“I Like Horror Parts,” says Bela Lugosi

Bat Head 2

Film Weekly July 25, 1936

Film Weekly, July 25, 1935

Bela Lugosi and his co-star, Shirley Grey, arrived in England aboard the SS Berengaria on July 12, 1935 to begin filming of Hammer Productions’ Mystery of the Mary Celeste. On July 25th, while the pair were busy filming on location off the coast of Falmouth, the British magazine Film Weekly printed a one-page article attributed to Bela.

Bela aboard the BerengariaBela enroute to England aboard the  SS Berengaria

I Like Horror Parts was probably actually concocted by Universal’s publicity department to help plug the latest Karloff and Lugosi vehicle, The Raven. Although Bela had aided their efforts by making personal appearances at the New York premiere of The Raven at the Roxy Theatre on July 4th, for which he delayed his voyage to England, and at the trade show screening at the Prince Edward Theatre in London on the 16th, he attempted to distance himself from horror roles in interviews with the British press. He was hoping that his dramatic role in Mystery of the Mary Celeste would help him to escape from the typecasting which had dogged him since starring in Dracula four years previously.

The article, which appeared on page 11, contains several points of interest. Firstly, the introduction stated that Bela was in England to play not only in Mystery of the Mary Celeste, but also Dr. Nikola, a British film project which, along with Embassy Films’ Vampire of the Sky and Concordia Films’ remake of The Cabinet of Dr Caligari, failed to materialise .

The Raven Trade Show Ad

Advertisement for Bela’s personal appearance at the trade show screening of The Raven at the Prince Edward Theatre in London on July 16th, 1935

Secondly, in a defiant, but ineffectual response to the then current backlash in the UK against what was perceived as the corrupting influential of horror films, the writer predicted that films with “fantastic or supernatural characters” would continue to be made whatever happened to the “horror “cycle” of pictures.” Pressure was mounting from religious and civic groups and their powerful allies in the press and local government, for stronger film censorship. An avid newspaper reader, Bela must have been aware that The Raven and horror films in general were drawing strong condemnation during his stay in Britain.

If he did indeed write the article, Bela would shortly be ruing his decision to “deliberately” specialise in horror characters and his firm belief that “there will be suitable roles for me for a long time to come.” The combined effects of the strenuous  implementation of a “Horrific” category for films in the UK from January 1936, banning anyone under the age of 16 and causing a big loss of revenue for the Hollywood studios, and the loss of control of Universal by the Laemmles in March 1936 resulted in a cessation of horror output in American, leaving the all but unemployed actor facing financial ruin.

Mystery of the Marie Celeste Bela Lugosi and the ship's cat

While Bela filmed off the coast of Falmouth, the battle for stronger censorship of horror films raged across the country.

Bat Head 3

Film Weekly, July 25, 1936

I LIKE HORROR PARTS

Says

BELA LUGOSI

Portrait which accompanied I Like Horror Parts

 The screen “Dracula,” who has come to England to play in “The Mystery of the Marie Celeste” and “Dr. Nikola,” explains in this exclusive article why he not only likes but actually prefers horror parts to all others.

 I like playing “horror” parts on the screen. This may surprise you, but let me explain my point of view. There is a popular idea that portraying a monster of the Dracula type requires no acting ability. People are apt to think that anyone who likes to put on a grotesque make-up can be a fiend. That is wrong.

A monster, to be convincing, must have a character and a brain.

The screen monster produced by mere tricks of make-up and lighting will never thrill an audience. It will make them laugh! It is just a machine which does not understand what it is doing.

Now, imagine this creature with a character, with reasoning power and certain human mental facilities. It is no longer a machine. It can think.

Such a monster is able to thrill an audience. It can plot against the hero and heroine. It is a menace which must be combated by brains, not by running away.

We are all more afraid of cunning than brute force. Therefore, the monster must have cunning to trap his victims – physical strength is not enough to convince an audience.

Now, perhaps, you begin to see why I find the playing of fiends interesting!

When I am given a new role in a horror film, I have a character to create just as much as if I were playing a straight part.

Whether one thinks of films like Dracula as “hokum” or not does not alter the fact; the horror actor must believe in his part. The player who portrays a film monster with his tongue in his cheek is doomed to failure.

An example of this occurred not very long ago. An actor, whose name I will not mention, played the part of a sinister foreign villain. He had been used to straight parts, and he went into this film laughing at himself. He did the correct villainous actions, but he had his tongue in his cheek all the time.

The villain was completely unconvincing and as a result the film was a flop at the box office. Later, an almost exactly similar character was played by another actor. He took it seriously. Audiences believed tin the villain and the film was a success.

I am not saying that I personally take seriously these vampires and monsters as such. I am saying that one must take them seriously when one is portraying them.

In playing Dracula, I have to work myself up into believing that he is real, to ascribe to myself the motives and emotions that such a character would feel. For a time, I become Dracula — not merely an actor playing at being a vampire.

A good actor will “make” a horror part. He will build up the character until it convinces him and he is carried away by it.

There are, of course, plenty of tricks of the trade to be employed, such as effective make-up, clever photography, a threatening voice and claw-like gestures with the hands. These are important in the “hokum” film and must be used. But even they must be employed with intelligence or they will fail to thrill.

To leave the theoretical discussion of so-called monsters, there is another reason why I do not mind being “typed” in eerie thrillers.

With few exceptions, there are, among actors, only two types who matter at the box office. They are heroes and villains. The men who play these parts are the only ones whose names you will see in electric lights outside the theater.

Obviously, I cannot play a juvenile part — you will not find me competing with Clark Gable or Robert Montgomery! Therefore, I have gone to the other extreme in my search for success and public acclaim.

Every year a number of films with fantastic or supernatural characters are made, and will, it seems, continue to be made, whatever may happen to the horror “cycle” of pictures. I have deliberately specialized in such characters — and I firmly believe there will be suitable roles for me for a long time to come!

Bat Head 2

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Mystery Of The Mary Celeste Recalled By George Mozart

George MozartGeorge Mozart 1864 -1947

Born David John Gillings in Great Yarmouth on February 15, 1864, the music hall star George Mozart began his career at the age of nine when, for a shilling a night, he played the side drum at the Theatre Royal in his home town. Although he temporarily left the theatrical world to become a drummer in the Norfolk Artillery Band, he had been bitten by the theatrical bug and soon returned to the stage. Taking on any job that he could find, he played drums in a stage orchestra while learning how to paint scenery and act in stock.

He made the move into music hall as a Christy Minstrel and toured all around the country. After another break from the theatre, during which he unsuccessfully tried his hand at running a pub, Mozart established himself as one of the top British music hall comedians. During a long career, which took him to America, Canada and Australia, he worked with all of the great music hall stars of his age.

Although he was featured in a British Pathe newsreel with the famous male impersonator Hetty King in around 1917, George didn’t begin to carve out a career in moving pictures until 1928 when he starred in the self-penned short Mr. George Mozart the Famous Comedian. During the 1930s he appeared in two more short features and 15 full-length films, including the first five films from Hammer Productions – The Public Life of Henry the Ninth, Polly’s Two Fathers, The Bank Messenger Mystery, Mystery of the Mary Celeste, and Song of Freedom. His prolific appearances in the early Hammer films was, no doubt, linked to the fact that he was a member of the board of directors.

Mystery of the Mary Celeste LimelightIn 1938, at the age of seventy-four, he published Limelight (Hurst & Blackett, Ltd., London), his wittily self-depreciating autobiography. A review in the June 12, 1938 edition of the Straight Times said of his memoirs, “These delightful memories are distinguished by their kindly humour and vivid sense of comedy. Although many of the stories are extremely funny, even ribald, there is not an unkind one among the lot – a grand tribute to George Mozart’s own sense of humour.”

George died in London on December 10, 1947 at the age of 83.

In Chapter 32 of Limelight, George recounted two incidents which took place during the filming of Mystery of the Mary Celeste. The first tells the story of a “young man” in love with Shirley Grey, the film’s leading lady.  The same incident was recalled many years later by Tilly Day, the film’s continuity girl, who revealed that the “young man” was J. Elder Wills, the art director of Mystery of the Mary Celeste. Georges’s memories of the film are reproduced in full below.

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George Mozart as Tommy DugganGeorge as ship’s cook Tommy Duggan

“I once played the cook in a picture called The Mystery of the ‘Mary Celeste.’ It was a marvellous story but did not seem to catch on, I don’t know why. But I would like to tell of a romance that occurred during the making of the picture. The story is quite as romantic as any that have occurred at Hollywood.

Shirley Grey came from America to play the only woman part in the picture. She is a beautiful girl and a great actress.

Two young men of the production company met her at Waterloo and gave her a great reception, but one of the two fell in love with her at first sight, and she seemed to like him. We all thought that a marriage would take place, but it was not to be. On location at Falmouth, Shirley had to board a windjammer in Falmouth harbour at eight every morning and sail out to sea for miles all day.

Shirley, being the only lady on board, and a very pretty one at that, had great attention from all the men.

But Shirley was most of the day in her cabin, according to the film story, and only came on deck when required.

We were quite three weeks on board, and Shirley and her beau did not see much of each other.

J Elder Wills“Our young man” – J. Elder Wills

Our lead was Bela Lugosi, and the man playing the part of the captain was Arthur Margetson. Shirley was playing the part of his wife.

We eventually finished on the ship and went to the studios at Walton-on-Thames to do the interiors.

Then things started to develop. It was August and wonderfully hot, and on Sundays, being near the river, everybody took advantage of it.

Our young man who was in love with Shirley invited her to go on the river. So he hired a launch and as lovely repast, not forgetting the champagne; in fact, everything one could do to give his adored one a good time.

Sunday morning arrived, and the young man turned up in spotless flannels. He waited half an hour, but no lady turned up.

An hour passed, and still no sign of her. Then a member of the studio staff came along and said he had seen Shirley Grey and Arthur Margetson together in a punt a mile down the river.

The young man got very annoyed and threw all the food into the river, but I don’t think somehow he did the same with the wine.

Shirley Grey and Arthur MargetsonShirley Grey and Arthur Margetson indulging in “real love-making ” before the camera

The scenes taken in the studio were supposed to be when the captain (Arthur) was proposing to the future Mrs. Biggs (Shirley), and they had to act a beautiful love scene.

We all thought what good acting it was, how natural and how well they acted together.

All the time it was real love-making and real proposing.

No wonder Shirley didn’t turn up that Sunday. Arthur took care of that – and now they are Mr. And Mrs. Arthur Margetson.

Mystery of the Marie Celeste: LimelightA portrait of Bela from Limelight

We came to Walton-on-Thames studios to finish our picture, The Mystery of the ‘Mary Celeste’. Bela Lugosi was our star, and a very nice man I found him, a charming chap, though he played an awful creature in the story.

He is a native of Hungary and his English off the screen is certainly not good; he makes up for that by his clever acting and delightful manners. He is also a great fellow to go out with. We gave him a great time – a reception at the Grosvenor on his arrival from Hollywood and a great send-off on the platform at Waterloo station.

We had a full-size ship built up in a field at Walton, exactly like the one we were on at sea. The shots had to be taken in the middle of the night. Huge lamps, etc. The ship was built to rock, and groups of stage hands were stationed each side to give her a good rocking when the storm was at its height. Huge tanks full of hundreds of gallons of water were on very high platforms, ready to pour over the ship; compressed air in tubes ready to blow her nearly over; in fact, it was a wonderful set, costing no end of money. We started shooting about half past one in the morning. Half the inhabitants of the village turned out to watch – great excitement.

Lugosi was a mysterious seaman, made up with only one arm. He had to be washed overboard – a large beam struck him dead on the deck, then one of the water tanks was turned on, and down came the water in hundreds of gallons and washed him clean over the side of the ship – so the shot would fit in with what had already been done off Falmouth on the real ship. We all got the wind up when we saw all that water drenching Bela like a rat, because we knew our turn was the next shot. And we were told by the director Denison Clift, that all the tanks of water were going to be let loose. The storm was going to be at its worst; of course, Lugosi was not in it. He had done his bit and had rushed across the field wet to the skin, to the studios to get changed.

Mystery of the Marie Celeste: Bela Lillian and Denison CliftBela and Lillian Lugosi on location with director Denison Clift

Our director got a bit nervous about me. He considered my age and was afraid I would catch cold. I assured him I did not mind and I was quite in trim to take whatever was coming – just as good as any of the young ‘uns.

All was ready for the great storm; a hundred stage hands were standing by in their places. Three cameramen ready, one up in the mast, and so on – all of us waiting for the director to give the word “Action!” and blow a loud whistle. But something kept going wrong – and it would not do to chance anything – everything must work to the arrangements, otherwise it would cost no end of money to have a re-take, and that would mean another all-night’s work.

So we rehearsed our lines and actions while waiting. I was playing the old ship’s cook, a Cockney, and my colleague, Johnny Schofield, as an Irish seaman. We were ordered to the wheel, one each side, holding on like grim death; the mighty seas (I beg pardon, tanks) tossing us up and down. I remember our dialogue; as he came up and I went down he said: “Holy Saints, save us!” and I had to shout through the noise of the storm: “No good, mate – they can’t hear you.

Just as we were going to shoot, dear old Lugosi turned up already changed. He climbed on the ship, and in the dim light I could see he had a bottle of Black and White in each hand. He got to know Jimmy and I were going to get the full blast of the water from three tanks, to depict a mighty wave washing over the ship. He held the two bottles of whisky up so Johnny and I could see them and shouted in his broken English: “Stick it, boys, be brave, and when you come out one each for you. It’s good, I know, I’ve had some.” A loud voice through the loudspeaker was heard: “Off the ship, Bela, you’re dead. You’ll be in the shot in less than a minute. We’re going to shoot. Stand by, everybody – now don’t lose your heads – now everybody ready – the whistle will blow first, then a short pause – look out, Action!

Johnnie SchofieldJohnny Schofield as Peter Tooley

The next moment I was up to my neck in water, the ship rocked from side to side, the water rushing all round me. Down it came again, another tank let loose. It knocked me on the wheel – a nasty knock on the head, but my bowler hat saved me. Down she came again, more water than ever – a terrific ‘wave’ right over our heads. It knocked Johnny Schofield over. He entirely disappeared somewhere – the shot was over. A great success. Johnny turned up from nowhere; so did Bela Lugosi with the whisky. He was terribly upset about me; needless to say, I was wet, soaked through. The dear chap had a large blanket, which he quickly wrapped round me, and actually carried me half across the field towards the dressing-room in the studio.

I was stripped of everything like greased lightning. My dresser brought another dry blanket and clothes, and Lugosi made me drink half a bottle of whisky – almost neat. Now I never could stand much drink before it got to my head, so one can imagine how I felt.

Now I played hornpipes on the violin in one of the scenes in the picture; they are not easy to play. When one is out of practice they are extremely difficult! Anyway, I was proud of the fact that I could play a certain hornpipe tune pretty well. Well, I had nothing on, only a blanket round me, under that I was as naked as when I was born. Lugosi insisted I should lie down on a couch for a few minutes before dressing while they fetched the car, and he made me drink the rest of the whisky. And I was left alone.

When they came back they found me stark naked, playing my hornpipe on the fiddle and dancing at the same time. Boy! That whisky was some whisky, but it did me good.

Mystery of the Marie CelesteBela in the dramatic finale

Arthur Margetson was also wet through. He played Captain Briggs, and went through it as much as anybody, except he was artful and did a bit of dodging. There was also a bottle of whisky for him and he got the wind up – and the whisky had to suffer for it.

We both stayed at the same hotel at Shepperton a short distance away. He drove me back in his care. How he did it I don’t know – I can’t tell even to this day.

The next morning everyone turned up, as fresh as paint, and no one suffered the slightest ill effects. A good night’s work. If any of my readers have seen the picture I feel
certain they will acknowledge it was most realistic, and one of the best storm scenes ever seen on the screen.

Personally I thoroughly enjoyed it.”

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“I Like Horror Parts,” says Bela Lugosi

Mystery Of The Mary Celeste

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Behind The Scenes Of Mystery Of The Mary Celeste With Tilly Day

Tilly Day

Tilly Day 1903 – 1994

Born in 1903, Tilly Day worked on over 300 British films during her long career. She joined the film industry as a secretary at the Wood Street Film Studio in Walthamstow in 1917 at the age of 14 after secretly answering an advertisement in the local newspaper. Despite their initial disapproval, her parents relented and allowed Tilly to accept the position, knowing full well that once Tilly had set her mind on something it was pointless trying to dissuade her.

The studio specialized in making commercials for household goods such as dog biscuits, toilet soap and hand cream. Tilly’s secretarial duties soon expanded and included everything from being a hand model in commercials, assisting the cameramen with trick photography, and continuity, which became the role with which she is most associated. After the Wood Street Film Studio went out of business, she worked for several film companies including the Stoll Film Company, Twickenham Studios, Rank and, most famously, Hammer Studios.

Tilly didn’t receive her first screen credit until 1935, when she work as continuity girl on Hammer’s Mystery of the Mary Celeste. During the location filming off the coast of Falmouth Tilly and her colleagues took a set of remarkable photographs which have rarely been seen. The photographs show the crew at work and rest aboard both the famous “Q” ship Mary B Mitchell, which stood in for the Mary Celeste, and the smaller Archibald Russell, which was used for offshore distance filming of the Mary B Mitchell and for a brief cameo appearance as another ship in the film, the Dei Gratia. The captions accompanying the photographs are Tilly’s. Please contact us if you can identify any of the crew members in the photographs.

Mystery of the Marie Celeste: Bela Lugosi & Wife

“Bela and Lillian Lugosi”

Mystery of the Marie Celeste: Basil, Tilly, Ian

“Basil, Tilly and Ian”

Mystery of the Marie Celeste: Couchie In Character

“Couchie in character”

Mystery of the Marie Celeste: Denison Clift

“Denison Clift” (Director)

Lining up A Shot

“Lining up a shot” (foreground: Tilly, center: Denison Clift)

Mystery of the Marie Celeste: Merry Moments

“Merry moments” (Tilly at the helm)

Mystery of the Marie Celeste: Misty Moments

“Misty moments with some of the technicians”

Mystery of the Marie Celeste: More Of The Boys

“More of the boys”

Mystery of the Marie Celeste: Some Of The Technical Staff

“Some of the technical staff” (left rear: cinematographer Eric Cross)

Mystery of the Marie Celeste: Paddy, one of the crew

“Paddy, one of the crew”

Mystery of the Marie Celeste: Still At Sea

“Still at sea” (Tilly)

Mystery of the Marie Celeste: The Skipper & Jack Gilling

The skipper and Jack Gilling – He had to love and leave us!!”

Mystery of the Marie Celeste: Tilly Aboard & In Character

“Tilly aboard and in character”

Mystery of the Marie Celeste: Tilly & Eric

“Tilly and Eric” (cinematographer Eric Cross)

Mystery of the Marie Celeste: Tilly & Ian

“Tilly and Ian”

Mystery of the Marie Celeste: Homeward Bound

“Homeward bound with musical accompaniment”

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In 1985 Tilly and Hammer Studios cameraman Len Harris were interviewed by Ton Paans and Colin Cowie for the magazine Little Shoppe of Horrors. During the interview they talkedbriefly about Bela Lugosi and other members of the cast.

Tilly: I’ll always remember Bela Lugosi walking down Walton-on-Thames’ Hearst Road, and everybody’d whisper, “Look, there he comes!”, and he’d look absolutely dead-flat, totally immobile, nothing in his face! He was very tall, about 6ft 6, and somehow a rather terrifying man. He was always nice to me, though. He called me “The English Rose” and once made a pass at me. Although his English wasn’t particularly good, it wasn’t quite as bad as they say. He’d ask me to read his lines so that he could more or less copy the pronunciation, and he was really quite good at that. He was never inunderstandable.”

Mystery of the Marie Celeste: Bela Made A Pass At Tilly

“To Tilly in remembrance, Bela Lugosi”

Len: I think he really tried to live his Dracula part; apparently he was buried in that cape he wore in the original film. The only time I ever saw him in person was while he was over to do the Mary Celeste film. At the old Winter Garden Theatre they were performing the Dracula stage play, and during the interval they brought him on.

J Elder Wills

J. Elder Wills

Tilly: In those days you’d work seven days a week if necessary, and no extra pay! One Sunday, after shooting, we had a great picnic on the Thames. Most of the cast were there, including co-stars Arthur Margetson, Shirley Grey and Jim Wills (Art Director J. Elder Wills). Now, Jim was terribly in love with Shirley, and had brought a huge wicker basket with food and champagne for them to share on his little boat on the river. Then he saw another boat pass him by on the Thames, and Shirley was on it with Arthur Margetson! He was absolutely furious and, screaming at the top of his voice, flung his basket into the Thames! We all felt sorry for him. Shirley and Arthur got married, eventually; his fourth and her third marriage.

Arthur Margetson and Shirley Grey

Arthur Margetson and Shirley Grey in a scene from

Mystery of the Mary Celeste

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Bela Lugosi and his wife Lillian did not attend the picnic. When I asked Mystery of the Mary Celeste cinematographer Eric Cross about Tilly and the incident during the picnic, he said, “She and I worked on many films and I very much regret that I was going to see her and looked up her address in Wembley, near the Town Hall, and never made it – Dear Tilly, always smiling – ‘The road to Hell is paved with good intentions’. I didn’t attend the picnic. J. Elder Wills was a great friend of mine from way back at B.I.P. Elstree. He was a most versatile man – could draw with both hands at once, and a great mimic. I can’t imagine him screaming at anyone, very unlike him. I once stole his girlfriend at Wembley and no ‘screamin’ ensued – but he was upset – and we remained friends and when he directed Sporting Love (Hammer, 1936), Song of Freedom (Hammer, 1936) Paul Robson, etc, he always chose me to photograph.”

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Mystery of the Marie Celeste: To Tilly

“To Tilly in remembrance, Bela Lugosi”

Tilly Day retired from the film industry at the age of 72. Her final film was the 1975 Walt Disney produced British comedy One of Our Dinosaurs is Missing. She died in 1994 at the age of 91. (Andi Brooks)

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“I Like Horror Parts,” says Bela Lugosi

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http://www.littleshoppeofhorrors.com/