Favorite Horror Films II: The Sequel
Since it is the season, at least the season for ghouls, ghosts, and goblin, I felt inspired to share with you a few more of my favorite horror films that didn't make my original list back in 2006. For those who are interested in reading that post, you can find it here.
The reason for this list, to be completely honest is two-fold: I either forgot about it when I wrote my first post or it grew on me immensely after several viewings over the past four years.
In other words, creating this second list gives me a chance to write a little bit while I try to fight off a headache caused by the change in weather system that's currently moving through our part of the state. The films have been placed in order of their release date.
DRACULA (1931)
Directed by Tod Browning
Written by Hamilton Deane, John L. Balderston
Adapted from the Play by Garrett Fort
Based on the Novel by Bram Stoker
Bela Lugosi had starred in dozens of films before landing the lead role in Tod Browning's adaptation of Bram Stoker's Dracula. He even played the title role in the stage play for three years before becoming what would eventually typecast him as the embodiment of pure evil, Count Dracula. Unfortunately, his reputation quickly declined after filming Dracula, accepting practically every role offered, soon parodying the once powerful presence for a paycheck. Lugosi's reputation, however, doesn't derail the fantastically-envisioned Gothic horror classic.
Although the Stoker's novel had been adapted into a film by German director, F.W. Murnau in 1922 entitled Nosferatu, it was sued for plagiarism and copyright infringement by Stoker's widow, who ordered all prints of the film to be destroyed (which obviously didn't happen). A loose adaptation at best, Dracula still embodies the overall theme of Bram Stoker's work. The film works on many levels, but most importantly the atmosphere created from the art direction, sets it apart from other horror films released in the 1930s (Frankenstein excluded). So important were these sets to Universal, that Dracula's Transylvania castle among others stood long after filming was completed, to be used for another decade.
My only reservation with Dracula is partly due to it's direction. Being a prominent silent film director, I feel that Tod Browning struggled with certain elements, relying too much on extended periods of silence and character close-ups, which usually lent itself to Lugosi's stolid acting style, who also was a distinguished silent film actor. Rumor has it that Browning struggled with fully embracing sound films, and eventually directed his last film in 1939.
Interesting Trivia:
FRAKENSTEIN (1931)
Directed by James Whale
Written by Garrett Fort, Frances Edward Faragoh
Adapted from the Play by Peggy Webling
Based on the Novel by Mary Shelley
Anyone who has read Mary Shelley's Frankenstein would probably notice that there are more differences than there are similarities with the film. The reason for these differences is that the film was adapted from Peggy Webling's play, which in and of itself was a loose adaptation of the novel. And we all know what happens when you make a copy of a copy, don't we? (Insert Multiplicity joke here if you like.)
Released only nine months after Dracula, Frankenstein completed Universal's 1-2 knockout combo, introducing to us the two most iconic silver-screen monsters the world has ever known.
However, the best thing to do with it is to disconnect it from the novel and have it stand alone as a film. As a stand alone film in its own right, Frankenstein lives up to it's grandiose vision put onto screen from director James Whale. Boris Karloff, now recognized as one of the most iconic figures of early horror cinema, got his big break when he was cast as The Monster in Frankenstein. He would reprise his role as The Monster several times over the next two decades along with other iconic roles in films such as The Mummy, Isle of the Dead, and a few Abbott and Costello comedies.
This film also relied heavily on the brilliance of its set direction. But in addition to that, Henry Frankenstein also became the mold and inspiration of many horror films from the 1930s to the 1950s, exploiting the "mad scientist" as a creator of evil. On a directorial standpoint as well as visually, the film surpasses Dracula only due to the auteur filmmaker that was James Whale. From the opening scene, in which the graveyard is framed so beautifully, to the climatic finale with the burning windmill and angry villagers, Whale's imagery has become synonymous with the classic Hollywood horror film.
Interesting Trivia:
PSYCHO (1960)
Directed by Alfred Hitchcock
Written by Joseph Stephano
Based on the Novel by Robert Bloch
Alfred Hitchcock had already established himself as one of the most premiere and sought out directors of the past several decades, with movie stars and studios alike, lining up in hopes to either star in or release his next motion picture. Already creating such classics as Rear Window, Vertigo, and North by Northwest, Hitchcock had also built a reputation as a television producer with his series Alfred Hitchcock Presents. While still under contract with Paramount Pictures for one more film, Psycho was filmed on the Universal back-lot with his television crew. This provided Hitchcock again with complete control over the production, but it also reduced costs considerably by already having a production team in place.
Psycho broke many rules that Hollywood followed back in the late 1950s. The biggest rule was that it was shot in black and white. The reason for this, Hitchcock had stated, was that it would be too gory in color. However, the main reason was that he wanted to make this film as inexpensively as possible (under $1 million). His philosophy was if so many bad black and white "B" movies did so well at the box office, what would happen if a really good black and white movie was made.
Other firsts for this film were: first American film showing a toilet flush; killing off what we assume is the lead actress in the first 30 minutes; using the word "transvestite" and to give the clinical psychological term. The technique and skill of a master storyteller is still visible by Hitchcock's ability to frame every shot, from the brilliance of the pull back on Janet Leigh's eye to the dead body of Marion Crane, to the disorienting shot of Detective Arbogast falling down the stairs. Exact precision and execution from one of Hollywood's elite filmmakers. A true delight... if you're into the whole murder thing.
Interesting Trivia:
Like most horror movies and their sequels, stay tuned for the Part III, which should be posted by the end of the week.
The reason for this list, to be completely honest is two-fold: I either forgot about it when I wrote my first post or it grew on me immensely after several viewings over the past four years.
In other words, creating this second list gives me a chance to write a little bit while I try to fight off a headache caused by the change in weather system that's currently moving through our part of the state. The films have been placed in order of their release date.
DRACULA (1931)
Directed by Tod Browning
Written by Hamilton Deane, John L. Balderston
Adapted from the Play by Garrett Fort
Based on the Novel by Bram Stoker
Bela Lugosi had starred in dozens of films before landing the lead role in Tod Browning's adaptation of Bram Stoker's Dracula. He even played the title role in the stage play for three years before becoming what would eventually typecast him as the embodiment of pure evil, Count Dracula. Unfortunately, his reputation quickly declined after filming Dracula, accepting practically every role offered, soon parodying the once powerful presence for a paycheck. Lugosi's reputation, however, doesn't derail the fantastically-envisioned Gothic horror classic.Although the Stoker's novel had been adapted into a film by German director, F.W. Murnau in 1922 entitled Nosferatu, it was sued for plagiarism and copyright infringement by Stoker's widow, who ordered all prints of the film to be destroyed (which obviously didn't happen). A loose adaptation at best, Dracula still embodies the overall theme of Bram Stoker's work. The film works on many levels, but most importantly the atmosphere created from the art direction, sets it apart from other horror films released in the 1930s (Frankenstein excluded). So important were these sets to Universal, that Dracula's Transylvania castle among others stood long after filming was completed, to be used for another decade.
My only reservation with Dracula is partly due to it's direction. Being a prominent silent film director, I feel that Tod Browning struggled with certain elements, relying too much on extended periods of silence and character close-ups, which usually lent itself to Lugosi's stolid acting style, who also was a distinguished silent film actor. Rumor has it that Browning struggled with fully embracing sound films, and eventually directed his last film in 1939.
Interesting Trivia:
- A Spanish-language version of Drácula was shot on the same set at night at the same time, using Spanish-speaking actors.
- Universal Studios commissioned a new musical score from Philip Glass in 1999, performed by the Kronos Quartet.
Both of these versions of Dracula, along with the new score by Philip Glass, can be found on the 75th Anniversary Edition DVD.
FRAKENSTEIN (1931)
Directed by James Whale
Written by Garrett Fort, Frances Edward Faragoh
Adapted from the Play by Peggy Webling
Based on the Novel by Mary Shelley
Anyone who has read Mary Shelley's Frankenstein would probably notice that there are more differences than there are similarities with the film. The reason for these differences is that the film was adapted from Peggy Webling's play, which in and of itself was a loose adaptation of the novel. And we all know what happens when you make a copy of a copy, don't we? (Insert Multiplicity joke here if you like.)Released only nine months after Dracula, Frankenstein completed Universal's 1-2 knockout combo, introducing to us the two most iconic silver-screen monsters the world has ever known.
However, the best thing to do with it is to disconnect it from the novel and have it stand alone as a film. As a stand alone film in its own right, Frankenstein lives up to it's grandiose vision put onto screen from director James Whale. Boris Karloff, now recognized as one of the most iconic figures of early horror cinema, got his big break when he was cast as The Monster in Frankenstein. He would reprise his role as The Monster several times over the next two decades along with other iconic roles in films such as The Mummy, Isle of the Dead, and a few Abbott and Costello comedies.
This film also relied heavily on the brilliance of its set direction. But in addition to that, Henry Frankenstein also became the mold and inspiration of many horror films from the 1930s to the 1950s, exploiting the "mad scientist" as a creator of evil. On a directorial standpoint as well as visually, the film surpasses Dracula only due to the auteur filmmaker that was James Whale. From the opening scene, in which the graveyard is framed so beautifully, to the climatic finale with the burning windmill and angry villagers, Whale's imagery has become synonymous with the classic Hollywood horror film.
Interesting Trivia:
- Boris Karloff offered to remove his partial bridgework as part of the monster make-up process to create the sunken cheek look.
- Bela Lugosi was offered the part of The Monster but refused on the grounds that his character did not speak (though eventually he played the role in Frankenstein Meets The Wolf Man).
PSYCHO (1960)
Directed by Alfred Hitchcock
Written by Joseph Stephano
Based on the Novel by Robert Bloch
Alfred Hitchcock had already established himself as one of the most premiere and sought out directors of the past several decades, with movie stars and studios alike, lining up in hopes to either star in or release his next motion picture. Already creating such classics as Rear Window, Vertigo, and North by Northwest, Hitchcock had also built a reputation as a television producer with his series Alfred Hitchcock Presents. While still under contract with Paramount Pictures for one more film, Psycho was filmed on the Universal back-lot with his television crew. This provided Hitchcock again with complete control over the production, but it also reduced costs considerably by already having a production team in place.Psycho broke many rules that Hollywood followed back in the late 1950s. The biggest rule was that it was shot in black and white. The reason for this, Hitchcock had stated, was that it would be too gory in color. However, the main reason was that he wanted to make this film as inexpensively as possible (under $1 million). His philosophy was if so many bad black and white "B" movies did so well at the box office, what would happen if a really good black and white movie was made.
Other firsts for this film were: first American film showing a toilet flush; killing off what we assume is the lead actress in the first 30 minutes; using the word "transvestite" and to give the clinical psychological term. The technique and skill of a master storyteller is still visible by Hitchcock's ability to frame every shot, from the brilliance of the pull back on Janet Leigh's eye to the dead body of Marion Crane, to the disorienting shot of Detective Arbogast falling down the stairs. Exact precision and execution from one of Hollywood's elite filmmakers. A true delight... if you're into the whole murder thing.
Interesting Trivia:
- The blood that we see in the shower scene was Bosco chocolate syrup.
- The last shot of Norman Bates's face has a still frame of a human skull superimposed on it, almost subliminally. The skull is that of Mother.
- Shooting the shower scene involved over 70 different camera angles and set-ups, which took roughly 7 days to show a 45 second clip of 78 individual cuts of film.
Like most horror movies and their sequels, stay tuned for the Part III, which should be posted by the end of the week.
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