracula (Bela Lugosi) appears for the first time at the top of the castle stairs in Tod Browning’s DRACULA (1931).
Claude Rains is superb as the titular character, playing a menacing monster mostly by just using his voice, since the character is invisible! THE INVISIBLE MAN also features spectacular visual effects for its time.
I often consider THE INVISIBLE MAN to be Universal’s most overlooked classic, as you don’t usually hear it mentioned in the same conversation with DRACULA, FRANKENSTEIN, or THE WOLF MAN (1941), or even THE MUMMY (1932) for that matter. But it’s an exceptional film, filled with both humor and some truly frightening scenes. The murder of Dr. Kemp always gets me.
And the Invisible Man’s initial appearance, shown above, is one of classic horror cinema’s most effective and chilling scenes. Not bad for a sequence which occurs in the opening moments of the movie!
It’s always cozy to be indoors during a snowstorm, unless the door opens letting in first a chilling wind followed by a mysterious stranger wrapped in bandages!
But long before I called them horror movies, I referred to them as Monster Movies. As a kid, it was rare that I would say “I’m going to watch a horror movie.” Instead, it was “time to watch a monster movie!”
Part of this may have been the influence of reading the magazine Famous Monsters of Filmland, and enjoying all of Forry Ackerman’s affectionate coverage of movie monsters. But the other part certainly was most of the time I was watching movies that had monsters in them!
And so today, I’d like to celebrate some of these monsters, specifically the Frankenstein Monster. Here’s a look at the Frankenstein Monster in the two most important Frankenstein film series, the Universal and Hammer Frankenstein movies, and I rank each Monster performance with the Monster Meter, with four brains being the best and zero brains being the worst. Okay, here we go.
The Universal series:
The Monster (Boris Karloff) in FRANKENSTEIN (1931)
FRANKENSTEIN (1931) – The Monster – ?- Sure, he was listed in the credits this way, but we all know by now that it was Boris Karloff playing the monster in this original shocker by Universal studios. It was the role that made Karloff a household name, and rightly so. It still remains my all-time favorite Frankenstein Monster performance. Karloff captures the perfect balance between an innocent being recently born with the insane violence of an unstoppable monster. There are several sequences in this movie where Karloff’s Monster is so violent and brutally powerful it still is frightening to watch.
Monster Meter: Four brains.
THE BRIDE OF FRANKENSTEIN (1935) – The Monster – Karloff. This time he was so famous that his name was listed in the credits as only Karloff, but again, it was Boris Karloff playing the role of the Monster in a movie that many critics hail as the best of the Universal Frankenstein movies. It’s certainly more ambitious than FRANKENSTEIN. And Karloff does more with the role, as the Monster even learns how to speak. I still slightly prefer FRANKENSTEIN, but I will say that Karloff’s performances in these two movies are probably the most powerful performances of the Monster ever put on film.
Monster Meter: Four brains.
SON OF FRANKENSTEIN (1939) – The Monster – Boris Karloff. The third and last time Karloff played the Monster was the least effective. While the film is elaborate and features big budget sets and a stellar cast that also includes Basil Rathbone, Bela Lugosi, and Lionel Atwill, this film begins the sad trend in the Universal Frankestein movies where the Monster simply didn’t do as much as he did in the first two movies. Here, he’s a patient on a slab for most of the film, and once he becomes active, he’s a far cry from the Monster we saw in the first two movies. He doesn’t even speak anymore.
Monster Meter: Three brains.
The Monster (Lon Chaney Jr. ) in THE GHOST OF FRANKENSTEIN (1942)
THE GHOST OF FRANKENSTEIN (1942) – The Monster – Lon Chaney Jr. As much as I like Lon Chaney Jr., I don’t really like his interpretation of the Monster here. He takes over the role from Boris Karloff, and although he means well, he just doesn’t possess Karloff’s instincts. The attempt is made to make the Monster more active again, but Chaney simply lacks Karloff’s unpredictable ferocity and sympathetic understanding. I will say that this is the one time where Chaney disappoints as a monster, as he of course owned Larry Talbot/The Wolfman, made an effective Dracula in SON OF DRACULA (1943), and I thought played a very frightening Kharis the Mummy in his three MUMMY movies.
Monster Meter: Two brains.
FRANKENSTEIN MEETS THE WOLF MAN (1943) – The Monster- Bela Lugosi. Lugosi turned down the role in 1931 because the Monster had no dialogue, a decision that haunted the rest of his career, as the film instead launched the career of Boris Karloff who went on to largely overshadow Lugosi as the king of horror over the next two decades. This should have been an awesome role for Lugosi. It made perfect sense story wise, for at the end of the previous film, THE GHOST OF FRANKENSTEIN, the brain of the manipulative Ygor (Lugosi) was placed inside the Monster. In FRANKENSTEIN MEETS THE WOLF MAN, the Monster was supposed to speak with Ygor’s voice, and be blind, but all his dialogue was cut as were references to the Monster’s blindness. The story goes that because of World War II, Universal balked at having a Frankenstein Monster talking about taking over the world. The sad result was the film makes Lugosi’s performance look silly, as he goes about with his arms outstretched in front of him, walking tentatively. He was doing this of course because he was blind! But the film cut all references to this, and the audience had no idea at the time what the heck was up with Lugosi’s Monster.
Monster Meter: Two and a half brains.
HOUSE OF FRANKENSTEIN (1944) – The Monster – Glenn Strange – Strange takes over the Monster duties here, in Universal’s first monster fest, also featuring Lon Chaney Jr. as the Wolf Man, and John Carradine as Dracula. Boris Karloff returns to the series here as the evil Dr. Niemann. Strange is an okay Monster, but he doesn’t have a whole lot to do.
Monster Meter: Two brains.
HOUSE OF DRACULA (1945) – The Monster – Glenn Strange – Strange returns as the Monster in Universal’s second Monster romp.
Monster Meter: Two brains.
ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948) – The Monster – Glenn Strange – The third time is the charm for Glenn Strange as he gives his best performance as the Monster in this Abbott and Costello comedy which in addition to being hilariously funny is also one of Universal’s best Monster movies! The Monster even talks again! Notable for Bela Lugosi’s return as Dracula, and also once more features Lon Chaney Jr. as the Wolf Man. Look fast for Chaney as the Frankenstein Monster in the sequence where he tosses the nurse out the window, as he was filling in for an injured Glenn Strange at the time!
Monster Meter: Three brains.
The Hammer series:
The Creature (Christopher Lee) in THE CURSE OF FRANKENSTEIN (1957)
THE CURSE OF FRANKENSTEIN (1957) – The Creature – Christopher Lee. The Hammer Frankenstein series, unlike the Universal series, focused on Victor Frankenstein, played by Peter Cushing, rather than on the Monster. Each Hammer Frankenstein flick featured a different Monster. Poor Christopher Lee received no love back in the day, and his performance as the Creature was widely panned by critics. But you know what? Other than Karloff’s performance in the first two Universal films, Lee delivers the second best performance as a Frankenstein creation! Lee’s Creature is an insane killer, and darting in and out of the shadows, he actually has more of a Michael Meyers vibe going on in this film than a Boris Karloff feel. With horrifying make-up by Philip Leakey, it’s a shame that this Creature only appeared in this one movie. On the other hand, it kinda makes Lee’s performance all the more special. It’s one not to miss!
Monster Meter: Three and a half brains.
THE REVENGE OF FRANKENSTEIN (1958) – The Monster/Karl – Michael Gwynn. This sequel to THE CURSE OF FRANKENSTEIN is one of the most intelligent Frankenstein moves ever made. It has a thought-provoking script and phenomenal performances, led by Peter Cushing, reprising his role as Baron Victor Frankenstein. The only trouble is this one forgot to be scary. Plus, the Monster, played here by Michael Gwynn, pales in comparison to Lee’s Creature in the previous film.
Monster Meter: Two brains.
THE EVIL OF FRANKENSTEIN (1964) – The Creature – Kiwi Kingston – The Hammer Frankenstein movie most influenced by the Universal series, with the make-up on Australian wrestler Kiwi Kingston reminiscent of the make-up on the Universal Monster. Not a bad entry in the series, but not a very good one either. This one has more action and chills than REVENGE, but its plot is silly and no where near as thought-provoking or as adult as the plots of the first two films in the series.
Monster Meter: Two brains.
FRANKENSTEIN CREATED WOMAN (1967) – Christina – Susan Denberg – The Creature in this one is as the title says, a woman, played here by Playboy model Susan Denberg. A good looking— no pun intended— Hammer production that is largely done-in by a weak script that doesn’t make much sense when you really think about it. The best part of this one is the dynamic between Peter Cushing’s Baron Frankenstein and Thorley Walter’s Doctor Hertz, who capture a sort of Sherlock Holmes/Dr. Watson vibe in this one.
Monster Meter: Two brains.
His brain is in someone else’s body. Dr. Brandt/Professor Richter (Freddie Jones) seeks revenge against Baron Frankenstein (Peter Cushing) in FRANKENSTEIN MUST BE DESTROYED (1969).
FRANKENSTEIN MUST BE DESTROYED (1969) – Professor Richter- Freddie Jones – By far, the darkest and most violent of the Hammer Frankenstein movies, and certainly Peter Cushing’s most villainous turn as Baron Frankenstein. For a lot of fans, this is the best of the Hammer Frankenstein series. It also features a neat script involving brain transplants, and Freddie Jones delivers an exceptional performance as a man whose brain has been transplanted into another man’s body. The scene where he returns home to try to convince his wife, who believes her husband is dead after seeing his mangled body, that he is in fact her husband, that his brain is inside another man’s body, is one of the more emotional scenes ever put in a Frankenstein movie. This one didn’t perform well at the box office and is said to have been director Terence Fisher’s biggest disappointment, as he believed this was a superior film and would be a big hit. The years have proven him right, but at the time, it was not considered a successful Hammer Film. Christopher Lee once said in an interview that he believed this film flopped because it didn’t really have a monster in it, and that’s what fans really wanted. I believe Lee’s observation to be correct.
Monster Meter: Three brains.
THE HORROR OF FRANKENSTEIN (1970) – The Monster – David Prowse – Hammer decided to remake THE CURSE OF FRANKENSTEIN with Ralph Bates playing Victor Frankenstein and David Prowse playing the Monster. Unfortunately, this is the worst of the Hammer Frankensteins by a wide margin. David Prowse would go on of course to play Darth Vader in the STAR WARS movies.
Monster Meter: One brain.
FRANKENSTEIN AND THE MONSTER FROM HELL (1974) – The Monster – David Prowse. Peter Cushing returns as Baron Frankenstein for the last time in what is essentially a poor man’s remake of THE REVENGE OF FRANKENSTEIN. Prowse plays a different Monster than the one he played in THE HORROR OF FRANKENSTEIN, and by doing so, he becomes the only actor to play a monster more than once in a Hammer Frankenstein Film. This one is all rather mediocre, and since it’s the final film in the series, it’s somewhat of a disappointment as it’s a weak way to finish a superior horror franchise.
Monster Meter: Two brains.
And there you have it. A look at the Frankenstein Monster in the Universal and Hammer series.
Thanks for reading!
Books by Michael Arruda:
DARK CORNERS, Michael Arruda’s second short story collection, contains ten tales of horror, six reprints and four stories original to this collection.
Waiting for you in Dark Corners are tales of vampires, monsters, werewolves, demonic circus animals, and eternal darkness. Be prepared to be both frightened and entertained. You never know what you will find lurking in dark corners.
IN THE SPOOKLIGHT, movie review collection by Michael Arruda.
Michael Arruda reviews horror movies throughout history, from the silent classics of the 1920s, Universal horror from the 1930s-40s, Hammer Films of the 1950s-70s, all the way through the instant classics of today. If you like to read about horror movies, this is the book for you!
FOR THE LOVE OF HORROR, first short story collection by Michael Arruda.
Michael Arruda’s first short story collection, featuring a wraparound story which links all the tales together, asks the question: can you have a relationship when your partner is surrounded by the supernatural? If you thought normal relationships were difficult, wait to you read about what the folks in these stories have to deal with. For the love of horror!
Last month I shared some poems I’d written inspired by the Universal Frankenstein series. Today we’ll give Dracula equal time.
Here are some poems I’ve written, inspired by the Universal DRACULA series, specifically the original 1931 DRACULA starring Bela Lusosi. Lugosi’s lines, and the haunting way he delivered them, are inspiration in and of themselves.
These poems follow the Fibonacci form.
“Children of the Night”
of the night.
What Music They Make.
Blood is the life, Mr. Renfield.
Must be glorious!
Far worse things await man than death.
All red blood!
Millions of them! All
These will I give you! Obey me!
Will like it.
But aren’t you drinking?
No, Renfield. I never drink— wine.
“Van Helsing’s Wisdom.”
that people will not
believe in him. Nosferatu!
Nosferatu, indeed! Hope you enjoyed these poems, which really are based on real quotes and dialogue from the movie, tweaked into a poetic format, specifically, the Fibonacci form.
No poetry slams for this guy, as the Monster (Boris Karloff) in FRANKENSTEIN (1931) didn’t speak.
In addition to writing movie reviews and fiction, I also teach middle school English. April was National Poetry month, and so my students have been reading and writing poetry this past month. I love teaching poetry, and I write it for fun, but it’s not something I do a whole lot.
However, I’ve been writing more poetry of late, and I thought now would be a good time to show off a few. Just for fun.
One of the forms I’ve enjoyed this year, as have my students, is based on the Fibonacci sequence, a form that poet Linda Addison spoke of this past summer at Necon.
Here are a few of my Fibonacci poems, inspired by the Universal Frankenstein movies. Fibonacci poems follow the Fibonacci sequence: 1,1,2,3,5, 8, and so on. In poetry, each number corresponds to the number of syllables in each line.
In THE BRIDE OF FRANKENSTEIN (1935) the Monster (Boris Karloff) did speak, and spoke of life and death, and what that meant to him.
Made Me Live From Dead
Love Dead, Hate Living, Belong Dead!
Henry Frankenstein (Colin Clive) screams two of the most famous words in horror movie history, “It’s Alive!” in FRANKENSTEIN (1931).
A body I made
With my own hands, with my own hands!
In SON OF FRANKENSTEIN, Bela Lugosi steals the show as Ygor, the shady shepherd who survived a hanging, punishment for stealing bodies— “they, said!”
DRACULA (2020), a three-part miniseries available now on Netflix, is brought to us by the same folks who brought us SHERLOCK (2010-2017), which starred Benedict Cumberbatch.
Their take on Bram Stokers’ iconic novel, one of the most revered horror novels in the English language, and one of my personal favorites, is one that pushes the envelope at every turn, so much so that for Dracula purists like myself, the end result is not easy to digest.
That’s not to say that I didn’t like DRACULA. I did. Or, at least parts of it.
But there were more parts that I didn’t like, aspects that made it clear that the series’ makers were sacrificing story and truth for ingenuity and chaos. In short, the goal here seems to have been to make as many dramatic and in-your-face changes as possible to make this a fresh and original take on the tale. The trouble is, at the end of the day, there’s not a whole heck of a lot left that resembles Stoker’s original novel.
This in itself I don’t have a problem with. I’m open to re-imaginings. The problem with this reboot is the bold changes get in the way of the story, and that’s never a good thing. It’s like being aware that an actor is acting. Here, it clearly seemed that changes were being made just for the sake of being different. In short, I think the filmmakers were simply trying too hard.
DRACULA opens with a very ill Jonathan Harker (John Heffernan) at a convent being interviewed by Sister Agatha (Dolly Wells), who wants to know as much as possible about his experience at Castle Dracula. Now, in Stoker’s novel, Harker does convalesce in a convent after he escapes from his horrifying ordeal at Castle Dracula, so I thought this was a neat way to open the mini-series.
The events at Castle Dracula then unfold as Harker recounts his story, and it’s in this telling that we first meet Count Dracula (Claes Bang). This is all well and good until it’s revealed that Sister Agatha’s last name is Van Helsing, meaning that in this interpretation, Van Helsing is a nun.
Okay. Stop right here.
Van Helsing is a nun.
Let that sink in for a moment.
My first thought was, okay, a bit dramatic, but I can live with this. I’m on board. I’m ready for this interpretation. But it doesn’t stop there. Van Helsing in this DRACULA is hardly the Van Helsing we’ve seen before. Sure, she’s Dracula’s adversary, but barely, and like other aspects of this version, as the interpretation goes along, it becomes unrelatable, and that simply gets in the way of good storytelling.
So, Part I is mostly the tale of Jonathan Harker’s ordeal at Castle Dracula. Part 2 covers Dracula’s voyage on the ship the Demeter on his way to London, and then Part 3 gets wild and crazy. Without giving too much away, if you’re familiar with Hammer’s DRACULA A.D. 1972 (1972) you know which direction the third episode takes.
There’s no doubt that Claes Bang’s interpretation of Dracula was meant to be fresh and original, and it is definitely unlike previous takes on the character. Bang’s Dracula has a wise-cracking quip about everything, and he seems to have walked off the set of a Marvel superhero movie. He’d be right at home exchanging barbs with Iron Man and Doctor Strange as he battled them for supremacy of the world. In short, I didn’t like this interpretation. For me, Dracula works best when he is flat-out evil, which is why I’ve always enjoyed every Christopher Lee performance. His Dracula is always evil.
That’s not to say that Bang plays Dracula as a nice guy. His Dracula is definitely a villain, but he’s just a little too colorful for my tastes. That being said, Bang does deliver a powerful performance which grew on me with each episode. So, for me, it’s a case where I thought the actor did a tremendous job but the writing tweaked the character too much for my liking.
Likewise, Dolly Wells does a nice job as Sister Agatha Van Helsing, but again, the writing took this character and did things with her that diminished her impact. For starters, Van Helsing simply isn’t as powerful a presence here as Dracula. That in itself is problematic.
I can’t say then that I was a fan of the teleplay by Mark Gatis and Steven Moffat, where changes seem to have been made solely for the purpose of being different without taking into consideration how it would affect the story. Still, it’s an incredibly ambitious screenplay. There is just so much thrown into this mini-series. That in itself is impressive. But sadly most of it didn’t work for me.
The rest of the cast is okay. The only other cast member who stood out for me was Lydia West as Lucy, who shows up in Part 3. When Dracula finally meets Lucy in Part 3, it makes for some of the most compelling moments in the entire miniseries. I loved this part, mostly because of West’s performance here, as she and Bang share some sensual chemistry, but sadly, this sequence doesn’t last all that long, so as good as it is, it’s far too brief.
Then there’s Mina, here played by Morfydd Clark. Mina is a central character in the novel, and she’s always been one of my favorite characters in the novel. Few movie versions have ever done her justice. In the novel, she’s probably the strongest character, but in the movies, she’s generally reduced to being a victim who needs to be saved by Van Helsing. In this version, she’s barely a blip on the proceedings, which is too bad.
I did like the way this one looked. A lot. Especially the look of Castle Dracula in Part 1. Evidently it’s the same castle exterior that was used in the original NOSFERATU (1922). How cool is that?
I also enjoyed the homages to other classic Draculas, especially to the Hammer Draculas. Early on in Part 1, Dracula is depicted as an old man, as he is in the novel, and the look here resembles Gary Oldman in BRAM STOKER’S DRACULA (1992). Later Dracula’s guise resembles Christopher Lee, and then in Part 2, while he’s on the Demeter, his costume mirrors that of Bela Lugosi. I appreciated these touches.
And for Hammer Film fans, there’s an Easter Egg for DRACULA A.D. 1972, and for HORROR OF DRACULA (1958), specifically that film’s classic finale. So I give credit to directors Johnny Campbell, Paul McGuigan, and Damon Thomas for these moments.
But overall, DRACULA struggled to hold my attention. I found its dramatic revisions distracting and far less captivating than the story told in Stoker’s novel.
And while I can comfortably say it was not the version for me, I have a feeling that somewhere down the line I’ll watch it again.
When I’m ready to once more entertain the notion that Van Helsing is a nun and Dracula a comic book villain.
Patric Knowles as Dr. Frank Mannering, putting the finishing touches on the Frankenstein Monster (Bela Lugosi) in FRANKENSTEIN MEETS THE WOLF MAN (1943).
Welcome back to IN THE SHADOWS, that column where we look at character actors in the movies, especially horror movies, those folks who while not playing the lead in the movies, graced the film nonetheless in smaller roles, quite often making as much of an impact as the actors on top.
Up today it’s Patric Knowles, and if you’re a fan of Universal horror, you know who he is, based on two key performances in THE WOLF MAN (1941) and its sequel FRANKENSTEIN MEETS THE WOLF MAN (1943)
Here’s a partial look at Knowles’ 127 screen credits:
MEN OF TOMORROW (1932) – Kwowles’ first screen appearance.
THE POISONED DIAMOND (1933) – Jack Dane – Knowles’ first screen credit.
THE CHARGE OF THE LIGHT BRIGADE (1936) – Captain Perry Vickers – co-stars with Errol Flynn and Olivia de Havilland in this war tale based on the poem by Alfred Lord Tennyson. Directed by Michael Curtiz, who would go on to direct, among other things, CASABLANCA (1942). Cast also includes David Niven, Nigel Bruce, and J. Carrol Naish.
THE ADVENTURES OF ROBIN HOOD (1938) – Will Scarlett- co-stars in this classic adventure, also by director Michael Curtiz, again starring Errol Flynn, as Robin Hood, and Olivia De Havilland, as Maid Marian. Cast also includes Basil Rathbone, Claude Rains, and Una O’Connor.
ANOTHER THIN MAN (1939) – Dudley Horn – co-stars with William Powell and Myrna Loy in the third THIN MAN movie, another fun entry in the classic mystery/comedy series.
THE WOLF MAN (1941) – Frank Andrews – the first genre credit for Patric Knowles, and he struck gold as the THE WOLF MAN (1941) is arguably the best werewolf movie ever made and is also on the short list for the best Universal monster movie ever made. It also features one of the strongest casts ever assembled for a Universal monster movie: Lon Chaney Jr., Claude Rains, Evelyn Ankers, Bela Lugosi, Ralph Bellamy, Knowles, Maria Ouspenskaya, and Warren William.
While THE WOLF MAN belongs to Lon Chaney Jr. in his signature role as Larry Talbot/aka The Wolf Man, and features dominating performances by Claude Rains and Maria Ouspenskaya, and even Evelyn Ankers, the entire cast is very good, including Patric Knowles in a small role as Frank Andrews.
Nonetheless, Andrews is integral to the plot as he works as the gamekeeper at the Talbot estate, and he’s engaged to be married to Gwen Conliffe (Evelyn Ankers), who just so happens to also be the object of affection of one Larry Talbot (Lon Chaney Jr.). As a woman who’s engaged to be married, she has no business spending time with Larry, yet she agrees to take that moonlit walk with him, and she’s with him the night he’s bitten by a werewolf.
Unfortunately, there’s just not a whole lot of things for Knowles to do in THE WOLF MAN, although his character Frank Andrews does appear in one of the more memorable non-werewolf scenes in the film, where, at a carnival, he, Gwen, and Larry are playing a target shooting game, and Larry, flustered when he sees a wolf target, misses the shot, and then Frank hits it dead center. I’ve always thought this moment should have foreshadowed that Frank would be responsible for the demise of the wolf man, but that’s not how the film plays out.
THE STRANGE CASE OF DR. Rx (1942) – Private Detective Jerry Church – Knowles plays the lead here, a detective trying to solve the case of a serial killer who sets his sights on mobsters. Also starring Lionel Atwill, Anne Gwynne, and Samuel S. Hinds. Church’s partner here, Detective Sergeant Sweeney, is played by one Shemp Howard!
MYSTERY OF MARIE ROGET (1942) – Dupin – Again plays the lead role in this mystery based on the story by Edgar Allan Poe. Also stars Maria Ouspenskaya and KING KONG’s Frank Reicher.
WHO DONE IT? (1942) – Jimmy Turner- co-stars in this Abbott and Costello comedy where Bud and Lou try to solve a murder at a radio station.
FRANKENSTEIN MEETS THE WOLF MAN (1943) – Dr. Frank Mannering – stars in this WOLF MAN sequel, also a sequel to THE GHOST OF FRANKENSTEIN (1942), where he plays a different role from the one he played in THE WOLF MAN (1941). Here he plays Dr. Frank Mannering, a doctor who tries to help Larry Talbot but later focuses his energies on restoring the Frankenstein Monster (Bela Lugosi) back to his full strength. As such, Mannering becomes the first movie scientist not named Frankenstein to revive the Monster. He wouldn’t be the last.
Probably my favorite Patric Knowles role. He takes what should have been a standard mundane role and makes Dr. Frank Mannering a rather real character.
HIT THE ICE (1943) – Dr. Bill Elliot – more shenanigans with Bud Abbott and Lou Costello.
TARZAN’S SAVAGE FURY (1952) – Edwards – plays the villain to Lex Barker’s Tarzan in this jungle adventure.
FROM THE EARTH TO THE MOON (1958) – Josef Cartier – co-stars with Joseph Cotten and George Sanders in this science fiction adventure based on the novels by Jules Verne.
CHISUM (1970) – Henry Tunstall – supporting role in this John Wayne western. Also stars Forrest Tucker, Christopher George, Andrew Prine, Bruce Cabot, Richard Jaeckel, Lynda Day George, and John Agar.
TERROR IN THE WAX MUSEUM (1973) – Mr. Southcott – Knowles’ next to last genre credit is in this atmospheric wax museum thriller that is ultimately done in by low-production values. Has a fun cast, which includes Ray Milland, Elsa Lanchester, Maurice Evans, and John Carradine.
ARNOLD (1973) – Douglas Whitehead – Knowles last movie is in this horror comedy which also starred Stella Stevens, Roddy McDowall, Elsa Lanchester, Victor Buono, and Jamie Farr.
Patric Knowles enjoyed a long and productive career. And while he was more than a character actor, often playing the lead in many of his films, for horror fans, he’s best remembered for two quality supporting roles in two of Universal’s better horror movies, THE WOLF MAN (1941), and FRANKENSTEIN MEETS THE WOLF MAN (1943).
Patric Knowles died on December 23, 1995 from a brain hemorrhage at the age of 84.
I hope you enjoyed today’s edition of IN THE SHADOWS and join me again next time when I look at the career of another character actor.
David Manners in between Karloff and Lugosi in THE BLACK CAT (1934).
Welcome to a brand new column, LEADING MEN.
Here at THIS IS MY CREATION: THE BLOG OF MICHAEL ARRUDA I already write a LEADING LADIES column where we look at the career of lead actresses in horror movies, and IN THE SHADOWS, where we look at character actors, women and men, who appeared in horror movies.
In LEADING MEN, we won’t be looking at the horror superstars, folks like Karloff, Lugosi, Chaney, Cushing, Lee, and Price, but those actors who had leading roles in horror movies and played key parts that were not character bits and who in spite of their success in these roles did not achieve superstar status.
We kick off the column with the number #1 leading man from the early Universal monster movies, David Manners. He played “John” Harker in DRACULA (1931) and the similarly dashing young hero Frank Whemple in THE MUMMY (1932) with Boris Karloff.
My favorite part of David Manners’ performances is that he took what could have been stoic wooden “leading man” love interest roles and infused these characters with some personality, which is why his characterizations in these old Universal monster films are better than most.
So, here’s a brief look at Manners’ film career, focusing mostly on his horror roles:
THE SKY HAWK (1929) – pilot (uncredited) – David Manners’ first screen appearance, an uncredited bit as a pilot, a World War I drama that also starred Manners’ future DRACULA co-star Helen Chandler.
JOURNEY’S END (1930) – 2nd Lt. Raleigh – David Manner’s first screen credit is in this drama starring Colin Clive as an alcoholic captain trying to lead his troops in the trenches of World War I. Directed by James Whale, who would direct Clive the following year in FRANKENSTEIN (1931).
DRACULA (1931) – John Harker- Sure, Manners hams it up at times, and some of the scenes with him and Helen Chandler as Mina are among the film’s slowest, but he also enjoys some fine moments in this Universal classic. He seems genuinely annoyed with both Edward Van Sloan’s Van Helsing, as the professor continues to argue for the existence of vampires, something Harker believes is ludicrous, as well as with Lugosi’s Dracula when the vampire shows his fiancee Mina some attention. When Dracula apologizes for upsetting Mina with his stories, Manner’s Harker reacts with a very annoyted, “Stories?” as if to say when have you been finding the time to tell my fiancee stories?
THE DEATH KISS (1932) – Franklyn Drew – Manners stars with DRACULA co-stars Bela Lugosi and Edward Van Sloan in this mystery/comedy about murder on a movie set.
THE MUMMY (1932) – Frank Whemple – Joins forces once again with Edward Van Sloan to stop another movie monster, this time it’s Boris Karloff as ImHoTep the undead mummy who returns to life and subsequently discovers his long lost love has been reincarnated as a woman named Helen Grosvenor (Zita Johann). Of course, Manners’ Frank Whemple is also in love with Helen, and so once again he’s the dashing young hero who works with Van Sloan’s professor— not Van Helsing this time but Doctor Muller—to protect the young heroine from an evil monster. I prefer Manners’ performance here in THE MUMMY over his work in DRACULA as his acting is more natural in this movie.
THE BLACK CAT (1934) – Peter Allison – Manners’ turn here as mystery writer Peter Allison is probably my favorite David Manners’ performance. In this Universal classic which was the first movie to pair Boris Karloff with Bela Lugosi, the two horror superstars take on each other in this atmospheric thriller set in Hungary and featuring devil worshippers and revenge. Manners plays an American novelist on his honeymoon with his wife, and the two get caught in the crossfire between Karloff and Lugosi. Manners gets some of the best lines in the movie, most of them very humorous, and Manners pulls off this lighter take on the leading man quite nicely. My favorite Manners line is when he’s speaking of Karloff’s Hjalmar Poelzig and says, If I wanted to build a nice, cozy, unpretentious insane asylum, he’d be the man for it.
MYSTERY OF EDWIN DROOD (1935) – Edwin Drood – Horror movie based on the Charles Dickens novel stars Claude Rains as an opium-addicted choirmaster with a taste for young women and murder. A financial flop.
LUCKY FUGITIVES (1936) – Jack Wycoff/Cy King – Dual role for Manners in which he plays an author who is a dead ringer for a gangster and as such is mistakenly arrested. Manner’s final screen credit.
David Manners only had 39 screen credits, and that’s because after LUCKY FUGITIVES he retired from acting. He would go on to become a painter and a writer, publishing several novels.
He died in 1998 of natural causes at the age of 97.
For me, Manners will be forever remembered for his dashing leading man roles in the Universal horror classics DRACULA (1931), THE MUMMY (1932), and THE BLACK CAT (1934). He gave these roles personality, and they have stood the test of time and remain integral parts of these classic horror movies.
April 30, 1901 – December 23, 1998
I hope you enjoyed this LEADING MEN column and join me again next time when we look at another leading man in the movies, especially horror movies.
Forever overshadowed by Universal’s next werewolf movie, THE WOLF MAN (1941) starring Lon Chaney Jr. as the ill-fated Larry Talbot, WEREWOLF OF LONDON (1935) starring Henry Hull in the lead role nonetheless remains Universal’s firstwerewolf movie.
And there’s a reason it exists in the shadow of THE WOLF MAN. It’s simply not as good, but that being said, there are still things to like about WEREWOLF OF LONDON.
Dr. Glendon (Henry Hull) is attacked and bitten by a werewolf while on an expedition in Tibet. He returns home to his wife Lisa (Valerie Hobson), where all is not well. He’s so busy in his laboratory he barely can find the time to spend with his socialite wife, and to further complicate matters, her childhood friend and first love Paul Ames (Lester Matthews) shows up, suddenly competing for Lisa’s affection.
Meanwhile, the mysterious Dr. Yogami (Warner Oland) arrives with the news that he was the werewolf who had attacked Glendon in Tibet. He further informs Glendon that once bitten by a werewolf, that person also becomes a werewolf. Even worse, werewolves often seek out those they love to kill. Jeesh, talk about being a killjoy!
Yogami explains that the only known antidote to werewolfism is the rare Tibetan flower which Glendon brought back from Tibet and is now growing in his laboratory. It doesn’t bloom all that often, and so its flowers are a rare commodity. Yogami wants those flowers. Of course, once Glendon transforms into a werewolf, he wants the flowers too, and so the battle is on.
So, technically, in this movie, there are actually two werewolves of London.
The story told in WEREWOLF OF LONDON isn’t half bad. The screenplay by John Colton does a nice job establishing the werewolf legend and creating two adversarial characters in Glendon and Yogami. Even better, however, the screenplay knocks it out of the park when showing the marital stress between Glendon and Lisa. Henry Hull and Valerie Hobson are also both up to the task of playing a husband and wife whose marriage is falling apart. Their scenes together are so good they’re often painful to sit through.
Valerie Hobson also starred that same year as Elizabeth in James Whale’s FRANKENSTEIN sequel THE BRIDE OF FRANKENSTEIN (1935). I thought she over-acted somewhat in BRIDE, and her performance in WEREWOLF OF LONDON is much more realistic.
Writer John Colton also penned the screenplay to the Boris Karloff/Bela Lugosi classic THE INVISIBLE RAY (1936).
Speaking of Karloff and Lugosi, evidently, early in the creative process, the two horror superstars were originally approached to star in WEREWOLF OF LONDON, with Karloff playing Dr. Glendon and Lugosi playing Dr. Yogami. Had this casting happened, it’s very likely Universal would have had another classic on its hands. Can you imagine a werewolf movie where both Boris Karloff and Bela Lugosi played werewolves? I’m sure the film would have been a hit.
The fact that it wasn’t a hit really isn’t the fault of either Henry Hull or Warner Oland. Hull is quite good as Dr. Glendon, and Oland of Charlie Chan fame is excellent as Dr. Yogami. His scenes are my favorite in the entire movie. Sadly, Oland died a couple of years later, in 1938 at the age of 58 from bronchial pneumonia.
One of the reasons most cited for the failure of WEREWOLF OF LONDON is the tepid werewolf make-up by Jack Pierce, the famous make-up artist not known for weak make-up jobs. After all, Pierce created the make-up for Karloff’s Frankenstein Monster and later for Lon Chaney Jr.’s Wolf Man.
Rumors persisted over the years that Henry Hull refused to wear heavy make-up for the role, but evidently this is not true. Supposedly, it was the producers of the film who urged Pierce to go lightly with the werewolf effects out of fear that the film censors would object. I find this story puzzling, since Universal had already pushed the envelope with DRACULA (1931), FRANKENSTEIN (1931), and THE MUMMY (1932).
Either way, the werewolf make-up used here in WEREWOLF OF LONDON pales in comparison to Pierce’s work on THE WOLF MAN (1941) six years later. That being said, it’s not awful, and Hull’s werewolf is rather creepy looking, and director Stuart Walker manages to create some eerie scenes in this one. The werewolf’s howl in this film is also quite frightening.
What’s not scary is just before Hull’s werewolf decides to prowl about London, he stops long enough to put on his hat and coat! And here’s the true difference between WEREWOLF OF LONDON and THE WOLF MAN. It’s all about Lon Chaney Jr.’s performance. He plays the Wolf Man as a wild animal, a creature that will rip a person’s throat out with its teeth. Hull’s werewolf attacks his victim’s like a man. And of course Chaney gave the Wolf Man the perfect alter ego with the very emotional and tragic Larry Talbot. Hull’s Dr. Glendon does not emote much emotion or sympathy at all.
WEREWOLF OF LONDON manages some fine moments of humor, like the scenes with the two old ladies Glendon rents a room from, who are constantly fighting with each other.
WEREWOLF OF LONDON is not my favorite Universal werewolf movie. I’d argue that all of the Lon Chaney Jr. werewolf movies are better than this one.
However, it’s not a bad movie, and as a standalone werewolf picture, it has its moments. For me, the best part is Warner Oland’s performance as Dr. Yogami. Interesting about Warner Oland. He was famous for playing Charlie Chan and a host of other Asian parts, like Dr. Yogami here in WEREWOLF OF LONDON, and yet supposedly he had no known Asian ancestry. I guess he was just a pretty good actor!
He certainly is here in WEREWOLF OF LONDON, as he outshines lead actor Henry Hull. Of course, had Boris Karloff and Bela Lugosi starred in this film as originally intended, that would have been something.
Seen any werewolves of London lately?
You have? Where?
“I saw a werewolf drinkin’ a piña colada at Trader Vic’s. His hair was perfect.”
After the success of FRANKENSTEIN MEETS THE WOLF MAN (1943), Universal decided that two monsters in one movie wasn’t enough, and so they added a third, Count Dracula, for their next monster movie romp, HOUSE OF FRANKENSTEIN (1944).
HOUSE OF FRANKENSTEIN is most notable for the return of Boris Karloff to the Universal FRANKENSTEIN series after a two film hiatus. Of course, Karloff previously had played the Frankenstein Monster. Here, he plays the evil Dr. Niemann.
HOUSE OF FRANKENSTEIN is the story of Dr. Niemann, a protegé of Dr. Frankenstein. When the movie opens, Niemann is in prison, but he soon escapes along with his hunchbacked assistant Daniel (J. Carrol Naish.) When they happen upon the skeleton of Count Dracula (John Carradine) Niemann resurrects the vampire by pulling the stake from his heart. He then promises Dracula protection if in return the Count will kill the official responsible for putting Niemann in prison.
Later, as Niemann and Daniel search for Dr. Frankenstein’s records, they discover the frozen bodies of Larry Talbot/aka the Wolf Man (Lon Chaney Jr.) and the Frankenstein Monster (Glenn Strange), and at this point the film becomes a sequel to FRANKENSTEIN MEETS THE WOLF MAN. Like every good mad scientist, Niemann revives these monsters as well.
HOUSE OF FRANKENSTEIN flies by at a brisk 71 minutes. It really is too short to make much of an impact. Had this one been fleshed out a bit more, it would have been more effective. It’s really not that strong a movie, as it plays like a shallow sequel, with the monsters resurrected only to be quickly done in once again. That being said, it does retain the Universal monster magic, and so while I recognize that this really isn’t that high quality a film, it’s a guilty pleasure that I enjoy each time I watch it.
It also does have some special moments, as well as a strong cast. It’s just that the whole thing seems terribly rushed.
It also doesn’t help that the Dracula storyline begins and ends before the Wolf Man and the Frankenstein Monster show up. Even the next film in the series, HOUSE OF DRACULA (1945) doesn’t really take full advantage of its three monsters. One has to wait until ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948), the comedic finale to the series, before one can enjoy a full and satisfying meeting of the monsters.
Finishing off Dracula so early was not a strength of Edward T. Lowe Jr.’s screenplay. Nor is the dialogue, some of which is laughable, and this one is not a comedy.
Director Erle C. Kenton fares better with the Dracula sequence. In spite of killing off Dracula so quickly, the chase scene just before the vampire’s demise is arguably the best chase scene in the entire Universal monster series. It’s pretty impressive, as it features Dracula driving a horse-driven coach, pursued by police on horseback, and in front of them both, Niemann racing his carnival coaches, while Daniel runs atop the cars to get to the rear coach to toss Dracula’s coffin. It’s a wildly exciting sequence.
Writer Lowe fares better with the Wolf Man story. In fact, other than the original THE WOLF MAN (1941) this brief appearance by Larry Talbot is one of the series’ best, because it involves his relationship with a gypsy girl Ilonka (Elena Verdugo), who falls in love with Larry and vows to end his pain by shooting him with a silver bullet. Their classic confrontation is the most emotional of the series for Talbot other than his fateful encounter with his father Sir John (Claude Rains) at the end of the original WOLF MAN. It’s really neat stuff, but sadly, there’s just so little of it. Chaney’s scenes here are all too brief.
But saddest of all is the treatment of the Frankenstein Monster, here played for the first time by Glenn Strange. By this point, the Monster is treated only as a “patient” who lies still on a table until the final reel when he gets up only to be quickly done in by the frightened torch wielding villagers. It’s a far cry from Karloff’s original performances.
Alas, the Monster wouldn’t fare any better in HOUSE OF DRACULA. Again, it would take the comedic encounters with Bud Abbott and Lou Costello in ABBOTT AND COSTELLO MEET FRANKENSTEIN in order for the Monster to return to top form. In fact, in that film, the Monster even talks again! There’s a reason ABBOTT AND COSTELLO MEET FRANKENSTEIN is a classic. It’s hilarious, and for its three monsters, it’s their best screen time in years.
HOUSE OF FRANKENSTEIN is also blessed with a very strong cast.
Boris Karloff, while not as memorable as he was as the Frankenstein Monster, is very good as Dr. Neimann. His performance is a nice precursor to Peter Cushing’s darker take as Baron Frankenstein in the Hammer Films to follow a decade later.
Lon Chaney Jr. knocks it out of the park yet again as both Larry Talbot and the Wolf Man. For years, Chaney has lived in the shadow of the two other Universal stars, Karloff and Bela Lugosi, but as the years have gone by, his performances have grown in stature. For some, he’s the best actor to have appeared in the Universal monster movies.
HOUSE OF FRANKENSTEIN is also one of the few times that Chaney and Karloff appeared in a movie together.
I’ve never been a fan of John Carradine’s take on Dracula, in both this movie and HOUSE OF DRACULA the following year. He certainly makes for a distinguished Count, but he lacks the necessary evil and sensuality needed for the role. Bela Lugosi was originally slated to play Dracula again, which would have been his first time since the 1931 original, but he was unable to appear in HOUSE OF FRANKENSTEIN due to a schedule conflict. Fans would have to wait until ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948) before they could see Lugosi play Dracula again, and that would be the second and last time he played Dracula in the movies.
The supporting cast in HOUSE OF FRANKENSTEIN is exceptional.
J. Carrol Naish, one of my favorite character actors, is excellent as Daniel, the hunchback. His storyline where he is jealous of Talbot because he also loves Ilonka is one of the better parts of the film. As is Elena Verdugo’s performance as Ilonka. Verdugo makes Ilonka sexy and sympathetic.
The film also features George Zucco in a small role as Professor Bruno Lampini, and Lionel Atwill as yet another police inspector. Sig Ruman is memorable as Burgomaster Hussman. My favorite moment with Ruman is when he wakes up and says to Dracula, “As I was saying—-. I don’t know what I was saying. I fell asleep!”
The lovely Anne Gwynn plays Rita Hussman. Gwynn is the grandmother of actor Chris Pine.
HOUSE OF FRANKENSTEIN almost featured yet another Universal monster, as there were plans to include Kharis the Mummy in the film, but these plans were scrapped due to budget constraints.
HOUSE OF FRANKENSTEIN is certainly not regarded as one of Universal’s monster classics, as it has sequel written all over it and pales in quality compared to films like FRANKENSTEIN (1931), DRACULA (1931), and THE WOLF MAN. Even FRANKENSTEIN MEETS THE WOLF MAN is a far better film.
All that being said, HOUSE OF FRANKENSTEIN remains a guilty pleasure that I never grow tired of watching. This holiday season, when you’re out and about visiting friends and relatives, make a point to stop by the HOUSE OF FRANKENSTEIN.