Tag Archives: Frankenstein

Pre-Code Horror Censorship

Posted by donnamarie on

I joined the Turner Classic Movies Facebook group which I thoroughly enjoy. Talking about our favorite films, creepiest, classic vs. neoclassical films and which should be shown on TCM.

In our conversation on creepy movies,  “The Black Cat”, Universal 1934, was mentioned and the fact that this member didn’t realize pre-code films had this type of content; mummified women’s bodies in the basement, the proposed torture of skinning Boris Karloff alive, etc. If you haven’t seen it, put it at the top of your must-see list.

In the comments, I suggested in addition to “The Black Cat” to also check out “Mad Love”, Universal, 1935. It stars Peter Lorre and is a total freak fest. Another must-see flick. It stars Peter Lorre as the mad Dr. Gogol who’s obsessed with the wife ( Frances Drake) of a renown pianist whose hands he’s transplanted after a train wreck. Gogol has a definite fetish side and will do anything to have Miss Frances Drake.

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“Mad Love” – Peter Lorre  (Dr. Gogol)

I love Pre-Code films because they had so much leeway in terms of subject matter, even wardrobe. I always recommend adding Pre-Code to your film history education. By definition Pre-Code films:

Refers to the brief era in the American film industry between the introduction of sound pictures in 1929 and the enforcement of the Motion Picture Production Code censorship guidelines, popularly known as the “Hays Code”, in mid-1934.

In 1922, after some risqué films and a series of off-screen scandals involving Hollywood stars, the studios enlisted Presbyterian elder William H. “Will” Hays, a figure of “unblemished rectitude”, to rehabilitate Hollywood’s image. Hays, later nicknamed the motion picture “Czar”, was paid the then-lavish sum of $100,000 a year (equivalent to more than $1.4 million in 2015 dollars). (Wikipedia)

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William “Will” Hays

As a result, films in the late 1920s and early 1930s included depictions of sexual innuendo, profanity, illegal drug use, promiscuity, prostitution, infidelity, abortion, intense violence, and homosexuality.

Film “Red Dust”
Myrna Loy
Jean Harlow

Unlike silent-era sex and crime pictures, silent horror movies, despite being produced in the hundreds, were never a major concern for censors or civic leaders. When sound horror films were released, however, they quickly caused controversy. Sound provided “atmospheric music and sound effects, creepy-voiced macabre dialogue and a liberal dose of blood-curdling screams” which intensified its effects on audiences, and consequently on moral crusaders.

Boris Karloff in Frankenstein(1931).

The monster’s brutality, and the doctor’s declaration that “”Now I know what it feels like to be God!”, shocked many moviegoers. By the time of Bride of Frankenstein(1935), the Code was in full effect.

The Hays Code did not mention gruesomeness, and filmmakers took advantage of this oversight. However, state boards usually had no set guidelines and could object to any material they found indecent. Although films such as Frankenstein and Freaks caused controversy when they were released, they had already been re-cut to comply with censors. (Wikipedia)

So, the next time you or anyone else believes that black and white films are a bore, remember to check out “The Black Cat”, or “Mad Love”. If you do, leave a comment; I’d be intrigued to read your thoughts.

 

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Experience Universal Horror – The Golden Age of Movie Monsters!

Posted by donnamarie on

Universal_monsters_logo

 

For a comprehensive and what I consider a definitive history of one of the original Hollywood Studios – Universal, check out the Documentary – “Universal Horror.”  Universal was founded in 1912 by Carl Laemmle and is the world’s fourth oldest major film studio.

Originally airing on Turner Classic Movies in 1998, “Universal Horror” showcases the golden age of 1930’s movie monsters. The film also highlights Carl Laemmle’s family and Carl Laemmle, Jr’s game-changing vision of producing films based on classic horror tales.

 

 

The studio is known for such horror classics as Frankenstein (1931) and Dracula (1931), the Universal monster franchise. Dracula is a 1931 American Pre-Code vampire-horror film directed by Tod Browning and starring Bela Lugosi as Count Dracula. The film was produced by Universal and was loosely based on the novel by Bram Stoker.

Casting for the film became problematic initially since Laemmle was not at all interested in Lugosi, in spite of good reviews for his stage portrayal. Laemmle instead considered other popular actors of the day, including Paul Muni and Chester Morris.

 

Frankenstein is a 1931 American Pre-Code horror monster film from Universal Pictures directed by James Whale. The film stars Colin Clive, Mae Clarke, John Boles and Boris Karloff and features Dwight Frye and Edward van Sloan. Trivia: Bela Lugosi turned down the role saying the monster was just a hulking beast.

In 1991, the Library of Congress selected Frankenstein for preservation in the United States National Film Registry as being “culturally, historically, or aesthetically significant.

Throughout the documentary, we hear personal accounts and behind-the-scene stories from early stars such as Rose Hobart – co-star in the original film version of Dr. Jekyll and Mr. Hyde (1931), Gloria Stuart – The Invisible Man (1933) and Lupita Tovar – Dracula (1931) Spanish Version.

 

 

Forrest Ackerman, (November 24, 1916 – December 4, 2008) was editor and principal writer of the science fiction magazine Famous Monsters of Filmland and recalls his experiences in the documentary of seeing these films first hand. Ackerman’s magazine would provide inspiration to many who would later become successful artists, including Joe Dante, Peter Jackson, Steven Spielberg, Tim Burton, Stephen King, George Lucas, Danny Elfman, John Landis and countless other writers, directors, artists, and craftsmen.

Also affectionately called “Forry,” Ackerman was central to the formation, and spread of science fiction fandom, and a key figure in the wider awareness of science fiction as a literary, art and film genre. Famous for his wordplay he coined the genre nickname “sci-fi”.

FamousMonsters14

 

Universal Monsters Tribute

 

The end of Universal’s first run of horror films came in 1936 as the Laemmles were forced out of the studio after financial difficulties and a series of box office flops due partly to censorship and a temporary ban on American horror films in Britain. The release of MGM’s Mad Love and The Raven (both 1935) were the final nail in the coffin for monster movies, being too strong for 1935 tastes, with its themes of torture, disfigurement, and grisly revenge.

 

The monster movies were dropped from the production schedule altogether and would not re-emerge for another three years. In the meantime, a theater owner revived Dracula and Frankenstein as a double feature, resulting in an immediate smash hit and leading to the original movies being re-released by the studio to surprising success.

Be sure to checkout these films and experience the original horror classics from the original horror classics studio – Universal!

 

Universal Horror – The Golden Age of Movie Monsters

Posted by donnamarie on

Universal_monsters_logo

 

For a comprehensive and what I consider a definitive history of one of the original Hollywood Studios – Universal, check out the Documentary – “Universal Horror.”  Universal was founded in 1912 by Carl Laemmle and is the world’s fourth oldest major film studio.

Originally airing on Turner Classic Movies in 1998, “Universal Horror” showcases the golden age of 1930’s movie monsters. The film also highlights Carl Laemmle’s family and Carl Laemmle, Jr’s game-changing vision of producing films based on classic horror tales.

 

 

The studio is known for such horror classics as Frankenstein (1931) and Dracula (1931), the Universal monster franchise. Dracula is a 1931 American Pre-Code vampire-horror film directed by Tod Browning and starring Bela Lugosi as Count Dracula. The film was produced by Universal and was loosely based on the novel by Bram Stoker.

Casting for the film became problematic initially since Laemmle was not at all interested in Lugosi, in spite of good reviews for his stage portrayal. Laemmle instead considered other popular actors of the day, including Paul Muni and Chester Morris.

 

Frankenstein is a 1931 American Pre-Code horror monster film from Universal Pictures directed by James Whale. The film stars Colin Clive, Mae Clarke, John Boles and Boris Karloff and features Dwight Frye and Edward van Sloan. Trivia: Bela Lugosi turned down the role saying the monster was just a hulking beast.

In 1991, the Library of Congress selected Frankenstein for preservation in the United States National Film Registry as being “culturally, historically, or aesthetically significant.

Throughout the documentary, we hear personal accounts and behind-the-scene stories from early stars such as Rose Hobart – co-star in the original film version of Dr. Jekyll and Mr. Hyde (1931), Gloria Stuart – The Invisible Man (1933) and Lupita Tovar – Dracula (1931) Spanish Version.

 

 

Forrest Ackerman, (November 24, 1916 – December 4, 2008) was editor and principal writer of the science fiction magazine Famous Monsters of Filmland and recalls his experiences in the documentary of seeing these films first hand. Ackerman’s magazine would provide inspiration to many who would later become successful artists, including Joe Dante, Peter Jackson, Steven Spielberg, Tim Burton, Stephen King, George Lucas, Danny Elfman, John Landis and countless other writers, directors, artists, and craftsmen.

Also affectionately called “Forry,” Ackerman was central to the formation, and spread of science fiction fandom, and a key figure in the wider awareness of science fiction as a literary, art and film genre. Famous for his wordplay he coined the genre nickname “sci-fi”.

FamousMonsters14

 

Universal Monsters Tribute

 

The end of Universal’s first run of horror films came in 1936 as the Laemmles were forced out of the studio after financial difficulties and a series of box office flops due partly to censorship and a temporary ban on American horror films in Britain. The release of MGM’s Mad Love and The Raven (both 1935) were the final nail in the coffin for monster movies, being too strong for 1935 tastes, with its themes of torture, disfigurement, and grisly revenge.

 

The monster movies were dropped from the production schedule altogether and would not re-emerge for another three years. In the meantime, a theater owner revived Dracula and Frankenstein as a double feature, resulting in an immediate smash hit and leading to the original movies being re-released by the studio to surprising success.

As I celebrate this Halloween, my film line-up would not be complete without those original horror classics from the original horror classics studio – Universal!

HAPPY HALLOWEEN!

Dark Comedy Halloween Laughs:)

Posted by donnamarie on

Arsenic and Old Lace_01

Most people think of Cary Grant as a suave leading man, but he is also an incredible physical comic. The dark comedy “Arsenic and Old Lace”(1944) directed by Frank Capra is the perfect vehicle for his slapstick comedic style. Grant plays Mortimer Brewster who, to his horror, discovers that his two darling elderly aunts (Abby (Josephine Hull) and Martha (Jean Adair) are in fact serial killers, bumping off those who they perceive as “lonely bachelor” men.

arsenicauntsvictim

Mortimer’s aunts epitomize the idea of sweet little old ladies. They can preserves, donate toys to the policeman’s children’s fund, make Elderberry wine. The problem is that their tasty Elderberry wine is spiked with arsenic, strychnine and “just a pinch of cyanide”.

After Mortimer discovers a dead body hidden in the window seat he assumes that Teddy (John Alexander) – Abby and Martha’s brother – has committed murder under some delusion, (he believes he’s Theodore Roosevelt).

But the aunts are quite sincere when they explain to Mortimer that they are responsible (“It’s one of our charities”).

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The look on Cary’s face when he discovers one of the bodies in the window seat is priceless. The classic double take.

 

Abby and Martha have the perfect set-up. The cellar of the family home becomes the burial ground for their victims with their brother Teddy aka Theodore Roosevelt digging the graves convinced he’s digging locks for the Panama Canal and burying yellow fever victims.

And, as if his murderous aunts weren’t enough on Mortimer’s plate, enter long, lost brother Jonathan (Raymond Massey). Jonathon is a psychotic killer looking to stash a body of his own (Mr. Spenalzo). Also, to his annoyance, Jonathan is in need of another plastic surgery because his face bears a striking resemblance to Frankenstein thanks to his alcoholic plastic surgeon and accomplice Dr. Herman Einstein (Peter Lorre).

Oh, did I mention the reason why Mortimer was actually visiting his aunts? Well, despite having written several books ridiculing marriage as an “old-fashioned superstition”, Mortimer has fallen in love and has just married the irresistible next door neighbor, Elaine Harper (Priscilla Lane). The wedding took place that morning which is (and this is too perfect) Halloween day.

 

When Jonathan discovers his aunts’ secret, he threatens to expose them if they try to turn him into the police. When the police come to the house to pick up Abby and Martha’s donation to the policeman’s children’s fund, Mortimer tries to hip them to Jonathan’s identify but it doesn’t go as smoothly as he’d planned. Chaos and hilarity ensue and this is where the monster mash fun begins.

 

And with that, I’ll let the opening credits speak for itself…

Happy Viewing!

Halloween – Friday Night Frights!

Posted by donnamarie on

tcmhorror

TCM Horror Fridays in October

In my countdown to Halloween, I’ve already started watching my Friday night fright movies with help from my favorite classic film channel Turner Classic Movies. Fridays in October at 8:00 pm, they’re featuring theme-based horror flicks. The theme for Friday, October 9th is ‘Rogue Body Parts’. (sounds like fun!) To help other fans with fright flick selections, I’ll be recommending my DVR worthy choices for the TCM Horror Fest. So fire up the DVR, grab your favorite go-to snack and settle into the Halloween spirit!

 

Mad love

Mad Love (1935) – Peter Lorre, Frances Drake

 

My DVR choice of movies featured in the ‘Rogue Body Parts’ theme, is “Mad Love” (1935) directed by German filmmaker Karl Freund and starring Peter Lorre, Frances Drake and ‘Dr. Frankenstein’ himself, Colin Clive. An adaptation of Maurice Renard’s story The Hands of Orlac, it’s probably one of the most bizarre movies you’ll ever see.

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Peter Lorre as Dr. Gogol

“Mad Love” was so disturbing for the time that the studio released the film with an opening disclaimer that began, “Ladies and Gentlemen, Metro-Goldwyn-Mayer feels that it would be a little unkind to present this picture without just a word of friendly warning….” The Hays censorship office had objections to the showing of the train wreck or any “gruesome” images. It also had issues with the torture scenes and a shot of Dr. Gogol fondling the wax replica of Yvonne. Oops!

madlove5

This movie is Lorre’s American film debut and he portrays the strange Dr. Gogol – his name alone evokes an unsettling mood. Well, Gogol seems to have a thing for sadomasochism which he enjoys at the ‘Théâtre des Horreurs’. Actress Yvonne Orlac (Frances Drake) is the object of Dr. Gogol’s obsession as she embodies his fantasy on stage in the theater company’s latest torture production.

Torture
Theater of Horrors
Inquisition

So sorry Dr. Gogol but Yvonne is married to Stephen Orlac (Colin Clive) – accomplished concert pianist – but anyway, she is so NOT into this creepy little man who has a standing box seat and has attended every performance. Gogol is so obsessed with Yvonne that he buys the wax figure of her after the show’s final performance. Mind you this is a life-size replica that he enshrines in his home so he can “always possess her.” Told you he was creepy.

Yvonne Orlac in wax – Dr. Gogol

The brilliant Dr. Gogol is a renowned surgeon with whom Yvonne, in desperation, must plead with to save her successful pianist husband’s hands and career after a gruesome train wreck. Well, of course, he’ll help his love but during emergency surgery on Stephen he comes up with the twisted idea to graft the hands of a knife-wielding killer who has just been put to death on the guillotine. (And of course, Gogol attended the decapitation.) However, soon afterward Stephen begins to suspect that something is seriously wrong with his new found extremities.

Dr. Gogol w/ assistant in Surgery
Operation complete
Stephen Orlac – Colin Clive

This is where we add another level of freaky to the plot. I’m not going to give anything away – that goes against every film fan rule. So, check it out and let me know on a scale of 1 – 10 the creep/freak factor in the comments. Also, be sure to stay tuned for next week’s DVR worthy fright flick. Theme – ‘Scary Kids’.

 

Happy Viewing!