Gauthier's Dracula Never Dies volume 2 scores another Rondo award

 

It was no surprise that Christopher R. Gauthier's second volume of the planned Dracula Never Dies: The Revenge of Bela Vorlock, earned another Rondo award for the author. Just as it will be no surprise in the future, -- Gauthier completes the final volume of the trilogy -- when he wins another Rondo.

Here is our Plan 9 Crunch blog  review of Gauthier's Volume 1 of the trilogy.

Here is our Plan9Crunch YouTube interview with Gauthier after Volume 2 was released.

The strength with any Gauthier art creation is the prose ... and the passion. I described Volume 1 as a "primal scream." Both books are a tale of a proud, talented actor, who has survived a lot, maintaining his dignity and honor despite cruel brickbats from fellow actors, smarmy film executives, arrogant critics, and a rather fickle public.

And actor Bela Vorlock eventually gets -- as the title says -- his revenge. In Volume 2 he even acquires a servant/accomplice, a sort of Renfield.

I wrote the following blurb for Dracula Never Dies: The Revenge of Bela Vorlock Volume 2:

"Savage, dark poetry defines the prose of Christopher R. Gauthier. Volume 2 continues the righteous revenge of a proud star against tormentors. You'll be under Gauthier's spell, reading long into the dawn. One sequence I particularly enjoy features Vorlock carefully preparing revenge for an evil critic who has slandered him for decades. It's brutal and savage, but justified. In Troyman, Gauthier has created a character as evil as Ellsworth M. Toohey from The Fountainhead.”

And I penned this review: 

"Volume 2 of The Dracula Never Dies planned trilogy ups the horror from author Christopher Gauthier's tale of brilliant horror actor Bela Vorlock. On the streets of Los Angeles our protagonist takes revenge on the cruel establishment that persecutes him, including an arrogant, cruel critic.

Gauthier introduces a servant to Vorlock, who helps with his quest for accountability and dignity.

As with the first Volume, the book's prose is its signature strength. Gauthier is unmastered in presenting passion, anguish and retribution on pages."

Readers, this a darker, gothic tale in Volume 2. It exceeds the haunting darkness of Volume 1. However, the tone is very appropriate. Gauthier's talents with plot and dialogue make the events seem natural -- and even just.

The author has experienced a very challenging life. He is, as mentioned, a survivor. He battles adversity in the past and today, taking it one day at a time. The passion in the Dracula Never Dies series is as much as emotional response to life itself as much as the action within the pages.

This trilogy is wonderful tribute to Bela Lugosi. Dracula Never Dies: The Revenge of Bela Vorlock Volume 2, Arcane Shadows Press, 2025, will provide hours of dark, delicious horror for gothic lovers.

-- Doug Gibson

Bela Lugosi's sinister eyes a highlight of 1923 film The Silent Command

 

Check out Bela Lugosi's sinister eyes! Nine years before close ups of Lugosi's eyes were a feature in "White Zombie," audiences at silent theaters enjoyed several scenes of Bela's piercing eyes in the 1923 feature film, "The Silent Command."

Lugosi was not a star in 1923, nor was he after this film. However, his screen presence and dark attractiveness was getting him noticed. Hungarian-born movie mogul William Fox was one who certainly was interested in Bela's talent. He likely saw him in plays such as "The Red Poppy" (in English) and "The Tragedy of Man." Lugosi performed that famous play in Hungarian in New York City. Authors Gary D. Rhodes and Kaffenberger, in "Becoming Dracula: The Early Years of Bela Lugosi, Volume Two," surmise Fox may have seen "The Tragedy of Man," and other Hungarian-language plays featuring Lugosi.

So, Bela got the call to be in his first U.S. film, "The Silent Command," a Fox film made with the participation of the United States Navy. It was a "Top Gun"- type propaganda film 60 years before Tom Cruise, and without jet fighters. Directed by J. Gordon Edwards, it starred Edmund Lowe as the hero, Navy Capt. Richard Decatur. Lugosi, (billed incorrectly as Belo), plays the villain, Benedict Hisston, an evil, wealthy, well-connected hater of America who plots to blow up the Panama Canal and subsequently split the U.S. Navy in half.

To stymie Bela's character's nefarious plans, Lowe's Capt. Decatur takes drastic steps. He intentionally strikes an admiral. He is kicked out of the Navy and separates from his longsuffering wife (Alma Tell). Hisston steps up and recruits Peg Williams (Martha Mansfield), a "vampire" in the romantic sense, to seduce Decatur. This is all designed to get Decatur, now working undercover, to help Hisston with the terrorist bombing.

"The Silent Command" was a higher budget A picture, partially filmed in Panama, and also in New York City. There are faux newsreels and excellent scenery shots, particularly on the sea. The climax involves an impressive action fight between Lowe's Decatur and Lugosi's Hisston on a boat. The film drags a little midway but it's a solid three-star movie.

It was praised by military leaders. "Becoming Dracula: The Early Years of Volume Two," has a 1923 newspaper ad with General John J. Pershing, commandeer-in-chief of the U.S. Army, and Theodore Roosevelt Jr., Assistant Secretary of the Navy, tub-thumping the film. Some showings included military recruiters at the theater. It was generally well reviewed.

Lowe, who was in four other Lugosi films -- including "Chandu the Magician" -- does a capable job. Lugosi is ridiculously listed sixth in the credits. He's clearly the second lead in the film. As usual, Bela has the best screen presence, evoking emotion and intensity in his role. He's also the best actor in the film. He was ignored in press ballyhoo but was interviewed about his role in Hungarian media. As Arthur Lennig has noted in the biography "The Immortal Count," Lugosi in America reconciled himself to not being a "Valentino" type, instead settling for sinister "villain" roles. Lugosi expressed amusement at being from Hungary, a landlocked nation with no navy.

Martha Mansfield plays her vamp role well. The actress would tragically die in late 1923 after suffering burns while filming a movie.

After "The Silent Command," Lugosi would continue his slow trajectory to stardom that would arrive in 1931. He continued to play villains in future films. In "Daughters Who Pay," he was a Russian spy. In "The Midnight Girl," he was a wealthy, insensitive rake who lusted after his son's girlfriend. He would continue in stage performances and roles in films through the Roaring 20s. "The Silent Command" is easy to find for free on streaming services. It can also be purchased.

-- Doug Gibson

Lugosi is magnificent in the oft overlooked Murders in the Rue Morgue

 

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As the reader can note above, Plan9Crunch recently received a PDF copy of Angels and Ministers of Grace Defend Us! More Dark Alleys of Classic Horror Cinema, McFarland, 2024, by genre author Gregory William Mank. It's an excellent read. Mank's style of blending history, film news, drama, gossip -- and impromptu profiles of film principals -- is on display.  However, there's too much information to write a simple book review. Over the next couple of years, I'll review a chapter on a film, with links to purchase the book. Here's the McFarland link.

Mank can surprise us with gathered facts. Take Murders in the Rue Morgue, 1932, the first chapter of the book. I always thought it failed at the box office. But I'm wrong. It nabbed a modest profit, $63,000, for Universal after the big hits of Dracula and Frankenstein. But nevertheless, it caused professional decay to Bela's career. His inability to get a major role in Frankenstein, followed by the major success of Frankenstein and subsequently Boris Karloff replacing Bela as Universal's top horror star, was the embryo of his troubled screen career.

Mank notes that in post-Dracula Hollywood a serial assaulter/killer of women called "The Ape Man" terrified Los Angeles. The killer was never caught. The author compares this historical anecdote with the emergence of Charles Gemora's creepy gorilla in Murders in the Rue Morgue. Lugosi, after James Whale froze him out of Frankenstein, was assigned the title role of Doctor Mirakle. Robert Florey, edged out of Frankenstein, directed. He replaced the Spanish Dracula's director George Melford, also edged out of a plum directing assignment.

In the essay, Mank relates that Murders in the Rue Morgue caught the attention of the Hollywood code police and state censors. I had always thought that it seemed a tamer film but Mank notes that in its release form it is very pre-code. At the Grand Guignol opening scene, Lady Fatima and her Arab Angels perform a revealing "strip dance" that focuses on the middle front portion of the dancers' bodies. Men leer openly. Various censors scissored this scene.

Also, more provocative is Arlene Francis' short performance. After Mirakle snatches her streetwalker character from the dark streets, we quickly cut to Francis, terrified, screaming, in agony and dying, on an X-shaped cross. A crazed Mirakle is hoping that her blood will match with the blood of Erik, his gorilla. Although it's never specifically mentioned, it's clear today -- and I'm sure in 1932 -- to audiences that Mirakle plans to mate the gorilla with the woman. It doesn't happen, as a furious Mirakle accuses the streetwalker's blood of being "rotten." The death then occurs and Lugosi tells his black servant Janos (Noble Johnson) to drop her into the Seine, which flows below. This scene was scissored by some censors too in 1932.

One more pre-code scene later is when Erik attacks the mother of the film's heroine in her home. The gorilla kills her brutally in a manner that suggests a rape, as Mank notes. The gorilla then stuffs her corpse face first up the chimney and escapes with her daughter, Camille (Sidney Fox), back to Mirakle's lair to possibly "match" her blood with Erik's.

According to Mank's research, Lugosi was withdrawn and mostly silent during film production. Mank surmises that Lugosi may have sensed that Florey didn't like directing him. The director, we learn, would have preferred less Doctor Mirakle in the finished product. Another reason may be that Bela resented Sydney Fox being the nominal star of the film. Fox was alleged to be the current mistress of Universal honcho Carl Laemmle Jr. She's pleasant to look at, but her acting is poor in the film, in my opinion.

Readers may note that I have not mentioned most other principal actors. The reason is nearly all are mediocre and offer virtually no quality to the film. Leon Waycoff (later Leon Ames) is the romantic lead and he is just terrible. He makes David Manners look like an Oscar-quality actor. He giggles and preens with his love, Camille, which is appropriate since Fox's acting trends the same. Later in the film he whines when Camille is in mortal danger.

Ames did enjoy a long career in film. He was an established character actor. I once noticed him in a 1967 The Andy Griffith Show episode, playing a prudish high school principal.

Sidney Fox, as Mank relates, had an unhappy future. She was out of films by 1935 and spent her personal life in an unhappy, on-again-off-again marriage. In 1942 she was discovered dead in her bed with an empty prescription bottle.

Some actors with small parts who are good are D'Arcy Corrigan as the morgue keeper, Noble Johnson as Janos, Lugosi's strong man, and Arlene Francis in her small role as the streetwalker. Gemora is effective as the gorilla, but Florey made the post-filming error of using shots of a real gorilla in facial closeups. It's a big mistake. It looks forced and lessens the screen impact of Erik.

Lugosi, as mentioned, is magnificent in the film. In the opening scene, viewers can't help cheering the crazed doctor as he defends "science" against the religious intolerants in the audience that boo his Darwin theories. As a mad doctor, he is implacable, full of mad righteous fury in his desire to grab the comely virgin Camille to experiment with. He delivers his dialogue, not just vocally but with strong facial expressions and body movement. Lugosi is the reason this film, which suffers when Bela is not on film, earned a profit.

Florey, as Mank notes, showed off his skill at creating scenarios that matched the plot. He writes: "Cinematically, the film is still a dazzler. Florey and Freund (Karl Freund is the cinematographer) make Paris so Caligari-esque that one almost expects Conrad Veidt's Cesare to step out of the myriad of shadows and join Erik during the rooftop chase. While the film is set in Paris, it as the scent -- perhaps more than any other 1932 Hollywood movie -- of depraved and decadent Weimar Berlin."

Even with the colorless Fox and Waycoff, Florey's scene of Sidney being pushed on a swing is an act of cinema elegance and beauty. Even the scene with Francis, dying in a skimpy garment and tattered boots, crucified on an X-shaped cross, has a dark beauty.

To avoid the stretches of needless comedy and poor acting, I've thought that Murders in the Rue Morgue might have been improved -- and perhaps retain a better legacy -- had Florey began the film with the streetwalker scene and profane crucifixion. It's a well-shot, fascinating horror scene. Its early inclusion would not have hurt the pace too much as the Grand Guignol sequence is very impressive.

Murders in the Rue Morgue is easy to find and buy inexpensively. It occasionally pops up on Turner Classic Movies. Mank did a fine job of telling its history in Angels and Ministers of Grace Defend Us ... and we will explore more films in the book in the future.

-- Doug Gibson

Bela Lugosi in The Midnight Girl; his 'Warren William'-type role

 

Review by Doug Gibson

Take a look at Bela Lugosi as sophisticated millionaire Nicholas Harmon (seen with co-star Dolores Cassinelli) in the 1925 silent drama, "The Midnight Girl." He's only 42; it's several years before Dracula and stardom. As Lugosi may have said in his later years, observing himself on film, "I was a handsome devil!"

Indeed he was. But he was not yet a star, although active on stage and screen by 1925. In 1924 and 1925, Lugosi had prominent roles in three films: "The Silent Command," "Daughters Who Pay," and "The Midnight Girl." Although his presence and acting ability dominates all three films, he was essentially an afterthought in studio promotions.

In "The Midnight Girl," (Chadwick Pictures Corporation) Lugosi's Harmon is a charming rogue, even amoral. He is a prominent patron of the arts, and sleeps with the singing opera diva of a top-notch production, Nina (Cassinelli). But he's likable, and fawned over by many. 

Lugosi is playing -- to perfection -- the kind of role that Warren William would hone within several years. If there had not been "Dracula" waiting, one can wonder if Lugosi would have done these "charming rogue" rich-man roles in the early sound features?

Back to the plot: There's an issue. Nina is aging gracefully and still occupies Harmon's bed. (This is a pre-pre-code film; there's a risque scene where Harmond views his nearly nude mistress through a filmy obstruction. He instructs her to go to his quarters after work.) But Nina is also losing her voice on stage. Harmon needs to find a new singer for his musical pleasures.

Harmon has a stepson, Don (Gareth Hughes). Don is a bit of a stick in the mud (but maybe that is due to Hughes' lackluster acting?) Hughes is morose, fending off a money-grubbing girlfriend, and her ambitious mother. One night, in Nina's presence, Don denounces his father and Nina. The father-and-son argument results in Don leaving in a huff, saying he no longer wants his father's money.

We are finally introduced to the film's star, Lila Lee. She plays Anna a Russian refugee, poor after fleeing communist Russia. Don, who has located a job as an orchestra director for a fancy restaurant, discovers Anna. (There's a scene in a street where Don protects Anna from a young thug who later attempts revenge but it's kinda drab.) What happens is that Don, recognizing Anna's talents, provides her top billing as "The Midnight Girl" who sings at the stroke of midnight. (See the newspaper clip above) Don and Anna also fall in love.

So arrives the conflict. Nicholas goes to the restaurant to see how his son is doing on his own. The father sees his son's discovery Anna and promptly falls in love, although falls in lust is probably more accurate. Nicholas is a man who feels he should get what he wants. He's fond of, as he puts it, new kisses. The father manages to coerce Anna into his quarters, and, as mentioned, he's a man accustomed to getting, not wanting. But Anna does not want Don's dad. That provides a climax that involves Nicholas, Don, Anna and Nina.

I will not give away the ending. I do urge readers to watch this film. It's easy to find and free (here). Lugosi is absolutely magnificent in the role. The camera loves him and, again, he shines.

 

NOTES: Flora Finch, an early silent comedy shorts star, has a small role as Don's landlady. Finch would do well in early sound films later. The film was directed by Wilfred Noy, maternal uncle to actor Leslie Howard ("Gone With the Wind," "Pygmalion"). The film was based on a story by Garrett Fort, who later wrote scripts for "Dracula," "Frankenstein," and "Dracula's Daughter." Contemporary reviews praised Lugosi's performance. Lila Lee was a major star in silents and very early sound films. She was out of films by 1937 but returned for a handful of performances starting in 1952. Some reviews criticized the nightclub and restaurant musical performances as handicapped by a small budget. However, this reviewer thought the dancing, singing, and overall pomp very impressive.

Below are more 1920s newspaper clips of this film. The clips are courtesy of the research of my friend, David Grudt, of Long Beach, Calif. One clip shows a lawsuit resulting from the film. Also, note the ad for the Charlie Chaplin film, "The Gold Rush," which was playing at the same theater.

The Invisible Ray: Lugosi and Karloff go science fiction

The Invisible Ray, Universal, 1936, Bela Lugosi, Boris Karloff, Frances Drake, Frank Lawton. Directed by Lambert Hillyer. 3 stars - One of the classic 1930s Universal pairings of Karloff and Lugosi. A trailer is here.

This film is unique in that it is a science fiction film, rather than a horror film. Karloff and Lugosi are scientists who travel to Africa to find "Radium X," who Karloff has proven crashed into earth millions of years ago. 

"Radium X" is discovered, but contact with it turns Karloff radioactive, and deadly to the touch. Lugosi prepares medicine that counters the poison, but when Karloff's wife, (Drake) leaves him for an adventurer, Lawton, Karloff, going slowly insane, shirks the medicine and goes on a killing spree. Violet Kemble Cooper is creepy as Karloff's mother. 

This a post pre-code 1930s Universal chiller with Lugosi and Karloff and it lacks the more overt horror and sadism of the pair’s earlier pre-code films The Black Cat and The Raven. While not as popular today as those two earlier films, it’s still a strong film. It’s a better film than their final Universal co-starring film, Black Friday.

Lugosi plays the good character, and he shows that his acting depth went well beyond just the horror genre. Karloff is effective as the determined scientist gone mad.

Easy to buy and usually on TCM once a year.

-- Doug Gibson

Bela Lugosi produces menace, chills in Invisible Ghost

 

By Doug Gibson

Once,  I spared a paragraph on "Invisible Ghost," Bela Lugosi's first Monogram film. Ironically, it was the first Lugosi Monogram I ever saw and years ago I was rather dismissive of the film, particularly Lugosi's insane murder moments. Watching it again, as recent as last night, and comparing it to other Lugosi Monograms, I re-evaluate it as technically, the best looking Lugosi poverty-row offering of the 1940s, if not the most campy or cultish. That notice still remains with "Devil Bat," "Bowery at Midnight," and "The Ape Man."

Here's what I wrote on this blog: "THE INVISIBLE GHOST, 1941:

"Lugosi's first Monogram has a convoluted plot but benefits from above-average direction from Joseph H. Lewis. Lugosi plays a kindly man whose wife deserted him. Unbelievably, she still lives on the grounds and he goes quite mad when he catches glimpses of her. The deaths lead to the execution of one innocent man whose brother (same actor) comes to the house to seek justice. Lugosi's hypnotic walk when under the murder spell of his wife is campy but the actor also brings pathos to it. Former silent star Betty Compson plays Lugosi's estranged, insane wife."

Lewis' direction is superb, and he throws in touches that other, run of the mill cheapie directors do not do, including interesting shots from a fire place, with the flames dancing in front of the actors, and excellent forward shots of a horrified Lugosi seeing his wife Compson through the window in a storm. The acting is better, particularly black actor Clarence Muse as Evans the butler who acts with dignity, and not a Stephen Fetchit portrayal. And the film's love interest is the talented Polly Ann Young, the least successful of the sisters in Hollywood trio that included Loretta Young and Sally Blane. Also, the sets seem of better quality than an average Monogram film.

One the minus side, the script is weak and convoluted, and mildly confusing. I think quality of scripts are the biggest difference between Universal B films and poverty row offerings in the 1940s. The other distinction is depth of acting talent in the films. Also, although Lugosi is excellent in his role -- even now I see the restraint in his insane moments that I missed on my first viewing, his playing of Mr. Kessler is not a role that demands any particular expertise or trait that made Lugosi unique. For example, the role could easily have been played -- at 90 percent of Lugosi's strength -- by George Zucco.

The film has Lugosi as a usually decent man who has temporary insane moments believing his long-departed wife is living in the house. The wife, played by Compson is actually on the grounds, being cared for -- without Lugosi''s character's knowledge. However, he occasionally sees her through his house's windows. That prompts him to go into a trance and kill whomever is in his sight. Early in the film is a genuinely scary scene where Lugosi, in a murderous trance, kills a maid in her bed. Director Lewis films this superbly, with a leering Lugosi coming closer to the terrified girl on the bed, and lifting a garment as a murder weapon. A radio playing pleasant music adds to the creepiness of the scene.

One more thing to add: Compson does a very good job as Lugosi's insane wife, who wanders around the Kessler estate. The poor script offers very little in how she could manage this so consistently, but as mentioned, scripts were not a priority on poverty row.

I highly endorse "Invisible Ghost" as a strong Lugosi poverty row offering. It appropriately belongs in the top tier of the Monogram cheapies and comes the closest to looking like a Universal B offering.

Imagine watching Bela Lugosi perform on the stage

 

Welcome to Plan9Crunch. And share with us our celebrations for the great Bela Lugosi's birthday. The blog is posted on October 20. We are starting something new at Plan9Crunch. We are going to ask a cult genre question to a cult genre expert. Our first question is directed to writer Christopher R. Gauthier, author of Rondo Award-winning novel, "Dracula Never Dies: The Revenge of Bela Vorlock." Chris's sequel is planned for publication in early 2025, possibly on Valentine's Day. So, here we go, and enjoy readers!

PLAN9CRUNCH: What would have been your impression of watching Lugosi on the theatrical stage and what would you have thought of him to be in person?"

Christopher R. Gauthier:

"My instinctual personal impression of witnessing Bela Lugosi on stage would no doubt have lured me into the saturnine voracity of a question which enigmatically lingers on a need to be answered and furthermore explored- regarding cryptic mysteries cloaked in the supernatural- I do believe upon becoming aware of Lugosi I without question would have become ensorcelled by his dark mystique and enraptured by his command of theatricality which was unprecedented before.

"I would have been enchanted by this great savant who was living poetry for the theatre and mesmerized by the complete mystique of Lugosi, I would have become enshrouded within the black cape he wore so eloquently and my inner core would have replied to the dark spirituality that emanated from this great force of a man who seemed to have come from a realm entirely like none known to any, if not but for only an obscured few.

"I probably would have been compelled to engage a discourse with him, for how could one not in the presence of Bela Lugosi? I probably would have become a follower of this man like no other, but still respectfully remained proper and inhibited to establish formality and uphold a courteous, cordial diplomacy... And if by chance he would have granted me a conversation my impressions would have changed for the better. I would have come to the lucid realization that here before me was a man of supreme talents and with furthering in the getting to know him, an honorable compassionate humane human being, in fact one of the most generous and kindest, sincere most down to earth human beings Hollywood would ever see - a man of principal, morals and courage, a soul who knew and treasured the people in his life and took seriously and to heart the very meaning of friendship. A man who wore his gratitude like his Dracula creation wore his medallion, for he was grateful for the good in the world and anything beneficial that came in his vocational direction. I probably then would have felt somewhat like the rest of what his audiences felt upon the impressionable encounter of his Dracula incarnation and how everyone came to feel upon having a relaxed discourse with Bela the man- I would have realized that I was in no way an exception to being immune to falling beneath the spell of Dracula. Nor the rare charm of the real man himself, who appreciated and respected and genuinely cared about people, the world and humanity He would then have an adoring aficionado and friend for the rest of time."

Thanks so much Chris, for contributing. We appreciate you very much. Readers enjoy another photo of Lugosi on stage below.

Bela Lugosi adds some class to average comedy-horror The Gorilla

 

Review by Doug Gibson

"The Gorilla," 1939, from 20th Century Fox, is another one of those "old dark house" horror comedies of the '30s. The plot involves a serial killer, nicknamed "The Gorilla," threatening to kill a wealthy man, Walter Stevens (Lionel Atwill). He hires three bufoonish, slow-witted detectives (played by The Ritz Brothers) to protect those in the mansion-like home. Besides Atwill's character, other main cast include his niece and her fiance, a maid, Kitty, (Patsy Kelly) and the butler, Peters, played by Bela Lugosi. A nervous night is spent trying to both elude and capture the killer.

This is not close to one of the must-see films of Bela's career. For years I've avoided finishing it for two reasons. The Ritz Brothers, in my opinion, barely elicit a chuckle. And Patsy Kelly, while possessing good comedy timing, screams and screeches so much in this film that it grates on the nerves. Kelly is no Una O'Connor, who genre films will recognize. Atwill gives a good -- although subdued -- performance.

Recently TCM aired The Gorilla and I decided to give it a try and watch the film in one take. I was pleasantly surprised. Bela Lugosi, despite being several notches below in the cast, livens this film up. He's by far the chief reason to watch The Gorilla. He's able to allow his comedy talents to shine. He plays the sinister servant who always seems to show up just after the others in the cast have been frightened. Lugosi relished roles like this, in which he could play his menacing character with his tongue in his cheek and almost a smile. His elegant, reassuring cadence preserves the dignity of his character yet never quite completely triumphs the fears of his castmates.

Although there are stretches where we don't see Lugosi's butler (we have to endure comedy hijinks of those Ritz fellows) I particularly enjoyed two scenes with Bela. One is where a Ritz brother tries to muscle Bela's Peters and gets flipped for his impudence. It's clumsily shot and I'm sure that's a stuntman, but I loved it. Another great Bela scene occurs at the climax, but I won't give that away.

Anita Louise and Edward Norris play the love interests, Norma and Jack. See them in the top photo with Bela. They are both pretty bland. An actor named Joseph Calleia is not too bad as a forbidding character listed as "The Stranger." The film, directed by Alan Dwan, is based on a then-popular play. Lugosi was a year away from a comeback role as Ygor in Son of Frankenstein. Struggling at the time, he was fortunate to get the role after Peter Lorre was unavailable. The 66-minute B film cost $175,000. With that budget I assume it made a profit. The Ritz Brothers (Jimmy, Harry and Al) remind me of milder versions of the Three Stooges without big laughs. They get off jokes a lot but many deserve groans. I wonder if they ad-libbed some. The Gorilla can be watched online for free in several websites and streaming services.

The second top photo shows a listing of The Gorilla in Los Angeles. It's from The Tuesday, Aug. 8, 1939 LA Times. Below is an article from the Thursday, May 18, 1939 Hollywood Citizen- News. It includes a review of The Gorilla. They liked it. I preserved the entire article so readers many need to squint or try a magnifying glass. Both of these clips were provided by my friend, David Grudt, who lives in Long Beach, Calif. 

Enjoy Bela Lugosi's poverty-row gem The Corpse Vanishes

 

By Steve Stones

The Corpse Vanishes is my favorite Bela Lugosi Monogram film. It is also the first Monogram film I ever remember seeing on TV as a child sometime in the late 1970s. The scene of police opening a coffin in the back of Lugosi’s car is priceless. The look on Lugosi’s face as they open the coffin is unintentionally hilarious.

Speaking of coffins, the film also stars Tristram Coffin as Dr. Foster. Coffin starred in many serials of the 1940s and 50s. Angelo Rossitto, star of Freaks and countless other Monogram cheapies, plays Lugosi’s midget assistant Toby. He is billed in the opening credits as simply Angelo. It’s interesting to note that Rossitto would go on to star in the Mel Gibson film Mad Max Beyond Thunderdome some forty years later. He also starred in Al Adamson’s cult classic Dracula vs. Frankenstein.

Young brides are dying at the altar and Dr. Lorenz, played by Lugosi, is kidnapping their bodies for scientific experiments to rejuvenate his countess wife’s youth and beauty. She is played by Elizabeth Russell, best known in RKO's Cat People and Curse of the Cat People. Newspaper reporter Patricia Hunter, played by Luana Walters, discovers that all the kidnapped brides were wearing a rare wild orchid. Her investigation leads her to Dr. Lorenz, who raised the rare orchids. Apparently the smell of the orchid caused the brides to collapse at the altar.

On route to Dr. Lorenz’s home for an interview, Hunter meets Dr. Foster, who warns her of Lorenz’s eccentric and weird ways. Arriving at the Lorenz home, the Countess Lorenz expresses her unwelcoming nature to Hunter by slapping her in the face. Lorenz convinces Foster and Hunter to stay the night because of the pouring rain outside.

During the night, Hunter discovers a passage to an underground mausoleum and sees some of the kidnapped brides being held there. She also witnesses Lorenz and his wife sleeping in separate coffins. Lorenz explains to Hunter the next morning that sleeping in a coffin is much more comfortable than sleeping in a normal bed. Lorenz also suggests that Hunter was having a bad dream when she thought she witnessed seeing the kidnapped brides in the mausoleum.

Hunter decides to return to her newspaper headquarters and comes up with a plan to trap Lorenz in the act of kidnapping a bride by staging a fake wedding. The wedding day is set, and Lorenz does not fall for the trap, but instead kidnaps Hunter at the scene of the wedding. Foster and the local police catch up to Lorenz just as he is about to conduct an experiment on Hunter. The film ends with Hunter and Foster getting married. This time Lorenz cannot kidnap the bride.

It’s also interesting to note that Barney A. Sarecky was the associate producer of this film. Sarecky was one of the screenwriters for the Flash Gordon serials of the 1930s, starring Buster Crabbe as Flash.

Any fan of Bela Lugosi cannot afford to miss The Corpse Vanishes. All of Lugosi’s Monogram films are an absolute delight to watch. I particularly love this one because of the simple plot. Watch for the scene of Lugosi whipping his laboratory assistant named Angel. It’s a precursor to Lugosi’s famous scene of whipping Tor Johnson in Ed Wood’s classic The Bride of The Monster. Enjoy watching the film here.  Also, more photos from film and a newspaper ad.

Patron Saints of the Living Dead weaves a tale of voodoo, zombies through time and cinema

 

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Review by Doug Gibson

There's a passage in Frank Dello Stritto's new novel, "Patron Saints of the Living Dead," (Cult Movies Press, 2023), where our protagonist, Brent Marassas, dining with friends and acquaintances, begins to chat with an elderly lady, Madeline Short Parker.

Brett is on a quest his father sent him on shortly before dad, whom he calls "Papa," died. His father, raised without a traditional family, wants to know who his father was. A private investigator has uncovered some answers, and they lead toward the supernatural. Voodoo, zombies, living death, regeneration of life, raising of the dead, attempts to subjugate or control others via zombie-like efforts. 

Based on what Brent has learned, his father's origin likely derives from one of 13 scientists who were involved in research that mixed science with supernatural, life with death, and power with subjugation. 

One of those scientists was Assante "Murder" Legendre, the villain of the classic 1931 horror film,"White Zombie." And Brent soon learns that Madeline Short Parker is the bride Legendre turned into a zombie for a short while.

The now-elderly Madeline (the book is set more than a generation ago) recounts her horrifying experience as a virtual slave to Legendre, and the atrocities inflicted on her.

Through more than 500 pages, "Patron Saints ..." takes us through a journey of history, culture, books, newspapers and several score of genre films to weave a compelling tale of a man meandering his way through zombie, voodoo, crime, death, murder, mad scientists, and more, to find his roots. Dello Stritto has done this before, with novels about the traditional Universal monsters (Frankenstein's, Dracula, The Wolf Man), Carl Denham's "legacy" of giant apes, and the Mummy film genre. 

(I digress to note that I have helped proofread for style and grammar, nearly all of Dello Stritto's books. However, proofing is not the same as reading for pleasure, and I have read a second time all of these books prior to review.)

"Patron Saints ..." shows the maturity of the author's skills, as it weaves the coincidences a protagonist needs to encounter-by-chance (or fate?) dozens of surviving characters of films. From New York to New Orleans, to the Carribbean, back to the East Coast, through the United States, into the Intermountain West, to California and back to the Carribbean, every plot twist and scene sequence seems natural. The narrative flow works.

This is important because "Patron Saints ..." is a novel that readers unfamiliar with the voodoo/zombies' films genre can easily get into and enjoy. That's not to say his other works are lacking, but this one impressed me as a very enthusiastic recommendation to my family members and friends who -- unlike me -- haven't watched 1,0001-plus genre films.

However, genre fans will revel in how the plot moves from film to film and to characters we've enjoyed watching in theater or on screen. There are so many. They even include Carl Kolchak, the Night Stalker reporter. Readers in the know can spend time guessing the films that enter the plot; or the film producers: Monogram, Producers Releasing Corporation, '50s low-budget studios, the Halperin Bros zombies films, the film "Freaks," TV show episodes boomers loved, blaxploitation chillers from the '70s, and so on. 

Even Indiana Jones is mentioned in the novel, as research for Brent, who peruses an old academic journal of Henry Jones Jr.'s adventures in northern India -- in the "Temple of Doom" -- with the Cult of Kali Ma. Dr. Jones narrowly escaped a fate that put him in a "black sleep," ... Alive but like a nightmare," ... only able to follow the commands of high priest Mola Ram. (1)

There is one passage where Brent and his lady companion visit the decrepit home of the Incredible Doctor Markesan (from TV's "Thriller.") Our protagonist meets a survivor of that episode, who seems barely alive. He claims the house empty and that those sounds on the second floor are just the house being old. This was a passage that gave your reviewer goose bumps while reading.

Also, as in his other books, "Patron Saints ..." is full of film stills presented as historical artifacts -- either press or found -- that provide readers glimpses of the characters in the pages. Also, film scholar Dello Stritto has done impeccable research, providing art of practices described in the book, such as dissection, the work of grave robbers Burke and Hare, and even a 16th century print of a plague of uncontrollable dancing.

Although Dello Stritto's topic is zombies, he makes it clear that there are no "Romero-inspired" flesh-eating zombies in the novel. The book is an attempt to reclaim the zombie genre to its roots, in films such as "White Zombie." From Dello Stritto's Notes to Readers:

"Like Voodoo, zombie (or "zombi") is more complex than portrayed in popular culture. The original meaning was a spirit or ghost, but in the Caribbean and in popular culture a zombie is the living dead, an animated corpse. Before the mid 1960s, western popular culture portrayed zombies in their traditional role, as toiling in plantation fields or sugar mills, as the mindless slaves of their overseers. For the past half century, zombies in popular culture have been portrayed as hordes of carnivorous, infectious fiends. That recasting perhaps, is the unkindest cut of all.

"But zombies do exist."

I end this review with a fun, memorable anecdote. I re-read this novel recently on vacation in Hungary, where our family owns a Soviet-style condo.

One day we visited the city of Pecs, which is only about 36 miles from the Croatian border. It was a hot day, and I took a brief time out under trees in a park. While reading, I came to page 363, where it tells more about the history of the three "Legendre" scientist brothers.

It reads: 'Richard Marlowe and Paul Renault, the younger two of the Legendre brothers, both attended the University of Pecs in Hungary."

Indulge me, but it just seemed really cool, and unique, to be reading that passage in a park in Pecs Hungary. I think I can easily claim to be the sole reader with that experience ... so far.

1) In the 2023 film, "Indiana Jones and the Dial of Destiny," Dr. Jones says he was previously "tortured by voodoo," forced to drink the blood of Kali.

Bela Lugosi turns 140 years old, our reviews of 'Dracula'

On October 20, 2022, the great Bela Lugosi celebrates his 140th birthday. Bela is a founding participant of Plan9Crunch blog, of course. He is forever the iconic Count Dracula. Read these two Plan9Crunch reviews of the 1931 Universal "Dracula" by your bloggers, myself, Doug Gibson, and Steve D. Stones. 

On with the reviews, and don't forget to watch "Dracula" this month!

Dracula, 1931, 75 minutes, Universal, black and white. Directed by Tod Browning. Starring Bela Lugosi as Count Dracula, Helen Chandler as Mina Seward, Dwight Frye as Renfield, David Manners as Jonathan Harker and Edward Van Sloan as Dr. Van Helsing. Schlock-Meter rating: 9 and 1/2 stars out of 10.

By DOUG GIBSON

As a film, Dracula too often appears like a stage play. Most of the actors aren't particularly strong, and the climax of the film (Dracula's death) foolishly takes place off screen. Nevertheless, thanks to Bela Lugosi -- and to a lesser extent Dwight Frye -- the film remains a classic, a true cult film that brings viewers back for repeat visits to Transylvania, foggy London and Carfax Abbey, the lair of the Count. The plot: Dracula prepares for a move to London. He drives Renfield (a Londoner in Transylvania to help him move), mad, and then arrives in London. He soon ingratiates himself with the Seward family, and lusts for the blood of two ladies. He is foiled when a family friend (Van Sloan) suspects he is a vampire, and pretty Mina Seward (Chandler) is saved when Dracula is destroyed.

It's safe to say that first half hour of this film is perfect, in atmosphere, Lugosi's Dracula, etc. After it moves to Carfax Abbey and the Seward sanitarium, it dips a tad in quality, but returns to perfection when Lugosi is in a scene.

Lugosi's performance is magnificent. He is truly the Count, with his urbane charm, his sly humor (I never drink ... wine.), his greedy eyes sighting blood, his melodramatic answers to questions, and his artful fencing with vampire hunter Van Helsing. However, few critics capture another personality of Lugosi's Dracula: His desire to die. In a poignant scene at an opera, Dracula expounds in melodramatic fashion the peace of death. One realizes in that scene the Count wants to die, that he's as much a prisoner of fate as his victims. He simply lacks the will power to end his long existence.

Frye's Renfield is marvelous. He succeeds in convincing viewers that the secret of the Count -- discovered first hand -- is so horrible that it would drive anyone insane. His mad chuckles when discovered on a deserted ship are chilling. Frye also conveys terror and adoration when pleading with Dracula late in the film. Manners and Chandler are barely adequate as two lovers threatened by Lugosi's Dracula, but Van Sloan is pretty strong as Van Helsing. He manages a sense of humor despite the seriousness of his task, and reminds me of Donald Pleasance's slightly crazy psychiatrist who pursued monster Michael Meyers in Halloween.

Lugosi's eyes, used to seduce victims, are hypnotic. He knew this character -- he'd played Dracula on Broadway. Director Browning conveys atmosphere early in the film with scenes of a coach in the wilds of Transylvania and a ship tossed at sea. Unfortunately, the last two-thirds of the film is often too static and talky. But every scene with Lugosi is a pleasure, and he turns an ordinary film into a classic of the genre.

--

By STEVE D. STONES

“Listen to them. Children of the night. What music they make.” — Dracula

Creeky castle doors, thick spider webs, a fog-infested cemetery and coffins filled with earth from Transylvania. These items stir up images of one of the greatest screen villains in cinema history — Dracula. The vampire Dracula has appeared on screen and stage more than any other fictional character in the history of literature and films.

What would Halloween be like without Dracula and vampires? We have Irish writer Bram Stoker to thank for the count's immortal image. Considering the fact that Stoker's novel was thought by many critics to be nothing but a trashy, late-19th century exploitation pot boiler that many readers didn't want to know about, it's amazing to think just how long the story and image of Dracula have lasted.

From the moment Hungarian actor Bela Lugosi emerges from his coffin in Tod Browning's 1931 “Dracula,” Hollywood history was made. Lugosi's old-world mannerisms, receding hairline, thick Hungarian accent and flowing cape set the standard for every vampire movie that followed. No actor who portrayed Dracula after Lugosi has been able to top him.

Seeing Dracula on the big screen is a sight you will never forget. Close-up shots of Lugosi's face show just how menacing the immortal count can be. His image both attracts and repels the viewer. He is the ultimate boogeyman who will stop at nothing to leave behind a trail of victims. When Dracula says “there are far worse things awaiting man than death,” we believe him.

Dracula's contribution to popular culture cannot be overestimated. He appears on everything from T-shirts to coffee mugs, action figures, comic books, Halloween masks, postcards and lunch boxes.

After the success of “Dracula,” Lugosi became a victim of the fickle Hollywood industry who typecast and pigeonholed him as an actor who could only play Dracula. He appeared as a vampire a total of three times, which included the hugely successful  “Abbott and Costello Meet Frankenstein” in 1948. Lugosi was never able to obtain the riches of his rival, Boris Karloff. Today, sales of merchandise associated with Lugosi surpass those of Karloff’s.

May the story and image of Dracula live on for centuries.

Originally published in the Standard-Examiner newspaper.

Three of our favorite Bela Lugosi Monogram films

In the early 1940s, Bela Lugosi signed a deal to star in several Monogram low-budget horror flicks (a couple were comedy/thrillers with the East Side Kids). It was a decision that allowed Lugosi to be the top actor on the set, an occurrence diminishing at Universal Studios. The films are just OK save Lugosi's usual excellent performance. Bela makes the films something special. Unlike Boris Karloff, for example, Lugosi never phoned in performances in low-budget films. We've reviewed most of the Monogram films at Plan9Crunch, but I want to give capsule salutes to three of my favorites. 

Doug Gibson

BOWERY AT MIDNIGHT, 1942:

Although the competition is fierce, this is likely the most kitschy delight when it comes to chaos and convolution. Lugosi plays a man cursed with three personalities: college professor, kindly operator of skid row soup kitchen and ruthless criminal. My favorite Lugosi scene: When the master criminal, reacting to a low level crook's joy at being part of a big robbery, casually tosses the crook off a multi-story roof, thereby creating the disruption necessary for he crime. Review here.

THE APE MAN, 1943:

Often derided as a "worst film," it isn't. Lugosi goes way beyond what's just to give some dignity to this film as a mad scientist who turns himself into part ape and has to kill to get a spinal fluid that might cure him. Wallace Fox and Louise Currie are also excellent co-stars who play journalists who foil his plans. See this film. Our review is here.

THE INVISIBLE GHOST, 1941:

Lugosi's first Monogram has a convoluted plot but benefits from above-average direction from Joseph H. Lewis. Lugosi plays a kindly man whose wife deserted him. Unbelievably, she still lives on the grounds and he goes quite mad when he catches glimpses of her. The deaths lead to the execution of one innocent man whose brother (same actor) comes to the house to seek justice. Lugosi's hypnotic walk when under the murder spell of his wife is campy but the actor also brings pathos to it. Former silent star Betty Compson plays Lugosi's estranged, insane wife. Read a review here.