Top 5 Frankenstein Films

It's Alive! 2017 is here, shambling from the smoking ruins of the previous year like the Frankenstein's unstoppable monster. And that's just what I'm tackling in this latest video - the Frankenstein films, a Top 5 Countdown of my own personal favorite Five Frankenstein movies

Take a look and let me know what you guys think. Do you agree or disagree with this list, and what would your own list look like?

And do me a quick favor too, if you would. If you're not following me on my YouTube channel, click the subscribe link at the end of the video and become a Dr. Gangrene subscriber on YouTube. I'd appreciate it, as it helps my videos rank higher and get seen by more people.

Universal Classic Monsters: Complete 30-Film Collection

GREATEST HORROR FILMS IN HISTORY TO BE RELEASED IN UNIQUE 30-FILM DVD SET

 

 

(Los Angeles, Calif. July 23, 2014) — They informed our dreams and nightmares, each and every one. Brilliant actors, craftspeople, and filmmakers combined to deliver these indelible characters who may have died on screen, but they will surely live forever. They are the one and only Universal Classic Monsters.

Now, for the first time ever, all 30 Universal Pictures' Classic Monster films will be available together on DVD in the "Universal Classic Monsters: Complete 30-Film Collection," available on September 2, 2014, showcasing every original film featuring Hollywood's most iconic monsters, including Dracula, Frankenstein, The Mummy, The Invisible Man, The Bride of Frankenstein, The Wolf Man, The Phantom of the Opera and The Creature from the Black Lagoon.

Everyone knows the names of the great actors who delivered the performances which made the films magnetic in unprecedented fashion: Karloff, Lugosi, Chaney, Jr., Rains, Hull, Lanchester, Rathbone, Carradine, Chapman. Their cinematic presence both individually and collectively stand tall in singular fashion through film history.

With hours of bonus features as well as a 48-page book featuring behind-the-scenes photographs, original posters, rare correspondence and more to enhance the viewing experience, Universal Classic Monsters: Complete 30-Film Collection includes the following genre masterpieces:

 

Dracula (1931)

Frankenstein Meets the Wolf Man (1943)

Frankenstein (1931)

Phantom of the Opera (1943)

The Mummy (1932)

Son of Dracula (1943)

The Invisible Man (1933)

The Invisible Man's Revenge (1944)

The Bride of Frankenstein (1935)

The Mummy's Ghost (1944)

Werewolf of London (1935)

House of Frankenstein (1944)

Dracula's Daughter (1936)

The Mummy's Curse (1944)

Son of Frankenstein (1939)

House of Dracula (1945)

The Invisible Man Returns (1940)

She-Wolf of London (1946)

The Mummy's Hand (1940)

Abbott and Costello Meet Frankenstein (1948)

The Invisible Woman (1940)

Abbott and Costello Meet the Invisible Man (1951)

The Wolf Man (1941)

Creature from the Black Lagoon (1954)

The Ghost of Frankenstein (1942)

Revenge of the Creature (1955)

Invisible Agent (1942)

 

BONUS FEATURES:

• Behind the Scenes Documentaries
• The 1931 Spanish Version of Dracula
• Bela Lugosi, Boris Karloff, Lon Chaney Jr. and Jack Pierce Featurettes
• 13 Expert Feature Commentaries
• Archival Footage
• Production Photographs
• Theatrical Trailers

Happy Birthday Boris

Today, November 23rd, is the birthday of William Henry Pratt, known better as Boris Karloff, master of the Macabre. He was born on this day in 1887 in London, England, and would go on to portray some of the greatest movie monsters, including agruably his most famous, Frankenstein. Here's to you, Boris, a true one of a kind, both on and off screen!


Below is an episode of THIS IS YOUR LIFE starring Boris Karloff, presented in 3 parts on youtube. Jack Pierce, the makeup man responsible for transforming Karloff into the Frankenstein's monster, appears in part two, discussing this makeup with Boris.

Top 10 Vampire Films Countdown - #2

The #2 film on my Top 10 Vampire Film Countdown is the Universal film classic, Dracula!

Made in 1931 by Universal Studios and directed by Tod Browning, this is the one that people think of when you say the word Dracula. Based on the Bram Stoker novel it stars Bela Lugosi as Count Dracula and Edward Van Sloan as Professor Van Helsing. Lugosi's performance is top notch - he IS Count Dracula. His rendition of Dracula is the one all others are measured against. Dwight Frye is also terrific as Renfield, and once again it is his performance that stands the test of time.

Lon Chaney Sr. was originally slated to play the title role, but he was unable to do the part due to illness (cancer). Lugosi was a natural as he had already performed the part successfully on stage. Dracula was a huge success and launched the Universal era of horror films.

Don't believe the hype that the Spanish-language version, shot on the same sets at night, is superior. It has more fluid camera movements and is a little less stiff, but their lead actor is quite dorky looking and lacks the charisma and mesmerizing charm of Lugosi. The American version is a true classic, and Lugosi's Dracula became a movie icon that influenced all Draculas to come, and thus it is #2 on my countdown.

DRACULA Photoplay book

Ran across this really cool edition of Dracula and thought I'd share it here - this is a photoplay edition, illustrated throughout with scenes from the film. Very cool! Love the cover illustration!

Universal Monsters Ebook!

Tonight I have a special treat for you ghouls out there, a free 32 page ebook. This was written by Scott Essman at produced by the fine folks at Universal and it's a great overview of the history of the monsters and the studio that created them. Terrorific stuff here -  enjoy!!
Click to enlarge, right click to save...

Universal Classic Monsters Essential Collection Blu Ray review

Got a copy of the new Blu Ray box Set, The Universal Monsters Essential Collection tonight, and shot a quick video reviewing the set, packaging and content. I watched the Wolf Man and it looked beautiful, especially on some of the little fine detail. Great looking set that you guys are going to love - can't wait to really dig into these!!

They’re Still Alive – The Universal Classic Monsters

Today's post is a guest-post from my good friend Scott Essman at Universal Studios. Scott has been carrying the classic monster torch for years, fighting the good fight to keep these ghouls alive for the next generation of monster kids. His passion for these films is evident in his writing - check it out, and remember - the Universal Monsters will be released on Blu-ray on Oct. 2, 2012!!


They’re Still Alive – The Universal Classic Monsters


By Scott Essman

It’s a quiet dusty morning in the summer of 1916 and all but a small eastern region of the San Fernando Valley is largely undeveloped, to say nothing of unpopulated. For the past year, inside of an unassuming front gate just over the hill from Los Angeles proper, two men are trying to forge their path in the fledgling motion picture business: Lon Chaney and Jack Pierce. Nascent actors Chaney, 33, and Pierce, 27, were completely unknown, but each had an angle; they could both work magic out of a simple makeup case, fully transforming their faces and even parts of their bodies to put themselves into a better position to be cast in a role. They often worked out of Universal’s “bullpen,” getting chosen to play Indians, cowboys, pirates, or virtually any part called for in the roundup of silent shorts at the time. Little did these men know that, less than a decade later, they would initiate a cinematic movement that would change history.

Of course, the place was Universal Pictures, which had been founded by Carl Laemmle, a former midwestern haberdasher who consolidated several distribution enterprises into one operation in 1912, then claimed the named land, opening Universal City in 1915. Surely, Chaney and Pierce engaged in very different career trajectories, but both became key players in the boom of both Universal and the American monster movie. With Universal now celebrating its 100th anniversary, those early years are an essential chapter in the studio’s history, the days when the brand surged to new heights at the box office by taking giddy moviegoers into the dungeon depths of their collective imagination. The magic of those characters, films, actors and filmmakers has never really left us, ever since Dr. Frankenstein famously bellowed, "It's alive!"

Even after leaving Universal to become a freelance actor in 1918, Chaney returned to make the smash hit “The Hunchback of Notre Dame” at Universal in 1923. Although the grotesque titular character was a makeup landmark, “Hunchback” was never considered a horror film and Quasimodo not a horror character, that honor not bestowed upon Chaney until his next Universal film, made as a loaner from the newly formed MGM Studios. “The Phantom of the Opera” in 1925 was another unbridled hit, with Chaney’s unmasking as the named Phantom resonating as an all-time classic moment in cinema.

Taylor White, publisher of “The Man of a Thousand Faces,” a book of Bill Nelson’s illustrations of Chaney’s vast and varied characters, noted why the Phantom has resonated among Universal’s greatest characters. “Chaney's Phantom continues to be an indelible character for two reasons,” White said. “On the exterior, Chaney's unforgettable makeup is still terrifying and obviously set the standard long before any other classic monster. And second, Chaney's skills as an actor managed to convey both the physical pain and emotional wrenching of a shattered heart in losing his beloved Christine.”

Thus was set in motion the trademark for a studio which was nonetheless long regarded a second-tier operation. Speculation that Chaney would have returned to Universal for additional horror films in the sound era has been widely disputed. His death in 1930 ended any such possibilities, but by then, new faces in the Universal upper echelons set the studio on a new course within horror. Carl Laemmle Jr. had been promoted to the head of production by his father as a 21st birthday present in 1927, which left him running Universal City’s operations and personally selecting such projects as “The Man Who Laughs,” a late silent hit, and two early 1930s films which to this day define the studio.

“Dracula” and “Frankenstein” were both released in 1931, only nine months apart, and set new standards in many moviemaking categories. “Dracula” is often criticized for its slow pacing and stagy underpinnings, but Lugosi’s performance, perfected on Broadway in the late 1920s, remains indelible and haunting to this day. Surely, Jack Pierce’s work as makeup department head of Universal at the time cannot be understated, though he did not have the chance to create anything elaborate for Béla Lugosi as Count Dracula, the actor putting the kibosh on Chaney-esque makeup concepts. Pierce reserved the complete makeover for Boris Karloff on “Frankenstein,” planned just a few months after “Dracula’s” success mandated that the studio follow it up as soon as possible. When director James Whale was brought onto the former picture, Pierce had the license to test different makeups which ultimately required both Laemmle Jr. and Whale’s approval. As Alec Gillis, a makeup and creature master for over 25 years stated, “‘Frankenstein’ was the perfect storm of Jack Pierce at the top of his game, with makeup techniques refined enough but not too much, and Boris Karloff at his most cadaverous and brilliant.”

Surely, Karloff’s metamorphosis from barely regarded character actor to international superstar in “Frankenstein” is due in large part to Pierce’s techniques and Whale’s direction, as director John Landis (“An American Werewolf in London”) explained. “Jack Pierce's makeup combined with Boris Karloff's remarkable performance make the Frankenstein Monster in James Whale's “Frankenstein” the most memorable and iconic of the Universal monsters,” Landis said. “Karloff makes the Monster both vulnerable and sympathetic and yet powerful and terrifying when the moment calls for it.”

But just as compelling as Whale’s direction and Pierce’s makeup magic on “Frankenstein” are less heralded elements, such as costume design, art direction and cinematography. Vera West was Pierce’s counterpart as Universal’s longtime head of costume design and contributed the gothic period designs in the film while Charles D. Hall, the studio’s head art director, built the timeless sets for the film, including the castle-bound laboratory set for the opening half, most vividly seen during the climactic “creation” sequence. Director of photography Arthur Edeson undershoots Karloff’s creature in nearly every moment, an approach that has influenced legions of films, both within the horror genre and otherwise. In one more obscure example, witness how Edeson shoots Karloff’s first entry as the Monster as he turns around in the doorway to the castle interior. Edeson frames the creature in three progressively closer shots, a series mirrored in James Cameron’s “The Terminator.” Watch as the Terminator endoskeleton emerges from the fiery truck explosion at the end of the film; Cameron and cinematographer Adam Greenberg more than quote Edeson’s shots – they are nearly identical.

During the Laemmle era, Universal capitalized on their triumphant year by following 1931 with an active horror output in 1932-1936 before the founding family had to sell the studio due to mid-Great Depression financial crises. From 1932’s “The Mummy,” another masterpiece of slow-building terror with an unprecedented Pierce makeup and Karloff characterization, to Whale’s “The Invisible Man” introducing the striking persona of Claude Rains, to several Karloff-Lugosi pairings, the studio produced many unforgettable films at the time. Arguably the crown jewel of the mid-1930s Universal output is 1935’s “The Bride of Frankenstein,” which many consider the finest of the films in many respects. Elsa Lanchester as the named Bride created a remarkable vision of ghoulish beauty, even more impressive when considering she is only onscreen as the wordless creation a few scant minutes at the end of the film. Karloff, given the chance to speak as the Monster, offers one of his best screen performances in “Bride,” and in tandem with the first “Frankenstein” film, makes the character recognizable to most any age audience member of any era. Karloff historian Ron MacCloskey elaborated on the timeless nature of Karloff’s appearance. “The look of the Monster, with the flat head, scars and electrodes on the neck, is seen every Halloween,” said MacCloskey. “Even the movements of the Monster—stiff legs, arms outstretched—are all immediately identifiable.”

Alas, with the Laemmles out, regime change dictated a shift in philosophy at the studio in the late 1930s, and for a time, it seemed that the Universal monster film had indeed died. But audience demand necessitated a quickly-arranged sequel, and at the end of the decade, “Son of Frankenstein” debuted. Featuring Karloff in his final turn as the Monster and Lugosi, in one of his best performances as the wretch, Ygor, the third “Frankenstein” film might not have had the facility for fascinating audiences as the first two films, but it ushered in a slew of additional Universal genre films – albeit many sequels – in the early-to-mid 1940s.

Among the horde of genre films at Universal during a time of rotating studio heads, only 1941’s “The Wolf Man” featured a monster that resonated as strongly for as long a period of time as the characters in the films of the 1930s. Played to perfection by Lon Chaney Jr., the Wolf Man character was not the first lycanthrope on screen and might not have amazed audiences as significantly as the many elaborate werewolves to come, but the film and character continue to fascinate genre fans. Creature creator John Rosengrant (“Jurassic Park”) explained the longevity of the singular project. “The basic story is timeless as it parallels the storylines of the Greek tragedies,” he said. “A person is suffering by the whim of the Gods through no fault of his own.”

When Universal merged with International Pictures just after World War II ended, directions were again altered, seemingly for good, which might have relegated “House of Frankenstein” and “House of Dracula,” the two so-called “monster rallies,” as the final Universal horrors in 1944 and 1945, respectively. Yet, there was life still twitching as several characters were brought back – without Jack Pierce, Vera West, or special visual effects expert John P. Fulton – for “Abbott and Costello Meet Frankenstein” in 1948. Though that monster-comedy film was an unqualified hit, it did not spurn a return to heavy genre output at Universal-International.

Instead, the 1950s ushered in a slate of science-fiction-based films, with one last monster picture coming to fruition when it debuted in 1954. “The Creature From the Black Lagoon” was considered in as high regard as its big brothers and sisters from some 20+ years beforehand though decidedly in a modernized technological vein. However, the amphibious Gill-Man shared the tragic path of the earlier Universal monsters, and represented yet another instantly iconic visage as denoted by veteran creature designer and performer Tom Woodruff, Jr.. “There is a blankness to its expression, fitting for its primeval aquatic origins,” he said. “And there is a simplicity to the execution of the build of the suit that resonates the ‘less is more’ school of design.” When the third “Creature” film unspooled in 1958, it was widely accepted as the last breath of the Universal cycle.

Magazines such as Famous Monsters of Filmland helped keep the Universal monsters alive for new generations in the 1960s and 1970s through publishing detailed accounts of making of the films and rarely seen photographs. The films also lived on through broadcasts on syndicated television stations nationwide in a time before home video, which has now obviously brought the films and characters to a new level for contemporary fans. Veteran actor and monster collector Daniel Roebuck connected such new fans to the ones who first viewed the films in a theatrical setting. “Although not scary to the modern audiences, the pathos and tragic suffering of so many of these characters can't help but touch the viewer,” he observed.

Certainly, the Universal monsters have never truly dipped in their popularity and are still foremost among genre fans despite their notable age in a time of erstwhile short attention spans. Oscar-winning makeup artist William Corso (“Lemony Snicket’s A Series of Unfortunate Events”) summarized the effect that the films have had on numerous filmmakers working today, including not only makeup people, but visual effects artists, writers, and directors. “Universal’s stable of monsters inspired me and countless generations to enter the fields of art and film,” he said. “Not only can they be counted as some of the most iconic characters in film history, but also as significant works in the history of art, as much as any of the old masters gave us.”

In the end, audiences continually return to the Universal monsters for reasons that cannot often be easily explained. Without question, Hollywood has churned out more visceral, explicit, and even frightening films in most every decade since the originals. So why are the classic monsters a constant presence in merchandise collections, video libraries, and televised and theatrical revivals, both during Halloween season and otherwise? Fred Dekker, co-writer and director of “The Monster Squad,” the 1987 homage to the original characters, offered one provocative answer. “What's timeless to me about the Universal monsters is that on one level, they're not really monsters at all; they're outcasts,” Dekker said, “and in most cases, not by choice. Dracula has a disease, the Wolf Man an affliction. The Mummy was killed and resurrected against his will, and Frankenstein's Monster never asked to be born. The Gill-Man is out of his time. So on one level, they're these iconic boogey men who scare us—but at the same time, they appeal to that part of us that feels like an outsider, a weirdo, like someone who doesn't quite fit in. I think we relate to them on that level, even if it's subconsciously.”


Scott Essman has written extensively about Jack Pierce and the Universal Classic Monsters since 1996. He can be reached at scottessman@yahoo.com.

Belcourt October Horrors

WOW! Just check out all the awesome goodies Belcourt is showing in October! These Universal showings in particular have me excited!! AND best yet, there's more announcements of October goodness to come ! Stay tuned, Nashville!!

Universal Studios Art Contest

 All you artists out there who are classic monster fans, here's your chance to prove your stuff and win great Universal prizes in the process.

Read the rules carefully before entering, especially paying attention to medium, size, and subject matter. Good luck!!!

ILLUSTRATE YOUR OWN VERSION OF A UNIVERSAL STUDIOS CLASSIC MONSTER

Contest Rules

1. One artistic entry per person is allowed.

2. Participants: All amateur artists welcome. Open to U.S., Mexican, Canadian and British citizens only.  Two age groups will be considered – up to 14 years of age, and 15 years of age and up.

3. Size Requirements: All submitted Artwork entries must be created on a maximum size of 8 1/2” X 11” and must be created on a flat paper material – no three-dimensional sculptures are allowed for this contest..

4. Medium: All artwork must be created entirely by the submitting artist. All two-dimensional hand-manipulated forms for art medium are acceptable. Oils, Acrylics, Pastels, Charcoal, Water Colors, Pencils, and Crayons are acceptable.  We will not accept any Computer Design, Computer Illustration, or digitally manipulated designs. No Commercial Photo Lab work will be accepted. All Artwork must be original – but must be photographed and e-mailed per number five below.

4. Subject Matter:  An original artistic rendering of ONE of Count Dracula, Frankenstein’s Monster, The Mummy, The Invisible Man, The Bride of Frankenstein, The Phantom of the Opera, The Wolf Man, or The Creature from the Black Lagoon.  This should be the artist’s completely original conception of the character, and not based on any previous versions that have appeared in film, TV, comics, or any other artistic medium.

5. Label all artwork with your name, medium used, age, and complete address, phone number, and e-mail address and e-mail it to: universalmonsterclub2012@yahoo.com.

6. Judging:  Will be done by a jury of prominent local Hollywood makeup artists and will be held prior to the October 2, 2012 release date of the Universal Classic Monsters – The Essential Collection set.

7. Dates:  All submissions MUST be received by September 30, 2012.

8. Prizes: One Grand Prize will be awarded for each age group— each Grand Prize winner will win the complete Essential Collection set plus the Jack Pierce – Universal Monsters Bust created by Art of Clay plus a person-to-person phone call with a Hollywood monster maker.  Five runners-up for each age group for each character included will win an Essential Collection Set.

9. Display: The top entries will have their collective artwork reproduced in high quality, full-color resolution and will be available for display on the Universal Monster Club website.

10. Note: All entries together with all of the entrant’s right, title and interest in the copyright for the work, shall become the sole property of Visionary Cinema upon submission. The entrant represents that each entry is the exclusive and original work of the entrant.  Universal Studios Home Entertainment will not be responsible for displaying any artwork that does not win a prize nor be responsible for offering feedback about any and all artwork.

Amazing Universal Monster Paintings

 

I stumbled across the work of Spanish artist Enrique Jiménez Corominas today and was blown away - these paintings are spectacular! Beautifully rendered with a real energetic style and vibrant colors, these are some of my favorite renditions of the Universal Monsters. You can visit the artist's site at: http://corominasart.blogspot.com/

The Frankenstein That Might Have Been...

The 1931 film FRANKENSTEIN, released 80 years ago this month by Universal Studios, is rightfully regarded as one of the classics of horror cinema. Directed by James Whale and starring Boris Karloff and Colin Clive, it is a tale of mad science run amok and the consequences of man’s attempt to play God. The story has stood the test of time and remains the greatest adaptation of the Shelley novel (despite it’s wide variance from the plot of the novel).

This film was very nearly a different movie, however, if Universal had followed through with its original plans for this adaptation. Director Robert Florey originally brought the Frankenstein story to Universal, and in fact wrote a screenplay for the film along with Garrett Fort. This was after the wild success of DRACULA months earlier, with Universal attempting to cash in on the horror bug while it was still biting. According to Gordon B. Shriver, in his book BORIS KARLOFF, THE MAN REMEMBERED, he interviewed Robert Florey in 1973 and asked him about his original film treatment. Here is what he said:

             “While writing the adaptation of Shelley’s story, my idea was to give the role of Dr. Frankenstein to Lugosi.”

Interesting. It was natural for Florey to have Lugosi in mind, as he was the biggest horror star of the day. Universal ordered Florey to shoot a test reel of Frankenstein. Perhaps curious or nervous about how it would look, they had Florey shoot the test footage on the castle set of Dracula, which was still standing. However, Universal didn’t buy Florey’s plan for Bela as Dr. Frankenstein and wanted him in the role of the Monster, undoubtedly thinking about the success of Lon Chaney Sr. years earlier and hoping to duplicate it with Lugosi.

Here’s Florey again:

            “I directed several sequences –about two reels—of the first Frankenstein script with Bela as the Monster. I told Dick Shayer (head of production at Universal) that any tall bit player could play the Monster, but apparently my suggestion was rejected.”

This is backed up by horror scholars Tom Weaver, Michael Brunas, and John Brunas in their book UNIVERSAL HORRORS, THE STUDIO’S CLASSIC FILMS: Florey’s test reel of Frankenstein…photographed by Paul Ivano on the Dracula castle set (which lasted only 20 minutes after editing) starred Bela Lugosi in Jack Pierce’s early makeup design.         

This footage is long lost, sadly. No one knows what Lugosi looked like in those test reels or how it played out, and this bit of film is as highly sought after as LONDON AFTER MIDNIGHT. There have been reports Lugosi wore an early version of the Pierce design, as well as Lugosi appearing in makeup and wig (a-la the Edison Frankenstein version) But whatever the case, after Florey turned in the test reels the project was handed over to James Whale. Was it so laughingly bad that Universal felt the need to hand the reins to someone else? Or was it so successful that Whale, a rising force at Universal, inserted himself into the project and took it over?

It is interesting and fun to speculate on what might have been. Had Florey gotten his way, the film might have looked something like this:           

FRANKENSTEIN

Directed by Robert Florey
Seen here with Karloff on the set on the greatest THRILLER episode ever,
THE INCREDIBLE DR. MARKESON, directed by Florey.

 
Cinematography by Karl Freund
(who worked with Florey on his subsequent picture, Murders in the Rue Morgue)

Starring

 
Bela Lugosi

as Dr. Henry Frankenstein

The Monster ?

Insert tall actor – perhaps even Boris. 

According to Shriver Robert Florey had actually met Boris Karloff in the past, while working on a film called OMAR THE TENT MAKER. Shriver asked Florey if perhaps he suggested Karloff play the part of the Monster, but he said no, that wasn’t the case. But the fact he knew Karloff certainly makes the idea of Boris playing the Monster in this scenario still possible. Perhaps it would have been destiny...


 

Sidney Fox as Elizabeth

Florey's leading lady (and Bela's costar) in Murders in the Rue Morgue was the diminutive 4'11" Fox.The nearly 7 ft Monster would have looked HUGE next to her, and rumors abounded later that she was having an affair with studio head Carl Laemmle Jr., which certainly wouldn't have hurt her chances of getting the role...



 

Edward Van Sloan as Dr. Waldman

One of two men to appear in both Frankenstein and Dracula, there is no reason to think he wouldn't have played the role had Florey directed.

 Dwight Frye as Fritz
The other of two men appearing in Frankenstein and Dracula,
he would fit the role perfectly.

Dwight Frye, henchman unparalleled!

Continuing the tribute to the 1931 Universal classics FRANKENSTEIN and DRACULA, (each 80 years old this year), I would be remiss not to take a moment to honor a man who appeared in both films - Dwight Frye.

Dwight had the distinction of playing henchmen in both films, and being an integral part of the plot in each as well. He played Renfield in Dracula and the hunchback assistant Fritz in Frankenstein. In addition to both of these landmark films he also appeared in a number of Universal's finest horror productions: The Invisible Man (reporter), The Bride of Frankenstein (Karl, Frankenstein's assistant), Son of Frankenstein (villager), Ghost of Frankenstein (villager), Frankenstein Meets the Wolfman (villager), as well as a number of non-universal films, 60 in all. He did such a fine job as Renfield, and later as Fritz, that it became both a blessing and a curse. He was typecast in the lunatic role and mainly offered support parts, despite a proven ability from years of theater to pull off leading roles.

 Frye died at the too young age of 44 of a heart attack while riding on a bus in Hollywood, in 1943. I have no doubt in my mind that had he not passed away he would have been cast in House of Frankenstein the following year (1944), if even in another bit part as a villager.

Here's to you, Dwight, the man who set the mold for crazy assistants forever!

Frankenstein 1931 Film Herald

Continuing the celebration of the Universal gems DRACULA and FRANKENSTEIN, today I share a beautiful film herald announcing the upcoming release of Frankenstein, 1931.

 What is neat about this particular surviving herald is the fact the back is blank, demonstrating the way these heralds arrived. The theaters would add their own information onto the back of these heralds, such as the one below from 1932, which chose to use that space for advertising non-horror films coming up in March of 1932. Frankenstein premiered on November 21st, 1931, so it must have still been playing at this theater, the Central in Ephrata, PA, in February of 1932.

 Universal had a bona fide hit on their hands, and in 1935 shooting began on the sequel, THE BRIDE OF FRANKENSTEIN.