Boris Karloff: The Man Behind the Monster

BORIS KARLOFF: THE MAN BEHIND THE MONSTER (2021) **** Thomas Hamilton's insightful and illuminating documentary on the legendary horror icon offers a full display of the actor's canon from bit player to Hollywood royalty with rare pictures and talking head tributes from the likes of filmmakers Guillermo Del Toro, John Landis & Joe Dante to fellow thespians such as Ron Perlman and Christopher Plummer. Karloff's English gentleman off-screen persona counterbalanced the often sinister and deeply scary onscreen madmen and monstrosities that he enlivened with his own trademark heart, passion and pathos. As Frankenstein's monster he cemented what would be a unique legacy of the genre as well as his generosity for his fellow man. A must for fans and future filmmakers.

Documentary examining Karloff's life from his extraordinary and far from easy childhood, through his youth in London and then off to America before returning to the UK. He was highly regarded in the theatre and despite up and downs in his career he was never really out of work in the movies and tv until dying from emphysema in 1969.

It's an interesting look at his life and shows him as an intelligent and caring man and someone who stood up for his principles - he was an early officer in the screen actors guild. There are the usual array of famous and not so famous names who talk about him, with some like Guillermo Del Toro and Christopher Frayling, knowledgeable fans and others whose presence is a bit of a mystery eg Christopher Plummer. Worth seeing though and particularly to see what a huge star he was during his days in horror films in the 1930s and how later on her earned a whole new legion of fans who caught his films on tv.

Feature length documentary directed by Thomas Hamilton looking at the life, work, legacy and filmography of William Henry Pratt, known professionally as Boris Karloff. He was one of the greatest horror actors though he did also star in other genres. The movie features some superb interviews with movie directors, actors, film historians and Karloff's daughter Sara. His life is chartered from a young child and his parents' unhappy marriage to his final years, still working pretty much right up to his death in 1969. When he was a young man Boris left England for Canada then the USA, desperate for money he took up hard labour but his interest was in acting. There is some fascinating footage of some of the silent movies that he appeared in, often being given "exotic" roles due to his dark skin (his mother was half Indian). Horror films featured include Frankenstein (1931), The Old Dark House (1932), The Mask of Fu Manchu (1932), The Mummy (1932), The Black Cat (1934), a favourite of mine, Bride of Frankenstein (1935), House of Frankenstein (1944), The Body Snatcher (1945), Isle of the Dead (1945), The Raven (1963), How the Grinch Stole Christmas (1966), The Sorcerers (1967) and Targets (1968). Also featured are his Broadway roles, TV shows (Thriller, 1960-62) and an unexpected and at times uncomfortable appearance on This Is Your Life in 1957. Years ago I read a Karloff biography by Peter Underwood called "Horror Man", I thoroughly enjoyed reading that, likewise I thoroughly enjoyed watching this documentary about the pipe smoking gentleman of Golden Horror.

2021's "Boris Karloff: The Man Behind the Monster" is among the first truly comprehensive documentaries about the actor known for his indelible portrayal of The Monster in James Whale's 1931 "Frankenstein," yet one wonders why it took so long for such a film to be made, just over 50 years after his 1969 passing at age 81 (better this than a biopic!). Kicking things off with The Monster was clearly the right way to start, continuing with "The Old Dark House" and "The Mummy" before delving into his early life, the youngest son in a diplomatic family, whose dark complexion made him stand out in school as well as silent bit parts. A chance encounter with Lon Chaney was most encouraging, but it wasn't until his 1930 performance as convict Galloway in Howard Hawks' "The Criminal Code" that studios and audiences began to really take notice of him. Karloff always believed that any actor worth his salt could have played The Monster and reaped its rewards, proving himself again and again in worthy vehicles like "The Black Cat," "The Invisible Ray," and one for Columbia, "The Black Room" offering him dual roles as twins, one good, the other evil, plus a magical third performance as the bad one impersonating his murdered brother. The 40s were a bonanza for Broadway success in "Arsenic and Old Lace," then a three picture collaboration with RKO producer Val Lewton in "The Body Snatcher," "Isle of the Dead," and "Bedlam." His final decade brought television acclaim as host and occasional star on NBC's THRILLER, the Wurdulak in Mario Bava's "Black Sabbath" (the family that slays together, stays together!), his memorable narration of Dr. Seuss' "The Grich That Stole Christmas," and a final bow as an aging monster actor in Peter Bogdanovich's "Targets." A trip down memory lane for enthusiasts, or a wonderful introduction for the uninitiated, you can't go wrong either way.

Greetings again from the darkness. It's a rare occurrence, but every once in a while subduing my internal fanboy is a bit of a challenge. A documentary on the career of the great Boris Karloff certainly is one of those times. Mesmerized by the Universal monster films as a kid, Karloff's appearances continued to have a hypnotic effect on me throughout his career ... a career that spanned fifty years and ended only with his death in 1969. Of course Christmas time each year returns Karloff back into our homes through his Grammy-winning voice acting in "Dr Seuss' How the Grinch Stole Christmas!" Somewhat oddly, director Thomas Hamilton chooses to open the film discussing Karloff's work in Mario Bava's 1963 film BLACK SABBATH. Contemporary horror master Guillermo del Toro (THE SHAPE OF WATER, PAN'S LABYRINTH) comments that the film heavily influenced his own CRONOS (1993). It may be an unusual opening segment to kick off a discussion of Karloff's career, but understanding his stature and influence is really the legacy - it goes much deeper than his iconic Frankenstein monster. The opening credits are played over a stream of stunning chalk/graphite drawings of Karloff's many characters.

Some of the key interviews are conducted with film historians; film directors del Toro, Roger Corman, Joe Dante, and John Landis; actors Caroline Munro, Christopher Plummer, and Dick Miller; and Karloff's own daughter, Sara, who is now at an age her father never saw. For the most part, we go chronologically through Karloff's career with commentary on each of the key roles and films. The vintage footage brings back many memories and is a blast to watch - likely aided significantly by movie memorabilia collector and Karloff expert Ron MacCloskey (the film's co-writer). Karloff's physical presence on screen is noted on multiple occasions, as is his ability to emote, even through heavy makeup.

Obviously it's FRANKENSTEIN (1931) that elevated Karloff from a character actor to a star. Although surprisingly, the man himself credits Howard Hawks' THE CRIMINAL CODE (1930) as his big break. The following year, after the success of DRACULA with Bela Lugosi, Universal put Mary Shelley's "Frankenstein" on the fast track and assigned James Whale to direct. Going against conventional wisdom, Whale decided not to cast Lugosi, and instead went with Karloff ... in hindsight, a decision that looks brilliant. We hear about the makeup genius Jack Pierce, who worked with Karloff's facial features in creating the now iconic look of the monster. Pierce had made an early name for himself with his work on THE HUNCHBACK OF NOTRE DAME (1923) and THE PHANTOM OF THE OPERA (1925), and then spent nearly two decades creating the now familiar Universal monsters: Dracula, Frankenstein, The Mummy, The Wolfman, and of course, Elsa Lanchester's Bride in BRIDE OF FRANKENSTEIN (1935).

The film spends very little time on Karloff's personal life, though it mentions his six marriages, his participation in the formation of the Screen Actors Guild (SAG), and his at-times debilitating back pain. He often wore a metal leg brace for stability and balance, and for those who only know him as the monster and the Grinch, the segments on his later career will likely be enlightening. Karloff loved live theater and received acclaim for his stage work in "Arsenic and Old Lace". Daughter Sara confirms that he embraced television from the early days, and director Hamilton includes a clip of an elderly Karloff acting in a comedy skit with two other greats, Red Skelton and Vincent Price. As a fan, I truly appreciate some of Karloff's work in his final 10-12 years, including "Shock" theater, the "Thriller" series, and Roger Corman's THE RAVEN (1963). Beyond all of Karloff's exceptional work through multiple mediums (including children's book series), and that instantly recognizable face and voice, it's his monster's initial entrance onto the screen that remains one of the truly iconic moments in film history - even 90 years later.

The film is scheduled for a rolling release beginning September 17, 2021 and carrying through October 31.