Book review - "Bela Lugosi and Boris Karloff: The Expanded Story of a Haunting Collaboration" by Gregory William Mank (2009)

A revised edition that really adds value - Mank's first version of this was pretty good but the expanded one is even better. This is an affectionate, well researched but accessible account of the collaborations between two of Hollywood's greatest horror icons. It focuses on their films together - The Back Cat, Gift of the Gab, The Raven, The Invisible Ray, Son of Frankenstein, Black Friday, You'll Find Out, The Body Snatcher - plus looking at their overall careers.

Lugosi and Karloff make two great protagonists, especially Lugosi with his exotic background (war hero, fleeing unstable Hungary) and unhappy life (poor finances, drug addiction, unhappy marriages) and career (descent into Bowery Boys and Ed Wood films) - but also Karloff was pretty colourful (sexually promiscuous, whip smart with money). The two contrast so well, which is presumably why they've gripped the memory of horror film fans.

It also helps that their key films were so different - The Black Cat was Edgar Ulmer weird arse masterpiece; The Raven was solid Universal horror; Invisible Ray was sci fi; Son of Frankenstein was a superb sequel; Black Friday was a weird gangster horror masterpiece with the leads miscast; The Body Snatcher was a Val Lewton masterpiece. So you don't get the feeling of repetition.

Mank has scored a nice amount of interviews (a lot of actors went on to have good lives... Don Dugan from Frankenstein III become a tough marine! several of the actresses married very well). I like the way Mank tries to couch some of his criticisms of Lugosi because he knows he's going to get his head bitten off by rabid Lugosi fans!

Movie review - "The Black Cat" (1934) ***1/2 (re-viewing)

Two of the greatest horror movie stars were Boris Karloff and Bela Lugosi; they teamed on several occasions, of which this was the first and perhaps the best... It's definitely the one where they really go mano a mano.

Its an intense, way out film with a weak link to Edgar Alan Poe but a lot of imagination and boldness. Lugosi is relatively subdued but it's still a fantastic role - a dashing, tormented psychiatrist, haunted by having been in a prison for 15 years, determined for revenge. Karloff is unique, with his close cropped haircut, black robes and sleeping next to Lugoi's daughter.

David Manners is bland in what is really a thankless role, the "ordinary guy", but he's solidly bland if that makes sense. Jacqueline Wells - who later became Errol Flynn co-star Julie Bishop - gets to have more fun as Manners' bride who gets a little horny after Lugosi injects her with something, giving Manners a big kiss.

Lots of things I noticed on reviewing - Karloff caressing the wooden sculpture of a naked woman, the choppy nature of the story, the fact the middle seems padded despite the fact its only 65 minutes, the awkwardness of the comical police interlude. But it's got great sets, a wonderful kinky feel and a slap up climax.

Book review - "The Black Cat" by Gregory William Mank (2015)

Mank has carved out a strong reputation as a writer on the Golden Years of Classic Hollywood horror, with tomes on Karloff and Lugosi, Dwight Frye and others. This is short but comprehensive look at the making of the 1934 Universal classic which brought Karloff and Lugosi together for the first time, covering the film's inception, scripting, casting, filming, post production, censorship troubles, Alisteir Crowley influence, etc.

Most of all it looks at the tortured/feverish/however you want to describe it genius of Edgar Ulmer, who was the real auteur of this film, rewarding Universal with their biggest hit of 1934... only to be blackballed in the industry, in part because he defied Carl Laemle but also because he ran off with the wife of one of Laemle's nephews.

After the book on The Invisible Man I was a little disappointed we didn't get the shooting script and the kindle edition I read of this was all chopped up. But it's a bright, entertaining book that made me want to go straight out and watch the film again.

Movie review - "The Amazing Transparent Man" (1960) *

Edgar Ulmer has a cult reputation and some seriously impressive credits on his CV but the fact remains many of his movies aren't very good such as this effort. A safecracker is busted out of gaol by a mad general who wants a formula to create an invisible army. That's not a bad concept for a film but not enough is done with it. Too often the invisible device looks like an excuse to have cheap special effects.

There's a kindly old scientist who is force to help with the operation, lots of mediocre acting and unexciting action. It does get points for ending with an atomic explosion.

Movie review – “Corregidor” (1943) **

The story of this siege and battle is one of the great American epics of the war – they didn’t make that many films about it, because Americans don’t like to concentrate on defeat, but there was a period when stories about defeat were the only contemporary tales they ould tell: Air Force, Wake Island, Bataan, So Proudly We Hail, Cry Havoc. 

Corregidor was a moving story in real life - or, rather, a thousand moving stories, and the fact a lot of the people spent much of their time in cramped bunkers and dug outs meant it was ideal for low budget treatment from PRC. But this is a very mediocre film, despite some decent actors and Edgar Ulmer as one of the writers (but not a director).

The main story is a love triangle between three doctors - one of whom is, surprisingly, a woman (Elissa Landi, who in the 30s looked as though she might be a star; she died of cancer not long after this, her last film). She marries an old pal (Otto Kruger) despite being in love with a young spunk (Donald Woods) who dumped her back in the day because she was too rich. But guess who is working at Corregidor? 

There's some rallying speeches and explosions, plus the odd Filipino character is actually given some screen time and Dorothy Dandridge's mother plays a maid. But on the whole this is dull stuff and a waste of an amazing story.

Movie review – “Bluebeard” (1944) ***

One of Edgar Ulmer’s best known features (probably only exceeded by Detour and The Black Cat), it is also one of John Carradine’s most famous starring roles. He doesn’t play the real Bluebeard, but rather a 19th century puppeteer/artist/murderer. I’m not a massive fan of Carradine the star – he always seemed more effective in supporting roles – but he’s quite dashing and attractive, and he grew on me. Jean Parker is very likeable as the girl who falls for him but the romantic leading man is another PRC 4F type.

This is one of those films you really need to know was shot in 6 days to enjoy – within those confines you appreciate Ulmer’s artistry and attempts to do something decent. Imaginative touches – some interesting murders, the opera puppet show, a sexy scene of Parker’s sister getting changed behind a screen.

Tom Weaver did an excellent piece on this film in his book Poverty Row Horrors, pointing out Bluebeard today is more a film for critics than horror movie fans. But it’s still one of the best movies made by PRC.

Movie review - "Detour" (1946) ***1/2

Highly regarded film noir from director Edgar G Ulmer, perhaps his best known film, loved by film buffs for a variety of reasons: Ulmer's culti-ness, the fact is was shot in a very short period of time, the lead Tom Neal later went to prison, the atmosphere of doom and fate, Ann Savage's electrifying portrayl as Vera - the scowling, hard voiced femme fetale who is dying of consumption but actually reading the subtext just wants to be hugged.

I think it's been over-hyped a little but once Vera comes into the film (around half way though) it really flies. Neal is handsome and gives a good performance - you wonder why he didn't become a bigger star. (Maybe his loser face - so wonderfulyl appropriate here, watch how he gets increasingly pathetic as the film progresses - didn't work in other films). The big where the guy he gives a lift falls and conks his head doesn't look very realistic (I know it's the point, but still...); ditto his decision to pick up Vera as a hitchhiker when he's supposed to be keeping a low profile.

There is still much to admire: the terrific atmosphere, with its roadside diners and cheap motels, the consistently strong acting, Vera's death, the feeling of pessimism and fate.

Movie review - "The Black Cat" (1934) ***1/2

Way out Edgar G Ulmer film that runs only 60 minutes but is a great ride, teaming two giant stars, Bela Lugosi and Boris Karloff. Lugosi is the hero - well, kind of, he does end up skinning Karloff alive at the end. But he's got good cause! Great premise, with Lugosi seeking revenge against BK for some major WWI crimes including taking away his wife and daughter.

The film gets a bit confusing at times, the Poe link is v tenuous, Lugosi's character a little uneven (one minute he's nice, then hammy, then good, then evil) - but terrific fun, with sacrificies, and satanists, and skinnings and hints of necrophilia. Amazing sets too.