I Bid You Welcome.

Posted in 1951 British Tour Of Dracula, Bela Lugosi, Bram Stoker, Dark Eyes Of London, Dracula, Mother Riley Meets The Vampie, Mystery of the Mary Celeste, Vampire Over London: Bela Lugosi In Britain with tags , , , , , , , , , , on April 23, 2011 by Vampire Over London: Bela Lugosi

Welcome to Vampire Over London:

The Bela Lugosi Blog

For eight months in 1951 Bela Lugosi toured the length and breadth of Britain in a stage revival of Dracula. With horror films out of fashion and his career in terminal decline, the 68 year-old actor had been lured across the Atlantic by the promise of a run in the West End, which he hoped would provide the comeback that he longed for. Unfortunately, the West End did not beckon. Physically exhausted by the grueling schedule, a bitterly disappointed Lugosi quit the tour. After resting and recuperating his strength, he made the film Mother Riley Meets The Vampire and returned to America.

As the years passed by, the facts were forgotten and a myth grew around Lugosi’s time in Britain. According to what became an oft-repeated story, he found himself in a threadbare production with a supporting cast of amateurs who couldn’t remember their lines. After a disastrous opening, the tour quickly folded, leaving an unpaid Lugosi and his wife stranded in Britain. To pay their passage back home, he accepted a hurriedly arranged role in a horror comedy .

For fifty years the myth was accepted as fact, but just a casual study of the trail of evidence left behind by Lugosi and the tour made it obvious that a very different story was waiting to be told. In 2000, after ten years of research, Frank Dello Stritto and I were finally able to set the record straight with the publication of Vampire Over London: Bela Lugosi In Britain, our critically acclaimed biography of Lugosi. In addition to the 1951 tour and Mother Riley Meets The Vampire, our exhaustive research unearthed new facts about Lugosi’s other British work – Mystery of the Mary Celeste (1935), Dark Eyes of London (1939) and the elusive Lock Up Your Daughters, the existence of which is still hotly debated.

The original goal of this blog was to:

  • make available the written and pictorial material amassed during our research.
  • bring together new material that has emerged since the publication of our book.
  • continue the research.

As the blog grew and developed, I decided to expanded the goal. My intention now is to try to make this blog the ultimate resource for those interested in the life and work of Bela Lugosi and Bram Stoker’s novel.

If you would like to contribute an article to the blog or if you have any information or memorabilia that you would like included on the blog, please contact Andi Brooks at andobi@hotmail.com All contributions will be credited.

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In addition to regular posts, the blog contains the following pages (Click on the links to access the pages):

1951 British Dracula Tour – Exclusive Interviews With The Cast & Company

1951 British Dracula Tour – Newspaper Articles And Memorabilia

Bela Lugosi Filmography – Overview Bela Lugosi Filmography Part 1: 1917 – 1928 – The Silent Years. Bela Lugosi Filmography Part 2: 1929 – 1937 – The Rise and Fall of a Star. Bela Lugosi Filmography Part 3: 1939 – 1948 – The Rebirth Of A Star. Bela Lugosi Filmography Part 4: 1951 – 1959 – The Twilight Years. Bela Lugosi Interviews

Bela Lugosi Letters

Bela Lugosi Obituaries

Bela Lugosi On The Radio

Bela Lugosi On The Stage

Bela Lugosi On TV

Bela Lugosi Product Endorsements

Bela Lugosi Unrealised Projects

Bela Lugosi’s Life As Reported In The Press

Contemporary Reviews Of Bram Stoker’s Dracula

Dark Eyes Of London

Mother Riley Meets The Vampire

Mystery Of The Mary Celeste

The 1938 Dracula & Frankenstein Double-Bill

The Library – Rare editions of Dracula and books on Bela Lugosi

Vampire Over London: Publicity Interviews

Vampire Over London: The Story Of The Book

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If you would like to use any of the images or text on the blog, a brief request would be appreciated. In return, we would be grateful for an acknowledgement and a link back to the blog.

You can follow the Vampire Over London: The Bela Lugosi Blog on Facebook and Twitter by clicking on the icons on the sidebar.

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To order a copy of Vampire Over London: Bela Lugosi In Britain

 please contact Frank Dello Stritto at:

fdellostritto@hotmail.com

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Reviews

“Vampire Over London, which is beautifully produced and of a quality we seldom see today, is a model of documentation and informed and entertaining writing. I was so fascinated by it that I gave up virtually an entire weekend to read it. I cannot claim to be a big fan of Bela Lugosi, but the authors’ enthusiasm, clarity and intelligence were such that I was mesmerized as much as any of Dracula’s victims. A magnificent book.”

- Anthony Slide, Classic Images

“In this impressively researched book the authors’ combined sense of detail is remarkable…Dello Stritto and Brooks cover the six months of the touring company with three-dimensional clarity…you can almost smell the cigars Lugosi smoked while standing in the wings.”

- Tim Lucas, Video Watchdog

“Just when you thought everything that could possibly be written about the classic horror stars had already seen print, along comes the fascinating Vampire Over London. It’s an admirable book, written by that rare breed – film historians who actually know how to write…it’s essential.”

- Richard Valley, Scarlet Street

“This tremendous new volume manages to offer a wealth of new information! A must for Lugosi fanatics…the authors have done their research on this subject, and the result is the final word on this portion of Lugosi’s life…It’s a humorous, informative and often touching tribute to a little known slice of Bela’s life.”

- Shock Cinema

“Genre cinema historians Frank Dello Stritto and Andi Brooks perform an invaluable service for Bela Buffs. Their painstakingly researched tome is a book no self-respecting Lugosi lover can afford to be without.”

- The Phantom, Videoscope

“An indispensable tome…exhaustive…Physically, the book is as impressive as the research and writing…will quickly become a collectors item.”

- Tom Weaver, Fangoria

“…a remarkable book…a carefully researched work of scholarship with a concern for accuracy usually reserved for much weightier subjects.”

-  Henry Nicolella, Castle of Frankenstein

“A superb piece of literature! I think Bela must be resting in peace at long last in his satin-lined coffin.”

- John C. Mather, Co-Producer of the 1951 British Dracula tour

“A really splendid piece of research, it has to be definitive.”

- Richard Eastham, Director of the 1951 British Dracula tour

“It is a wonderful epitaph for a very special person.”

- Richard Butler, 1951 British Dracula tour cast member

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While preparing Vampire Over London: Bela Lugosi in Britain, Frank Dello Stritto and I have conducted extensive research into the life and work of Bela Lugosi and interviewed people who either knew him, worked with him, met him or witnessed him performing on the stage. Our research material has been gathered from archives and individuals in the United Kingdon, Europe, Australia, America, and Canada. We are indebted to the many people who have helped us in our work. I am particularly grateful to Eric Lindsay, who acted opposite Bela Lugosi as Renfield in the British revival of Dracula. His continuing help and encouragement is invaluable.

I am also grateful to the many people who have allowed me to reproduce rare Bela Lugosi photos and memorabilia from their collections. Dennis Phelps has been particularly kind and generous in this respect. His Movie Monster Museum site is highly recommended. 

http://www.moviemonstermuseum.com 

I have also used the Internet for images used on this blog. Unfortunately, it is often impossible to know the origin of much information on the Internet. If I have inadvertently included anything to which you hold the copywrite or which comes from your collection, please contact me, Andi Brooks, at andobi@hotmail.com to receive credit or to have the item removed.

No researcher works in isolation. I am indebted to all the Lugosi historians who have gone before me and those who continue to research and document his life and work. During the course of my own research I have consulted the following:

The Complete Films of Bela Lugosi by Richard Bojarski (Citadel Press)

A Quaint & Curious Volume of Forgotten Lore (Cult Movies Press) and various magazine articles by Frank J. Dello Stritto

Nightmare of Ecstasy – The Life and Art of Edward D. Wood Jr. by Rudolph Gray (Feral House)

Bela: The Nomad Years, a blog by Bill Kaffenberger

Karloff and Lugosi – The Story of a Haunting Collaboration (McFarland& Co.) by  Gregory William Mank

Lugosi (McFarland & Co.) and Dreams and Nightmares (Collectables) by Gary Don Rhodes

Hollywood Gothic (Andre Deutsch) and Dracula – The Ultimate, Illustrated Edition of the World-Famous Vampire Play (St. Martin’s Press) by David Skal

Dracula or The Undead – A Play in Prologue and Five Acts edited by Sylvia Starshine (Pumpkin Books)

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Disclaimer

Any opinions expressed in the editorial content of Vampire Over London: The Bela Lugosi Blog are solely those of Andi Brooks and should not be taken as reflecting those of either Frank J. Dello Stritto or Cult Movies Press. Andi Brooks is responsible for all errors and omissions.

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I Saw What I Saw When I Saw It by Frank J. Dello Stritto

Posted in Abbott & Costello Meet Frankenstein, Dracula, Frank Dello Stritto with tags , , , , , , , on October 23, 2014 by Vampire Over London: Bela Lugosi

I Saw What I Saw When I Saw It

The book that I began writing some years ago was quite different than the one finally published. I had been writing about classic horror movies for many years. I was not raised on the classics, but on the schlock. Those low-budget movies, mostly from the 1950s, played constantly on television and at Saturday matinees, and I knew them well before I ever saw the great films of 1930s and 1940s. As my writing progressed, the book became less about the movies than about my seeing them. About staying up past my bedtime to see if a movie lived up to its provocative title, or about trying to pay attention to the screen at a crowded matinee while horsing around with my friends. As the narrative developed, it kept forcing me to push my reminiscences back further and further. Before I could write about movies, I had to write about the Kids TV I watch constantly as a small child. The Little Rascals, Abbot & Costello and George Reeves’ Superman demanded that their stories be told. Then came the TV of the fantastic–Twilight Zone, Thriller, Outer Limits–that I watched as I first discovered old movies.
 
While I watched television, the wider world unfolded, from something as mundane as my family’s move from the city to the suburbs (for me, a very traumatic event), to the launching to Sputnik (which changed my life forever), to the Cuban Missile Crisis (which almost ended everybody’s  life). I watched events on television just as I watched “Wagon Train” or “The Untouchables,” and wove everything together in my view of the world. 
 
My book, “I Saw What I Saw When I Saw It” (an oft-repeated line in my all-time favorite movie, “Abbott & Costello Meet Frankenstein”) is divided into five parts. Not until Book 4 do I focus on horror movies–Schlock and Classic–and only in Book 5 do I pay homage to my great movie hero. The chapter below opens Book 5, and is appropriately titled “Obsession.”

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Bud Abbott, Bela Lugosi and Lou Costello in Abbott & Costello Meet Frankenstein (1948)

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Before Abbott & Costello Meet Frankenstein begins at 2:00 pm on June 24, 1961, I am already a big fan of the comedy team. That afternoon I become a fan of the classic monsters, and devoted follower of anything Lugosi. I leave that hour and a half in front of the television with a resolve not only to see all of Lugosi’s movies, but to know more about his life. That very afternoon, as Momma prepares supper, I ask her about Lugosi. Momma is a font of all things Hollywood, but for Lugosi she only says “he always played vampires.” I look forward to all these great vampire movies, but soon learn that they were very few. Lugosi plays “real” vampires in only three movies, and in two other films plays characters who turn out not to be vampires at all. That disappointment proves one of many as I embarked on my quest.

The monster magazines often publish biographies of Lugosi. I read them all, but they are basically the same short pieces, maybe with different photos. Lugosi is a big reason that I start reading monster magazines, and a big reason that I stop. I want more than the typical fan magazine bios. When I learn that research libraries and newspaper archives exist, I descend on them convinced of the Lugosi arcania to be found. After my first visits, I suspect that archived facts of Lugosi’s life are as few as his vampire movies. The libraries hold many treasures, but yield their secrets slowly and only after many painstaking hours.   

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Bela as Dracula in Abbott & Costello Meet Frankenstein

Bela Lugosi as he appeared in Abbott & Costello Meet Frankenstein

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Why Lugosi? Why anyone? What are fans like me looking for?

Obsessive fandom is now part of popular culture. Supermarket tabloids regularly feature stories of celebrity-stalkers, and of fans who turn to plastic surgery to look like—in their own minds, to become—their idols. In the 1980s, the movies exploit the dark side of fandom in The Man With Bogart’s Face, The Seduction, King of Comedy, Garbo Talks, Misery. In Fade to Black, a killer stalks his victims dressed as his movie idols. One of them is Lugosi’s Dracula.

I have met many ardent fans of celebrities. For most, the shrines are part of their youths, abandoned long ago. Since 1961, I have always had a shrine of sorts to Lugosi in my home. First, a modest wall space in David’s and my bedroom that Momma lets me use, then my half of my college dorm room, and finally the better part of my bachelor apartment. Marriage and reality in general temper my expansive ways, but at least a small part of where I live is dedicated to Lugosi’s memory.

Boys need heroes, but I have no need of a new one. In June 1961, Mickey Mantle, my great idol, races with Roger Maris towards Babe Ruth’s home run record. Mantle, like Davy Crockett and Superman, is for me adolescent hero worship. My fascination with Lugosi is more. I see beyond Dracula, and wonder about the actor who portrays him.

Not that I have no desire to be like Dracula. I would love to have Superman’s strength, Mantle’s home run swing, Crockett’s marksmanship. And to control minds and transform into a bat like Dracula. Soon, I am watching Lugosi’s mad doctor movies, and covet his crazy scientists’ creating monsters, and raising the dead. Yet always Lugosi, and not his characters, sparks my curiosity.       

Many years after 1961, I read in The Biographical Dictionary of Film a passage that for me comes close to explaining the Lugosi mystique:

His acting was so florid and yet so macabre that only some fanciful notion of Hungarian mythology could explain it. He could be frightening in a way that other actors in horror never achieved: because he appeared to believe in the literal meaning of the films.

About the same time, I read in The Vampire in the Cinema that Lugosi is:

The living tableau of a silent stage actor trapped in modern sound movies. It is precisely because Lugosi was an anachronism, allowed to flourish by an accident of genre history, that he exercises such a fascination.

Not bad. I admire both passages; but neither explains Lugosi’s hold on me.

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Mickey Mantle & Roger Maris on the cover of Life magazine, August 18 1961

Babe Ruth, Mickey Mantle & Roger Maris on the cover of Life magazine, August 18, 1961

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Perhaps an accident in timing explains my fascination. About the time that I discover Lugosi, I am beginning to understand that not everything in print is true. As Mantle and Maris hit home run after home run, the broader media covers their drama. A lot of misinformation, especially about Babe Ruth, appears in newspapers and on television. As a long-time watcher of Yankee broadcasts, I learned the saga of the team’s great players from the men who witnessed it. In 1961 I know more than a lot of the reporters about the home run race.

No better place to grasp the limitations of the print media than in what is available on Lugosi. The Lugosi biographies in the monster magazines get the big picture right: born in Hungary, emigrates to America after World War I, hits the big time in Dracula, then is typecast in horror movies for the rest of his life. On the details, the magazines often falter, mainly through sins of omission. Much of Lugosi’s last years are lonely treks looking for paydays between film roles that became ever harder to land. In a short time, I know at least as much about Lugosi as anyone writing on him. In the early 1960s, not a hard plateau to scale.

Mastering a subject, even one as obscure as the life of Bela Lugosi, generates its own inertia. The more I learn, the more I want to learn. For the first time in my life, the better I get at something, the better I want to be. Being an expert on horror films and Lugosi—being an expert on anything—becomes important to me.

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Bela Lugosi as he appeared in Dracula (1931)

My Lugosi quest sometimes casts me as a defender of a Lugosi who can no longer defend himself. His stardom even after death rises and falls and rises. Through the 1960s, Lugosi morphs from an almost forgotten actor to a cult hero, then to a figure easy to mock. Whenever he is attacked, I plead his case, to the monster magazines (in letters never published), to adults and classmates less than entranced with the great man.

Lugosi detractors have some good points: a lot of Lugosi movies are pretty bad. Through the 1960s, I watch dozens. Simply seeing a new Lugosi title thrills me. For too many movies, the thrill ends there. Still, I watch them again and again. More than once, when Momma pauses to watch a few minutes of a movie with me, and says “God, he was a lousy actor.” I do not agree. He is just an actor in a lousy movie. His attempts to breathe life into the most hopeless productions are part of his lore.

Disdain for bad movies translates into a disdain for their star, which can extend even to his better films. “A corny Valentino imitation,” writes horror author Stephen King on Lugosi’s Dracula, “which even hardened horror aficionados and cinema buffs cannot help giggling over.” King voices an opinion that grows more common as the 1960s progress.

Through the 1960s, Lugosi’s supremacy as Dracula has a strong challenger. His vampire rises from the dead in October 1957 on television’s Shock Theater. Christopher Lee’s Dracula bursts into theaters seven months later. By 1973, Lee plays Dracula eight times, and through the 1960s, his growing fan base often insists on his superiority over Lugosi. I see my first Lee vampire movie in the late 1960s. My opinion: Lee vampire movies are lousy, AND Lee isn’t much better. Less debatable is how little Lee is in them.

For young boys, Dracula can be a test of manhood. To see Lugosi, we stay up late and watch a shadowy film alone in the dark. For Lee, kids in theaters sit through an explicitness cutting edge in its day. Perhaps the preference for Lugosi or Lee depends on which test a boy passes; or which he fails. On first try, I fail both. A coming attraction of Horror of Dracula plays at Lincoln matinees. It terrifies me and I have no desire to see the movie. No matter, Horror of Dracula never plays the day time show. Lugosi comes on too late, and I could not have stayed awake to see him even if my parents allowed.

Lugosi wins the race to catch my attention. His movies migrate to more godly hours long before I have a chance at Christopher Lee. By the time that I catch up with Lee, the great war of 20th century vampires, for me at least, is long settled. 

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Bela Lugosi as Roxor in Chandu The Magician (1932)

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On 1960s television, the Lugosi canon is about three dozen films that air with varying regularity on television. They range from classics of the 1930s to schlock of the 1950s. I watch these over and over. Those most often televised are low-budget mad doctor epics of the early 1940s. At least one plays every week. On New Year’s Day 1962, I bet my brother David $1.00 that a Bela Lugosi movie will play on television at least once a week through the whole year. As a child, I am prone to such stupid wagers. For about a month, we check the weekly television listings each Sunday, and a Bela Lugosi movie is always among them. David loses interest; but I keep checking for the movies. After 13 weeks the streak breaks. I say nothing to David, never pay the bet.

About two dozen other Lugosi movies pop up rarely or not at all. I read often of these in the monster magazines, and know a lot about them. One by one most appear. For some—White Zombie, Chandu the Magician, or Mark of the Vampire—I have to wait until my college years of haunting revival cinemas in New York to see them.

The Lugosi movies repetitively broadcast through the 1960s total less than 50 hours of running time. Lugosi’s actual time on screen is less than 10 hours. I have watched those 10-something hours more times than I can count. Some performances I greatly enjoy, and will no doubt see them many times yet to come. The older I get, the less patience I have with Lugosi’s “bad” movies, but the more I admire his “good” ones. Those few films, the canon within the canon, sustain my love of the actor; but something more than acting talent or onscreen charisma attracts me to Lugosi.

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Lugosi toothless smile

Bela Lugosi’s toothless smile

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In my 60 plus years, I have had few dreams that I remember. One dream I vividly recall comes within a year after seeing Abbott & Costello Meet Frankenstein. It stars Bela Lugosi and my sixth grade teacher, Mrs. Ruggles.

My first afternoon with Abbott & Costello Meet Frankenstein comes just after my fifth grade ends in Woodrow Wilson Elementary School. I always dread the terrible teacher that I will face in September. The older kids impress on the younger ones the horrors that lie ahead. The tales always portray next year’s teacher as a decaying crone devising ways to make life hell. At Wilson School, the legends have some basis. As we move up in grade, the teachers get older, grayer, and meaner (except my fourth grade teacher, Mrs. Finelli, who is a saint).

Warnings of all our earlier teachers pale before the legend of Mrs. Ruggles. Not only does she teach the highest grade in Wilson School, but she is also the Principal. Her double job forces her to stern discipline. When principal duties call, she has to leave the class, and only fear keeps us in line. Principal’s duties force Mrs. Ruggles to enlist her more trusted students as aides: delivering messages to teachers, getting visitors to the right places, minor clerical duties. By sixth grade, I have clawed my way back from the third reading group to the first, and am among those tapped. I do my share of time in her office. Thus, the dream.

The dream comes in early 1962. Mrs. Ruggles pokes her head in the classroom, and calls me into her office. There, dressed in a pin-striped suit, is a benevolent-looking Bela Lugosi. He looks directly at me, and smiles, exactly as he smiled in real life, showing no teeth. Lugosi, like a lot of his generation, had lousy teeth, and rarely showed them. I do not know that in 1962, but I must have seen a photo of him in one of the monster magazines and the image stays with me. Lugosi and Mrs. Ruggles are discussing me. He assures her that I am a fine boy, to trust me, and to expect great things for me. That is the dream, all of it. Perhaps a minute of “dream time,” certainly no more; but I remember it clearly when I wake up the next morning.

I often think back on the dream, but never probe it until I began reading serious essays on movie horror. The Wolf Man and Frankenstein’s Monster, I learn, are sons with issues.  Dracula is always the father, the devouring parent, trapping young people forever as the Undead. In Abbott & Costello Meet Frankenstein, Dracula targets Wilbur Gray (Lou Costello). For Gray, Dracula’s plot means swapping badgering by Bud Abbott for servitude to Dracula.

Pop, my own father, is in no way a devouring parent. In my school years, I see devouring parents in action, who set out to ensure that their children never leave home. That’s not Pop, who beams at even the most trivial achievement of his children. I tell him little about my doings because he cannot wait to tell his huge family. I did not relish them knowing my business. My never leaving home would never occur to Pop. He dreams of our launching ourselves into the world from our first breaths. His only dictum is that we go to college.

I am not the best son for such a father. Pop never pushes. He has relatives who drive their sons onward but rarely upward, and has no intention of being like them. I like staying at home. Part of me probably yearns for a father like Lugosi’s Dracula, who would both keep me in the family fold, and demand standards that I should meet. That’s not Pop.

Does my fascination with Lugosi fill a void in my relationship with Pop? What strikes me about the dream, and why I remember it so well, is its utter serenity. Lugosi radiates parental warmth. I feel great hearing him tell Mrs. Ruggles what a good kid I am. Maybe I want Pop to do that; but even in my dreams cannot envision him doing something so out of character. I know that he says great things about me, but never in my presence or outside the family.

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Abbott & Costello Meet Frankenstein Photo

Lou Costello and Bela Lugosi in Abbott & Costello Meet Frankenstein

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In 1958, Abbott & Costello make me a Saturday matinee kid when their movies lure me into The Lincoln. Three years later, they make me a Bela Lugosi fan via Abbott & Costello Meet Frankenstein. The link between Lou Costello to Bela Lugosi is not coincidental.

Costello’s movie characters lead much more difficult lives than I do. No one slaps me around, berates my intelligence, or misinterprets innocent mischief. Maybe I suffer a little of all of that, and identify with Costello. Until I am eight years old, I am the baby of the family, and a natural homebody. How could I not identify with a hapless little man who struggles  through a world that he barely understands? Millions of Baby Boomer boys agree with me, and Costello is beloved by my young generation. We might want to grow up to be Davy Crockett or Superman; but for the time being, we are Lou Costello. When Dracula turns his gaze on Wilbur Gray, Lugosi turns his on me.

That gaze comes when Wilbur stumbles into a dilemma common to Lou Costello characters, and common to kids like me: he accidently breaks something, and is now “in trouble.” The ghoulish exhibits in McDougal’s House of Horrors terrify Wilbur. He backs into a guillotine, which falls and lops off the head of a manikin. “Now you’ve done it,” chides Chick. Older brothers always distance themselves from the second born’s mishaps. McDougal is outside, fumbling in the fuse box. “Get rid of that,” says Chick, and goes outside.

I identify with Wilbur. I would hide the head rather than hand it to short-fused McDougal. Wilbur swings open a coffin lid to ditch it; and up sits Dracula. Wilbur is caught red-handed, as Dracula rivets him with a stare of parental displeasure. I know that stare well. From the death ray in War of the Worlds, to the slow-burn rages of Mrs. Ruggles: I know the unblinking eye that sizes up its prey before it strikes. That eye comes often from Dracula in Abbott & Costello Meet Frankenstein.  He saves his most penetrating looks for Wilbur.

Dracula paralyzes Wilbur, revives The Monster, and escapes before McDougal restores the lights. No one believes Wilbur’s claims of the dead walking. Pleas of the young and naïve are easily dismissed or ignored. No wonder millions of little boys identify with Lou Costello.

I am as mesmerized as Wilbur by Dracula’s stare. My identification with Costello transfers to a fascination with Lugosi. I am still enthralled by the scene, though I have now watched it hundreds of times. Dracula rises from his coffin, and waves his fluid fingers before Wilbur’s eyes. “Eye to eye,” Wilbur later recalls, “Eye to eye! Staring! I never saw anything like it.” Neither had I. In a wonderful touch, Dracula ever so gently taps his victim to make sure that the little man is completely under his spell, and steps back to admire his handiwork.

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Abbott and Costello Meet Frankenstein (PS)

Lenore Aubert (as Sandra Mornay) and Bela Lugosi in Abbott & Costello Meet Frankenstein

(Still courtesy of Paul Seiler)

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A boy might identify with Wilbur, but must admire Dracula, the master of every situation.   Sandra warns that her assistant is asking too many questions: “Leave that to me.” Joan is on the trail of the missing exhibits: “I’ll take care of the girl.” Wilbur escapes: “I’ll take care of our fat friend.” Lawrence Talbot is a formidable foe; but Dracula belittles his insistent warnings. “What an odd hallucination, but the human mind is often inflamed with strange complexes.” He brushes Talbot aside, and leads Joan to the dance floor. He is most formidable when his plans are disrupted:

Sandra:   This thing is too dangerous. We ought to wait.

Dracula:  And jeopardize the success of the operation? Never! I must warn you my dear Sandra, I am accustomed to having my orders obeyed. Especially by women with a price on their heads.

Sandra:   Don’t try to scare me, Count Dracula. Here, The Secrets of Life & Death by Dr. Frankenstein. Memorize them. Operate yourself if you’re in such a hurry.

Dracula:  I have other means of securing your cooperation.

Sandra:   You’re wasting your time. My will is as strong as yours.

Dracula:  Are you sure? Look into my eyes.

She does and is soon Dracula’s slave. Wilbur, Joan, Chick and The Monster also fall under Dracula’s spell. What boy could resist looking up to him?

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Bela Lugosi and Lou Costello

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Abbott & Costello Meet Frankenstein parallels the monsters and the comedians throughout the story. Scenes often shift between The Monster and Dracula, and Abbott & Costello. The movie consistently bridges Wilbur to Dracula. In cutting between monsters and funny men, Wilbur and Dracula are in similar poses. Both men are dwarfed by their taller cohorts: Chick for Wilbur, The Monster for Dracula. The two women in the movie both kiss Wilbur, and both in turn receive the vampire’s kiss from Dracula.

Lugosi would never be heavier than he is in Abbott & Costello Meet Frankenstein. Wilbur and Dracula are two round men, with slicked back hair. Costello would never be mistaken for Lugosi; but their appearances would never be more similar than when Wilbur and Dracula meet. The finale has extreme close-ups, in which the two appear to be imitating each other. Wilbur is struggling in the stockade where Dracula has stowed him. A few minutes later, Dracula is in a death duel with The Wolf Man. The grimaces on both Wilbur and Dracula make them look very much alike.

The links between Wilbur and Dracula, between Costello and Lugosi, may be coincidental. Intentionally or not, Abbott & Costello Meet Frankenstein is crafted to make a Costello fan into a Lugosi fan. That is what happens to me.

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Abbott & Costello Meet Frankenstein Photo

Lou Costello, Bud Abbott, Glen Strange, Bela Lugosi and Lon Chaney Jr.

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The climax of Abbott & Costello Meet Frankenstein ties the threads of the plot together. The Monster disposes of Sandra, who would have removed his brain, and pursues Wilbur, who would have supplied a new one. The Wolf Man, loose in a castle filled with potential prey, immediately attacks Dracula. At age 11, I have yet to learn the history of Talbot and his fellow monsters, but obviously a showdown between werewolf and vampire has long simmered. I am unaware of the subtexts; but I feel the power of myth taking hold of me. The charms of the movie and of Lugosi’s performance, and of whatever psychic forces lie within me, conspire to make me a monster fan forever, and start me on a quest to learn all that I can about Bela Lugosi.

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Copies of “I Saw What I Saw When I Saw Itare available from Cult Movies Press at: http://www.cultmoviespress.com 

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Related Pages

A Quaint And Curious Volume Of Forgotten Lore by Frank J. Dello Stritto

Three Tales – One Story by Frank J. Dello Stritto

Dracula’s Coffin: The Story of Bela Lugosi’s Steamer Trunk by Frank J. Dello Stritto

Whatever Happened To Beatrice Weeks? The Unhappy Story of the Third Mrs. Bela Lugosi by Frank J. Dello Stritto

Mystery of the Gróf Tisza Istvan: Bela Lugosi Arrives in America by Frank J. Dello Stritto.

The Twelfth annnual Rondo Hatton Classic Horror Awards.

Posted in Bela Lugosi, Vampire Over London: Bela Lugosi In Britain with tags , , on April 25, 2014 by Vampire Over London: Bela Lugosi

Rondo Hatton Awards

Vampire Over London: The Bela Lugosi Blog has been nominated for “BEST BLOG OF 2013″ in the twelfth Annual Rondo Hatton Classic Horror Awards. It’s a real thrill to be nominated for the second year in a row, especially as the nominations are selected from suggestions by horror fans, professionals and enthusiasts offered at the  Classic Horror Film Boards.

If you have enjoyed this blog, we would be grateful if you would vote for it by visiting http://rondoaward.com/rondoaward.com/blog/?p=32. All voting is by e-mail only. Simply copy the ballot and send an e-mail with your picks to David Colton at taraco@aol.com by Sunday night at midnight, May 5, 2014. You must include your name for the vote to be valid.

 rondo award

The ‘Rondo’ award itself features a bust sculpted by illustrator Kerry Gammill, and cast by modeler Tim Lindsey. The statuette is a miniature version of the bust of Rondo Hatton seen in the 1946 Universal film, House of Horrors.

Movie Action Magazine February 1936: Masters of Horror

Posted in Uncategorized on February 24, 2014 by Vampire Over London: Bela Lugosi

Movie Action Magazine February 1936

Published by Street and Smith Publications, Inc., a New York publisher of pulp fiction, dime novels and comic books whose roster included The Shadow, Doc Savage and Astounding Stories, Movie Action Magazine ran for just six issues between November 1935 – June 1936. The pulp magazine featured film reviews, articles about movies and actors and adaptations of film scripts. It was edited by John L. Nanovic, who had previously edited The Shadow and is best remembered as co-creator with publisher Henry W. Ralston of Doc Savage. The January 1936 issue of Movie Action Magazine featured an adaptation of The Invisible Ray, Universal’s third co-staring vehicle for Boris Karloff and Bela Lugosi. The February 1936 issue contained a review of The Invisible Ray and Masters of Horror, an article detailing how horror actors achieved their most famous characterisations. Included in the article were Bela Lugosi, Boris Karloff, Henry Hull, Lon Chaney, Frederic March, John Barrymore and Peter Lorre. Boris Karloff’s 1936 Warner Bros. film The Walking Dead was the featured adaptation in  the final June 1936 issue of Movie Acton Magazine. 

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Related pages

Movie Action Magazine January 1936: The Invisible Ray Novelization

Movie Comics 1939 Adaptations of Son of Frankenstein and The Phantom Creeps

The Library 

A collection of editions of Dracula and Bela Lugosi-related books.

Movie Action Magazine January 1936: The Invisible Ray Novelization

Posted in Bela Lugosi, Boris Karloff, Movie Action Magazine, The Invisible Ray with tags , , , on February 14, 2014 by Vampire Over London: Bela Lugosi

Movie Action Magazine January 1936 Cover

Movie Action Magazine was a short-lived pulp magazine published by Street and Smith Publications, Inc., the New York publisher whose roster of pulp fiction, dime novels and comic books included The Shadow, Doc Savage and Astounding Stories. Running for just six issues between November 1935 – June 1936, Movie Action Magazine featured  adaptations of film scripts. Editor John L. Nanovic, who had previously edited The Shadow, is best remembered as co-creator with publisher Henry W. Ralston of Doc Savage. The February 1936 issue of Movie Action Magazine featured Masters of Horror, an article which revealed how the leading horror actors achieved their most famous characterisations. Included in the article were Bela Lugosi, Boris Karloff, Henry Hull, Lon Chaney, Frederic March, John Barrymore and Peter Lorre. The final issue in June 1936 contained an adaptation of Boris Karloff’s 1936 Warner Bros. film The Walking Dead.

Released on January 20, 1936, The Invisible Ray was the fourth Universal film in which both Boris Karloff and Bela Lugosi appeared and the studio’s third specially scripted co-staring vehicle for their horror superstars. Their previous joint-outings at the studio were 1934’s The Black Cat and Gift of Gab (in which they shared no scenes) and The Raven in 1935. They would appear in three more films together – Son of Frankenstein (Universal 1939), You’ll Find Out (RKO 1940) and The Body Snatcher (RKO 1945). 

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Related pages

Movie Action Magazine February 1936: Masters of Horror

Movie Comics 1939 Adaptations of Son of Frankenstein and The Phantom Creeps

The Library 

A collection of editions of Dracula and Bela Lugosi-related books.

There Are Such Things! Bram Stoker Interviews Michael Theodorou About His New Stage Play.

Posted in 1951 British Tour Of Dracula, Bram Stoker, Florence Stoker, Michael Theodorou, Sir Henry Irving with tags , , , , , , , on January 13, 2014 by Vampire Over London: Bela Lugosi

Michael Chesden

Michael Theodorou

Director, actor, writer, translator and drama teacher, Michael Theodorou has something of a fascination with Bram Stoker and Dracula, having now written three plays inspired by the author and his work. His original adaptation of Dracula was described as “genuinely disturbing” by Oxford University Press. He followed this up with Lugosi, a dark exploration of the demons which plagued the aging actor during his 1951 British revival tour of Dracula. Michael has now rounded off the series with There Are Such Things, a play about Bram Stoker himself, which is intended as the first half of a double bill to include Lugosi. Set in 1906, the play finds Stoker suffering from temporary blindness as the result of a stroke.  As his wife Florence tries to nurse him back to health, Stoker experiences a series of strange visitations. Is the invalid author suffering from hallucination, delusions or is it all real? Proving that there are indeed such things, no less a personage than Mr. Stoker himself decided to quiz Michael about his new play.

Bram Stoker

Bram Stoker

Bram: What is the name of heaven possessed you to write a play about me, Michael?

Michael: It was actually my wife who first suggested the idea to me, Bram, as I’d already written a stage adaptation of your ‘Dracula’ and also a play about Bela Lugosi. She thought it would round off the series of plays inspired by your work.

Bram: Well, that’s very flattering of you to say so, Michael, but was she aware that I might be rather a dull subject?

Michael: Nothing of the kind, Bram, as soon as I started to write the play, ideas flowed very quickly and I developed a concept for your portrayal almost immediately.

Bram: A concept you say? What does that mean exactly?

Michael: It means that the actor who plays you has a double role.

Bram: In what way?

Michael: Before I explain, Bram, I’d like to tell you how the play starts –

Henry Irving

Sir Henry Irving, Stoker’s friend and employer for 27 years. The shock of his death is said to have brought on Stoker’s first stroke.

You are sitting in the upstairs room of your house in Chelsea, the date is 1906. Sir Henry Irving is dead and you’ve already had a stroke which leaves you partially blind. There is violin music playing, the lights come up to reveal you writing at your desk. You half close your eyes and the lights dim to indicate that your sight is going. The music continues and swells. You look towards the audience and feel a presence entering from behind you – it is a very beautiful, seductive vampiress who approaches you with graceful movements and strokes your hair and your brow. You say, ‘ I was afraid to raise my eyelids……..

Bram: ……………….but saw perfectly under the lashes’. You’re quoting from my ‘Dracula’!

Michael: I am. The lady wants to seduce you and this lady is your wife!

Bram: My wife!

Michael: Oh, yes, she’s the other character in the play.

Bram: What happens next?

Michael: The scene ends, there’s a blackout and we hear a knocking at the door. The ‘vampiress’ has become your wife Florence Stoker. She enters – quick costume change of course – and you have a conversation. She is concerned about your eyes and staying up late writing.

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Florence Stoker, a society beauty whose suitors included Oscar Wilde

Bram: Now that’s exactly what my wife used to do! That’s awfully clever of you, Michael, how did you know all this?

Michael: Pure imagination, Bram, and it seemed a good way to start the play.

Bram: How do you represent my wife in the play? Is it a good part?

Michael: It’s a wonderful part for an actress not only does she play herself and a vampires but also your mother!

Bram: My mother! My mother’s in the play too!?

Michael: Oh, yes, you wouldn’t wish me to forget your mother, would you?

Bram: Of course not, she was probably the biggest single influence on my life and my writing. If truth be told probably a greater influence than my wife.

Michael: Well, there you are then I’ve got them all in the same play for you!

Stoker's Mother

Bram Stoker’s Mother, Charlotte Matilda Blake Thornley Stoker

Courtesy of www.bramstokerestate.com

Bram: What were you saying earlier, Michael , about a double role for my character?

Michael: Ah,yes. Your character, Bram, is himself………. plus another character.

Bram: What do you mean?

Michael: I mean that you play Van Helsing as well!

Bram: Van Helsing? Van Helsing you say? How is that possible?

Michael: Ah, stagecraft, Bram, and a bit of a challenge for the actor!

Bram: Will that not seem rather odd to an audience?

Michael: Perhaps at first but after a while they’ll get used to you being a double character and they’ll accept it. I was trying to convey, Bram, that you are a two-sided person – as all the more interesting people in the world are! You have an inner as well as an outer life and Van Helsing is your inner self…

Bram: Fascinating….

Michael: Just as the vampiress is part of your self as well.

Bram: Well, all this sounds very intriguing indeed, Michael, I’ll have to have a look at this play of yours. What’s it called by the way?

Michael: It’s called ‘There Are Such Things’.

Bram: Ah, another quote from ‘Dracula’!

Michael: Yes, when Van Helsing says ‘ there are such things as vampires!’ This was also a phrase picked up by the great Hungarian actor, Bela Lugosi who played Dracula both on stage and on film and I’ve written a play about him too!

Bram: Goodness, you have been busy, Michael!

Edith Sherman

Bela Lugosi as he appeared in the 1951 British revival tour of Dracula (Photo by Edith Sherman)

Michael: Lugosi used that phrase in his curtain speeches when he would say to the audience – (In the voice of BELA LUGOSI) ‘ So when you lie in bed tonight in your darkened room and these thoughts give you nightmares and you dread to look behind the curtains – just pull yourself together and remember that, after all, THERE ARE SUCH THINGS!’

Bram: This Lugosi sounds like a very sinister character indeed.

Michael: He was and one of your greatest interpreters. He would have two Red Cross nurses enter the auditorium before each performance in case somebody fainted and needed medical attention.

Bram: What a great idea – I wish I’d used it for my stage production of ‘Dracula’…except of course that my stage version did not get a performance.

Michael: I know. Sir Henry didn’t like it.

Bram: Well, we’ll draw a veil over that, Michael. It’s something I don’t like to talk about. Now tell me when your play will be performed?

(INTERVIEW TO BE CONTINUED)

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You can visit Michael’s website at:

michaeltheodorou.weebly.com

Read an extract from his adaptation of Dracula here:

www.dramaworks.co.uk/ps_dracula.html

His books on school drama are available from Amazon:

www.amazon.com/Ideas-that-Drama-Michael-Theodorou/dp/0748702253

www.amazon.com/Classroom-Gems-Games-Activities-Primary/dp/1408223295

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Related Pages

Lugosi – A Play For The Stage By Michael Theodorou

Bela Lugosi’s Clara Bow Nude Painting Sells For $30,000 At Auction.

Posted in Beatrice Weeks, Beatrice Woodruff, Bela Lugosi, Bela Lugosi Jnr., Clara Bow, Dracula, Hope Lugosi, Lillian Lugosi with tags , , , , , , , , , on November 29, 2013 by Vampire Over London: Bela Lugosi

Clara Bow Nude

Prominently displayed in each of his homes from when it was painted in 1929 until his death in 1956, Bela Lugosi’s nude oil painting of actress Clara Bow sold at Bonhams in New York for $30,000 on November 25th, 2013.

Until being announced as lot 138W in Bonhams’ “What Dreams Are Made Of: A Century of Movie Magic at Auction as Curated by TCM” auction, the whereabouts of the 37 3/4 x 33 1/2 inch canvas had remained a mystery since being sold by Lugosi’s widow, the former Hope Lininger, to an undisclosed art dealer before she moved to Hawaii in 1976. It is now known to have passed through at least two private collections during its “lost” years.

Lugosi commissioned his friend and fellow-Hungarian Geza Kende to paint the portrait as a memento of his brief affair with Bow, who kept a signed photo of Lugosi until her death. Despite their relationship making headlines in November 1929 when Lugosi’s third wife, Beatrice Weeks, told a reporter about it after filing suit for divorce, very few details of it are actually known.

Lot 587

This photo from Lugosi’s estate sold for $1,000 at the Icons of Hollywood auction at Profiles in History on December 16th, 2011. The catalogue described Kende’s portrait as the “infamous nude painting of  Clara Bow.”

Lugosi and Bow first met backstage after a performance of Dracula during its eight-week run at the Biltmore Theatre in Los Angeles sometime between June 24 and August 18th, 1928.  The meeting was recalled by Bow’s friend, the actor Jack Oakie, in his autobiography, Jack Oakie’s Double Takes. 

‘Suddenly she came running out (to her swimming pool, where she had left friends to take a phone call). “Come on everybody! We’ve got tickets!” she said. “We’re going down to the Biltmore to see Dracula.” She was so excited she didn’t stop to dress. She just threw a great long mink coat over her swimsuit, and we all got into her chauffeur-driven black Packard limousine. Bela Lugosi was starring in Dracula on the stage of the Biltmore Theatre downtown.

Bow had read about it. “I want to meet that man,” she said. “Do you know he doesn’t know how to speak English.” She couldn’t get over the fact that he was on stage for two hours performing in a language he couldn’t speak. Bow kept her mink coat on, and we watched Bela Lugosi in his monstrous makeup with his teeth sticking out, chewing on gals’ necks all evening. Then we went backstage.

Clara Bow In Dancing Mothers 1926

Is it? Isn’t it? Despite disagreement on the identity of the model in Geza Kende’s painting, she bears a striking resemblance to Clara Bow as seen in this publicity still for Dancing Mothers, 1926

He couldn’t speak English, but no language barrier could hide his thrill at meeting Clara Bow. He was overwhelmed with the redhead. “How do you know your lines?” Bow asked him immediately. We finally understood the Hungarian’s explanation. He told us that he memorized each word from a cue and, if by mistake another actor should ever give him a wrong line, he would be lost for the rest of the night. Bow invited him to her home, and they became very good friends.’

Neither the depth nor the length of their relationship is known. Lugosi is said to have shown off scratches on his body which he bragged were inflicted by Bow during their lovemaking. Beatrice Weeks, whose disastrous marriage to Lugosi effectively ended after only four and a half days, told a reporter from The Daily Mirror that Lugosi had confided that he and Bow had become engaged during their relationship, but had decided to spend a year apart to test the strength of their relationship and would marry after the divorce was finalized. There is no evidence to support Lugosi’s alleged claims.

The only account we have of Lugosi and Bow together after their first meeting comes from Bow biographer David Stenn in his biography Clara Bow: Runnin’ Wild, in which he writes of Lugosi being invited to stay at Bow’s Malibu cottage one weekend. Upon his arrival, it was discovered that every bedroom was already occupied by other guests. One of the female guests gave up her room to him and moved in with Bow. In whose room Bow actually spent the night is unrecorded.

Clara Bow Nude postcard

A willow nude? Clara Bow in the flesh.

Despite the fact that Bow had previously posed nude for photographs and had appeared semi-nude on screen, it is not thought that she posed for Kend, who also painted an impressive full-length painting of Lugosi in the early 1930s. There is also nothing to suggest that she was even aware of the existence of the portrait, which was painted after whatever relationship they may have had was over. It has been suggested that the image was in fact conjured up from Lugosi’s memory, which may explain why several commentators have stated that it is not a painting of Bow and actually looks nothing like her.

Whatever the truth of the identity of the model, described as “a willow nude” by reporter Bob Thomas when he interviewed Lugosi at his home in October 1953, the memories Lugosi associated with the painting remained potent enough for him to compel his next two wives to live under its gaze for the duration of their marriages.

Clara Bow Nude in Lugosi HomeLugosi, Bela Jr. and fourth wife Lillian pose under the watchful gaze of Clara Bow

What could have driven him to have kept this memento of a distant brief affair on open display when married to other women? Maybe writer Adele Rogers St. John had the answer when she wrote of Bow’s effect on men, “When men fall in love with Clara Bow, they go a bit mad.” Perhaps Lugosi’s madness for Bow, like Dracula’s grip on his life and career, never ended.

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Related articles

Whatever Happened To Beatrice Weeks? The Unhappy Story of the Third Mrs. Bela Lugosi by Frank J. Dello Stritto

Movie Comics 1939 Adaptations of Son of Frankenstein and The Phantom Creeps

Posted in Bela Lugosi, Movie Comics No.1 & No. 6, Son Of Frankenstein, The Phantom Creeps with tags , , , , on October 8, 2013 by Vampire Over London: Bela Lugosi

Movie Comics #1 April, 1939

Movie Comics No. 1, April 1939

Founded in 1938 by Max Gaines, inventor of the modern comic book format, All-American Publications introduced some of the most enduring superheroes during the Golden Age of comic books in the 1940s. Its roster included Flash, Atom, Green Lantern, Hawkman and Wonder Woman.

The company made its debut on the American comic book market in April 1939 with two titles, its flagship All-American Comics and Movie Comics. Although it ran for 102 issues until October 1948, All-American Comics was an unoriginal repackaging of newspaper comic strips with occasional original stories. Movie Comics, however, was a new idea.

Bearing the tagline “A Full Movie Show For 10¢,” Movie Comics utilised the fumetti technique of using photographs as the basis for its illustrations. Film stills and publicity shots were cut up and retouched to make composite images which were laid out on minimalist or crudely drawn backgrounds with added speech bubbles and captions. The images were inked in “natural colors,” a cover boast that was as unrealistic as the colours themselves and dropped after the third issue. The design, compositing and additional art was the work of Jack Adler, who eventual became Vice President of Production at DC Comics where he innovated several printing techniques which became standard practices in comic book production.

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A look at Jack Pierce’s make up skills from Movie Comics No. 1

The cover of the first issue announced “complete” adaptations of the films Son of Frankenstein, Gunga Din, The Great Man Votes, Fisherman’s Wharf and the serial Scouts to the Rescue, plus “Shorts, News Reels and Comedies.” In addition to the eight-page adaptation of Son of Frankenstein, the issue also contained Movie-Make Up: From Man to Monster, a feature on how Jack Pierce transformed Boris Karloff into the creature and Bela Lugosi into Ygor.

This new comic book concept proved to be short-lived. Due to poor sales, the September – October issue was the sixth and final issue of Movie Comics. Perhaps in an effort to cut costs on the ailing comic book, the quality of the “artwork” had by this issue sunk to an unbelievably amateurish level. For Lugosi fans, however, it is another issue of great interest.

The Phantom Creeps Cover

Movie Comics No. 6, September – October 1939

The cover story was an eight-page adaptation of his 12-part Universal serial The Phantom Creeps. The centre spread contained a Phantom Creeps contest with a $10 first prize, $5 second prize and ten additional $1 prize. To win, readers had to write a letter telling the first thing they would do if they had the Devisualizer, an invisibility device invented by Dr. Zorka, Lugosi’s character in the serial. The letters were judged on individuality and “neatness.” All entrants received a free “beautiful” Phantom button, now a collectible in itself.

The Phantom Creeps Competition

The Phantom Creeps Contest from Movie Comics No. 6

Although Bela Lugosi received no financial reward for his appearance in the Movie Comics adaptations, they were evidence of the remarkable turnaround in his fortunes. After the so-called British ban on horror films led to Hollywood studios ceasing production of horror films, the severely typecast actor found himself all but unemployable in the film colony. Apart from one week’s work in the 1937 Republic serial S.O.S Coastguard, by 1938 he had not been offered film work for two years and was suffering dire financial problems. At the start of the year, he had been forced to apply to the Motion Picture Relief Fund for help with medical costs when his son, Bela George Lugosi, Jr., was born on January 5th, 1938. In August, he was forced to move into a rented house when the mortgage company foreclosed on his Outpost Drive mansion. In the same month, his saviour arrived in the unexpected form of Emil Umann, manager of the Regina cinema in Los Angeles. While trying to stave off bankruptcy, Umann began what was intended as a four-day run of a tripple-bill feature of Dracula, Frankenstein and Son of King Kong. The bill unexpectedly captured the public’s imagination, becoming an overnight sensation that was soon playing 21 hours a day to packed houses while police controlled the crowds queuing around the block. In response, Universal rushed Son of Frankenstein into production on October 17th, heralding the beginning of the second cycle of Hollywood horror films and, for now, the end of Lugosi’s financial woes. In addition to Son of Frankenstein and The Phantom Creeps, 1939 cinemagoers saw Lugosi in The Gorilla, Ninotchka, and the British Dark Eyes Of London.

Max Gaines sold his share in All-American Publications in 1944 and formed Entertaining Comics, more commonly known as EC Comics. His son William led the company to great success with titles such as Tales from the Crypt, The Vault of Horror, The Haunt of Fear, Weird Science, Weird Fantasy and Mad after Gaines was killed in a boating accident in 1947. After Gaines’ departure from All-American Publications, the company was merged with National Comics, the foundation of the modern-day DC comics.

Copies of Movie Comics are now very collectible, with issue one selling for up to $11,000. (Andi Brooks)

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Movie Comics No. 1, April 1939

Son of Frankenstein

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Movie Comics No. 6, September – October 1939

The Phantom Creeps

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Related pages and articles

Related pages

Movie Action Magazine January 1936: The Invisible Ray Novelization

The Library 

A collection of editions of Dracula and Bela Lugosi-related books

The 1938 Dracula & Frankenstein Double-Bill

Dark Eyes Of London

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