A History of Horror Classics from Universal Studios

Introduction

During the years 1923-1941, Universal Pictures released a plethora of horror movies that would go down in history as some of the most astonishing, critiqued and remade films ever to be put on celluloid.  Seven of those movies in particular have stood the test of time and are still viewed in the same glory as they were decades ago.  Those motion pictures are The Hunchback of Notre Dame (1923), The Phantom of the Opera (1925, 1929), Dracula (1931), Frankenstein (1931), The Mummy (1932), The Invisible Man (1933) and TheWolf Man (1941).  Of these seven movies, five superb actors proved that with the right combination of acting and makeup, they could create creatures that would forever be associated with their names.  Boris Karloff, Lon Chaney, Claude Rains, Lon Chaney, Jr. and Bela Lugosi accomplished this feat, and many of their images continue to instill terror and fear in our minds.

From the early days of silent films Universal was one of the biggest studios in Hollywood.  Their early history gave America some of the best known movies of their time, and with directors like James Whale and a producer named Carl Laemmle the 1920’s and 1930’s belonged to Universal Studios.   Even today, with the capability to produce movies with extreme budgets and astounding special effects, these old black and whites are still watched and adored by movie lovers everywhere.

Scope

Universal Pictures has been a huge force in the motion picture industry for almost a century, and like any other studio they have had there ups and downs.  The purpose of this pathfinder is to inform the user about one of the greatest eras in their history, and to direct them to sources that contain the most pertinent information about the movies themselves, the actors that starred in them and Universal Pictures as a whole.  Designed primarily for students who will be using a comprehensive academic library, a large majority of the references in this pathfinder can be found at Davis Library on the campus of The University of North Carolina at Chapel Hill.  Anything not in that building can be found at Duke University.  Most of the World Wide Web sources can be accessed from anywhere, with the exception of some of the indexes and databases, which require access from The University of North Carolina.

L.C. Subject Headings

The following Library of Congress Subject Headings are for use with on-line catalogs in order to find information regarding Universal Pictures, Carl Laemmle and James Whale.  For specific actors and movies consult their respective pages.

Dictionaries and Guides

The sources listed here are to provide quick reference for information regarding the studio, movies and major poeple involved with the movies, including actors, producers and directors.  These works contain cross-referencing which allow the user to find important information related to what may have originally been looked up.  The dictionaries and guides are also more likely than encyclopedias to provide photographs, which can be a draw for some users.  Arranged alphabetically, they make for an easy place for information about the horror movies.  However, it is important to consult the table of contents for each book, since some guides group movies together by similarities they possess.

Maxford, Howard. The A-Z of Horror Films.  Bloomington: Indiana University Press, 1997.
[Davis, 7th floor stacks: PN1995.9.H6 M3245 1997]

With good descriptions of all movies included, this reference book gives all the basic information about each movie (director, photographer, musical director, etc…).  Also found here are famous people associated with horror movies, as well as those who starred in spoofs, such as Bud Abbott and Lou Costello.  While the  actual information provided can be found in numerous other sources, this book has top ten lists and many rare publicity photos.  In addition, every movie is rated on a four star scale.
Senn, Bryan & Johnson, John.  Fantastic Cinema Subject Guide: A Topical Index to 2500 Horror, Science Fiction, and Fantasy Films.  Jefferson, N.C.: McFarland & Co., 1992.
[Davis Ref: PN1995.9.F36 S46 1992]
An excellent reference book, the Fantastic Cinema Subject Guide contains great information about the movies it discusses.  Each entry has the cast and crew, a brief synopsis of the plot and some movies have famous quotes.  There are also little known facts (for example, The Hunchback of Notre Dame was the most expensive movie ever made at the time of its release, costing $1,250,000).  The biggest problem with this book is its organization.  To quickly find a movie it is easier to use the index in the back rather than flip through alphabetically, since movies are grouped together by type.  This means that The Phantom of the Opera is under “Phantoms,” The Invisible Man is under “Invisibility” and The Hunchback of Notre Dame is under “Freaks.”  There is also lots of cross referencing for sequels and similar movies.
Soister, John T.  Of Gods and Monsters: A Critical Guide to Universal Studios' Science Fiction, Horror, and Mystery Films, 1929-1939.  Jefferson, N.C.: McFarland & Co., 1999.
[Davis, 7th floor stacks: PN1999.U57 S65 1999]
For a book that contains strictly Universal Pictures’ horror movies this is the source to read.  Soister has done a terrific job of gathering information about all Universal’s thrillers during this decade, and there are many aspects that make this a great book.  First, the entries all have essays written about them, which are followed by a description of the plot.  There is also critical commentary for each movie, as well as many rare photos, posters and lobby cards.
Encyclopedias

Much like dictionaries and guides, the encyclopedia sources are great places for someone who does not possess a great knowledge of these films to begin.  Most of these books are alphabetical, but it is important to consult the table of contents for each in order to deternine how they are organized.  The encyclopedias are useful in finding information about people or events that may not be well known, and some of these resources do a good job of including those of lesser fame.

Katz, Ephraim. The Film Encyclopedia.  New York: HarperPerennial, 2001.
[Davis Ref: PN1993.45 .K349 2001]

This mammoth book by Ephraim Katz has everything anyone could possibly want to know about movies.  The cover calls The Film Encyclopedia “the most comprehensive encyclopedia of world cinema in a single volume,” and this is the truth.  Anybody who was associated with any big movie is in here, from Tod Browning to Carl Laemmle, Jr. to Mary Philbin, who played Christine in the The Phantom of the Opera and retired when talkies emerged.  Only actors, actresses, genre definitions and organizations are listed; there are no entries for specific movies.  Cross referencing is done in block letters in each description.  The entires provided are well written and have all the important information pertaining to subject.  This encyclopedia would help someone who uses it for an easy reference source.
Milne, Tom & Willemen, Paul.  The Encyclopedia of Horror Movies.  New York: Harper & Row, 1986.
[UL storage: PN1995.9.H6 M5 1986]
An encyclopedia that covers major horror movies from 1896 through 1985, this book sticks to the basics in only having entries that are movies, while some of the others (The Film Encyclopedia, The Encyclopedia of Fantastic Film) include actors and key players. The Encyclopedia of Horror Movies has all the movies arranged alphabetically by year, and years grouped together in chapters by decade, the first one called “The Early Days,” which goes from 1896-1919.  The descriptions are critical yet short, and the images are ones that can be found in many other places.  Although somewhat out of date, the appendices are fun to look at.  They are, among other things, lists of author’s top ten movies, all time most rented horror movies and movies that have been nominated for and received Oscars.
Newman, Kim. The BFI Companion to Horror.  London: Cassell, 1996.
[Davis Ref: PN1995.9.H6 B5 1996]
A good reference book, the British Film Institute has done a nice job of arranging important names in horror.  While the entries are brief, it is very easy to find a specific topic.  Actors, films and roles are all put together alphabetically, and in each entry, all words in bold type are entries themselves.  This work has extensive narratives for the Universal films, but the largest problem with this encyclopedia is that in order to find a particular movie some serious B-movies have to be passed by first.
Young, R.G. The Encyclopedia of Fantastic Film: Ali Baba to Zombies.  New York:  Applause Books, 2000.
[Davis Ref: PN1995.9.F36 Y68 2000]
A gigantic encyclopedia, Young’s book is one of the better compendiums for quick movie reference.  It is broken into two sections, the first 700 pages devoted to films and almost 300 pages after that made up of a directory of the actors and all the movies they starred in (only actors whose movies appear in the book are listed).  Each entry has the cast, director, screen writer and other major information, and some more famous movies have quotes from critics and biographies.  Every movie is also given a classification.  Dracula, for example, is called “classic horror-fantasy.”
Filmographies

Filmographies are books that are put together in order to provide a complete list of movies.  The ones listed in this section all relate to Universal Pictures, and can be helpful if the user wants information regarding the details of a specific movie, including date of release, producer and the major actors involved.  For filmographies about specific actors who appeared in the horror movies listed in this pathfinder, consult their respective pages.

Braff, Richard E.  The Universal Silents: A Filmography of the Universal Motion Picture Manufacturing Company, 1912-1929.  Jefferson, N.C.: McFarland & Co., 1999.
[Davis, 7th floor stacks: PN1999.U57 B73 1999]

Covering all of the silent movies from the conception of the studio through the end of the silent film era, this resource stands as one of the most massive filmographies assembled pertaining to the motion picture industry.  Consisting of over 9,000 entries, anyone interested in silent films should not hesitate to look at this book.  Even though only The Hunchback of Notre Dame and The Phantom of the Opera are relevant to this list, it is still an important work to consult.
Brunas, Michael. Universal Horrors: The Studio's Classic Films, 1931-1946.  Jefferson,  N.C.: McFarland & Co., 1990.
[Davis, 7th floor stacks: PN1995.9.H6 B7 1990]
Just over 600 pages, this book attempts to, and succeeds in, compiling an impressive list of information about all the horror movies from Universal Pictures during this 15 year span.  For each movie Brunas has put together complete cast lists, commentary from the actors and actresses and histories of each film.  Universal Horrors also has great stories from behind the scenes of some of the classics, which make for very enjoyable reading.
Fitzgerald, Michael G.  Universal Pictures: a Panoramic History in Words, Pictures, and  Filmographies.  New Rochelle, N.Y.: Arlington House, 1977.
[Davis, 7th floor stacks: PN1999.U585 F5]
This behemoth covers every single movie released by Universal Pictures between 1930-1976.   While Fitzgerald’s work may not be one of the most well written books, it gets an honorable mention for the amount of photographs included.  There are pictures for every movie put out during this time period, and even though most of this book does not apply to the horror films (two are left out because they hit the theaters in the 1920’s), it is still a good source for quick reference.
Histories

In order to understand how and why Universal Pictures chose to rely on the production of horror movies during the 1920's and 1930's, these histories can be useful.  Many of these books contain the history of the studio from its earliest days, and they go into great detail about the years that Universal was one of the top studios in Hollywood.  The histories here that pertain to silent film can also provide information about the genre as a whole without being confined strictly to Universal Studios and the films that they released.

Dick, Bernard F.  City of Dreams: The Making and Remaking of Universal Pictures.  Lexington: University Press of Kentucky, 1997.
[Davis, 7th floor stacks: PN1999.U584 D53 1997]

A well written account of the entire history of Universal Pictures, the story begins where it should in 1912 when Carl Laemmle founded the studio.  The book goes through all decades of production, and spends lots of time on events that occurred after the fall from greatness in the late 1930’s.  While the author writes in a way that is easy to follow and is in fact quite interesting, most of this book does not directly pertain to this era, and there are many excellent books out there that concentrate entirely on the horror film time period.
Edmonds, I.G. Big U: Universal in the Silent Days.  New York: A.S. Barnes and Co., 1977.
[Davis, 7th floor stacks: PN1999.U58 E3 1977]
Even though this book is not very long, it still fulfills its purpose.  It begins with a concise history of the establishment of the IMP (Independent Motion Picture Company) by Carl Laemmle and the founding of Universal Pictures in 1912.  From there it goes into a well written time line of the silent films churned out by this corporation, and includes with it some excellent photographs.  The book wraps up rather nicely with Carl Laemmle, Jr. in the middle of production of Broadway, the firms first all talking movie.  Big U has two indexes, so users can search by film or name.
Everson, William K.  American Silent Film.  New York: Oxford University Press, 1978.
[Davis, 7th floor stacks: PN1993.5.U6 E9]
Loaded with incredible images, American Silent Film really does a superb job at relating the history of this almost forgotten period.  Since Universal Pictures was one of the largest and most powerful studios during the 1920’s, they are obviously a large part of this book.  Only The Hunchback of Notre Dame and The Phantom of the Opera apply here, but this work is very useful for those who want to know more about the studio that produced those two movies rather than the films themselves.  However, the segments about Lon Chaney are quite well written and very informative.
Hirschhorn, Clive. The Universal Story.  New York: Crown Publishers Inc., 1983.
[Davis Folio: PN1999.U584 H57 1983]
Covering the history of Universal Pictures from 1913 until the book’s release in 1983, Hirschhorn has assembled something that should delight anyone with a passion for movies.  Broken into five distinct chapters, the first three are the only ones that apply to the movies listed here.  The information contained about the actual history of the studio is good, but for a real historical look at Universal, City of Dreams would be a better source to consult.  The Universal Story, at almost 400 pages, can be considered a great “coffee table” book because while elements of the history are evident, it is the photographs that make this volume worthwhile.
Senn, Bryan. Golden Horrors: An Illustrated Critical Filmography of Terror Cinema, 1931-1939.  Jefferson, N.C.: McFarland & Co., 1996.
[Davis, 7th floor stacks: PN1995.9.H6 S44 1996]
With histories of specific films, Golden Horrors is a brilliant book to pick up if the user is only searching for around ten pages about each movie.  During this time period four great Universal Pictures releases were seen in theaters everywhere, and all of their histories are described wonderfully, as Senn’s writing is very easy to follow.  For each movie there is a synopsis, production notes, liabilities, reviews, assets and memorable moments.  There is also basic information such as release date, running time, screenplay writer and special effects director.
Indexes and Abstracts

These on-line databases allow the user to search for articles and other related information about the horror films and the people involved with them.  Each resource will be able to provide something different since many of them draw from a wide variety of journals and other scholarly sources.  These databases can also be used to find literary criticism about the original novels that the horror films are based on, as well as interesting commentary about the movies themselves.

America, HIstory and Life
[Electronic resource available through UNC libraries, http://eresources.lib.unc.edu/eid/ - select America, HIstory and Life]

This reference tool is one that provides articles from many different aspects of America's history, including those related to movies.  consisting of "over 2000 journals published worldwide" and providing "a complete bibliographic reference to the history of the United States and Canada from prehistory to the present," this database can be used to find articles about either specific films, the actors that appeared in them or articles about the original novels and their authors.  Drawing from such journals as the Journal of Popular Film and Television and Hungarian Studies, this index should be not be used alone, since the amount of information contained on these horror films is not very broad.  However, one positive of America, History and Life is that it uses some journals, like Hungarian Studies, that may not be found in other databases.
Biography and Genealogy Master Index
[Electronic resource available through UNC libraries, http://eresources.lib.unc.edu/eid/ - select Biography and Genealogy Mastter Index]
Using this database can seriously help anyone who is trying to find sources that list information about specific people.  This resource currently indexes over 13 million biographical sketches, and they add approximately 500,000 new citations per year.  The beauty of BGMI is that it gives the user a complete listing of all the publications the search term is listed in, and there is also more than one way to search.  One of the best ways is to use the Expert Search Mode, which will accept a very complex and precise query.
Book Review Digest
[Electronic resource available through UNC libraries, http://eresources.lib.unc.edu/eid/ - select Book Review Digest]
Comprised of almost 100 periodicals from numerous countries, this database can be very helpful in finding reviews for the original novels that the horror movies are based on, and there are even articles that pertain to many of the historical works and guides.  This is one of the best places to go when looking for reviews about printed materials, and the amount of results that are generally retrieved are not as vast and overwhelming as many other indexes and databases.
Expanded Academic ASAP
[Electronic resource available through UNC Libraries, http://eresources.lib.unc.edu/eid/ - select Expanded Academic ASAP]<
This electronic resource allows the user to search by all major actors and films. With thousands of articles in the database, there is something there for everyone.  By using the subject search, articles can be retrieved on any topic relating to the horror movies, and even specific aspects of Universal Pictures can be read about if the search is narrowed.  One of the best online resources, the amount of information that can be obtained is mind boggling.  For example, The Mummy alone came back with 371 hits.
Essays and Criticism

Many times it is important to look at criticisms in order to get a full understanding of the movies or writings that someone is interested in.  The sources listed  in this section contain writings that further explore the movies and those involved with them on a level beyond what appears on the screen.  These can be used to read commentary or for an in depth analysis of the lives of actors or the connection between a particular movie and the world at that time.  For essays and criticism relating to specific actors and movies, consult their respective pages.

Ellis, Reed. A Journey into Darkness: The Art of James Whale's Horror Films.  New  York: Arno Press, 1980.
[Davis, 7th floor stacks: PN1998.A3 W4774 1980]

Originally a dissertation from the University of Florida, Ellis had this work nationally published in 1980.  A fascinating read, A Journey into Darkness  highlights four of Whale’s most famous films and gives a lengthy background and analysis for each one.  Also included is a list of cast and credits for his horror films and an extensive bibliography.
Hanke, Ken. A Critical Guide to Horror Film Series.  New York: Garland Pub., 1991.
[Davis, 7th floor stacks: PN1995.9.H6 H36 1991]
Spanning the history of horror films from Lon Chaney through A Nightmare on Elm Street, Hanke’s book is a critical analysis of film series, giving each movie and subsequent sequels there own chapters.  Four major Universal films and their series’ take up almost 75 pages at the beginning of the book, and the critical histories that Hanke has written include behind the scenes information that is not well known.  An interesting and at times disheartening read, A Critical Guide to Horror Film Series is a book that should be consulted by any fan of horror films.
Biographies

These biogrpahical works are intended to provide the reader with an in-depth look at the lives of Carl Laemmle, founder of Universal Studios and producer of some of the classic horror films, and James Whale, a director of two movies listed in this pathfinder and many others as well.  For biographies about the actors that appeared in these films, consult their respective pages.

Curtis, James. James Whale: A New World of Gods and Monsters.  Boston: Faber and  Faber, 1998.
[Davis, 7th floor stacks: PN1998.3.W5 C87 1998]

James Whale was one of the most brilliant directors for Universal Pictures in the 1930’s, and he is responsible for many of the great horror classics, including Frankenstein and The Invisible Man.  While many biographies of people associated with film often contain short biographies and large filmographies, this book by Curtis is a true biography, which goes into great detail about the director’s life.  Curtis originally wrote a much shorter biography of Whale in 1982, but feeling as though he had left out a great deal he went back and wrote this edition of over 400 pages, almost twice as long as the original.  At the end is a stage chronology as well as a list of all the movies he directed along with small synopses for each.
Drinkwater, John. The Life and Adventures of Carl Laemmle.  New York: G.P. Putnam’s  Son’s, 1931.
[Davis, 7th floor stacks: PN1998.A3 L34]
The founder of Universal Pictures, Laemmle, or “Uncle Carl” as he was often referred, was also the producer of many of the early movies put out by this studio. The three horror movies he was involved with were The Hunchback of Notre Dame, The Phantom of the Opera and The Invisible Man.  His son, Carl Laemmle, Jr., was the producer of the other three movies in this list released in the 1930’s.  This book by Drinkwater provides a very good description of the man’s life, and portrays him as the kind, gentle boss that he was known to be. It should also be noted that this is currently the only biography of Laemmle in publication.
Gatiss, Mark. James Whale, a Biography, or, The Would-be Gentleman.  New York: Cassell, 1995.
[Davis, 7th floor stacks: PN1998.3.W5 G38 1995]
Although much shorter than Curtis’s work (only half as long), this biography is a much easier read and may be a better choice for someone who is not interested in every minute detail about James Whale’s life.  What this book does have, however, are many fine pictures of the director, which can be hard to come by.  This book has no filmography or chronology, but one interesting thing that it does contain is the original proposal for The Invisible Man which Whale wrote in 1932.  It lists Karloff as the star, which obviously turned out not to happen.
Lon Chaney

One of the greatest actors of the silent film era, Lon Chaney was notorious for his gift at transforming himself into whatever a specific role called for.  Dubbed "the Man of a Thousand Faces," Chaney was truly the king of make-up, which he did on his own.  The son of deaf-mute parents, Chaney prided himself on outdoing his make-up with each movie.  He is best known for his roles in the two horror movies he starred in, The Hunchback of Notre Dame in 1923 and The Phantom of the Opera in 1925.  Both of these films contain scenes which are still widely known today, even if the movies themselves go generally unviewed.

L.C. Subject Headings

The following Library of Congress Subject Heading is for use in searching the on-line catalog for materials pertaining to Lon Chaney.

  • Chaney, Lon, 1883-1930.
Biographies

Anderson, Robert G.  Faces, Forms, Films; The Artistry of Lon Chaney.  New York: A.S.  Barnes & Co., 1971.
[Davis, 7th floor stacks: PN2287.C48 A8]

Comprised of excellent pictures of the late actor, this is the biography to consult for a photograhic biography of Lon Chaney.  The illustrations that this book contains are extremely plentiful, and many of them do not appear in other sources.  The biography itself is good, but not great, so if it is a full description of the life of Lon Chaney you want, I would highly recommend the book by Michael F. Blake.  This book also contains a short filmography which lists some, but not all, of Chaney’s movies.
Blake, Michael F.  Lon Chaney: The Man Behind the Thousand Faces.  Vestal, N.Y.:  Vestal Press, 1993.
[Davis, 7th floor stacks: PN2287.C48 B58 1993]
Michael F. Blake is the official biographer of Lon Chaney; therefore it should be no surprise that this book far exceeds all others in portraying the life of this late actor.  The pictures contained in this book are not as extensive as those in Faces, Forms, Films, but this is really a minimal aspect of the content.  This book is a full length description of Chaney’s life which leaves no important detail out.  For a book that focuses more on Chaney’s films rather than his life, see Blake’s A Thousand Faces.
Filmographies

Blake, Michael F.  A Thousand Faces: Lon Chaney’s Unique Artistry in Motion Pictures.  Vestal, N.Y.: Vestal Press, 1995.
[Duke University, Lilly Library, 791.43028 C456, B636, 1995]

A somewhat updated version to his other Chaney biography, this book is different in its contents and thus is considered here to be a filmography.  While there is still biographical information, this work focuses much more heavily on the films Chaney starred in rather than his life.  Another wonderful work by the authority on Lon Chaney, this book does not fail to delight the reader in the history of some of the greatest silent movies ever filmed.  For another impressive filmography, Blake’s The Films of Lon Chaney, released in paperback in October 2001, is the perfect book.  However it is not available in the North Carolina Library system.
Essays and Criticism

Sandburg, Carl.  The Movies Are: Carl Sandburg's Film Reviews and Essays, 1920-1928. edited by Arnie Bernstein.  Chicago: Lake Claremont Press, 2000.
[Davis, 7th floor stacks: PN1995 .S335 2000]

In order to understand the implications of a movie on its day it is important to look at criticism from that time.  This book by Carl Sandburg provides the reader with a look at how a man in the 1920's viewed the new genre of horror films that debuted during that decade.  With lengthy entries about Chaney and many of the movies he appeared in, including The Phantom of the Opera and The Hunchback of Notre Dame, this will be an interesting read for someone who is looking for real authroitative criticism.  The Movies Are is arranged chronologically by the date of the written entry, so to find writings related to Chaney the index would be a good way to search.  The introduction is written by Roger Ebert, one of the most well known film critics in the United States.
World Wide Web Resources

The Lon Chaney Home Page

Truly the best website about this great silent film star, The Lon Chaney Home Page is maintained by Jon C. Mirsalis (Ph. D.), who not only holds an incredible collection of Chaney material, but has also written articles on the actor and has helped in restoring many films for Turner Entertainment.  This site contains a full filmography, great photographs, collections of posters and lobby cards from the original releases, as well as links to many other Lon Chaney sites and links to sources about silent films.

Lon Chaney, Jr.

Born Creighton Tull Chaney, Lon Chaney Jr. was the son of the film star Lon Chaney.  In 1935 he changed his screen name to mirror his father as a marketing ploy, and in 1939 he was cast in his first big role, that of Lennie in a film adaptation of John Steinbeck's Of Mice and Men.  In 1941 Universal Pictures wished to revitalize their horror film franchise and Chaney, Jr. was cast in his most memorable role as Lawrence Talbot in The Wolf Man.  Although he never achieved the fame of his father, his career as an actor tallied over 150 movies.

L.C. Subject Headings

The following Library of Congress Subject Heading is for use in searching the on-line catalog for materials pertaining to Lon Chaney, Jr.

Biographies

Smith, Don G.  Lon Chaney, Jr.: Horror Film Star, 1906-1973.  Jefferson, N.C.: McFarland & Co., 1996.
[Davis, 7th floor stacks: PN2287.C49 S65 1996]

An actor whose career was overshadowed by his father, Lon Chaney, Jr. has not been the subject of nearly as many biographies as the other major actors from this period in Universal Studio’s history.  This book is the only biography of the actor available in the North Carolina system, although there is a biography of Lon Chaney, Jr. as part of the Midnight Marquee Actors Series  Smith's work, however, does a very good job of encompassing Chaney’s entire life.  This book does not contain many pictures, although it does have a filmography in the back.
World Wide Web Resources

Lon Chaney Jr's. Home Page

Lon Chaney, Jr. never achieved the status of his father, but he did appear in over 150 movies, most of which were not very popular.  This website does the best job of portraying Chaney Jr. as who he was.  There is a full filmography, a galley of photos and links to other pages.  The setup of the actual page is not the greatest (the filmography, for example, is constantly scrolling up), but the information provided exceeds all the others.

Boris Karloff

Boris Karloff began his film career in 1919 and appeared in dozens of films through the 1920's in minor roles.  Not until he was offered the role in Frankenstein that Bela Lugosi refused did Karloff's acting career take off.  Not only was this movie a huge success, but in the next four years he would star in many other Univeral Pictures classics including The Mummy and The Black Cat, in which he played a role opposite Bela Lugosi. He was called upon again in 1935 for the Bride of Frankenstein, which many critics consider to be the best black and white horror film ever made.  During the 1940's Karloff was typecast in many B-movies, although he was able to land some quality roles during the latter part of the decade.  He gave Broadway a shot in the 1950's, but ultimately ended his career on the screen with Targets in 1968.

L.C. Subject Headings

The following Library of Congress Subject Headings are for use in searching the on-line catalog for materials pertaining to Boris Karloff.

Biographies

Glut, Donald F. The Frankenstein Legend: A Tribute to Mary Shelley and Boris Karloff.   Metuchen, N.J.: Scarecrow Press, 1973.
[Davis, 7th floor stacks: PR5397.F73 G4]

The Frankenstein Legend is devoted to the history of the story, beginning with Mary Shelley in 1818.  Most of the remainder of the book has to do with the history of Frankenstein on screen, a majority of which focuses around Boris Karloff.  While the final chapters to not deal directly with him, the sections that do are worth the read.  The introduction is written by Forest Ackerman, who was a close and personal friend of Karloff’s and continued that relationship with his children, who also contributed.
Lindsay, Cynthia.  Dear Boris: The Life of William Henry Pratt a.k.a. Boris Karloff.  New York: Knopf, 1975.
[Davis, 7th floor stacks: PN2287.K25 L5]
Although it seems like a rather basic biography, Lindsay’s book is listed here because it has received great praise from other authors.  One of the first detailed accounts of Boris Karloff, this work is listed in the bibliographies of most other biographers.  Today there are many other books that do a better job than this one, but for a trip back in time Dear Boris is a sure thing.  One nice thing about this book is the large number of photographs it contains.
Nollen, Scott Allen.  Boris Karloff: A Critical Account of His Screen, Stage, Radio, Television and Recording Work.  Jefferson, N.C.: McFarland & Co., 1991.
[Davis, 7th floor stacks: PN2287.K25 N6 1991]
This book starts off on the right foot, with a foreword by Ray Bradbury.  From there this book evolves into a well written and well organized biography of Boris Karloff.  Set up differently than many other biographies, Nollen’s work begins with a small biography of his early years and then, chapter by chapter, goes through many of his best films, using those time periods to portray Karloff’s life.  There is an interesting chapter on horror parodies, such as Abbott and Costello Meet the Killer, Boris Karloff, and the final chapter which talks about Karloff’s legacy.  The six appendices contain lists of his performances in all mediums, as well as published writings and proposed films and roles.
Underwood, Peter.  Horror Man: The Life of Boris Karloff, with an Appendix of the Films  in Which he Appeared.  London: Leslie Frewin, 1972.
[Davis, 7th floor stacks: PN2287.K25 U47]
A well written account of the late actor, Horror Man is a straightforward read, with the only pictures being 12 pages of photos in the center of the book.  Not every bit of Karloff’s life is present here, and for the reader who wants a briefer description of his life this is probably the better book to read.  In the back there is a discography of recordings that were made for Caedmon Records, and the appendix is a filmography which has information about all the movies Karloff was in, adding up to over 160.
Filmographies

Bojarski, Richard & Beale, Kenneth.  The Films of Boris Karloff.  Secaucus, N.J.: Citadel Press, 1974.
[Davis, 7th floor stacks: PN2287.K25 B6]

Richard Bojarski is someone who knows his movies inside and out, and this could not be more evident than in this filmography.  With a striking selection of photos and very descriptive summaries, this book is a must have for anyone interested in the films of Boris Karloff.  It starts out with a brief biography, and then goes into a summation of his early movies, both silent and sound.  The first movie to receive its own page is 1931’s Graft, and from there the book continues through scores of Karloff’s hits.
Buehrer, Beverley Bare.  Boris Karloff: A Bio-bibliography.  Westport, C.T.: Greenwood Press, 1993.
[Davis, 7th floor stacks: PN2287.K25 N6 1991]
What could probably be considered the best filmography about Boris Karloff, Buehrer has definitely gone through great pains to bring the information in this book to light.  With exceptionally thorough summaries and comments this is the book for the person who is serious about the actor’s movies.  Along with the films are his other appearances, and also included is a bibliography with books and articles about Karloff.  There are only a handful of pictures which appear in the back of the book, and it seems as though this was done on purpose so as not to distract the reader.
World Wide Web Resources

Boris Karloff Home Page

The official website of Boris Karloff, this site is maintained by Karloff Enterprises, which is run by Karloff’s descendants.  Here you will find lots of great information about the late actor including a full filmography, biographies, a family tree which goes from the early 19th century to the present and a list of radio appearances.  This website also has links to various other places that have to do with horror movies and conventions, a link to a full unabridged version of Mary Shelley’s book, and there is also a gift shop for purchasing Karloff related materials.

Bela Lugosi

Born in Lugos, Hungary, in 1882, it is not hard to figure out where Bela took his on stage last name from.  A lieutenant in World War One, Lugosi strarted his career in England on stage, and then made his way over to America during the late 1920's.  When Lon Chaney passed away in 1930, Tod Browning, director of Dracula, turned to Lugosi, who had playing the role of Count Dracula on stage.  Lugosi never got passed this role, and became quite full of himself.  When he was offered the role of The Monster in Frankenstein, he declined since the make-up would make him unnoticable and he would have no lines.  Ending his career with a long string of B-movies, one feat that Lugosi did accomplish was to help organize the Screen Actors Guild in the 1930's.

L.C. Subject Headings

The following Library of Congress Subject Headings are for use in searching the on-line catalog for materials pertaining to Bela Lugosi.

Biographies

Cremer, Robert.  Lugosi: The Man Behind the Cape.  Chicago: Henry Regnery Co., 1976.
[Davis, 7th floor stacks: PN2859.H86 L833]

By far the best biography of Lugosi, this work leaves no stone unturned in describing the actor’s life.  As with all the biographies, in the back there is a complete filmography that lists the director, cast and studio.  There is also a stageography, which lists the roles he played, the author and the premiere date. There is a very large index, and what makes this book really interesting is the introduction by Bela Lugosi, Jr.
Lenning, Arthur.  The Count: The Life and Films of Bela "Dracula" Lugosi.  New York:  G.P. Putnam’s Sons, 1974.
[Davis, 7th floor stacks: PN2859.H86 L835]
Lenning’s book is not of the same caliber as The Man Behind the Cape, as the writing seems a bit dumbed down.  What makes this book nice is the overwhelming amount of pictures it contains, many of which are publicity shots and signed photos.  If it is a well written book you are looking for Cremer’s book would be a better bet, but for a simpler book with good pictures try The Count.
Rhodes, Gary Don.  Lugosi: His Life in Films, on Stage, and in the Hearts of Horror Lovers.  Jefferson, N.C.: McFarland & Co., 1997.
[Davis, 7th floor stacks: PN2859.H86 L836 1997]
This book is designed much differently than the other two, and this sets it apart from the rest.  The actual biographical account of Lugosi’s life only takes up the first 65 pages of the book, but it is the rest of the information that is so distinctive.  Broken into four parts, the first, as stated, is the biography.  Next is a list of his performances, made up of films, stage appearances, vaudeville, radio, television spots and many other categories.  The third section has reviews and articles about the actor, as well as famous Lugosi quotations.  Lastly is a smaller section comprised of critique and appreciation, which also has a chapter devoted to Lugosi merchandise.
Filmographies

Bojarski, Richard.  The Films of Bela Lugosi.  Secaucus, N.J.: Citadel Press, 1980.
[Davis, 7th floor stacks: PN2859.H86 L832]

This book begins with a very brief biography which is then followed by the filmography.  First are lists of the early films Lugosi made in Hungary and Germany, then a small section on his early American films.  Most of the movies that follow are given a full two pages, consisting of a plot summary, credits, reviews and notes, although some of larger and more successful movies are given many more pages (Dracula, The Black Cat).  The pictures in this book are phenomenal, and this is the book to consult if you want relevant, however not incredible information, but great images.
Essays and Criticism

Svelha, Gary J. & Susan.  Bela Lugosi.  Baltimore, M.D.: Midnight Marquee Press, 1995.
[Davis, 7th floor stacks: PN2859.H86 L8318 1995]

Bela Lugosi is the first book in the Midnight Marquee Actors Series, and this work by the Svelhas has detailed entries about many of Lugosi’s films between 1928 and 1956.  With essays written by many great horror writers and critics, this book is very authoritative.  Although much of this book is devoted to many of the poorer movies Lugosi starred in, Bela Lugosi still contains enough information on his earlier films to warrant the use of those interested in his career with Universal.  The second book in this series, Boris Karloff, is just as rich in information, however it is unavailable in the local libraries.
World Wide Web Resources

The Chamber of Dr. Werdegast

This unofficial site called The Chamber of Dr. Werdegast is the most comprehensive of all the Lugosi related sites out there.  Just like all of the other sites this one also has a filmography and a brief but decent biography.  What separates this one from the pack, however, are the other sections it contains.  For example, there is a list of reviews for all of his movies which come from five different movie guides.  So for any given film, if one of these books has a review, it is there.  Also at this website is a list of books published about Bela Lugosi and full text scripts for two of his later movies, Glen or Glenda? and Plan 9 from Outer Space.

Claude Rains

Although not best known for his roles in horror movies, Claude Rains was convincing as the Invisible Man, even if his face was rarely seen.  A British stage actor, Rains came to America in 1914.  Due his great on stage presence, he was given many great roles through his long career, including parts in such classics as Casablanca, Mr. Smith Goes to Washington and Alfred Hitchcock's Notorious, all of which Rains recieved Best Supporting Actor nominations.  Claude Rains also appeared with Lon Chaney, Jr. in The Wolf Man, and later in his career played a diplomat in Lawrence of Arabia.

L.C. Subject Headings

The following Library of Congress Subject Heading is for use in searching the on-line catalog for materials pertaining to Claude Rains.

Biographies

Soister, John T.  Claude Rains: a Comprehensive Illustrated Reference to his Work in  Film, Stage, Radio, Television and Recordings.  Jefferson, N.C.: McFarland &  Co., 1999.
[Davis, 7th floor stacks: PN2287.R225 S66 1999]

The only work available for Claude Rains, this book covers all aspects his career.  Unfortunately, the actual biography portion of this book is rather slim, but this is made up for in the filmography section, which is very well written and very detailed.  The pictures included in Soister’s book are good, not great, and there are many other sources in print and on the Web that can accommodate a photograph hunter better than this book can.
Essays and Criticism

Stein, Jeanne.  "Claude Rains: In Becoming a Proficient Actor he Overcame a Handicap."  Films in Review, vol. XIV, no. 9 (November 1963), p. 513-528.
[Davis, 7th floor stacks: PN1993.F6473 v.14 1963]

An interesting article that follows the life of this actor from his early days in England though becoming a motion picture star.  This article is worth taking a look at for an approach to the life of Claude Rains which, although rather brief, sums up the acomplishments of the actor quite well.  There is good explanation about the transition from playing "either an insane man or one who went through a period of madness," to the more dramatic roles that he was cast in later in his career.  There is short filmography at the end of the article which lists Rains' co-stars and a brief description of the film.
World Wide Web Resources

All Things Claude

All Things Claude probably contains more information about any of the actors listed here.  Aside from the normal lists expected on these sites, this Claude Rains tribute has a list of all the plays he appeared in before he was on the big screen, and also has a list of all his wives, some of which have small biographies.  Unlike the other horror actor sites, this one has a message board which allows fans to discuss this distinguished actor.

The Hunchback of Notre Dame

This screen adaptation of Victor Hugo's novel was the movie that set the standard for Lon Chaney's make-up and opened the door for the horror genre.  The story is about Quasimodo the hunchback who lives in the bell tower of a cathedral.  Quasimodo is hired to kidnap a gypsy named Esmeralda, but he is caught and sentenced to be flogged.  Later, Esmeralda is wrongfully convicted of murder, and Quasimodo sets out to save her.  The subject of many remakes, this version of The Hunchback of Natre Dame was the most expensive film produced at the time, costing one and a quarter million dollars.

L.C. Subject Headings

The following Library of Congress Subject Heading is for use in searching the on-line catalog for materials pertaining to The Hunchback of Notre Dame.

Reviews

The New York Times Film Reviews 1913-1968.  Vol. 1, 1913-1931.  New York: The New  York Times & Arno Press, 1970.
[Davis Ref: PN 1995. N4 v1]

Variety Film Reviews 1907-1980.  Vol. 2, 1921-1925.  New York: Garland Publishing  Inc., 1983.
[Davis Ref: PN 1995 .V34 v2] Original Novel

Hugo, Victor.  Notre-Dame de Paris.  Oxford: Oxford University Press, 1999.  (originally  published in 1831)
[Davis, 7th floor stacks: PQ2288.A35 1999]

Known in English as The Hunchback of Notre Dame, this version of the Hugo classic was chosen because there were not many options to consider.  One of only two English versions at Davis Library, this one is a better translation because it sticks to the original text as best as it can, and Oxford University Press is a very respectable publisher.  There is one other English copy in UL storage, but it is from 1947, so this more recent publication would be a better read.
Video

The Hunchback of Notre Dame.  New York, N.Y.: Kino Video, 1990.
[UL NonPrint: 65-V3048]

The movie that defined Lon Chaney as a master of make-up, The Hunchback of Notre Dame is still as awesome today as it was when it was released in 1923, almost 80 years ago.  With magnificent sets and a fantastic job by Chaney as Quasimodo, this film still stands as one of the greatest horror movies ever produced.
The Phantom of the Opera

After the success of The Hunchback of Notre Dame, Lon Chaney was cast as the title role in The Phantom of the Opera because he was sure to create a creature of horror.  Universal Pictures was right to assume this, and in 1925 Chaney's Phantom came to life.  As Erik, the phantom of the Paris Opera House who lived in the catacombs, Chaney's make-up scared young and old movie goers alike, and the scene in which his mask is removed to reveal his hideous face is still talked about today.  Taken from the 1911 novel by Gaston Leroux, the story tells of a phantom that lives under the opera house and falls in love with Christine Daae, a singer, who he eventually kidnaps and takes underground.  There the famous unmasking ensues as well as the hunt for Erik by the authorities.

L.C. Subject Headings

The following Library of Congress Subject Heading is for use in searching the on-line catalog for materials pertaining to The Phantom of the Opera.

Reviews

The New York Times Film Reviews 1913-1968.  Vol. 1, 1913-1931.  New York: The New  York Times & Arno Press, 1970.
[Davis Ref: PN 1995. N4 v1]

Variety Film Reviews 1907-1980.  Vol. 2, 1921-1925.  New York: Garland Publishing  Inc., 1983.
[Davis Ref: PN 1995 .V34 v2] Variety Film Reviews 1907-1980.  Vol. 4, 1930-1933.  New York: Garland Publishing  Inc., 1983.
[Davis Ref: PN 1995 .V34 v4] Original Novel

Leroux, Gaston.  The Phantom of the Opera.  London: O'Mara, 1987.  (originally  published in 1911)
[Davis, 7th floor stacks: PQ2623.E6 F213 1987]

One of only two copies in Davis that are in English, this one is the better version.  Even though this is the older copy, it keeps truer to the original story and provides the reader with a few decent illustrations.  For a very good copy that is not in the libraries here, you can try the 1993 edition released by Barnes and Noble.
Video

The Phantom of the Opera.  New York, N.Y.: Kino on Video, 1989.
[UL NonPrint: 65-V2391]

Where Chaney left off with The Hunchback of Notre Dame, this movie picks right up with the “Man of a Thousand Faces” as Erik, the phantom who lives under the Paris Opera House.  Just when everyone thought the makeup of Quasimodo could not be out done, Chaney shocked audiences and critics alike with one of the most famous scenes in movie history.  When Erik is unmasked by his kidnapped Christine in the bellows of the building, the grotesque face that the phantom has is revealed, filling viewers with dread even today.  Originally released in 1925, it was put back in the theaters in 1929 with some added footage and the famous scene with the masquerade ball, in which Chaney dons himself as the Red Death.  This scene was filmed in two-tone Technicolor and looks unbelievable.  This movie is also available on DVD.
Dracula

Dracula is one of the best known horror stories in the world, not only because of the novel by Bram Stoker but also due to the portayal of the vampire by Bela Lugosi.  The tale of an undead count from Transylvania who feeds on the blood of the living, the plot of this story can be terrifying.  As he makes his way to London to occupy a new home, Count Dracula falls in love with a woman which he pursues throughout the film, and not until a man named Van Helsing realizes what Dracula is can he be stopped.  Universal Pictures hit the jackpot by casting Lugosi as the vampire because his look and Hungarian accent made a great fit.  It should be noted that had Lon Chaney not passed away in 1930, he would have been offered the role instead of Lugosi.

L.C. Subject Headings

The following Library of Congress Subject Heading is for use in searching the on-line catalog for materials pertaining to Dracula.

Reviews

The New York Times Film Reviews 1913-1968.  Vol. 1, 1913-1931.  New York: The New  York Times & Arno Press, 1970.
[Davis Ref: PN 1995. N4 v1]

Variety Film Reviews 1907-1980.  Vol. 4, 1930-1933.  New York: Garland Publishing  Inc., 1983.
[Davis Ref: PN 1995 .V34 v4] Original Novel

Stoker, Bram.  Dracula.  New York: Penguin Books, 1993.  (originally published in  1897)
[Davis, 7th floor stacks: PR6037.T617 D7 1993b]

A true classic, Dracula is one of the finest and most horrific novels ever to be adapted to the silver screen.  Printed in dozens of languages, this book has also been the subject of many reprints, and this version is probably one of the best.   Aside from keeping true to the original text, this Penguin release has some very interesting material included in it, such as reviews, criticism and a list of dramatic and film variations.
Video

Dracula.  Universal City, C.A..: MCA Videocassette, 1980.
[UL NonPrint: 65-V176]

Put out by Universal in 1931, this movie stars Bela Lugosi, who had been playing Dracula on the stage for a number of years.  The role of Count Dracula was actually intended for Lon Chaney, but when he passed away in 1930 the part went instead to the Hungarian born actor.  A classic film, Dracula has set the standard for the public’s image of the vampire, using the look of Lugosi to portray the evil blood sucker.
Frankenstein

A true classic, Frankenstein was brought to life by Mary Shelley in 1818.  When Universal Pictures realized that horror movies could make them lots of money, the went first to Bela Lugosi to play the part of The Monster, but he turned it down since he felt that with all the make-up involved no one would know it was him.  Instead, Boris Karloff was given the role and Frankenstein became the most successful horror film of its time.  The story of a mad scientist who regenerates dead tissue in order to revive a human being, this movie differs from the others since it provokes many emotions such as love and humor.  The franchise that Frankenstein started for the studio made millions of dollars with many sequels and remakes, and also gave later writers and directors a basis for spoofs, most notably Mel Brooks' Young Frankenstein.

L.C. Subject Headings

The following Library of Congress Subject Heading is for use in searching the on-line catalog for materials pertaining to Frankenstein.

Reviews

The New York Times Film Reviews 1913-1968.  Vol. 1, 1913-1931.  New York: The New York Times & Arno Press, 1970.
[Davis Ref: PN 1995. N4 v1]

Variety Film Reviews 1907-1980.  Vol. 4, 1930-1933.  New York: Garland Publishing  Inc., 1983.
[Davis Ref: PN 1995 .V34 v4] Essays and Criticism

Svelha, Gary J. & Susan.  We Belong Dead: Frankenstein on Film.  Baltimore, M.D.:  Midnight Marquee Press, 1997.
[Davis, 7th floor stacks: PN1995.9.F8 W4 1997]

For a book that goes through the history of Frankenstein in motion pictures, this critique is sure to provide the user with lots of information.  Going back as far as 1910, We Belong Dead covers the entire spectrum of this story.  Much of this book does not pertain to the Universal days, but the chapters that do have great critical analysis which are definitely worth the read.
Original Novel

Shelley, Mary.  Frankenstein; or, the Modern Prometheus.  Orchard Park, N.Y.:  Broadview Press, Ltd., 1999.  (originally published in 1818)
[Davis, 7th floor stacks: PR5397.F7 1999]

This version of the 1818 classic is one of the best in the collection at Davis (which has over a dozen versions of Frankenstein).  Containing the original text, which can be difficult to find for some older works, the Broadview publication also has a lengthy introduction which includes, among other things, notes on the content and a portion about Shelley’s education and a chronology of her life.  There are also six appendices, one of which has variants from the 1831 release of Frankenstein and another that has reviews from the original publication.
Video

Frankenstein.  Universal City, C.A..: MCA Videocassette, 1980.
[UL NonPrint: 65-V180]

Often described as the most excellent horror movie that Universal Pictures released, Frankenstein combines the basic elements of fear with other characteristics such as humor and love.  The makeup for this movie is incredible, and similar to what happened in the casting of Dracula, Karloff was not the primary star first chosen to the play the part of The Monster.  After the success of Dracula Lugosi was asked to play the role of Dr. Frankenstein’s creation, but declined on the grounds that with all the makeup no one would know it was him.  A movie that has had dozens of sequels and remakes, this 1931 production is as brilliant today as it was 70 years ago.
The Mummy

While on an expedition in 1921, a British team uncovers the tomb of Im-Ho-Tep, an Egyptian prince who was buried alive.  When one of the team members reads the Scroll of Thoth, Im-Ho-Tep comes back to life desguised as a mysterious Egyptian named Ardath Bay, who tries to help the expedition open the tomb of his ancient love.  After Ardath Bay reawakens his love in the form of a modern woman, those who interfere die without explanation.  In the end the mummy's powers are discovered and the girl is set free.  This film was another hit for Universal as well as Boris Karloff, who played the role of the forbidding Ardath Bay and all his different incarnations.

L.C. Subject Headings

The following Library of Congress Subject Heading is for use in searching the on-line catalog for materials pertaining to The Mummy.

Reviews

The New York Times Film Reviews 1913-1968.  Vol. 2, 1932-1938.  New York: The New York Times & Arno Press, 1970.
[Davis Ref: PN 1995 .N4 v2]

Variety Film Reviews 1907-1980.  Vol. 4, 1930-1933.  New York: Garland Publishing  Inc., 1983.
[Davis Ref: PN 1995 .V34 v4] Video

The Mummy.  Universal City, C.A.: MCA Home Video, 1985.
[Duke University, Lilly Library: 456]

After the success of Frankenstein, Karloff was given the role of Im-Ho-Tep in this thriller that was put in the theaters at the very end of 1932.  This film has only a decent story line, but it is filled with all the elements of horror that make it quite scary none the less.  Another movie that has been the subject of many sequels and remakes, most recently in 1999 and 2001 (The Mummy and The Mummy Returns, starring Brendan Fraser), there could be no better actor for the role of the Mummy than the towering figure of Karloff.
The Invisible Man

Based on the story by H.G. Wells, The Invisible Man tells the tale of a mad scientist who creates a potion that makes him invisible.  However, the elixir that Dr. Jack Griffin consumed slowly turns him insane, and so he begins to terrorize the townspeople.  Where Lon Chaney paved the way for make-up, this movie defined special effects with such scenes as the Invisibler Man taking off the cloth over his face and walking through the snow with only footprints being visible.

L.C. Subject Headings

The following Library of Congress Subject Heading is for use in searching the on-line catalog for materials pertaining to The Invisible Man.

Reviews

The New York Times Film Reviews 1913-1968.  Vol. 2, 1932-1938.  New York: The New York Times & Arno Press, 1970.
[Davis Ref: PN 1995 .N4 v2]

Variety Film Reviews 1907-1980.  Vol. 4, 1930-1933.  New York: Garland Publishing  Inc., 1983.
[Davis Ref: PN 1995 .V34 v4] Original Novel

Wells, H.G.  The Invisible Man.  Jefferson, N.C.: McFarland & Co., 1998.  (originally published in 1897)
[Davis, 7th floor stacks: PR5774 .I5 1998]

H.G. Wells is considered by many to be the master of science fiction, and no book illustrates that truth more than The Invisible Man.  Re-printed dozens of times, there are many versions of this book that exist, but this recent release is recommended for many reasons.  For starters, this is the original text, which some versions stray from due to editing.  The long introduction provides some critical analysis of the content, and the story itself contains descriptive annotations.  The appendices are also interesting, two being reviews for the book from 1897 and the other three containing scientific articles from the mid and late 1800’s that are thought to have influenced Wells in creating the story of The Invisible Man.
Video

The Invisible Man.  Universal City, C.A.: MCA Home Video, 1991.
[Duke University, Lilly Library, 6688]

With a gap of 13 years between his first movie and this film, Claude Rains proves that he is a tremendous actor when he is cast as the scientist Jack Griffin, who creates a potion that makes him invisible, only to turn him insane.  When this movie hit the theaters in 1933, it was known to possess some of the best special effects to date.  Many of the scenes, such as the Invisible Man walking through the snow leaving only footprints, stunned audiences who could not believe what they saw.
The Wolf Man

When Larry Talbot returns to his father's estate in Wales after living in America, he begins a frightening journey that would ultimately lead to his death.  While at a gypsy camp in the forest, the girl who accompanies him is bitten by Bela (played by Bela Lugosi), a gypsy who turns into a werewolf when the moon is full.  Larry saves the girl and kills the wolf, but is bitten in the act.  Thus begins his transformation into a werewolf, and when he starts killing without knowing it, he is chased into the forest by Sir John Talbot (Claude Rains) and other townspeople, and is eventually killed.  This movie was the last great horror film released by Universal Pictures until The Creature from the Black Lagoon was made in 1954.

L.C. Subject Headings

The following Library of Congress Subject Heading is for use in searching the on-line catalog for materials pertaining to The Wolf Man.

Reviews

The New York Times Film Reviews 1913-1968.  Vol. 3, 1939-1948.  New York: The New York Times & Arno Press, 1970.
[Davis Ref: PN 1995 .N4 v3]

Variety Film Reviews 1907-1980.  Vol. 6, 1938-1942.  New York: Garland Publishing the  Inc., 1983.
[Davis Ref: PN 1995 .V34 v4] Video

The Wolf Man.  1987.
[UL NonPrint: 65-V2765]

The last great Universal horror film until The Creature from the Black Lagoon in 1954, The Wolf Man stars Lon Chaney, Jr. as Larry Talbot, a man who is bitten by a werewolf and then becomes one himself.  Also starring Claude Rains, this 1941 release was an attempt by Universal Pictures to get back on top after their reputation dropped during the late 1930’s.  With great special effects and makeup, this film drew a large audience. However, the career of Chaney Jr. would never see him in a movie of this grandeur again.

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This pathfinder was created by Matthew Kern, Graduate Student
School of Information and Library Science, University of North Carolina at Chapel Hill

Page created: November 12, 2001
Last updated: December 10, 2001

For questions or comments send email to:
kernm@email.unc.edu