Whatever happened to my Transylvania twist?
This week on “Picture Perfect,” with Halloween just around a creepy corner, we’ll pull the blankets up under our noses, as Dracula, Frankenstein’s monster, and the Wolfman headline an hour of creature features.
We’ll begin with arguably the best of the Frankenstein films, “The Bride of Frankenstein” (1935). Boris Karloff, Colin Clive, and Dwight Frye return. This time, they’re joined by batty and theatrical Ernest Thesiger, as Dr. Pretorius, and of course Elsa Lanchester. One of the greatest sequels ever made, “Bride” manages to deepen and expand elements of the original film, with plenty of atmosphere, a wry sense of humor, abundant pathos, and one of the finest film scores of the era, by Franz Waxman. Previously, Waxman was involved in the German film industry. Portions of his classic score were reused in any number of other Universal pictures over the years, including the Flash Gordon serials.
Of course, then came “Son of Frankenstein,” “The Ghost of Frankenstein,” “Frankenstein Meets the Wolfman”…
Four years before Abbott and Costello would meet Frankenstein’s monster, Dracula, and the Wolfman, all in the same film, Universal brought together its most popular creatures for “House of Frankenstein” (1944). This was the sixth film in the “Frankenstein” franchise, a follow-up to “The Ghost of Frankenstein,” but also a sequel of sorts to “Frankenstein Meets the Wolfman.” Here, Karloff graduates from monster to mad scientist, while Glenn Strange dons the make-up and neck-bolts as “the creature,” John Carradine plays the Count, Lon Chaney Jr. returns in his signature role as Lawrence Talbot (a.k.a. the Wolfman), and J. Carrol Naish portrays Karloff’s hunchback assistant.
The wackadoodle plot involves Karloff and Naish running a traveling horror show. The doctor revives Dracula for his own nefarious purposes; then later in the film thaws Frankenstein’s monster and the Wolfman from frozen waters. It may not be the best of the Universal Pictures Frankenstein films, but it is undoubtedly entertaining, and good, monster-laden fun. The music is also the result of a monster team-up, of sorts, co-composed by Hans J. Salter and Paul Dessau. The popularity of the multi-monster format ensured yet other follow-ups in “House of Dracula” and “Abbott Costello Meet Frankenstein.”
Decades later, Mel Brooks and Gene Wilder looked back with affection to the series, when they came to make their horror parody, “Young Frankenstein” (1974). The result is Brooks’ richest comedy. The love of detail extends even to the use of some of the authentic laboratory equipment from the original movies. Composer John Morris’ score reflects the underlying pathos of the monster, in brilliant counterpoint to the onscreen comedy.
Finally, director Francis Ford Coppola also looked back with affection to earlier classics when he undertook “Bram Stoker’s Dracula” (1992). “Bram Stoker’s Dracula” is the NAME of the film. Despite some intriguing elements, it’s doubtful the author would have recognized his creation in Coppola’s cinematic counterpart. Why can’t anyone figure out how to just film the book? The strongest elements of this version include the opulent costume design, the self-consciously retro special effects, the geek references to classic and foreign films, and the spooky music by Polish composer Woijech Kilar. Kilar was an inspired choice, as he provides just the right Eastern European feel.
All in all, I think you’ll agree, it’s the perfect mix-tape for drafty dungeons and misty moors. I hope you’ll join me for “Monster Mash” on “Picture Perfect,” music for the movies, this Saturday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org!
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