Holy hell creeps; here comes the monstrous mother-load…thirty classic Universal released fright flicks all in one handy-dandy Blu-ray collection! Let’s take a very, very deep dive into the Universal Classic Monsters: Complete 30-Film Collection as we feast our eerie eyeballs on every film and the eerie extras these devilish discs contain! (Fair warning: this is going to be one hell of an insanely long-ass review!!!)
Kicking things of we have the Frankenstein Complete Legacy Collection
Frankenstein (1931): Ol’ Doc Henry Frankenstein (Colin Clive) and his deformed assistant Fritz (Dwight Frye) are up to the totally reasonable and completely sane task of digging up graves and disassembling corpses with the intent of putting the best bits together like a human jigsaw puzzle. Well, thanks to janky science and lightning they succeed, but the end result isn’t the human perfection for which they strove; rather he is a misshapen monstrosity (played to putrid perfection by Boris Karloff) possessed of great strength,a child like intelligence, a fear of fire, and a penchant for (at times accidental) murder. At first he is chained and considered a failure at best, but soon the creature escapes, and the townsfolk end up pissed with a capitol “P”! Who will survive the monster’s wrath, and what will fate have in store for the man that played God?
Chock full of beautiful (and off times morbid) chiaroscuro imagery, characters driven by passion rather than reason, surreal set design (Frankenstein’s lab and the windmill featured in the film’s climax are the real stand-outs), and the absolute most iconic representation of Frankenstein’s monster ever brought to light (courtesy of make-up wizard Jack P. Pierce); James Whale’s adaptation of Mary Shelley’s monsterpiece (by way of the stage adaptation written by Peggy Webling) is an absolutely perfect fright flick experience. It’s iconic, fascinating, beautiful, and the benchmark by which all other adaptations of the story (and many a creature feature) is to be judged! Also, there’s a torch bearing mob…arguably the most famous one in the entire horror biz!
While Frankenstein is absolutely fantastic in it’s own right; there are eerie extras to sweeten the preternatural pot on this Blu-ray! First up we get two excellent scholarly examinations of the film courtesy of audio commentaries from Film Historians Rudy Behlmer and Sir Christopher Frayling. Some info does overlap; but both tracks are fascinating listens. Speaking of facts about ol’ Frankie, the film can be played with a Monster Tracks option that displays factoids as the picture plays on. Along with that we get a documentary hosted by Film Historian David J. Skal that covers the Frankenstein mythos from the tale’s inception to it’s journey to the stage, and finally to the silver screen, a profile on Karloff and the films he made in our beloved horror biz, and a feature length documentary on the entire Universal horror oeuvre (which could have been it’s own disc…and makes a perfect companion piece for the entire set)! Bringing up the rear is a stills gallery, a ridiculous vintage short film comprised of clips from Nosferatu, Frankenstein, and more, over-dubbed with dialog so corny you will scarcely believe your ears (there’s a bonus joke in there for you eagle-eyed creeps), a bevy of trailers for the various Universal Frankenstein pictures, and a brief piece about restoring Universal’s classic films (including some of the flicks on this very collection ‘natch).
Moving on we have:
The Bride of Frankenstein (1935): After a brief intro where a flamboyant A.F. Lord Byron (Gavin Gordon) relates the events of the first story while describing Mary Shelley’s (Elsa Lanchester who also stars as the eponymous Bride) contribution to their ghost story contest; the tale proper begins with the revelation that Frankenstein’s Monster survived his supposed demise at the end of the previous picture. Things aren’t going peachy for ol’ Henry (a returning Colin Clive, but although this film is set directly after the first outing he has definitely began showing some bloat thanks to his massive, and ultimately fatal, booze habit) either, as the diabolical Doctor Pretorius (Ernest Thesiger) arrives on the scene and tries to convince him to begin his experiments once more, even as the first one wanders the countryside causing mayhem by merely existing and even making a friend along the way! Soon Dr. P convinces Hank to make the Monster a mate…which ends up going over about as well as a fart in a submarine!
Every bit as gorgeously realized as it’s fore-bearer; The Bride of Frankenstein maintains the surreal expressionistic visuals, solid acting from Clive and Karloff…and doubly so from the latter as in this film the creature speaks, and fast pace of the first picture while adding some top shelf elements all it’s own; mainly in the masterful performance of Thesiger as the effete and moribund Pretorious, and Lancaster as the hissing, screaming, mummy-bandage and simple gown clad Bride who is as beautiful as she is completely off-the-rails; all jerky movements and sky-high hair. There are however a few elements of Bride that have always seemed off tonally to your’s cruelly; namely Pretorious ridiculous menagerie of living miniature humans and the absolutely off the charts hysterics of Una O’Connor as Frnakenstein’s maid Minnie; a character that manages to be about as subtle and nuanced as a jackhammer to the crotch. Regardless; this is a superior film, and manages to out-do the original in nearly every aspect.
As before, Bride too contains it’s fair share of beastly bonuses! First we have an excellent scholarly analysis of the film courtesy of Scott MacQueen that is filled to the brim with stories of the film from it’s genesis, to it’s production, and reception by the movie going masses…albeit with a few of those dreaded looong pauses between a few topics. After that comes a wonderful doc about the film’s creation, along with a stills and promotional material gallery, and the same trailers ans restoration doc found on the Frankenstein disc (and as you will see; some material is repeated throughout this whole set as these films have been released multiple times, and besides the Blu upgrade they are collected “as is” as it were).
Son of Frankenstein (1939): Henry’s son Wolf (Basil Rathbone) returns to the ancestral family home bringing along his wife and son. Upon arrival he is greeted with understandable disdain from the local yokels along with a visit from Inspector Krogh (Lionel Atwill who rings that role of every drop of nuance and affectation), who offers his help if things go South (which is incredibly generous of him seeing as how the Monster ripped his arm off in the past). Soon Wolf meets the broken necked maniac Ygor (the legendary Bela Lugosi) who lives in the remains of Henry’s lab with a special friend…the corpse of the Monster whom he implores Wolf to resurrect…and ol’ W being a Frankenstein he sets about doing just that! Soon the beast is enacting a mission of revenge courtesy of Ygor’s commands…will Wolf be up to evening the score?
The most striking thing about Son of Frankenstein is it’s absolutely phenomenal aesthetic. Sure you get the now series standard deep, dark shadows and raging thunderstorms, but this time those elements dance and play around sets that are pure German Expressionist splendor…all janky lines and broad strokes to suggest forms; it’s pure visual magic and makes the whole thing a surrealist fever dream of a picture! Also on hand are some great performances; especially from Rathbone and Lugosi who act the ever-lovin’ hell out of this thing! Of course Karloff does his normal superb job as the (once again mute) Monster; his last turn as the creature for the series.
As for special features we get…nothing.
On the same disc we have:
Ghost of Frankenstein (1942): The villagers need some closure and get a wild hair up their collective asses to destroy Castle Frankenstein. Ygor (Lugosi) who seems able to survive absolutely anything, finds the Monster (this time played by Lon Chaney Jr.) still alive as well; and the duo flee the maddened throng. In order to heal the weakened Monster, Ygor seeks out Henry’s other son Ludwig von Frankenstein (Cedric Hardwicke)
Honestly the star of the show here is Lugosi; he has the best lines, and seems to be the most invested in the monstrous material at hand. Chaney makes for a passable creature, and Hardwicke’s Ludwig is a more stiff scientist than his crazed “father”, or spry “brother”. Additionally the flashback sequences seemed really shoehorned in this time, and the fantastically surreal Expressionistic elements of the previous picture have all but vanished in this entry (though there are some great visuals all the same, such as the Monster chained to a huge chair in a courtroom and Ygor controlling the creature by blowing a large animal horn). All in all it’s a solid, if less fanciful creature feature than those that plodded forth before it.
On to those special features which include…the film’s theatrical trailer.
Up next:
Frankenstein Meets the Wolf Man (1943): A duo of ghoulish grave robbers accidentally resurrect Larry Talbot (Lon Chaney Jr.) in his mausoleum. He ends up in a hospital, but soon gets his wolfie on when a full moon rises high in the midnight sky! Soon ol’ Lycan Larry is on the lam and looking for a cure for his canine condition…which according to the aged gypsy Maleva (Maria Ouspenskaya) could lie with Doctor Frankenstein (though he appears to have expired). Before long our dear hairy scary, back in his human form, finds the frozen body of the Monster (Bela Lugosi…who was originally supposed to play the creature in the original 1931 film) whom he tries to enlist in finding the journals of Frankenstein. Needless to say, the Monster comes to town, which irritates the town folk something powerful, and eventually the two titans of terror get in a tussle
To set the record straight; Frankenstein Meets the Wolf Man is first and foremost a Larry Talbot picture. All of the emphasis is on him finding a cure for his arcane affliction, and although the knowledge of Frankenstein is the key to that puzzle being solved, the Monster himself is basically a glorified cameo. That isn’t to say this a bad fright flick; quite the contrary…it’s a fantastic entry in the ongoing saga of the Wolf Man, and Chaney is fantastic once again as the tortured Talbot. Also of note is Lugosi’s turn as the Monster…I loved what he brought to the role with his expressive face and broad gestures. Additionally, this film features marvelous miniature work (as do the other entries). The only stumbling block is an extended song and dance number (???) that is both utilized to show “native color” as well as pad out that run time.
As before, the film’s theatrical trailer is the only extra.
Following that comes:
House of Frankenstein (1944): Karloff returns to the series, this time essaying the role of mad Doctor Gustav Niemann who promises his hunchbacked assistant Daniel (J. Carrol Naish) a new body. the two escape prison and haul ass to Castle Frankenstein where they find the bodies of the Monster (Glenn Strange) and Lawrence Talbot/the Wolf Man (Lon Chaney Jr.)…well after resurrecting and killing ol’ Drac (John Carradine) after he uses him in a revenge plot against those that wronged him…a plot he intends to use ol’ fang face and bolt boy for as well!
Just so you know the score; I love this picture, and always have! The idea of teaming up some of Universal’s best loved creatures into a fright filled free-for-all is a genius idea, and the assembled players handle their respective revoltin’ roles to perfection. Also, the idea of using monsters to get revenge on your enemies is pretty rad as all hell as well. The only crime of this film is the under-use of Dracula; Carradine makes for a fantastic lord of the fang bangers, and his resurrection and demise features some great effects work…but he is offed after the first act of revenge…I’m greedy and wanted to see him interact with the other members of the ghoulish gang!
As for special features; you guessed it…the film’s trailer.
Logically we next have:
House of Dracula (1945): Ol’ Drac (a returning Carradine) is back, and seeking the aide of Dr. Edlemann (Onslow Stevens) to cure his sanguine addiction. Dr. E agrees to help, and reveals his creation; a plant, the clavaria formosa, whose spores have the ability to reshape bone (Science!)…plus he attempts to cure that elegant fang banger with blood transfusions…now, I’m no doctor, but that seems dodgy at best. Anyway who should arrive at Edlemann’s pad than Larry Talbot (Chaney Jr…who else?) and after some hair raising events (literally) Dr. E reveals that he believes the wolf curse is triggered by pressure on the brain…pressure that he thinks can be cured by cultivated mold from the spores of that wacky plant he’s growin’. In the meantime, Talbot discovers the Monster (Strange once more in the role) and Edlemann takes the creature back to his lab. With the preternatural players in place, the race is on to find cures for their arcane ailments before Edlemann succumbs to the evil now in his blood (see, I told you that transfusion was a shitty idea)!
Well, remember how in the last picture that Dracula got the short end of the sinister stick; well, in this picture it’s Frankenstein’s Monster who gets the bum deal, as he spends most of the picture strapped to a table, to weak to move until the climax where he stumbles around for a minute. That aside; this is another fun fracas of monsters, mayhem, and strange science; and another strong entry in the continuing saga of the world weary Wolf Man. Additionally the angles of the Jekyll and Hyde like transformation of Edlemann after being exposed to the blood of Dracula, the outre plant experiments, and the beautiful woman assuming the now traditional mantle of hunchbacked servant keep things fresh and entertaining.
Special features = the film’s trailer.
Finally we come to the final film in this segment of the collection:
Abbott and Costello Meet Frankenstein (1948): Larry Talbot (Chaney Jr. ‘natch) gets on the horn and gives a railway station where Chick Young (Bud Abbott) and Wilbur Grey (Lou Costello) work as baggage clerks a ringy-dingy. Talbot tries to warn our heroes of the hell contained in a shipment due to arrive for McDougal’s House Of Horrors; a local wax museum, but wolfs out before he can spit out the fact that the crates contain the remains of Dracula (Béla Lugosi…back right where he belongs in his greatest role) and the Frankenstein Monster (Strange). The boys deliver the crates to the museum after hours, where Wilbur inadvertently resurrects Dracula who hypnotizes our pudgy protagonist before bringing the Monster back to life! As Wilbur and Chick deal with John Q. Law after being blamed for F’n up McDougal’s merch, it is revealed that Wilbur’s girlfriend Sandra (Lenore Aubert) is in fact an evil scientist who lives in a castle on a secluded island and is in cahoots with Dracula to provide the Monster with a new brain…the marble rattlin’ around in Wilbur’s skull to be precise! Before long our hilarious heroes are up to their eyeballs in monsters and mayhem (well Wilbur anyway, as chick remains ever the skeptic), and things get even more hairy as the Wolf Man arrives on the scene leading to beastly battles, love triangles, and possible insurance fraud (?!!)
The most important element to the success of Abbott and Costello Meet Frankenstein is that it manages to be uproariously funny while being completely respectful to the legendary monsters we know and love! The comedy comes from the interaction between Abbott and Costello (especially the fact that Wilbur keeps seeing monsters, and Chick doesn’t believe a minute of it), and their reactions to the walking nightmares at hand…but the creatures themselves are played completely straight and with reverence to their horror biz status. Sadly it would be the last appearance of Universal’s “Big Three” of Dracula, the Frankenstein Monster, and the Wolf Man all together in one picture, but hot damn what a high note to exit on as everyone assembled gives their all in a story that does them all justice!
As for special features on this Blu we get: a documentary covering Abbott and Costello’s career with a focus on the horror comedies they produced, a fact filled and upbeat audio commentary from Film Historian Greg Mank, the film’s theatrical trailer, a brief look at the Universal back lot, and Universal pictures most memorable characters (including our beloved monsters).
With Frankenstein’s Monster finally laid to rest we move on to the Dracula Complete Legacy Collection!
First up is:
Dracula (1931): Solicitor Renfield (Dwight Frye) heads to Transylvania with he intention of visiting the castle of Count Dracula (Bela Lugosi) to discuss the aristocrat’s leasing of a property, Carfax Abbey in foggy ol’ London-Towne. Against the advice of absolutely everyone he meets to just forget about visiting the place, R-man does indeed make it to Dracula’s ancient (though gorgeous in it’s design and even it’s decay) abode where he meets the strange Count as well as his trio of vampire brides, and experiences enough horrors to completely bust his brain into a thousand bite-sized pieces…and makes him subservient to Dracula’s will. The duo make their way back to England hiding in the hold of a ship…the crew of which becomes Dracula’s sustenance for the voyage. Later, Dracula attends the theater and meets Seward (Herbert Bunston), his daughter Mina (Helen Chandler), her fiancé John Harker (David Manners) and Lucy Weston (Frances Dade)…who becomes entranced by the ol’ fang banger who returns the affection by drinking her blood! Before long Professor Van Helsing (Edward Van Sloan) catches on to Drac’s vamp status and it’s up to him to convince Harker and Seward that his fangtastic claims are true and to help him destroy the evil among them before it’s too late!
While not the most faithful version of Bram Stoker’s legendary terror tale ever brought to screen (this, like Frankenstein from the same year, is based on a stage play version of the story, rather than the source novel) Dracula nevertheless is a fantastic tour-de-force of a fright flick filled with Gothic ambiance a-plenty (plenty of Victorian homes, flapping bats, and foggy streets), amazing set design (the aforementioned castle is one of the most pitch perfect horror environments ever brought to the screen in my not so humble opinion), and the second-to-none, show stopping performance of the one and only Lugosi in his most famous role (though Frye is no slouch in this picture either).
As for the eerie extras, they are plentiful on this Blu! First we get two audio commentaries, one by Film Historian David J. Skal, and the other by Steve Haberman who wrote Mel Brook’s dreadful Dracula: Dead and Loving It. Both discus the climate of Hollywood at the time of the film’s production, as well as anecdotes about the making of the film from inception to release (and yes, the “cardboard is mentioned), as well as comparisons to the Spanish version of the film (more on that in a bit), and how it differs from Stoker’s novel. If I had to pick a favorite, it would be Skal’s track as it is a tad more scholarly and personable; but both are worth a listen. Also included is another factoid packed Monster Track subtitles feature, which is fun but does contain overlapping material with the audio commentaries. Also on hand is an alternate score track featuring music by Philip Glass, but I prefer the original (incredibly) sparse classically sourced score that let’s the acting and visuals sell the scenes and scares without the obvious audio cues and stings…or any soundtrack at all. Also included is the 1931 Spanish version of the film (which can be played with an optional introduction by actress Lupita Tovar), shot on the same sound stages after the English version wrapped for the day. This version has material cut from the version we all know and love, and features a vastly different visual flare…but in the end the Lugosi version wins the day as he makes for a far more enigmatic figure than Carlos Villarías. After that comes a doc, hosted by actress Carla Laemmle, about the journey of the Stoker’s novel to screen in all it’s many incarnations (with a large emphasis on the ’31 production ‘natch), as well as how Vlad the Impaler’s part in the whole affair, an excellent bio piece on Lugosi’s time in our beloved horror biz, and a piece about the restoration of the film. Bringing up the rear we get a stills gallery, and a collection of trailers for Universal’s Dracula pictures.
Next is:
Dracula’s Daughter (1936): Picking up immediately after the demise of Dracula at the hands of Von Helsing (a returning Edward Van Sloan) who is forced to defend his seemingly wild claims to avert a murder charge from Scotland Yard (good luck bro). Meanwhile, Countess Marya Zaleska (Gloria Holden), the eponymous daughter of Dracula, steals ol’ Big D’s remains from the fuzz in the hopes of burning it and relieving her vampire curse. Her manservant Sandor (Irving Pichel) tries to put the kibosh on that bit of biz as he feels she is what she was always meant to be; the bringer of death (along with the ulterior motive of her promise to one day make him immortal). And death she does bring as the Countess goes hunting the foggy streets for victims a-plenty. Soon she meets psychiatrist Dr. Jeffrey Garth (Otto Kruger), who is also attempting to help V.H. beat his rap, and enlists his help to fight her preternatural problem. Will the Countess be able to fight her nature, or will she succumb and become a force of true evil?
More of a stagy melodrama with occasional vampire trappings (especially during the film’s climax); Dracula’s Daughter is nevertheless a fun semi-fright flick, but doesn’t quite succeed as a sequel the the Gothic masterpiece that was the original film. Holden makes for a wonderful and complex high society vamp (though by no means an equal to Lugosi), and the addition of her outre servant (played to the hilt by Pichel) is a great boon to the film. Also entertaining, though admittedly out of place, is the playfully antagonistic relationship between Kruger’s Garth and Marguerite Churchill as his Girl Friday Janet. It was also good to see Van Sloan return as Von Helsing; but it amounts to an extended cameo…I would have liked to see him involved more in the action.
As for extras…it’s trailer time!
After that we have:
Son of Dracula (1943): Count Alucard (a miscast Lon Chaney Jr.) finds himself in the deep south; a guest of the occult obsessed Katherine Caldwell (Louise Allbritton); the daughter of a rich plantation owner who soon inherits her father’s estate. Much to the chagrin of Kat’s long-time beau Frank (Robert Paige), she begins dating Alucard and soon marries the ghoul! Frank get’s angrier A.F. and tries to pop a cap in ‘Card’s ass, but the bullets pass harmlessly through him and into Katherine! frank hauls ass to Doctor Brewster (Frank Craven) and tells him of the events; but when Brewster arrives at the plantation he finds Katherine very much alive! Before long Brewster enlists the Hungarian Professor Lazlo (J. Edward Bromberg) and the two come to the conclusion that there is vampire biz goin’ down. Will Frank and the duo of Docs be enough to end the reign of the Lord of the Dead and save Katherine?
Let’s start with the big problem inherent in Son of Dracula; it’s leading man, Chaney Jr. While making for an excellent Wolf Man, he fails to impress as “Alucard”, as his every man style ruggedness simply can not be molded into the debonair suaveness required of the role. Also this is a 1940’s era picture set in the South…temper your acceptance of stereotypes accordingly. On the positive end of things; and speaking of the South; the entire picture has a nice sense of Southern Gothic ambiance…all ancient stately homes and moss draped swamps; a welcome return to atmospherics after the relatively flat style of the previous picture.
Extras? Trailer.
As with the Frankenstein collection; the Dracula set also includes House of Frankenstein, House of Dracula and Abbott and Costello Meet Frankenstein.
That brings us to The Wolf Man Complete Legacy Collection
First up:
The Wolf Man (1941): Larry Talbot (Lon Chaney Jr.) returns to his ancestral family estate in Wales after the death of his brother…and to reconcile with his estranged father, Sir John Talbot (Claude Rains…who must have had Larry when he was two years old). While dealing with that business he gets the hots for antiques dealer Gwen Conliffe (Evelyn Ankers) from whom he buys a silver tipped wolf’s head cane. Moving on, Larry being the strapping sort, attempts to rescue Gwen’s friend from a wolf attack near a gypsy camp where the trio went to have their fortunes told, but he’s bit to shit before he finally dispatches the “wolf” (or German Shepard as anyone with working eyes will tell you). The gypsy fortuneteller Maleva (Maria Ouspenskaya) informs Larry that the wolf which put the bite on him was her son Bela (Bela Lugosi) transformed by lycanthropy. Soon the curse comes to the fore, and Larry wolfs out…will anyone be able to stop his murderous rampage and help him become a man once more?
Filled with fog enshrouded forests, gypsy legends, and one hell of an iconic werewolf design (not to mention the groundbreaking at the time transformation sequence); The Wolf Man is one of the best of Universal’s rock solid fright flicks! Adding to the vast entertainment value are fantastic performances, especially from Chaney Jr. as the every man hero in way over his head in arcane affairs, and Ouspenskaya as the pitch perfect image of the wizened gypsy fortune teller that has become a horror picture archetype…even Rains delivers a solid performance, his looking to young for the role notwithstanding.
As for beastly bonuses, we get a full moon’s worth (trust me, that’s a lot). First up is another amazingly fact packed analysis of the film via an audio commentary; this time by Film Historian Tom Weaver. Following that we are treated to a piece on the Wolf Man’s history at Universal studios hosted by Director John Landis, a featurette about the werewolf’s place in mythology and pop culture, and fascinating bio pieces on Chaney Jr. and make-up artist Jack Pierce. finally we have a stills gallery, trailers for all of the wolf-centric titles in this collection, and a reprise of the puff piece about the Universal lot.
Next we have:
Werewolf of London (1935): English botanist Wilfred Glendon (Henry Hull) journeys to Tibet in search of the legendary mariphasa flower. On his quest he is bitten by a werewolf; though he still manages to find the plant. Back home in London Glendon begins showing signs of lycanthropy, but for the time being the mariphasa staves off the symptoms. Adding to the static in Glendon’s life is Doctor Yogami (Warner Oland), a mysterious Asian man who is hell bent on both doom-saying and collecting some of the sweet mariphasa action for himself. Soon our hero’s transformations go further and further until the plant can no longer hold the beast at bay, and Glendon stalks the streets looking for prey to satiate his blood lust, and nothing short of his death may but an end to the carnage!
Featuring the prototypes for both the look (that under-bite and hands are unmistakable, though this furry fellow is much simpler in design) and transformation sequences for The Wolf Man, Werewolf of London is an interesting take on the whole Jekyll and Hyde scenario with lycanthropy taking the place of the science borne unleashing of the id. The picture is also filled with some nice atmospherics (especially our dark protagonist stalking the fog-heavy streets of London), and a fast moving story line with a few twists and turns along the way. Of course I have to note that since this is the Hollywood in the ’30’s, the lead Asian character is of course played by a Caucasian…and one famous for doing so, as Oland played Charlie Chan in a number of features before going completely bat shit insane and leaving show biz…so there is that.
Extras include…anyone? That’s right! The film’s trailer!
After that comes:
She-Wolf of London (1946): Folks have been losing their voices in a London park…probably due to their throats being ripped out. The local police think a woman is responsible (but to be fair some also think a werewolf may be to blame…both seem reasonable…if you are a lunatic…or completely incompetent). Anyhow, socialite Phyllis Allenby (June Lockhart) believes she may responsible for the crimes, mostly due to to the legend of the Allenby curse that claims members of the family have, at times, assumed the form of a wolf…well, that and her clothes that look like she’s been trudging through a swamp and the blood on her hands she finds in the morning. Is Phyllis the cause of the murder biz; or is she merely the scapegoat…and just how will any of that be proved?
The biggest problem with She-Wolf of London is that there is no fucking She-Wolf!! Normally I wouldn’t post a spoiler like that, but c’mon movie; that is a complete freakin’ cheat; especially as this appears on a werewolf flick collection! The whole affair comes of more as a plodding (and at times tedious) murder mystery/melodrama, though there is of course discourse of supernatural shenanigans. It ain’t bad, it ain’t great, and so far is the only fright flick in this box set I’d advise skipping.
As for features, a trailer is all you get, and as far as this film is concerned; that’s plenty.
As with the Frankenstein and Dracula collections; The Wolf Man set also includes House of Frankenstein, House of Dracula and Abbott and Costello Meet Frankenstein, plus Frankenstein Meets The Wolf Man.
So ends the saga of The Wolf Man! On to The Mummy Complete Legacy Collection!
Of course, the first film up is:
The Mummy (1932): Egypt, 1921: Archaeologists led by Sir Joseph Whemple (Arthur Byron) discover the mummy of an ancient Egyptian high priest named Imhotep (Boris Karloff), whom Dr. Muller (Edward Van Sloan) believes was buried alive! Also interred with Imhotep is the “Scroll of Thoth” which can give life to the dead. Because he is a complete and utter asshole, young hot shot assistant Ralph Norton (Bramwell Fletcher) reads it; resurrecting bandage boy, and losing his sanity in the process.
Flash forward, and ol’ Imhotep is posing as a modern Egyptian named Ardeth Bay. He instructs Sir Joseph’s son Frank (David Manners) and Professor Pearson (Leonard Mudie) on where to find the tomb of Princess Ankh-es-en-amon; the very woman he was forbidden to love centuries ago (and also the crime of which caused his buried alive status)! Speaking of the princess; Imhotep soon sets his eerie eyeballs on Helen Grosvenor (Zita Johann), a half-Egyptian woman who is the spittin’ image of Ankh-es-en-amon (whose body he had failed to resurrect). Naturally he believes her to be the reincarnation of the princess, so he sets about a plan to murder her so he can mummify her, then bring her back to life so he can marry her…as one does. What can stop the Mummy’s evil plan?
Now this is the stuff! An “exotic” setting (yes, I realize this was filmed in California…but it’s supposed to be Egypt dammit), fast paced story line filled with arcane action, and good ol’ Karloff buried under another iconic Jack Pierce make-up masterpiece (two if you want to get technical about it) add up to one hell of a ghoulish good time! Additionally, the decadent and dusty ancient tombs, spells n’ scrolls, and reincarnation sub-plot are all a nice change of pace from the fog enshrouded graveyards, Victorian manses, dodgy science, and crumbling castles that have been the traditional Universal fright flick settings!
As great as The Mummy is; there’s a sarcophagus (look, I’m doing the best I can) of bonus materials! First up we get two audio commentaries; one featuring F/X maestro Rick Baker along with; Scott Essman, Steve Haberman, Bob Burns and Brent Armstrong, and the other provided by Film Historian Paul M. Jensen. The former focuses heavily on the various effects and props utilized to realize the more fantastical elements of the film (though elements of the script’s genesis, directorial choices, and some production anecdotes are discussed), while the latter is a more academic examination of the film and it’s production. After that we get a doc that covers the entire Universal Mummy series, a reprise of the Pierce featurette from The Wolf Man Blu, a featurette that covers the ’99 Mummy film and it’s sequel, a stills gallery, trailers for the various Mummy films, and a brief piece about the Carl Laemmle era of the studio’s history.
Up next:
The Mummy’s Hand (1940): Andoheb (George Zucco) journeys to the Hill of the Seven Jackals (which is supposed to be in Egypt, but is clearly in the Hollywood hills…but hey, they rented a camel, so close enough) in answer to a summons by the High Priest of Karnak (Eduardo Ciannelli…that most Italian of Egyptian High Priests…Brooklyn accent and all). The geezer tells the tale of Kharis (Tom Tyler); a dude cursed for stealing sacred tana leaves in the hope of bringing his dead princess, Ananka, back to life. As with the first film’s Imhotep, he was buried alive for his troubles along with the tana leaves.
Meanwhile Abbott and Costello…I mean archaeologist Steve Banning (Dick Foran) and his dopey sidekick, Babe Jenson (Wallace Ford) find a vase that they believe will lead to Ananka’s tomb. The duo raise funds for their expedition and before long they discover a tomb alright; but not the one they were looking for…and before you can say terrifyin’ tana Kharis is up and shambin’ under the control of Andoheb! Will our erstwhile archaeologists be up to the task of ending the evil of arcane Andoheb and his undead pal?
While not a true sequel to the 1932 film, The Mummy’s Hand has enough in common to at least seem like it’s related; especially in regards to it’s titular monster’s history. While in no way the monster masterpiece that The Mummy is; this film is nevertheless an extremely fun and at times overly silly fright flick…but it does take a bit to get to the actual mummy action…thankfully the cast is entertaining and carry the picture admirably until we get to what we paid for!
As for extras…it’s trailer time!
Moving on…
The Mummy’s Tomb (1942): It’s thirty years after (!!) the events of The Mummy’s Hand, and Steve Banning (Dick Foran) tells the story of Kharis to his family and friends via stock footage (and plenty of it too) while in Egypt, Andoheb (George Zucco) explains the legend of Kharis (Lon Chaney, Jr.) to his follower, Mehemet Bey (Turhan Bey) and gives him a mission of revenge against Banning before he dies. Bey uses the local cemetery as his base of operations and soon the creature is up and shambling and no one is safe from his mission of revoltin’ revenge!
Stock footage aside, The Mummy’s Tomb is a decent enough supernatural shocker. The revenge plot is a nice addition to the series, as is seeing the Mummy stalking through shadow enshrouded cemeteries and suburbia, and it’s always cool to see Chaney Jr. add another monster to his resume, and Bey makes for a great villain thanks to a strong and enthusiastic performance!
…and…trailer!!
Next:
The Mummy’s Ghost (1944): Andoheb, is back baby, and this time the High Priest of Arkam (formerly known as Karnak…why’d they change it? Who’s to say; Universal execs just liked it better that way) has summoned Yousef Bey (the legendary John Carradine) to the Temple of Arkam to give him the whole murderous mummy biz, and charge him with retrieving Kharis’ (Lon Chaney Jr. once again) body from the States.
Meanwhile in suburbia, Professor Matthew Norman (Frank Reicher) an expert on the beastly bandage boy, lays down the fearful facts to his class. After school, one of the students, Tom Hervey (Robert Lowery), meets up with his girlfriend, Amina Mansori (Ramsay Ames), an Egyptian who goes all loopy when her homeland is mentioned. Soon Kharis is stalking the streets once again…and Amina follows him like a puppy in a trance! Of course there is a reason for Amina’s affliction, but will Tom have what it takes to end a centuries long curse and rescue his girlfriend from the grip of the arcane?
The real draw with this one is the performance by Carradine as the latest in the long line of villainous “Bey” characters. His presence is amazing, and the air of seriousness he brings to the role gives the entire proceedings a sense of menace missing since the original picture. Chaney once again brings a lot to his portrayal of the Mummy; and although he never utters a word, his posture and movement convey perfectly the labor the character undergoes to simply exist. As before, it is a great deal of fun to see the Mummy traveling the streets and countryside of a bucolic town rather than merely haunting tombs and museums, and adds a lot to the overall atmosphere of the piece.
As for features, as is customary, we only get the film’s trailer.
Because you can’t keep a good monster down we have:
The Mummy’s Curse (1944): After a stunning case of “Why the fuck not?”, better known as a ridiculous musical number, the story of The Mummy’s Curse begins in earnest. In the swamps of Louisiana, a drainage project is interrupted by the murder of one of the workers assigned to the site. Enter two representatives of the Scripps Museum, Dr. James Halsey (Dennis Moore) and Dr. Ilzor Zandaab (Peter Coe), who are hot on the heels of the missing mummies…but to no avail as members of the Arkam sect have moved Kharis (Lon Chaney Jr…who else?) to a local monastery. Meanwhile, Ananka (Virginia Christine) awakes and is aided by some locals, who probably regret that decision once Kharis makes the scene and begins the murder biz! Can our intrepid Doctor’s and the locals including…and you can’t make this shit up my fiends…Cajun Joe (Kurt Katch) save Ananka from her destiny?
While this offers much in the way of originality from the last few entries in the series, this fright flick nevertheless entertains, and the Louisiana swamp setting offers a bit of visual interest and uniqueness. Other than that; it’s still fun to see Kharis doing his horror biz; but you can tell that the series was rapidly running out of ghastly gas.
As is this custom in these parts, the films trailer is the sole special feature.
And when the monsters have had their day…
Abbott and Costello Meet the Mummy (1955): Bud and Lou find themselves down Cairo way when they hear Dr. Gustav Zoomer (Kurt Katch…hot off his award losing role as Cajun Joe in the previous picture) jawing about the mummy Klaris (the hell?!!), the guardian of the tomb of Princess Ara…a mummy that possesses a sacred medallion that shows where the treasure of the princess can be found. Always looking for a fast buck, our heroes get the bright idea that they can guard the mummy on it’s trip back to the States. Unfortunately they arrive too late as the villainous Semu (Richard Deacon), has murdered Zoomer and absconded with the mummy.
As luck would have it, the medallion was left behind, which the boys find and sell to Madame Rontru (Marie Windsor), a businesswoman interested in stealing the treasure of Princess Ara…but before Rontru can collect Costello eats the medallion (just…I don’t know), so the Madame takes Costello to a Doctor’s office to read the medallions inscription under a fluoroscope. Of course the writing is in hieroglyphics, which she can’t read, but Semu arrives and offers to guide her to the tomb. Of course Semu has resurrected Klaris and is planning on murdering everyone. Can Bud and Lou lay the mummy to rest, make some dough, and escape with their hides intact?
What can I say about Abbott and Costello Meet the Mummy…if you enjoyed the other flicks where Bud and Lou meet various monsters (the best of which is Abbott and Costello Meet Frankenstein), then you will dig on this. There’s plenty of wacky hi-jinks, musical and dance numbers (those I could do without) and crazy schemes, but unfortunately for monster fans, the mummy action is relegated to late in the third act. Speaking of the mummy, the suit used to bring the preternatural menace to life is a far cry from the work of Jack Pierce; in plain English, it’s a complete piece of shit and looks like it was cobbled together by a blind drunken orangutan five seconds before it went before cameras.
As for extras…yup, the trailer.
So The Mummy has crawled back into his tomb, so who is up next? How about a little The Invisible Man Complete Legacy Collection? Bet you didn’t see that one comin’…
Kickin’ out the jams we have:
The Invisible Man (1933): A heavily bandaged stranger comes in from the cold and takes a room at The Lion’s Head Inn and to not be disturbed. It’s is revealed that the stranger is Dr. Jack Griffin (Claude Rains); scientist who has inadvertently discovered the secret of invisibility…which would be cool, except it has the side effect of making the subject turn batshit insane, and murderous to boot! After his secret is discovered by the Innkeeper and going on a complete rampage, he arrives at the home of his former colleague Dr. Kemp (William Harrigan) whom he forces to be an accomplice in his planned murder spree…but he eventually turns on Griffin which makes him go even more berserk. How will the authorities contain a menace they can not see?
While The Invisible Man is a fantastic story, well told (and how could it not be with the legendary James Whale at the helm?); it’s absolute best qualities are it’s jaw-dropping special effects (which remain thoroughly impressive to this day), and the incredible performance from Claude Rains who comes off as both a genius and maniacal super villain in equal measure…and while there is an element of tragedy to his character he is definitely no hero…or even a nice guy…and having him be the focus of the film had to be revolutionary at the time…hell Dracula is charming, Frankenstein’s Monster and The Wolf Man are tragic…but Griffin is a straight up dick most of the time…and man is it amazing to witness! Speaking of characters and performances, on hand is another quiet, subtle performance from Una O’Connor…and if you believe that then you are crazier than ol’ Griffin!
As for fearsome features on this Blu, we have: the now standard (and much appreciated and enjoyed) scholarly analysis of the picture via audio commentary (this one provided by Film Historian Rudy Behlmer), a doc on the entire The Invisible Man series, galleries of stills and trailers, and a reprise of that Universal characters puff piece.
Next we have the logical choice:
The Invisible Man Returns (1940): Geoffrey Radcliffe (Vincent Price) is sentenced to death for the murder of his brother Michael, a crime of which he is innocent! As one does, Geoff gets turned invisible (by the brother of the original film’s Invisible Man no less), and makes a break from prison. As Detective Sampson (Cecil Kellaway) from Scotland Yard figures out what’s going on and ends up hot on the heals of our transparent friend; Geoff races against the clock to solve his brother’s murder before he goes freakin’ bananas from the serum coursing through his veins!
As you would suspect, the real draw here is seeing fright flick legend Vincent Price as the titular character…and honestly I can’t believe he wasn’t in more Universal monster classics; seems like a match made in horror heaven to your’s cruelly…and he ably goes from tragic hero to complete madman with effortless ease! The film also continues the excellent special effects work that will continue to be the series hallmark for it’s remainder. Highlights include Geoff torturing a man by making him believe he is experiencing an encounter with a spirit from beyond, and a scene where Geoff borrows a suit of clothes from a scarecrow…these scenes are impressive now, but had to be simply mind blowing in 1940.
As for special features we get…nothing…not even a trailer!
Moving onward:
The Invisible Woman (1940): Richie-Rich lawyer Dick Russell (John Howard) provides the dough necessary for inventor Professor Gibbs (John Barrymore) to create an invisibility machine, and the first victim…err, test subject is Kitty Carroll (Virginia Bruce), a recently pink slipped department store model. Of course as soon as our heroine is transparent she returns to her former place of employment and literally kicks her ex-bosses ass.
Meanwhile a group of thugs steal the invisibility machine, but they can’t get it to work, mostly because they are completely brain dead…so they get the shit hot idea to kidnap Gibbs and Kitty. Will our see-thru antagonist be able to defeat the criminals and live happily ever after?
Let me tell you something that you need to know to determine the tone of The Invisible Woman: Shemp Howard has a role in it. So yeah; this flick is a straight up comedy (and admittedly an enjoyable one at that), with only the theme of a human becoming invisible to tie it to the series…hell, Kitty isn’t even turned by a drug alone, a machine does most of the ditty this time. The effects are still mostly up to snuff, but played completely for laughs this go around…which is still entertaining if a bit of a let down after the insanity laden action of the first two pictures.
No special features here either, so let’s check out the next flick:
Invisible Agent (1942): Back to the continuing story of the Griffin clan with this one (thank Dagon). Frank Raymond (Jon Hall), the grandson of Dr. Jack Griffin, the original Invisible Man, runs a print shop in ol’ Manhattan town…but changing his name and being on the D.L. won’t fool the Axis powers that desire his grandfather’s formula. After escaping some agents sent to retrieve the recipe for the invisible elixir, Frank joins the military, agrees to use his grandfather’s serum on himself, and is sent on a top secret mission to Berlin…where he becomes the Invisible Agent after parachuting behind enemy lines! As his invisible investigations continue, our transparent hero discovers a plot by the Axis to attack New York City, a plot he must race against the clock to foil!
The return to the story line started by the first two entries, along with the war time setting and heavy espionage angle make for an incredibly entertaining picture, even if the horror elements have long faded from the series. The effects are back up to the standard of the first two films as well, after their somewhat rushed appearance in The Invisible Woman…with impressive standouts being our hero in the bath, and a scene of him applying cold cream to make himself visible to the film’s love interest. Also adding to the fun; the “German” accents in this film have to be heard to be believed…the words “fucking ridiculous” immediately spring to mind…when the actors bother to try one at all. Additionally of note, Peter Lorre plays a Japanese agent, and despite the times, plays the role without stereotype, but rather with a cool, calm menace.
As for special features, the film’s trailer makes it’s triumphant return!
Up next:
The Invisible Man’s Revenge (1944): Robert Griffin (Jon Hall), a real walkin’ talkin’ douche nozzle is out to bilk the Herrick family out of their considerable fortune. While visiting the Herricks and layin’ down his plans, he loses consciousness and they promptly throw him out of the house and into the drink where he nearly drowns before being rescued by cobbler Herbert Higgins (Leon Errol). After Herbert fails to blackmail the Herricks (seriously, everyone wants what those geezer’s got) and gets the law all hot and bothered to throw him and Robert in jail, Robert heads to London and seeks asylum in the home of Dr. Peter Drury (John Carradine)…who has been experimenting with an invisibility serum. Of course his next subject is Robert, and soon the maniac is back to harassing the Herricks!
Well a return to form with it’s crazed main character full of murderous intent, The Invisible Man’s Revenge is at it’s heart a crime picture more than a horror flick…especially with the main plot of trying to swindle a rich family. The main thing that makes this one come alive are it’s performances; especially Hall’s sleazy portrayal of Griffin, and the ever reliable Carradine turning in another top notch performance. The effects are decent enough too with the highlight being a take on the Invisible Agent cold cream gag (this time involving flour), and the inclusion of invisible dogs! There is also a comedic scene that is clever involving the Higgins character swindling local barflies out of their cash by cheating at darts (Higgins throws them, then the invisible Griffin makes them do insane things on their way to the bulls eye every time).
As for special features, they are as invisible as ol’ Griffin himself!
As with all good monsters, The Invisible Man ended up in that ol’ familiar place…
Abbott and Costello Meet The Invisible Man (1951): Newly graduated detectives Bud and Lou (Abbott and Costello ‘natch) take on their first case; escorting Tommy Nelson (Arthur Franz), a boxer accused of murdering his manager, to visit his fiancée, Helen Gray (Nancy Guild) and her uncle, Dr. Philip Gray (Gavin Muir)…the latter of which has replicated Jack (or John) Griffin’s invisibility serum. The Dr. refuses, worried about the fact the serum rendered Griffin insane, but before long Tommy injects himself and he’s fixin’ to use his newfound invisibility status to find the real killer, and Bud and Lou take the case to help him achieve just that. Will our daffy duo help win the day for our beleaguered hero?
Now this is more like it; a comedy with an invisible character that really manages to pull off the sight gags (and it’s in cannon too)! Along with the normal Bud and Lou wisecracks, we also get some fantastic pieces in this including a great scene of Lou training in a gym on a punching bag actually being pounded by our invisible protagonist, an uproarious restaurant scene where a ravenous and transparent Tommy eats everything in sight, and the climatic boxing match with Tommy assisting Lou from the aether is a sight to behold. Also of note is a rather well done scene in which Tommy becomes visible while bathed in steam.
As for extras? A trailer is all that appears before our eyes!
And with that we lay The Invisible Man to rest…next up things get fishy with The Creature From the Black Lagoon Complete Legacy Collection!
Naturally, first we have:
The Creature From the Black Lagoon (1954): An expedition journeys down the Amazon in search of a skeleton from the Devonian Period that holds the key to the link between sea life and mankind. As they sail on down the lazy river and make camp around the Black Lagoon, something sinister follows them every step of the way. Well as fate would have it, and the fact they brought the gorgeous Kay Lawrence (Julie Adams) along on their lil’ scavenger hunt, that “something” soon reveals himself; the living prehistoric specimen “The Gill Man”; part man, part fish, and the worst of both! Soon the Gill Man is on the hunt; offing members of the expiation and kidnapping Kay. Can our heroes win against a menace from the dawn of time?
Full of excellent suspense, a classic Beauty and the Beast theme, and a unique setting for a Universal fright flick (even though the film was shot in California and Florida standing in for the Amazon) The Creature From the Black Lagoon is one of the greatest creature features ever committed to sinful celluloid! Speaking of the “creature”; the beast’s design is one of the most iconic and effective movie monsters to ever strike fear in a theater patron’s heart, and still holds up decades later thanks to it’s intricate detailing, and fully articulated mask.
As for special features, things go swimmingly on this disc (I feel no shame)! First up we get one of those amazingly in-depth chats about the film’s creation, production, and beyond courtesy of an audio commentary by Film Historian Tom Weaver. Following that we get a doc detailing the history of the entire Gill Man series, a still gallery, trailers for all the films in the series, a reprise of the “Universal Lot” puff piece, and a 3-D version of the film (which requires 3-D equipment to view).
Next surfaces:
Revenge of the Creature (1955): The Gill-man is captured and sent to a marine park in Florida, where he becomes the object of study for animal psychologist Professor Clete Ferguson (John Agar) and ichthyology student Helen Dobson (Lori Nelson). Well as the creature is tormented needlessly…I mean “studied”, Clete and Helen become a couple…which just pisses the Gill Man off even more; so much so that he soon breaks free and goes on a rampage but it does little to ease his unquenchable prehistoric horniness, so naturally he kidnaps our heroine. Will man persevere over beast, or will savagery rule the day?
While the marine park setting is fresh and new, the basic Beauty and the Beast elements of Revenge of the Creature remain in tact from the first go-around. That isn’t necessarily a bad thing, as we are treated to images of a captured Gill Man living among various types of fish, and stalking suburbia in his quest for love. Once again the suit effects are excellent, and there is certainly much more creature action in this installment as the need to create suspense on his appearance is no longer a necessity. The only negative is; the human characters in the film seem overly cruel in how they treat the Gill Man…he’s beaten, chained, and generally treated like shit…which does generate sympathy I suppose, but c’mon! As a fun aside; keep your eyes peeled for a young Clint Eastwood as a scientist!
As for extras we get…the film’s trailer. But hold up, there’s more! We also get an optional 3-D version of the film (which requires a 3-D set up), and an audio commentary with Nelson, and Film Historians Bob Burns and Tom Weaver! This conversation is packed with info as usual; but things get anecdotal as well due to one of the film’s stars being on hand!
Lastly we have:
The Creature Walks Among Us (1956): Scientists led by world class douche-nozzle Dr. William Barton (Jeff Morrow), a paranoid and abusive maniac that thinks everyone is out to steal his wife Marcia (Leigh Snowden), board a boat with the intention of capturing the Gill Man who has fled to the Everglades. Speaking of Marcia, she accompanies the scientists on a dive to locate the creature, much to the agitation of her husband, but ends up overcome with the “raptures of the deep” (whatever the fuck that is) and goes cray-cray for a tick ending the initial search. Regardless, the Gill Man is soon captured, and becomes a walking fish fry thanks to a blaze that results in an operation by Barton that renders him more man than fish…which results in the powers that be attempting to integrate him into life among humans. This just makes him a manic depressive that stares at the ocean all the time. This is short lived however, because soon he engages in one of his trademarked rampages that leaves death in it’s wake!
While The Creature Walks Among Us starts in a similar fashion as the previous entries in the series, what follows is an imaginative paradigm shift…at least as far as our titular creature is concerned. By having the Gill Man undergo a a fire and science borne mutation, the film not only offers us a new visual take on the creature but changes his lot to one of tragedy, and even changes what was always unique to him; namely being a creature of the water, as now his gills are atrophied and his lungs more developed making him more land bound. But fret not, we do get our now traditional third act rampage…and never has it been more justified!
As for bonus features, we get another info packed and lively commentary from Film Historians Bob Burns and Tom Weaver and the film’s trailer.
As we stare out to see the Creature disappears over the horizon, but we have one last monster to check in on:
Phantom of the Opera (1943): Violinist Erique Claudin (Claude Rains) is given the heave-ho from the Paris Opera House due to the increasing inability to perform due to a hand ailment…and to make matters worse, he has spent all his dough to help anonymously fund voice lessons for Christine Dubois (Susanna Foster), whom he is all hot and bothered for. He soon spirals into delusion, and is splashed in the face with acid as he strangles a music publisher he is convinced stole his work. Soon he takes up residence in the sewers beneath the opera house, dons a mask to hide his deformity, and begins causing all sorts of “accidents” to advance Christine’s career. will the authorities catch up to Erique before his final bloody curtain call, our will our putrid protagonist finish his journey down revenge’s road?
Coming as a stand alone offering, as well as being the sole full color offering in the collection, Phantom of the Opera is one hell of a lavish and lush production. Speaking of productions, I hope you like operatic musical numbers and violin solos, because you get plenty of that action before we get to any ghoulish goods (and after too for that matter)…in other words, this one is unfortunately a rather slow movin’ fright flick my fiends. Also, despite it’s garish technicolor, large cast of extras, and strong performance by Rains; this film doesn’t even hold a candle to the visual style and panache of the pitch perfect 1925 version of the tale (even if it does share sets with that production, and a few excellent shots) starring Lon Chaney and featuring one of the most iconic monster make-up designs of all time (as opposed to this film’s “meh” half face scar design).
As for extras, we get yet another in-depth, scholarly analysis of the film, this time courtesy of Film Historian Scott MacQueen, an in-depth look at the cinematic history of the Phantom at Universal, a stills gallery, the film’s trailer, and that piece on “The Lot” again.
If the nearly 10,000 words above haven’t convinced you to pick this set up, I don’t know what will. This collection is what every monster kid has dreamed about…all of our beloved frightful faces from the classic era of the horror biz gathered in one location…a preternatural playground where Karloff, Lugosi, Chaney et. al. still reign supreme!
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