Terror Universal

This documentary on classic horror is found on the DVD of the 1932 version of The Mummy. It consists of interviews with actors, crew, experts and those who have been inspired in various ways by the movies, clips of them(from different decades, silent and spoken alike, and you can see the evolution of film-making), behind-the-scenes footage and stills as well as narration(Branagh seldom lets us down, and this is no exception). The amount of journalism alone is impressive here, and the presentation is so smooth and compelling that you end up not able to take your eyes off it. I'm not used to being this captivated by something presented in this medium which is not fiction. They cover a massive amount in the well-paced 95 minutes that fly right by. The technical aspects, different language versions(some of them superior to the American originals!), Boris Karloff, Lon Chaney, make-up, the connection to WWI(the popularity of the thrilling flicks was partially on account of grotesquely hurt and disfigured people(victims of the war) living on, because of medical advances), the accusation of these pictures causing real life crimes, European styles and look, Gothic, Bauhaus, expressionism, art, etc. They even give away how some of the FX were done(including an early version of blue-screen!), and you really understand why these were beloved. Editing is crisp, and this never dwells excessively on anything. There is a lot of disturbing content, gory and violence in this. I warmly recommend this to every single fan of the medium, not just of the period or the specific genre. 8/10

"Universal Horror" is a bit of a misnomer, as this documentary also covers horror films, especially of the early 1930s, from other studios, including "Dr. Jekyll and Mr. Hyde" (1920 and 1931/32, Paramount), "Island of Lost Souls" (1932, Paramount), "King Kong" (1933, RKO) and "Mystery of the Wax Museum" (1933, Warner Bros.), as well as a host of silent films from Weimar Germany and elsewhere--dating as far back as "The Red Spectre" (1907, Pathé), which is compared to a scene in "Bride of Frankenstein" (1935) and concluding with Abel Gance's 1937/38 remake "J'Accuse!" Attention, of course, is also given to some of the Dracula, Frankenstein, Mummy and Wolf Man films of Universal, as well as other studio entries, such as "The Hunchback of Notre Dame" (1923), "The Phantom of the Opera" (1925), "The Cat and the Canary" (1927), "The Old Dark House" (1932), "The Invisible Man" (1933), "The Black Cat" (1934), "The Raven" (1935) and others.

Examining so many films doesn't allow time for too much in-depth analysis, but as the relatively lackluster and derivative video documentaries devoted to single films also available on Universal home video collections, e.g. "The Frankenstein Files" (2002) and "Monster by Moonlight" (1999), demonstrate, more time doesn't equal better insight. Having already read David Skal's book "Hollywood Gothic," for instance, I don't care for more than his brief statement in this documentary for his rather spurious argument that the Spanish-language "Dracula" is technically superior to its English-language counterpart, both having been produced by Universal in 1931.

Kevin Brownlow is the best in the business of making documentaries on classic cinema, and I especially enjoy when he's provided more length than here, as in the mini-series format for his programs on silent cinema in the U.S. ("Hollywood" (1980)) and Europe ("Cinema Europe: The Other Hollywood" (1995)), or when he narrows his focus and examines fresh material, as in the use of discarded footage in "Unknown Chaplin" (1983). Regardless, "Universal Horror" moves briskly from film to film, providing a few interesting comparisons and background tidbits for each along the way. For example, clips of "The Golem" (1920) and "The Magician" (1926) are shown to demonstrate the influence on "Frankenstein" (1931), "The Mummy" (1932) is referred to as essentially a remake of "Dracula" (1931) and examples of Bauhaus architecture are compared to the style's adoption in "The Black Cat." The performances of Bela Lugosi and Boris Karloff and the makeup work by the likes of Jack Pierce are praised, too, and the special effects behind "Dr. Jekyll and Mr. Hyde," "The Invisible Man" and "King Kong" are explained. "Universal Horror" is surely worth a look, especially if one only wants a feature-length introduction to the golden age of horror cinema.

I acquired this via an imperfect VHS copy culled from a U.K. TV screening (which was followed, as per the closing announcement, by one of the very films it dealt with i.e. James Whale's sublime THE OLD DARK HOUSE {1932}), rather than any of the "Anniversary Edition" DVDs on which it has been featured (since I never got around to upgrading them)! Given his reputation as a film restorer, Brownlow is well-known for his love of Silent cinema, so it is somewhat surprising to find him involved in this valediction to the Golden Age of Horror (which it is, since he does not exclusively treat the Universal Studios product) though, not that a considerable amount of time is devoted to the genre efforts which emanated from that pre-Talkie era.

Therein, however, lies the documentary's chief problem: while I loved the fact that such masterpieces as Paul Leni's Silent THE MAN WHO LAUGHS (1928) and Michael Curtiz's Warners-produced MYSTERY OF THE WAX MUSEUM (1933) were discussed in some detail (more predictably, we also get Paramount's magnificent 1931 version of DR. JEKYLL AND MR. HYDE and RKO's no-less-startling KING KONG {1933}), this resulted in a number of Universal films being either not given their due or omitted entirely! The appraisal of the second phase of their heyday proves especially skimpy: considering that we would get various SE DVDs over the next few years of Dracula, FRANKENSTEIN (both 1931), THE MUMMY (1932), et al, where their histories are exhaustively illustrated, one would have liked this to delve deeper behind the scenes of some lesser but still classic stuff such as the atypical 'prestige' production TOWER OF London (1939), seen briefly in the opening credits and then never again, THE MUMMY'S HAND (1940), which is completely neglected, and the troubled FRANKENSTEIN MEETS THE WOLF MAN (1943), again, mentioned only in passing!

Indeed, of the myriad sequels to the original Universal monster movies, unsurprisingly, the only two to receive the requisite attention (since they are among the very best the studio turned out) are the second and third Frankenstein outings (with some on-set clowning relating to the latter being intriguingly shown in color!), with the maligned-but-irresistible 'monster mashes' or their subsequent spoofing at the hands of comic duo Abbott & Costello hardly being addressed at all! That said, we do get to learn some new anecdotes (at least, speaking for myself) including the now-lost MGM effort London AFTER MIDNIGHT (1927), directed by Tod Browning and starring Lon Chaney, having apparently inspired a vicious murder and that, similarly, the Bela Lugosi/Boris Karloff vehicle THE RAVEN (1935) was singled out as being representative of the "degenerate" level to which Horror had sunk. Also, I had always wondered why Edgar G. Ulmer never worked again for the studio during this time after the first Karloff/Lugosi teaming in THE BLACK CAT (1934), which we are also told was among their most commercially successful ventures, and this was because the director fell in love with a woman who was married to the Laemmles, the family that ran Universal!

Needless to say, the documentary is fascinating and makes for a thrilling catalog of some of the most memorable moments not only in horror but movie history, with interjections from several historians, buffs (who watched these pictures in their childhood when they first emerged), relatives of the people who made them and, in a handful of cases, among the very few remaining survivors from that era – actresses Lupita Tovar (Mina in the renowned alternate Spanish-language version of Dracula), Fay Wray, Gloria Stuart and screenwriter Curt Siodmak. However, as I said, I missed hearing about a good many titles (like, say, Universal's first stab at the "Wolf Man" myth in WEREWOLF OF London {1935}, the just-as-seminal 'mad doctor' flick THE INVISIBLE RAY {1936} – once more starring Karloff and Lugosi – but also strictly 'B' stuff such as the "Inner Sanctum" series or the unlikely "Jungle Woman" and "Creeper" franchises) that, in the long run, I feel one is better off reading a book on the subject if he is to get 'the full story'!

A pretty good documentary on Universal's first wave of horror films from 1931 to 1939. It starts off with silent horror films which inspired the studio and filmmakers and gets into detail about Universal films like "Dracula" (the English AND Spanish versions), "Frankenstein", "The Mummy", "The Invisible Man", etc. etc. They have some great interviews with people who saw the movies in their original runs (the best are from Ray Bradbury and James Karen), clips from the films themselves, a VERY cool color home movie showing Karloff in his green makeup as Frankenstein and some non-Universal horror like "King Kong" and "Mystery of the Wax Museum". As a fan of old Universal films there was nothing new here but I was entertained. If you're a newcomer to those old films this is a good place to start.

this is an extremely interesting documentary detailing the early years of the Universal horror films. as well as featuring the most well-known films (dracula, frankenstein, wolf man &tc), it also details a plethora of other, less known films.

it would be great if this were the 1st part of a series documenting the horror film, continuing on until the present day. especially if the other films were both as entertaining and intelligent as this.