Boo

Boo! comes as a nice little extra feature on the Frankenstein-DVD. It's definitely worth a watch as it may be one of the very first spoofs ever made. A voice-over guides footage from "Frankenstein", "Nosferatu" and some of "The Cat Creeps". Separate scary parts from both movies are perfectly edited into each other and the narrator's figurative language mostly results in subtle chuckling. Check it out when you're browsing through the DVD-extra's! It won't take much of your precious time (Boo! only lasts 10 minutes) and it's most certainly make you laugh! Much funnier than later comedies and horror spoofs. This little short is thought up by Albert DeMond who wrote an endless amount of screenplays. Merely comedy and drama.

Whenever someone talks about horror movies of the 30s, the words "Universal Horror" always have to appear sometime during the conversation, as the importance of the movies done by Universal Studios in that decade is simply unquestionable. While Universal Horror was technically born in the 20s, it was in 1931 when it truly became a synonym of high quality fantasy stories, as it was in that year when the two first films of the "Golden Age" were released: Tod Browning's "Dracula" and James Whale's "Frankenstein". Based on classics of Gothic literature, both films became instant hits and transformed their lead actors (Bela Lugosi and Boris Karloff respectively) into legends. Due to their great success, the two films quickly entered our pop culture as the ultimate monster films. "Boo", a 1932 short comedy film produced by Universal, is an early example of this.

In "Boo", a Man (Morton Lowry) is decided to have nightmares, so following the advice of the Narrator (possibly director Albert DeMond himself), he has a heavy dinner made of lobster and milk, and reads a horror novel before going to sleep. Our hero has read Bram Stoker's "Dracula", so as soon as he falls asleep, he begins to dream the horror of his lifetime. In his dream, he sees Dracula (archive footage of Max Schreck from 1922's "Nosferatu") preying on helpless humans and sucking their blood. To our hero's horror, Frankenstein's Monster (archive footage of Boris Karloff in 1931's "Frankenstein") also appears on his dream, and the Monster is willing to prey on humans too just as the vampire Count does. However, something is not right with these monsters, as their motifs seem rather dubious, or at least that's what the Narrator tries to explain.

Written by Albert DeMond, "Boo" is nothing more than a series of clips from F.W. Murnau's silent classic, "Nosferatu", James Whale's "Frankenstein" and Rupert Julian's "The Cat Creeps", everything mixed but joined together by DeMond's tale of a poor man's nightmare. DeMond's story is merely an excuse to put the clips in funny ways, putting footage on a loop or adding wacky sounds to them. In his narration, DeMond makes fun about the congress and the economical situation of their time, as well as of horror movies in general. It's all in good fun, although certainly the jokes haven't really aged well and now may sound boring and unfunny. While this can be blamed on the fact that humor has changed, in all honestly the jokes weren't that funny to begin with, although some can still bring at least a smile.

Where the movie shines is in it's use of clips from Universal horror films, as DeMond puts them out of context and makes some funny segments by playing with them. Interestingly, DeMond used Murnau's "Nosferatu" instead of Universal's own "Dracula", mainly because Lugosi's vampire was probably too elegant and good looking for his wacky spoof, so he used Max Schreck's interpretation as it was more of a monster. Of great interest is the fact that "Boo" contains what's probably the last surviving footage of Rupert Julian's 1930 horror classic, "The Cat Creeps", a movie that has been missing for years and that it's considered lost by many historians. While out of context and done for laughs, we can see bits of that now legendary film in this little short movie.

While I wouldn't say that "Boo" is a great movie, it's an interesting oddity to fans of Universal's Golden Age of horror movies, as not only it offers the only way to see a slice of "The Cat Creeps", it also shows a different view of those classic movies and how strong was their impact in those early years. Sure, as a comedy it's pretty mediocre (even for laugh tracks standards), but like most of the horror movies done by Universal, this one has a strange charm that makes it special. Not exactly a good film, but definitely a must-see for Universal horror fans. 5/10

To say Boo! is an oddity is an understatement in itself. This is a perfect example of something that is so bad it is good as it pokes fun at Frankenstein and Dracula(Nosferatu). It is true that Boo! is cheesy and lame somewhat, the pacing is rather rushed, the editing dated and the reference to woman automobile drivers rather on the sexist side, not to mention the enthusiastic if rather overdone narration. Nonetheless, it is a curious watch for the final line "you can milk a cow but a lobster is very ticklish", the so-bad-it-was-funny type of jokes and the corny haunting music. Plus it was nice to see archive footage of Frankenstein(hooray for Karloff!) and Nosferatu. Overall, by all means worth watching, but not something I would recommend highly. 5/10 Bethany Cox

As time passes, it is easy to forget that films of the past were often accompanied by co-features, newsreels, cartoons and film shorts that added to the value of an evening out. Even if the main feature was a desultory effort, entertainment could be found within the accompanying program.

Dating from 1932, Boo was a short film produced by Universal that used footage from their own Frankenstein adaption, as well as The Cat Creeps and the 1922 German version of Dracula entitled Nosferatu. With minimal new footage but clever editing, a modest yet enjoyable short was produced. Given that the film incorporates only around three minutes of new footage, production was likely limited to a single day.

Clearly a product of its time (with brisk narration bemoaning the depression and Congress' failure to deal with it), this film was likely a tolerable indulgence for film goers of the time but has become an intriguing relic of its time for the modern viewer.

On a side note, Nosferatu was ordered destroyed by Bram Stoker's widow shortly after its unauthorised production. Several prints survived and it is intriguing that a relatively clear one was available for the producers of Boo as early as 1932.

With so much of film history prior to 1950 now lost to us, the survival of Boo and its public distribution with the Frankenstein DVD provide us with an item of historical and social interest. It provides an indication of how modest resources could be used to pad out a cinema program and perhaps more importantly shows the cultural impact of Frankenstein at that time. The monster was an easily recognisable figure already and would not have been included in the short had the public not been able to instantly identify him.

Seeing a film like Boo is like opening a door to the past. Even after the door has closed the memories remain and new insight is gained by the viewer.

Yes, you read right. "BOO" (1932) is a delightfully _unfunny_ little movie. How is that possible? Well, the narration is really, painfully lame... so lame, in fact, that it had me laughing hysterically. The narrator is just so darned enthusiastic, so sure he's being delightful, that you have to marvel at his blissful ignorance. After I saw "BOO," I couldn't help but imitate him. ("He's just like Congress!" "He's like a female automobile driver!") Add to this the "wacky" editing tricks -- endlessly repeated -- and you have the recipe for comic perfection. I think if I had seen this when I was 8 years old, I might have thought it was just about the funniest thing in the world. Seeing it as an adult, the movie's UNFUNNINESS is itself funny. It seems like a contradiction in terms, but you'll understand when you see it. You should have the DVD of "Frankenstein" in your collection anyway. Universal's done a beautiful job with it.