Poverty row Lugosi films getting more respect nowadays

Essay by Doug Gibson

I love the book, Poverty Row HORRORS, by Tom Weaver, published originally in 1993. I earlier reviewed it here and interviewed Weaver here. Weaver can be a bit mean in his criticism (he uses the term "lowly hacks" to describe Steve Sekely and Frank Wisbar. That's bad enough. But he even snarks that the term "maybe" applies to Edgar G. Ulmer! Come on!

Nevertheless, he does love the poverty row films, and his pre-Internet book is a fantastic source, with detailed production notes, analysis and various reviews of the era. There is also an exhaustive filmography for dozens of actors who performed in the low-budget horrors; and a great index.

Although he can criticize Lugosi, Weaver understands that Lugosi is a major reason there is fandom for the poverty-row era. His PRC film, Devil Bat, and the nine Monogram films he made are the linchpin of this genre. George Zucco of PRC and John Carradine, who worked for multi poverty-row studios, can't compare to Lugosi's' efforts. As Weaver notes, Zucco could come across as mean and Carradine too often gave passive, or downright goofy (think Voodoo Man) performances.

But Lugosi gave it all in these five-day productions. He took it as seriously as if he was starring in Dracula. You can appreciate Lugosi's pride in his craft by watching Boris Karloff give less than his best effort in low-budget films (a good example is Karloff in Monogram's The Ape).

I digress to read passages from a couple of publications of that era that also recognized Lugosi's value to poverty row and why it has an impact today.

From Midnight Marquee Actors Series Bela Lugosi (1995) Gary Svehla writes, "Bela ... approached every movie as though each film performance was as important as the one before. Good films, bad films; good characterizations, cliche roles simply were not part of Lugosi's vocabulary. The only thing that seemingly mattered was the next film and the next performance. Approach the current film as being the ultimate chance to display your talents and perhaps you would have the opportunity to act again. Or, to state the philosophy more succinctly, an actor is only as good as his last film."

Here is an excellent assessment of the Monogram films from Michael Copner, formerly of Cult Movies magazine, writing in the 1990 publication, Bela Lugosi: Then and Now (also known as Cult Movies 1): "If you go into it expecting the nice atmosphere and music of the Universal productions, if you expect the thing to actually make sense, you're going to be in trouble. These movies are the pulp novels of the screen; their only purpose in the world is to make money. So you must watch them in the same way -- just a string of meaningless events going on until Bela Lugosi can come back on the screen again. That's why we're here. If you do that, you will actually begin to enjoy the cheapness a bit, and develop a new appreciation of what  Bela was able to do with absolutely nothing to go on. If this were Michelangelo, forced to create something with a single crayon on a sheet of cardboard; or Paderewski, having to perform on a baby's toy piano, you'd give them this same consideration, wouldn't you? Take this attitude the next time you watch The Corpse Vanishes and you will be amazingly rewarded."

I took Copner's advice and have been rewarded by these films for generations.

At the back of Weaver's book, he has 26 genre experts rate the nine Monogram films 1 through 9. The reviewers include Forrest J. Ackerman, Richard Bojarski, Buddy Barnett, Copner, Weaver, Svehla, Richard Gordon, Joe Dante, Arthur Lennig, and William K. Everson. A lot of these reviewers died in the ensuing years.

The cumulative results are not surprising for almost 30 years ago:

1) Invisible Ghost
2) The Corpse Vanishes
3) Voodoo Man
4) Bowery at Midnight
5) Return of the Ape Man
6) Black Dragons
7) The Ape Man
8) Spooks Run Wild
9) Ghosts on the Loose

I think today, more than 25 years later, that Invisible Ghost (a screen shot is seen above) is still the technically best film. It's probably not the funnest film, though. I'd go with The Corpse Vanishes, and then Black Dragons. Other fun films are Bowery at Midnight and The Ape Man. In my opinion, Voodoo Man and Return of the Ape Man would be second and third on the list. I think they have gained more respect the past decade or so, primarily because Lugosi's performances are so strong. His mad scientist, Professor Dexter, in Return of the Ape Man, is almost as good as his Dr. Richard Vollin in The Raven. And the East Side Kids films are still 8 and 9, although Spooks Run Wild is three times as good as the dismal Ghosts on the Loose, which really wastes Bela. Here I go:  My list:

1) Invisible Ghost
2) Voodoo Man
3) Return of the Ape Man
4) The Corpse Vanishes
5) Bowery at Midnight
6) The Ape Man
7) Black Dragons
8) Spooks Run Wild
9) Ghosts on the Loose

Be aware, that my choices for 4, 5 and 6 are more or less a tie.

This pandemic spring I re-read Lennig's superb biography of Lugosi, "The Immortal Count." My only peeve is that Lenning really seems to despise Lugosi's Monogram films, although his barbs are perhaps mostly directed at the lazy writing, poor acting by co-stars, and direction. But these poverty-row films, as Weaver and others point out, are a major part of Lugosi's legacy today. Without them, I don't think his mystique and fan base would be as strong. Imagine what we'd think today if Lugosi had chosen to be a consistent seventh lead in an A level studio pumping out dramas in the 40s and 50s? Boring. I much prefer Bride of the Monster.

I've noticed this past year a resurgence, and increased respect, for the poverty-row films of the '40s, particularly Lugosi's. Recently, we have reviewed, from  BearManor Media, "Bela Lugosi and the Monogram 9," with critical essays from Gary D. Rhodes and Robert Guffey. And we have reviewed two short story anthologies based on Monogram and other poverty-row films. They are "The Monogramthology," from Arcane Shadows Press, and "Chillers: Tales Inspired By Classic Horror Films," (compiled by Brad Braddock), from Midnight Marquee Press. Authors in both those collections include genre writers Greg Mank and Frank Dello Stritto.

But again, no matter how "respectable" these films become, they are still thrillers to be enjoyed, to have fun with. Weaver's Poverty Row Horrors is a must for fans to possess. You can buy it here.

Bela Lugosi recites Poe's The Tell Tale Heart

By Doug Gibson

Above is a fantastic treat for horror film fans, a recording of the late, great Bela Lugosi reciting Edgar Allen Poe's "The Tell Tale Heart." It's brought courtesy of YouTube. It's an appropriate way station in a look at Lugosi's great career. Born in 1882, his 132nd birthday is Oct. 20, 2014, tomorrow!

According to Lugosi biographer Arthur Lennig in "The Immortal Count," the above tape was discovered in the past generation by cult film historian Lee Harris, who passed it onto former Cult Movies magazine editor Buddy Barnett, who now edits Mondo Cult. Anyway, Barnett shared it with Lennig.

Probably recorded in 1947 or by Lugosi with his then-agent Don Marlowe, it's not a professional recording, although conducted at WCAX in Burlington, Vt.. There is no background music or end pieces. My guess is that Lugosi was practicing for his spook show that would include his storytelling of the Poe tale. He does a great job, never losing a sinister edge and slowly, just like Poe's tale, losing his sanity and composure as the tale unfolds. The final 30 seconds of The Tell Tale Heart (and please watch it) are a marvelous as Lugosi exudes passion and fear as his voice breaks with emotion.

Lennig downplays the history of Lugosi's "The Tell Tale Heart" bookings, writing that the show appeared "in such obscure places that the dates it played remain lost and it quickly folded because of its meager drawing power."

That's not quite true. Further research, revealed in the new book, "No Traveler Returns: The Lost Years of Bela Lugosi," by Gary Don Rhodes and Bill Kaffenberger, confirm that "The Tell Tale Heart" show didn't last very long but it had significant performances, was accompanied with press coverage and media ads. The show opened in Rockford, Ill., in late 1947 to a large crowd -- 1,500 -- at The Coronado theater in Rockford. Lugosi was interviewed by the Rockford Morning Star. The Poe play, which was accompanied by a Lugosi film ("Dracula" was the co-feature in Wisconsin) eventually planned a moves to Minnesota and Michigan. "There are graphics of vintage newspaper ads about Lugosi "Tell Tale Heart" play.

Unfortunately, despite the great start, the play's success declined rapidly. Marlowe, who was notorious for flashy starts and low future cash, had booked obscure theaters and lesser Lugosi co-features, such as "Spooks Run Wild" and "The Return of the Ape Man". Profits disappeared -- it's reported that Marlowe had promised Bela $2,000 a week -- and by early December future showings were cancelled. "No Traveler Returns" writes that on Dec. 10, Lugosi had signed for $1,250 a week to do vaudeville.

In all, it appears that Lugosi performed his "The Tell Tale Heart" show at most 8 times, perhaps a few more. History is murky. As the the above recitation shows, preserved on the Net, he was more than up to the task.

'The Corpse Vanishes' is a delightfully bizarre cheapie from Monogram starring Bela Lugosi

By Doug Gibson

I have been watching "The Cult Vanishes" a lot recently. The 1942 thriller starring Bela Lugosi is no weirder than many of his other Monogram flicks, but it has -- as my colleague Steve D. Stones has pointed out -- some similarities to Lugosi's later Ed Wood flicks, particularly "Bride of the Monster." Lugosi whips one of his henchmen (Frank Moran), just as he does Tor Johnson in "Bride ...," and there is a very cheesy basement in both films, where the bizarre doings with young lovelies take place. Both "Corpse" and "Bride" have very very fake bricks painted on the studio walls.

Steve has done a great job summarizing "Corpse ...," so go to his review (here) to read it. I'll just say that Dr. Lorenz (Lugosi) lives with his wife in a remote area. She is kept young by Lugosi kidnapping brides who fall "dead" at the altar and taking fluid from their necks, which he gives to his wife (Elizabeth Russell). Lugosi sends the brides a rare orchid flower that renders them senseless and then with the help of his henchmen (Moran) and Angelo Rossitto, take them back to the remote home. A young reporter (Luana Walters) tries to get the story and solve the crime. (I also long ago wrote a review of "The Corpse Vanishes" for this site, (read) but I think I like the film better now.)

Luana Walters is a tragic figure. A rodeo star who was mainly in westerns, she was a beautiful woman and a good actress. She easily out-acts the male romantic lead, Tristam Coffin, who defines wooden. Unfortunately, Walters' career faltered while Coffin managed to do well in the business for 30-plus years. Her husband's death in 1945 further depressed Walters, and she suffered from alcoholism, a disease that would eventually destroy her liver and kill her in 1963 at the age of 50. In 1956, after being out of films for 7 years, she made her final two films, one of which was "She Creatures."

The very low budgets of Monogram are easily depicted in the cramped sets and amateur bit part players, such as the first groom of an afflicted bride (who is only capable of a goofy stare) and a police operator (who drips through some cool lines with the emotion of a fat lizard.) Supporting players (at Lugosi's home, including Moran, Rossitto and the cool Minerva Urecal (who had her best role in "The Ape Man," are better. A casting coup for "Corpse .." is Russell as Lugosi's insane wife. She was a favorite in Val Lewton's RKO thrillers, including "Bedlam,"and I recall her also in a Universal "Hidden Sanctum" film, "Weird Woman," with Lon Chaney Jr. Less impressive is Kenneth Harlan as Walters' Editor Keenan. He's gruff, but the lines he's forced to utter also make him appear stupid, and unable to sense a good story. Lou Grant he's not. Joan Barclay, who was Lugosi's co-star in the Monogram effort "Black Dragons," has a small part as an afflicted, kidnapped bride.

"Corpse" has a great twist ending, with Urecal's character letting out frustration on Lugosi's "Jeckyl/Hyde" Lorenz. I agree with Lugosi biographer Arthur Lennig, that "Corpse..." would have been much better if more action had focused on the strange relationships between Lugosi, Russell, Urecal, Moran and Rossetti than the plodding romance between boring Coffin and Walters, but it's still a fun film to watch, often and oftener. Watch it above!

Bela Lugosi recites Poe's The Tell Tale Heart

By Doug Gibson

Above is a fantastic treat for horror film fans, a recording of the late, great Bela Lugosi reciting Edgar Allen Poe's "The Tell Tale Heart." It's brought courtesy of YouTube, posted by a cool-sounding person named "thezombiecheerleader," who provided great graphics to go along with Lugosi's recitation. Only several hundred people have surfed to this page; it deserves far more viewers.

The poster put together a great picture to add color to the story. According to Lugosi biographer Arthur Lennig in "The Immortal Count," the above tape was discovered in the past generation by cult film historian Lee Harris, who passed it onto former Cult Movies magazine editor Buddy Barnett, who now edits Mondo Cult. Anyway, Barnett shared it with Lennig.

Probably recorded in 1947 or by Lugosi with his then-agent Don Marlowe, it's not a professional recording, although conducted at WCAX in Burlington, Vt.. There is no background music or end pieces. My guess is that Lugosi was practicing for his spook show that would include his storytelling of the Poe tale. He does a great job, never losing a sinister edge and slowly, just like Poe's tale, losing his sanity and composure as the tale unfolds. The final 30 seconds of The Tell Tale Heart (and please watch it) are a marvelous as Lugosi exudes passion and fear as his voice breaks with emotion.

Lennig downplays the history of Lugosi's "The Tell Tale Heart" bookings, writing that the show appeared "in such obscure places that the dates it played remain lost and it quickly folded because of its meager drawing power."

That's not quite true. Further research, revealed in the new book, "No Traveler Returns: The Lost Years of Bela Lugosi," by Gary Don Rhodes and Bill Kaffenberger, confirm that "The Tell Tale Heart" show didn't last very long but it had significant performances, was accompanied with press coverage and media ads. The show opened in Rockford, Ill., in late 1947 to a large crowd -- 1,500 -- at The Coronado theater in Rockford. Lugosi was interviewed by the Rockford Morning Star. The Poe play, which was accompanied by a Lugosi film ("Dracula" was the co-feature in Wisconsin) eventually planned a moves to Minnesota and Michigan. "There are graphics of vintage newspaper ads about Lugosi "Tell Tale Heart" play.

Unfortunately, despite the great start, the play's success declined rapidly. Marlowe, who was notorious for flashy starts and low future cash, had booked obscure theaters and lesser Lugosi co-features, such as "Spooks Run Wild" and "The Return of the Ape Man". Profits disappeared -- it's reported that Marlowe had promised Bela $2,000 a week -- and by early December future showings were cancelled. "No Traveler Returns" writes that on Dec. 10, Lugosi had signed for $1,250 a week to do vaudeville.

In all, it appears that Lugosi performed his "The Tell Tale Heart" show at most 8 times, perhaps a few more. History is murky. As the the above recitation shows, preserved on the Net, he was more than up to the task.

The Sunday blog log: RIP Richard Sheffield

On Sundays at Plan9Crunch, Steve Stones and I (Doug Gibson) will offer a paragraph or two about books we've read, movies we plan to review and other news. Just I few hours ago I learned the sad news, via the Facebook page of Bela "Dracula" Lugosi, that Richard Sheffield has died suddenly at age 74. Richard was the co-author with Gary Don Rhodes of the excellent book, Dreams and Nightmares, (buy it here) that detailed Lugosi's final years. Richard, as a teen in Los Angeles, befriended the aging Lugosi and provided the movie star a lot of happiness in his final years. In fact, Sheffield was the last person to see Lugosi alive, visiting him a few hours prior to his death in August of 1956.

I just finished re-reading Arthur Lennig's great bio of Lugosi, "The Immortal Count," and earlier Saturday evening, had polished off the final few chapters, which are replete with tales of the teen Sheffield, and his pals, hanging out with Bela, his final wife, Hope, and Forrest Ackerman. I'm actually envious when I read of how Richard and Lugosi would spend evenings doing scenes from "Dracula," with Richard taking the Renfield role. ... Ironically, about a week ago I finished reading Don Rhodes latest Lugosi book, "The Forgotten Years," which deals with Lugosi's career in the last half of the 1940s, and is full of interesting, detailed information about his stage work in that time, including summer stock and spook shows.

If you want the best books about Lugosi, you can't go wrong with authors Lennig, Don Rhodes and Sheffield, as well as Frank Dello Stritto and Andi Rhodes, who wrote a fascinating account of Lugosi's 1951 "Dracula" stage tour in England as well as detailed recaps of his English films. ... Again, RIP Richard Sheffield, and enjoy your reunion with Bela!

Last week I watched the 1944 Bela Lugosi Monagram film "Voodoo Man" and plan to review it. I watched comedy shorts from the Stooges, Harry Langdon and Ben Turpin and hope to include those on the blog. I am awaiting via Amazon a couple of Lugosi films, the 1941 "The Black Cat" and the '40s "Night Monster," with an eye to review both soon. ... I was on vacation from the Standard-Examiner this week and the SE cartoonist and I enjoyed watching "Best Worst Movie," the tribute to "Troll 2." ... A week ago, Steve and I discussed Torture Dungeon; watch for a video soon!

-- Doug Gibson