by Steve Habrat
Of all the classic Universal monsters, the most tragic and touching is the Wolf-Man, a lycanthrope who by moonlight is transformed into a beast from Hell. One of the most famous classic monsters next to Dracula and Frankenstein’s Monster, The Wolf-Man is one of the most atmospheric films that Universal unleashed upon audiences. Played with a wounded scowl by Lon Chaney, Jr, The Wolf-Man is an essential horror film for fans of the genre, one that will scare you to your core. If you wish to read Corinne Rizzo’s review of The Wolf-Man, click here. Without further ado, here are Anti-Film School’s mini reviews of The Wolf-Man sequels and the first mainstream werewolf film. Anti-Film School is not responsible for the howling at the moon and spontaneous hair growth that may occur after reading…
Werewolf of London (1935)
Renowned British botanist Wilfred Glendon (Played by Henry Hull) takes a trip to Tibet to find the rare mariphasa plant and while searching the countryside; a strange, wolf-like creature suddenly attacks him. Despite the attack, Wilfred manages to make it back to London with a small sample of the mariphasa but he soon suffers a horrific transformation when the moon is full. As Wilfred races to understand the bizarre transformation, a mysterious man named Dr. Yogami (Played by Warner Oland) approaches him and claims they have met before.
Technically the first mainstream werewolf horror film, Werewolf of London certainly does set the bar high for the supernatural subgenre. The film is rich with plot and character development, two traits that actually cause the film to lag in places. The film lacks the hazy gothic atmosphere that the Lon Chaney, Jr. Wolf-Man had but the film still manages to be quite unsettling. The make-up effects in Werewolf of London are not as heavy on the wolf features and actually retain a more demonic quality with flashes of humanity, something that actually makes them creepier than Chaney’s famous wolf-mug. Hull himself isn’t nearly as tragic as Chaney’s Talbot and frankly, I didn’t really care for his snippy demeanor when he hovered over his precious plants in his lab. As the werewolf, he certainly is memorable, leaping out windows and even preparing himself for the nippy London weather with a scarf and coat.
As far as the secondary players go, Warner Oland is appropriately suspicious as Dr. Yogami. I absolutely loved how he played into the movie and I especially liked the reveal at the end, even if it is fairly easy to see the twist a mile away. Valerie Hobson is also present as Lisa Glendon, Wilfred’s wife who desperately wishes he would step away from his work and into her loving arms. The film embraces a smidgeon of comedy in the middle of the film with the werewolf crossing paths with two old lushes, who hoot and holler when they catch a glimpse of his protruding fangs. Overall, it is a shame that Werewolf of London has been left forgotten in the shadow of The Wolf-Man, but the cold hard truth is the film just isn’t as entertaining and heartbreaking as the Chaney classic. It does, however, deliver the spooks and that is the most important part of the film. It also happens to be a very dapper affair. Grade: B
Frankenstein Meets the Wolf-Man (1943)
Several years after the events of The Wolf-Man, Larry Talbot (Played by Lon Chaney, Jr.) is awakened by a duo of grave robbers on an evening when the moon is full. As moonlight falls on his skin, Talbot quickly morphs into the Wolf-Man and murders the two men. The next day, the dazed Talbot is discovered by the police and taken to Dr. Mannering (Played by Patric Knowles), a local doctor who believes that Talbot may be insane. Talbot begins warning Dr. Mannering of his curse and that he desperately needs to be cured before the next full moon. Frustrated no one will listen to him, Talbot escapes the hospital and seeks out Dr. Frankenstein, who may be able to end his terrible curse. As his search continues, Talbot accidentally discovers Frankenstein’s Monster (Played by Béla Lugosi), which has been buried in ice for many years.
The first forty minutes of Frankenstein Meets the Wolf-Man has all the makings for a horror classic. It’s atmospheric, loaded with eerie images, and surprisingly gruesome attacks for an early Universal horror flick. The film quickly looses some of that uneasy terror when it skips off to Frankenstein’s castle and unleashes Lugosi’s Monster. You can’t help but get the feeling that Lugosi is almost mocking Karloff in the way he waves his stiff arms around and moans like a family friendly ghoul. Hell, Herman Munster is more terrifying than Lugosi’s Monster. Then there is the middle section of the film, which is equally troubling. The story seems to run out near the center and the film just plods along killing time until these two titans of terror duke it out for a broad. It fills itself out with a head-scratching musical number that completely yanks the gothic atmosphere right out of the picture. Luckily, the film gets back on track with the final showdown that pits the angry Monster against the Wolf-Man. It’s a pretty satisfying fight even if it does find the two ghouls wrestling around on the ground for five minutes as things blow up around them. Still, it is pretty neat that they actually clash for a decent amount of time.
Frankenstein Meets the Wolf-Man is technically the first sequel to the original 1941 Wolf-Man and the first half of the film pushes the story along in a pretty fascinating way. Chaney is still top-notch as Larry Talbot/The Wolf-Man and his anguish is pretty chilling. Sadly, there is only so much I could take of his whining and by the end, I just wished he’d turn back into the Wolf-Man so I wouldn’t have to listen to him whine anymore. Patric Knowles steps in to play the mad doctor who isn’t as mad as some of the previous Universal kooks. Ilona Massey steps in as Elsa Frankenstein, who begins to fall for sad sack Larry. She basically acts as the boxing ring bell that has the two monsters swinging their claws at one another. Overall, if Frankenstein Meets the Wolf-Man had continued on the path it started on at the beginning, the film would have been a horror knockout. Instead, the film is KO’d after forty minutes by Lugosi’s bizarre turn as the Monster, Chaney’s relentless sobbing, and an absolutely pointless musical number. Luckily, the first forty minutes are a keeper and that showdown has some sparks. Grade: B
She-Wolf of London (1946)
After a string of brutal murders in a local London park, Scotland Yard detectives begin to fear that the murderer is actually a werewolf. As the news of the murders spreads, the young Phyllis Allenby (Played by June Lockhart) begins to fear that she may be the killer after she discovers that there are werewolves in her family tree. As fear spreads across London, Phyllis’s fiancé Barry (Played by Don Porter) and her aunt Martha (Played by Sara Haden) try desperately to convince her that her fear is all in her head.
Fueled more by suspense than all out terror, She-Wolf of London leaves a good majority of the supernatural spooks on the cutting room floor and opts for psychological fear. What remains firmly in tact is the foggy gothic atmosphere that The Wolf-Man was very fond of and for the most part, the atmosphere adds a few chills. Much like Lon Chaney, Jr, Lockhart plays Phyllis as a sad and tragic figure desperately pleading for help for her curse. At only an hour, we are able to give Lockhart a hefty serving of our sympathy and she never wears on us. Porter is solid as the concerned fiancé and Haden is wonderfully suspicious as Martha. Also on board is Jan Wiley as Carol, Phyllis’s clueless cousin who is consistently upsetting the sad sack.
At only sixty-one minutes, She-Wolf of London is brief and right to the point. The scenes that find a hooded she-wolf creeping out of the park’s tangled brush are indeed spooky, the hooded figure almost resembling a bloodthirsty apparition on the prowl. The middle twenty minutes of the film are sort of dry and you will find yourself rushing the film into the big reveal at the end. Much like Frankenstein Meets the Wolf-Man, She-Wolf of London also features some hair-raising attacks that have a particularly bloody outcome. Overall, director Jean Yarbrough puts a unique twist on the werewolf feature that is quite fitting for a post WWII horror film dealing with the supernatural. I dare you to get those foggy attacks out of your head. Grade: B-
Werewolf of London, Frankenstein Meets the Wolf-Man, and She-Wolf of London are all available on DVD.
by Steve Habrat
The first legendary monster from Universal Studios, Dracula is one of the most iconic movie monsters ever put on the big screen. Played brilliantly by Béla Lugosi, the original film recieved three sequels and a chilling Spanish language version. Without further ado, here are Anti-Film School’s mini reviews of the Dracula sequels. Just make sure you hold your crucifix close and have Van Helsing speed dial. If you wish to read Corinne Rizzo’s review of Dracula (1931), click here .
Drácula (Spanish Version) (1931)
Young solicitor Renfield (Played by Pablo Álvarez Rubio) travels to Transylvania to meet the mysterious Count Dracula (Played by Carlos Villarías) about the Count’s recent purchase of a home in London. Upon Renfield’s arrival, he finds himself drugged and bitten by the Count’s trio of undead wives. With Renfield under his control, Dracula travels to London where he brings with him a plague of death and destruction. Shortly after his arrival, Dracula finds himself pitted against the cunning Professor Van Helsing (Played by Eduardo Arozamena), who is hell-bent on sending the undead terror back to his grave.
Shot at night on the same sets that Tod Browning and Béla Lugosi haunted, Drácula is a much more alive artistically than the rather comatose American version. Browning’s version was composed of multiple long shots that looked like the actors were performing on a giant stage rather than acting in a Hollywood motion picture. George Melford is much more sure of himself as he dares to move his camera around with the actors and in the process, wakes the film up from its dusty, cobwebbed slumber. Melford’s film also ends up being quite a bit longer than Browning’s, with a slower build up and a lengthier pay off than the sudden climax of the American version (this film is a whopping half-hour longer than Browning’s). It is blatantly apparent that this was made for an audience with a much longer attention span and a genuine love for character development. In addition to these touches, the film is much creepier than Browning’s, which ultimately gives it the upper hand. Your spine will tingle when Dracula’s brides emerge from their shadows and begin feeding upon the doomed Renfield and you’ll shiver when Dracula emerges from the dark depths of a ship braving stormy waters as Renfield roars with delight. The boat sequence was my personal favorite scene in the film. This one will give you nightmares, folks!
Then there is Villarías as Dracula and I must say, he comes dangerously close to toppling Lugosi but he just misses by a hair. The two have largely the same physical appearance but Villarías lacks the otherworldly gaze and the spidery fingers that Lugosi was so blessed with. However, Villarías has a curling lip and jagged sneer that makes him look like an unhinged madman who is seconds away from ripping out your jugular. He does have bulging eyes and a psychotic stare, which Melford likes to focus in on in extreme close-ups, but his gaze never really made my heart skip a beat. The rest of the actors and actresses do a fine job and match the American cast the entire way. Another standout is Rubio as Renfield, a man with a laugh that could wake the dead and a quiver that looks like the set temperature was below zero. It would have been perfect if Melford had included an equally hair-raising score but unfortunately, we don’t get one here. Still, Drácula is fully capable of giving you a few sleepless nights, that is, if you are one of the patient viewers. A stunning alternative that ranks as one of the best vampire films ever put on celluloid. Grade: A
Dracula’s Daughter (1936)
Picking up shortly after the events of 1931’s Dracula, the Hungarian countess Marya Zaleska (Played by Gloria Holden) emerges on the streets of London searching for the corpse of her father, Count Dracula. She is also searching for a way to rid herself of a mysterious curse that causes her to drink the blood of the living. With the help of her sinister manservant, Sandor (Played by Irving Pichel), Marya seeks out psychiatrist Jeffrey Garth (Played by Otto Kruger) in the hopes that he can cure her through scientific methods. Meanwhile, Professor Van Helsing (Played by Edward Van Sloan) is trying to convince Scotland Yard that there are vampires walking among the citizens of foggy London.
Exhibiting a much more artistic approach than Tod Browning’s original film, Lambert Hillyer’s Dracula’s Daughter is a creeping tale that draws you deep into its gothic atmosphere and slow building crescendo of tension. Rather than just a collection of stationary long shots of cobwebbed castles and misty gardens, Dracula’s Daughter is all damp, ominous streets and shadowy dens where Holden’s Marya grapples tragically with the curse that plagues her. The creepiest scenes come when Marya and Sandor slip around in the shadows and discuss ways to quench Marya’s unquenchable thirst. The film can also be relatively humorous, which does undercut some of the scares that generate, making Dracula’s Daughter a bit kid friendly, even more so than Dracula. Lengthy dry spots where thinly written background characters step into the frame and babble on, forcing us to drift out of the action until Holden reappears also trip up moments of Dracula’s Daughter.
Dracula’s Daughter is probably best remembered for the lesbian subtext that runs heavy through the second half of the film. This subtext is crystal clear in a sequence between Marya and a young girl named Lili (Played by Nan Grey), who is supposed to acting as a model for Marya. One thing is for sure, you have to see the scene to believe it. It is surprising that the scene made it past the production code authority but it actually makes Dracula’s Daughter all the more fascinating and thought provoking. It may not rank as one of the best Universal Movie Monsters sequels out there, but Dracula’s Daughter manages to be a smidgeon better than its predecessor, at least in construction. It would have also been nice to get a cameo from the legendary vampire himself but sadly, this film is Dracula-less. Overall, this gothic follow up will stick with you due to its dreary ambiance and nightmarish imagery that will have you switching the nightlight on before bed. Grade: B
Son of Dracula (1943)
After taking a trip to Hungry, the beautiful Kay Caldwell (Played by Louise Allbritton) returns to United States with a morbid curiosity with the supernatural. She returns to her family’s southern plantation with a gypsy fortuneteller named Madame Zimba (Played by Adeline DeWalt Reynolds) and the mysterious Count Alucard (Played by Lon Chaney, Jr.), who only makes select appearances after the sun has gone down. After Madame Zimba warns Kay that death looms over the plantation, several individuals close to Kay are discovered dead. To make matters worse, Kay informs her fiancé Frank (Played by Robert Paige) that she does not intend to marry him anymore. She instead plans on marrying Count Alucard, with the hopes of obtaining immortality.
Don’t be fooled by the title, there is no son of Dracula in Son of Dracula. I guess it was just a catchy title that everyone could agree on. The third installment in Universal’s Dracula franchise does find the legendary bloodsucker (thankfully) returning after his absence in Dracula’s Daughter but this time he is portrayed by Lon Chaney, Jr. Unlike Béla Lugosi, Chaney is never really able to own the fangs and it shows. Chaney lacks Lugosi’s horrific grin that just spelled pure evil and his piercing eyes, but he does an adequate job with the role. You are left wishing that Lugosi would show up and relieve Chaney of his duties here and sometimes, I got the feeling that Chaney was secretly hoping the same thing. His casting here has been widely considered one of the worst casting choices in the history of cinema and he does seem a bit awkward at times but he is aided by the stellar direction from Robert Siodmak, who ratchets up the eeriness with a relentlessly gloomy landscape.
More of a film noir with vibrations of terror, Son of Dracula has some superb moments of paranormal horror. Alucard drifts silently over the murky waters of a desolate swamp while another character chats with a ghost in a dingy jail cell as police officers murmur amongst themselves that the prisoner must be crazy. Dropping the comic relief that Dracula’s Daughter was fond of, Son of Dracula is done in by a thinly spread plot that ultimately got a bit monotonous for me. I did enjoy the somber tone and I have to say I really liked the scenes in which Alucard would transform from a bat into his human form. I also was quite fond of Allbritton’s distant femme fatale who has big plans for Chaney’s bloodsucker. I was thrown off by the idea that Dracu… I mean Alucard was looking to settle down and take a wife, especially after Dracula shows three of his wives slithering out of their graves. Overall, Son of Dracula plays things gravely serious and more power to it for that, but a bone-dry script and a dull monster cause the film to be a bit stiff. Grade: C+
House of Dracula (1945)
Count Dracula (Played by John Carradine) arrives in Visaria at the castle of Dr. Franz Edelmann (Played by Onslow Stevens) and asks the doctor to cure him of his vampirism. The good doctor agrees and just as he begins work on a cure, Larry Talbot (Played by Lon Chaney, Jr) comes knocking on his door seeking a cure him of his lycanthropy. As the doctor races to find cures for both monsters, he stumbles upon the ultimate discovery— Frankenstein’s Monster (Played by Glenn Strange). With all the ghouls together, Dr. Edelmann races the clock to protect his two assistants, hunchbacked Nina (Played by Jane Adams) and beautiful Milizia (Played by Martha O’Driscoll), from certain death, but Count Dracula has other plans for Dr. Edelmann, a plot that could unleash pure evil on the local villagers.
The lash hurrah for three of the most iconic movie monsters in Universal’s arsenal, House of Dracula does end with a big bang, lots of flames, and even a few fireworks. You’d think with three of the studio’s main monsters in the same picture, there would be plenty of murder and mayhem to go around but sadly, that is not necessarily the case. There is quite a bit of down time in House of Dracula and only some of it works. A scene where Count Dracula attempts to seduce Milizia is effectively frightening and a horrific vision by Dr. Edelmann is a hair-raiser but things are forced here. Screenwriter Edward T. Lowe, Jr really hopes for smooth sailing but some of these chance encounters are strained, especially the way Frankenstein’s Monster is discovered. Furthermore, the film lacks the unshakable gothic mood of some of the better Universal horror offerings, which further throws the film off. Luckily, this monster mash only goes on for a measly sixty-seven minutes.
As far as acting is concerned, Chaney is the only one reprising a role that he perfected. Béla Lugosi is replaced by John Carradine, who does more with the role than Chaney did in Son of Dracula but still lacks the allure of Lugosi. Glenn Strange steps in for Boris Karloff and has little to do as the Monster. He mostly just stays rooted to an operating table and flails his arms around in the film’s final minutes. It is Chaney’s Talbot/Wolf-Man who really steals the picture with his sympathetic performance of a man terrified of himself. Stevens also does an above average job with Dr. Edelmann and gets to really have some nasty fun in the home stretch when he descends into madness. The other memorable aspect of House of Dracula is the inclusion of female hunchback Nina, an unusual touch for a horror film at this time. As the last gothic gasp before the explosion of atomic terror and Cold War fears, House of Dracula attempts to send the terrifying trio back to the grave in grandiose style but ends up ushering them out with a big yawn and a faint snore. Grade: C
Drácula (The Spanish Version), Dracula’s Daughter, Son of Dracula, and House of Dracula are all available on DVD.