“Vampire Over London: Bela Lugosi in Britain” New Expanded Second Edition

VOL Jacket

A new expanded 2nd edition of Vampire Over London: Bela Lugosi in Britain by Frank J. Dello Stritto and Andi Brooks has been published by Cult Movies Press. Originally published in 2000, the critically acclaimed biography of Bela Lugosi was the product of over a decade of extensive research by the authors and was the first book to study a particular, and neglected, period of Bela Lugosi’s life and work.

The book traces Lugosi’s final tour of Dracula in Britain in 1951. Shrouded in mystery for half a century, what little had been known about the tour and Lugosi’s time in Britain had been clouded by oft-repeated inaccurate accounts. Dello Stritto and Brooks unearthed many previously unknown facts to tell the full and true story for the first time. In the days before the now ubiquitous Internet made such a task relatively simple, the authors traced and interviewed Lugosi’s co-workers, most of whom had never spoken publicly about their time with him, located scores of people across Britain who saw Lugosi perform in Dracula, and gathered material from archives and individuals across the United Kingdom, Europe, Australia, America, and Canada. The product of their research was the compelling tale of a fading Hollywood legend’s last stab at greatness, and of forgotten triumphs.

While Dracula made Bela Lugosi world famous, it forever trapped him in monster & mad doctor roles. In the heyday of Hollywood horror, he reigned as a star, but when horror fell out of fashion, he scarcely worked at all. Late in life, with few job prospects in Hollywood or New York, he searched for one last comeback. In 1951, the 68-year old Lugosi and his wife Lillian staked their fortunes on the stage tour of Dracula in Britain, a project which had almost taken place in 1948 (Bela Lugosi Unrealised Projects). They hoped to take Dracula to London’s West End and reproduce his original success on Broadway in 1927. For six months and in more than 200 performances, Lugosi thrilled audiences in the provinces. The gruelling trek of one week engagements, often with twice-nightly performances, across England, Scotland and Northern Ireland, however, broke his stamina. The West End never beckoned and the tour was ended when Lugosi told producer John Chartres Mather that he could not continue. Lugosi filmed the comedy Mother Riley Meets the Vampire before leaving Britain. Contrary to popular myth, Mother Riley Meets the Vampire was not hastily arranged to help an unpaid and stranded Lugosi buy passage for himself and his wife back to America. The film had been arranged several months before the tour ended. As he sailed back to America, his spirits buoyed by the prospect of being reunited with his son, Lugosi was not to know that he had played his signature role in the famous vampire play for the last time, and that the final comeback which he so desperately desired would never materialized. His months in Britain were soon forgotten, even by his most ardent fans.

Vampire Over London: Bela Lugosi in Britain also tells the behind-the-scenes stories of Lugosi’s three British films,  Mystery of the Mary Celeste (1935), Dark Eyes of London (1939), and Mother Riley Meets The Vampire (1952), for which Dello Stritto and Brook interviewed cast and crew members. The making of these films is intertwined with the controversy in Britain over American horror films, a battle between censors and producers that almost ruined Lugosi’s career.

V.O.L. DUSK JACKET 4.23.15With the first edition described as “exhaustive” and “definitive”, I asked Andi Brooks why he and Frank Dello Stritto decided to write a new edition. “Our interest in Bela Lugosi’s time in Britain didn’t end with the publication of the first edition. We have continued researching it ever since. When we conducted our original research the Internet was in its infancy. We did everything the old-fashioned way – letters, telephone calls and literally knocking on people’s doors. We covered as much ground as we could, which took a lot of time and money, but it was impossible to find every piece of information and to trace every person we wanted to speak to. Now it’s a completely different world. There is so much information available online now which wasn’t accessible back then. Of course, although it may at times seem as if the sum of human knowledge is just a keystroke away, a lot of traditional footwork and plain good luck are still needed. The Internet has also allowed us to connect with other researchers and fans who have generously shared their knowledge and allowed us to delve into their collections. Frank and I also had another reason for wanting to produce a second edition. Although we were very flattered by the praise which the original edition of Vampire Over London received, we simply weren’t satisfied with it. The amount of new material we had collected since 2000, and the fact that we were still receiving requests for the book long after it had sold out, gave us the opportunity to revisit the project and produce a new edition which we feel is superior to the original.”

Vampire Over London 2nd Edition

The expanded and updated second edition of Vampire Over London: Bela Lugosi in Britain can be ordered for $30 plus $3.99 shipping from Cult Movies Press at http://www.cultmoviespress.com (International shipping rates are available upon request). It is also available at Amazon International http://amzn.com/0970426933 and Amazon UK http://www.amazon.co.uk/dp/0970426933

To obtain a discount on your order, contact Frank Dello Stritto directly at fdellostritto@hotmail.com

Bat Head 3 Reviews for the first edition

“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 collector’s 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

“If you’re a Lugosi fan, the book is an essential…it also serves as an excellent history of an era of British stage history that simply doesn’t exist anymore..If you possess the first edition you are a fortunate person, but you are even more fortunate if you have both editions.” – Doug Gibson, Standard Examiner

For those who love Bela Lugosi (1882-1956) or Dracula, and you know who you are, this book is essential…Dello Stritto and Brooks do not drown in their own research. They are scintillating raconteurs, and this 300+ page book moves along as breezily as a fascinating dinner conversation…This is a terrific book, not to be missed.” – James Abbott, The Jade Sphinx

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 Related Pages

Bela Lugosi, A Generous Star – An extract from the 2nd edition of Vampire Over London: Bela Lugosi in Britain

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

1951 British Dracula Tour – Newspaper Articles And Memorabilia

Vampire Bats And Devil Girls From Mars: Dracula Producer John Chartres Mather Interviewed By Frank J. Dello Stritto.

“Child, never look into my eyes!” The Hypnotic Stare of Bela Lugosi

The Day I Met Bela Lugosi by Derek R. Pickering.

Knee-Deep in Ice Cream, Smoke & Wayward Rubber Bats: An Interview With Richard Butler by Andi Brooks

An Encounter With Bela Lugosi by Roy Tomlinson

When Bela Lugosi Came To Britain

When Dracula Invaded England

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My Favorite Vampire by Alex Gordon

Alex, Bela, Lillian, Richard & William Everson

Alex Gordon, Bela and Lillian Lugosi, Richard Gordon, and film historian William K Evereson in the Tokay restaurant in New York

Born in London on September 8, 1922, Alex Gordon, like his younger brother and fellow film producer Richard, developed a love for films, especially westerns and horror, at an early age. They started fan clubs for their favourite stars, Gene Autry and Buster Crabbe while still at school, and pursued careers in the film business at the end of World War II. While Richard worked in the publicity department of Pathe Pictures, the distribution arm of Associated British, Alex became the one-man publicity department for Renown Pictures, a small film distributor which later moved into film production. They supplemented their earnings by writing film reviews and articles for fan magazines. Both brothers dreamed of becoming film producers, but it soon became apparent that they were unlikely to realise their ambition in the austere economic climate of  post-war Britain. Deciding to try their luck in the American film business, they emigrated to America in November, 1947 . 

Richard and Alex Gordon

Richard and Alex shared a life-long passion for films

Setting up in New York, Alex became a booker for Walter Reade theatres, while his brother worked as an assistant sales manager for Jack Hoffberg’s distribution company while freelancing as a representative for several British film outlets. They continued to indulge their passion for the cinema by interviewing film stars for British film magazines. Learning that one of their idols, Bela Lugosi, was scheduled to star in a summer stock production of Arsenic and Old Lace in nearby Sea Cliff  in August, 1948, they set out to meet and interview him. Lugosi not only consented to the interview, but also invited the brothers to dine with him and his wife at a local restaurant. Bela, who fostered hopes of  starring in a Broadway or West End revival of Dracula was intrigued when Alex told him that many fans in England had been disappointed at the cancellation of his proposed eight-week English stage tour of Dracula earlier in the year. Contacting them several months later, Bela asked Alex and Richard to take over the management of his business affairs and to try find him film and theatre work in Britain. Having recently started working for his childhood hero, Gene Autry, Alex was too busy to devote his energies to helping Bela, so Richard took on the task of trying to interest West End producers staging a production of Dracula with Bela in the lead. He found it much harder than he had anticipated, and it was not until 1951 that he was able to negotiate a British revival tour of Dracula, followed by Bela’s appearance in Mother Riley Meets The Vampire. 

Alex and Gene Autry

Alex with his childhood hero Gene Autry

When Bela and Lillian returned to America from England in December, 1951, Richard missed the opportunity to see them upon their arrival in New York before they quickly headed for California. He never met them again. Alex, who had relocated to Hollywood, took up the quest to find work for Bela. They developed a script together for a film entitled The Atomic Monster, which was intended to be the first of three Lugosi films Alex would produce and release through Jack Broder’s Realart. Instead of going ahead with the project, Broder stole the title for a Realart re-release of the 1941 Lon Chaney Jr. film Man Made Monster. Although Alex and Broder reached a financial settlement, Bela was left without work. The script was taken up and rewritten by Edward D. Wood Jr., who filmed it as Bride of the Atom (later retitled Bride of the Monster) with Bela. Alex had introduced Wood to Bela when the two were sharing an apartment. Although Alex went on to produce many films, including genre favourites The Day the World Ended (1955), The She Creature (1956), Voodoo Woman (1957), and The Atomic Submarine (1959), he was unable to get a studio to greenlight a film with Bela. Later in his career, Alex worked at 20th Century Fox, where he was responsible for rediscovering over 30 Fox films that had thought to have been lost and instituting a film restoration project. He left the studio in 1976 to take up the post of vice-president of the Gene Autry Organisation. Alex died in Los Angeles on June 23rd, 2003.  (Andi Brooks)

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In 1963, Alex shared his memories of Bela in an article entitled My Favourite Vampire in issue number 5 of Fantastic Monsters of the Films.

Fantastic Monsters of the Films Vol.2 #5

What Bela Lugosi was really like – as revealed by the Vampire Man’s close friend, Hollywood Personality, Alex Gordon

My Favorite Vampire By Alex Gordon

When I was a boy in England, I was a very frustrated youth. Under the British movie censorship classification, horror pictures cannot be seen by anyone under the age of sixteen. Therefore, it was not until many years later that I was able to see the Bela Lugosi films. The first time I ever saw Bela on the screen was in Postal Inspector, a 1936 picture in which he played a gangster. I was also able to see The Invisible Ray, which he did with Boris Karloff, and which somehow escaped the adult horror classification. And ever since those early days, I had hoped that some day I would have the opportunity to meet Bela in person. This did not happen until 1950(1), after I had come to the United States and was living in New York. At the time, Bela was doing Arsenic and Old Lace on the stage at the Sea Cliff Summer Theatre, and my brother Richard and I went down to try and meet him. We waited near the theatre for hours and finally Bela – with his wife Lillian – drove up. We went up and introduced ourselves. They were both extremely pleasant and suggested we join them for dinner. They took us to an excellent Hungarian restaurant(2) where Bela was the center of attraction, the owner and other patrons being thrilled to see him. After dinner, we went back to the theatre and saw the show; and afterwards spent more time with the Lugosis and made a date to see them later. Mother Riley Meets The Vampire Richard Gordon, Bela and George Minter

Richard Gordon, Bela and producer George Minter on the set of Mother Riley Meets the Vampire

One of the things Bela wanted most to do was tour England with a new production of Dracula. He had made movies in England –The Mystery of the Marie Celeste(3), Dark Eyes of London – but had never appeared on the stage there. Happily, my brother, who represents British movie producers (such as the makers of the “Carry On” pictures) was able to arrange not only such a tour, but also for Bela to make another movie in England. Soon after that, in 1953, I became an independent producer in Hollywood after years of work in publicity and writing, and of course wanted to make a picture with Bela. We spent much time together, finally evolving a script entitled The Atomic Monster. For various reasons, however, the picture did not get off the ground. Meanwhile, American distributors were reluctant to buy Old Mother Riley Meets the Vampire(4) – because of the British humor which they considered unsuitable for American audiences. Therefore, we put a new title on the picture, Vampire Over London(5), but still no one wanted it. I cut out all of Bela’s scenes and tried to make a new movie to be called King Robot, using all the scenes Bela was in and shooting new ones to match for the rest of the story. However, Bela had been very ill for a while and was very thin and haggard looking, and he did not match the original footage anymore. So we had to scrap that idea. While I was trying to set up a new picture, to star Bela and Boris Karloff, an independent producer (Edward D. Wood Jr.) rewrote my “Atomic Monster” script and made a very low budget picture vaguely based on it called Bride of the Monster. Poor Bela looked so very old and ill in it, that a double had to be used for many of his scenes.

Alex with Bob Steele, Warren White, an unknown man, and Edward D. Wood Jr. at Hollywood’s Brown Derby restaurant in 1952.

 Courtesy of http://www.westernclippings.com/treasures/westerntreasures_gallery_3.shtml

One of his great hopes was to make Dracula in color and widescreen, and he thought the resurgence of horror movies in Hollywood after House of Wax in 1953 would mark a comeback for him. But the studios seemed to prefer other actors, like Christopher Lee when they made Horror of Dracula in color in England. The premiere of House of Wax, incidentally, was quite an event. Warner Brothers thought up a publicity stunt to have horror stars attend the premiere at the Paramount Theatre in downtown Los Angeles. They called Bela and asked him if he would go. Bela did not want to, but I persuaded him, as I thought it would be good publicity for our projected new picture with him and Karloff. Warners sent a limousine to pick us up at Bela’s apartment, and Bela was dressed in his Dracula cape. What he did not know was that the publicity boys wanted him to lead a gorilla (a man in a skin) on a chain into the lobby of the theatre – and I was afraid to tell him. The limousine made a stop at a large hotel, and Bela immediately asked what the stop was for. I timidly told him it was to pick up a gorilla. At first it seemed he hadn’t heard right, then he roared, “Gorilla?!” It took all my powers of persuasion to keep him from taking a taxi home.

House Of WaxBela’s arrival at the House of Wax premier with Steve Calvert in a gorilla suit was captured in a Pathe newsreel

Courtesy of http://microbrewreviews.blogspot.com/

When we drove up at the Paramount, there was a mass of photographers, newsmen, TV cameras, and hundreds of people milling around. Bela was, of course, the center of attention when he exited from the car with the gorilla on the chain. The gorilla chased after some girls while Bela shouted to me what we wanted him to do. We manipulated him over to a Red Cross stand where two nurses were selling milk for the Red Cross. The idea was to have a shot of Bela drinking milk instead of blood, but in all the bedlam he thought they wanted him to do a Dracula bit, and he suddenly grabbed the nurses by the necks. They were so surprised and shocked that they threw the milk all over him! Finally I got him inside the lobby, where a female radio-TV interviewer grabbed hold of him. I should explain here that Bela was a little hard of hearing in one ear, and he had asked for a list of questions ahead of time so that he could memorize the answers when they brought him up to the microphone. With all the noise and confusion, he felt he might not be able to hear the questions properly. Needless to say, the interviewer had mislaid her copy of the questions and started asking Bela the questions out of context with his prepared answers. I think I can leave the results to your imagination. By the time I had him seated in the auditorium, we were both completely exhausted, though the photographers had enjoyed an absolute field day. Bela did not want to stay for the film, so we left by a back door after it had started. I did not hear the end of THAT adventure for a long time.

Vampira and Bela

Vampira and Bela on the Red Skelton show

Another incident I remember well was when Bela was to do the Red Skelton Show, on which Peter Lorre and Lon Chaney Jr were to appear in a sketch with him. Bela was worried about the show because he knew that Red Skelton did not stick to the script, but adlibbed most of the show. And Bela was a stage actor who had to learn his lines and was not used to adlibbing. Red treated him well, but he did use adlibs which almost threw Bela. But the comedian managed to fill in so well that the audience never knew. However, it was an unhappy experience for Bela. He always preferred to work from a prepared script.

A publicity shot for Dracula

When the original Dracula was reissued once more, as it was at regular intervals, we went to see it, and Bela enjoyed it again. Actually, he almost lived the part at times. When he was on tour, he could not stand the hard mattresses in most of the hotels as he had trouble with his back. So he would place his beautiful silk-lined coffin from the theatre in the middle of his hotel room and sleep in it. This is absolutely true and no publicity story. It was not done for effect, just plain comfort.

Bela was a delightful companion, gracious and kind and with a good sense of humor. He was also a man of many moods, and sometimes he would sink into deep despair. Bela loved cigars, and he also became interested in religion, hypnosis, and philosophy. He was very particular about many little things. He once asked me to sort out his desk and papers, and I found receipted bills and other statements going back twenty years, which he thought he should keep for tax and book-keeping purposes. He also kept a large collection of stills from his movies in scrapbooks.

Bela in November 1955

When he lived in his small Hollywood apartment, he would call me to walk up to the corner with him at 11pm to pick up the next morning’s LA Times. It had to be the 11pm edition, and he was quite upset if he did not get it. He liked to keep up with all the latest news and was extremely well-informed about world events. But his daily dream was to make a good comeback, and he, like so many other former great stars, found it impossible to realize that Hollywood did not want him anymore. It is so ironic that stars like Bela Lugosi are so fondly remembered by audiences the world over, and yet were unable to get a job right here in Hollywood. It is something I have always found hard to understand. Since I became a movie producer, I have always tried to use as many old-timers in my pictures as possible, despite enormous resistance from distributors, financiers, and exhibitors who consider them “has-beens.”

 At the peak of his stardom with other members of the Universal family. Bela can be seen in the back row along with Boris Karloff and James Whale. Carl Laemmle Jr., Carl Laemmle Sr., and cinematographer Karl Freund are in the front row

In a way, I think Bela regretted having turned down the role of the Frankenstein Monster in the original movie that made Boris Karloff famous. Not many remember that Bela was actually a Shakespearean actor and a romantic star before he did Dracula and became typed in horror pictures. He played Hamlet and even Uncas in The Last of the Mohicans(6), among many other roles. I always thought the old Universal film, The Raven, was one of Bela’s best roles, as well as The Invisible Ray, and of course his role of Ygor in the later Frankenstein pictures was unforgettable. It is strange for me now to see and hear Bela on TV in his old movies. It is as though he is still around and as though that friendly, uniquely unforgettable voice is still calling. His friends and fans will never forget him.

Notes: (1) Alex and Richard Gordon first meet Bela in 1948, not 1950. He performed in Arsenic and Old Lace at the Sea Cliff Summer Theatre from August 9 – 14, 1948. (2) Richard Gordon later recalled that the restaurant was a seafood restaurant. (3)Although several contemporary sources listed the film’s title as “The Mystery of the Marie Celeste,” it was released as “Mystery of the Mary Celeste.” (4) Pre-release publicity listed the title as “Old Mother Riley Meets the Vampire,” but the film was released as “Mother Riley Meets the Vampire.” (5) According to an article printed in The Cinema News And Property Gazette of August 22, 1951, two months before filming began, the title “Vampire Over London” had already been selected for the American release of Mother Riley Meets the Vampire. (6) Bela played Chingachgook.

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Mystery Of The Mary Celeste

1951 British Dracula Tour – Newspaper Articles And Memorabilia

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

Mother Riley Meets The Vampire

Bela Lugosi At The House Of Wax Premiere

Actress And Songwriter Dolores Fuller Dies At 88

“Mother Riley Meets The Vampire” Robot Fails To Sell At Auction

Robot refurbished

The costume as offered by Profiles in History on May 15th, 2011

The robot costume from Renown Picture’s Mother Riley Meets The Vampire (1952) failed to reach the reserve price of $15,000 (£9,170) when offered for auction by Profiles in History of Calabasas Hills, California. Although the costume is a “remarkable science-fiction artifact” and of great interest to Lugosi enthusiasts, collectors were perhaps deterred by the over-optimistic asking price.

The costume, which had been in a private collection in England for over twenty years, made a surprise return to the spotlight when it was auctioned by Bonhams of London for £1,680 ($2,747) in December, 2010.

Robot 1

The costume as sold by Bonhams in December, 2010

Mother Riley Meets The Vampire was the fifteenth and final film in the Old Mother Riley Series, which began in 1937. A sixteenth film, Mother Riley’s Trip To Mars,  was announced by Renown in December 1951, but the project was shelved.

Mother Riley Meets The Vampire Poster

Original UK poster

The rationale behind including Bela Lugosi in the film was to make it appeal to the American market, but the dated regional humour of Mother Riley was not to the taste of American distributors. Plans to replace the scenes of Old Mother Riley with newly shot footage of Lugosi had to be abandoned because, only a year after filming Mother Riley Meets The Vampire, declining health had changed his appearance too much. Re-edited and re-titled as Vampire Over London, and later My Son, The Vampire, the film finally achieved an American release in 1963. (Andi Brooks)

Mother Riley Meets The Vampire

Old Mother Riley (Artur Lucan) inspects the robot

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