Universal Horror

"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.

This documentary looks back at the era of the horror movies produced by Universal Studios. Starting with the silent classics, we are told the story behind Phantom of the Opera, Dracula through to the later horrors of The Wolf Man etc. With clips of the films, stills from the period and interviews with those involved directly, experts, fans and relatives of the original stars talk about the films and the stars of the period.

Having recently seen several Universal classic horrors (the only good thing about the 'holiday' of Halloween) I was interested enough to watch this documentary about the Universal era. The film is interesting and will engage anyone with a passing interest in the films but not those who already have a good working knowledge of them. This is because the film skims over the surface, talking generally about the main people and films but never really going into great detail about any one of them. What it does well is to look at a lot of films – I had heard of/seen most of them but there were one or two that were unknown to me and interested me for that reason. The sweeping approach just about works because there is enough in the way of anecdotes and stories to just about make it feel constantly informative, and I assume that the film is aimed at an audience famialr with the films but not to the point where they will know anything beyond what is on screen.

Usually when a documentary rolls out relatives of dead stars I start to shudder but here it works pretty well. The various daughters etc are only sparingly used, and more time is given over to Branagh's informative narrator, stars of some of the films and the various 'experts' all contribute well. Of course the clips take up most of the running time (again something that may bother those very familiar with the films) but the contributions tend to play over well without feeling too obtrusive.

Overall an interesting film but one that will only really appeal to fans of the films that have not taken their interest beyond just seeing the film. With such a big subject to cover in a short time, very little detail can be given on any one aspect; hence well-informed fans will feel that this documentary is too simplistic. However for me, and the majority of viewers I'd guess, this was an interesting film that used clips and interviews well with just enough interesting stories and snippets to make for a memorable little film.

UNIVERSAL HORROR (Photoplay Productions, 1998), is an inside look of the Golden Age of Hollywood's horror film cycle and the studio that made them famous, Universal Pictures, from the silent era of THE HUNCHBACK OF NOTRE DAME (1923), starring Lon Chaney, to the end of its cycle with ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948). Aside from many film clips from the Universal vaults, there are exclusive interviews by numerous people, some who have actually seen these movies in theaters upon their release (Ray Bradbury comes to mind), film historian Forrest Ackerman and author David K. Skal giving their input about the cycle; and the surviving actors who took part in the making of these films, particularly Gloria Stuart who appeared in THE OLD DARK HOUSE (1932) and THE INVISIBLE MAN (1933) to Lupita Tovar, the co-star in the Spanish language version of Dracula (1931). Fans of this genre will joy themselves seeing interviews of relatives of their favorite horror film star, such as Sara Karloff, daughter to the legendary Boris Karloff (FRANKENSTEIN, THE MUMMY, THE BLACK CAT) himself, among others.

UNIVERSAL HORROR is not ALL Universal movies. The documentary takes time to present scenes of memorable fright moments of horror films produced by other movie studios, including MGM's THE UNKNOWN (1927) starring Lon Chaney; RKO's KING KONG (1933); Warner Brothers' THE MYSTERY OF THE WAX MUSEUM (1933), both featuring Fay Wray, who was also among the ones interviewed. There are also clips from foreign made horror films, ranging from THE CABINET OF DR. CALIGARI (1919) with Conrad Veidt, to NOSFERATU (1922) with Max Schreck as a very eerie Dracula. Other than discussions about the actors who appeared in them, there is also talk about directors Tod Browning (Dracula), James Whale (FRANKENSTEIN, THE OLD DARK HOUSE), Edgar G. Ulmer (THE BLACK CAT), and how they came about the making of their projects.

Other than presenting clips and still pictures from the most famous horror movies of all time, such as THE PHANTOM OF THE OPERA (1925) with Lon Chaney; Dracula (1931) with Bela Lugosi; FRANKENSTEIN (1931) and THE MUMMY (1932), both with Boris Karloff, and the FRANKENSTEIN sequels (BRIDE and SON OF FRANKENSTEIN), this production also takes a time to discuss moments from the almost forgotten haunted house mysteries, including THE CAT AND THE CANARY (1927) and its talkie remake, THE CAT CREEPS (1930); obscure thrillers as THE LAST WARNING (1929); the recently discovered THE OLD DARK HOUSE (1932); as well as wanna see films as THE MAN WHO LAUGHS (1928) starring Conrad Veidt and Mary Philbin. There are interesting back-stories about Universal head Carl Laemmle who wasn't interested in casting Bela Lugsosi to the role as Dracula (newspaper clippings reported that Ian Keith to play the title role), and how Lugosi himself took a big cut in salary to obtain the part that cursed him forever as a horror movie actor; and how an obscure actor such as Boris Karloff was chosen to play the Frankenstein monster, the role that made him an overnight success. Other than the monsters, either from literary works or imagination from a scriptwriter's mind, ranging from Dracula and The Mummy, the documentary includes segments about mad scientists, Charles Laughton as Doctor Moreau in Paramount's ISLAND OF LOST SOULS (1933); Claude Rains as THE INVISIBLE MAN (1933), Boris Karloff as a creepy devil worshiper in THE BLACK CAT (1934); Bela Lugosi as the insane Doctor Mirakle in MURDERS IN THE RUE MORGUE (1932), and as a sadistic Edgar Allan Poe worshiper in THE RAVEN (1935); and the forgotten name of Lionel Atwill as a demented wax museum owner in MYSTERY OF THE WAX MUSEUM (1933), a rare early two-strip Technicolor fright film set in modern day 1933 New York instead of a European setting of another century.

The last half of this well produced documentary takes an inside look on the second cycle of Universal horror during the sound era, the 1940s, beginning with SON OF FRANKENSTEIN (1939), with Karloff playing the Monster for the third and final time; THE WOLF MAN (1941) with Lon Chaney Jr., then hailed as a new horror king. Gloria Jean, who was a Universal contract player in the l940s, also discusses her first hand view in seeing these movies in production, and of Karloff's Monster's face being green. There is even a color outtake of Karloff's monster shown from THE SON OF FRANKENSTEIN.

UNIVERSAL HORROR, which premiered on Turner Classic Movies October 9, 1998, is one documentary worth recording and treasuring, especially for an avid film buff of this genre. The documentary concludes with the end of the cycle, being the late 1940s, and doesn't go any further. Fans of the 1950s and '60s cycle of GODZILLA or THE CREATURE will be disappointed, but maybe a sequel to the aftermath of horror movies would be sufficient, focusing on the likes of Vincent Price, Christopher Lee and the directorial credits of Roger Corman. UNIVERSAL HORROR, which runs at 96 minutes, is so interesting and re-watchable, even if this documentary were two hours, one would not feel its extreme length. Although excellent, my only complaint is to why "Werewolf of London"(Universal, 1935) featuring Henry Hull was not included. This is a real oversight because Hull, who preceded Lon Chaney Jr., portrayed his cursed full moon character in great style. Since Hull and Chaney did not portray the same characters, Chaney was definitely far more suited as the 1940s wolf man.

So the next time this presentation of UNIVERSAL HORROR is repeated, see it not for historical purposes, but comparing how horror films of today have drastically declined, and can never compare to even the worst horror movie of many years ago. (****)

Universal Horror (1998) *** 1/2 (out of 4)

This Kevin Brownlow documentary has Kenneth Branagh doing the narration as we're told the history of the Universal Studios monsters. The documentary clocks in at just over ninety-minutes and if you're unfamiliar with the studio and their monsters then it's certainly a must see.

We get interviews with historians as well as people who actually worked at the studio and in some cases in the monster movies themselves. The likes of Ray Bradbury, Nina Foch, James Karen, Carla Laemmle, Sara Karloff, Gloria Stuart, David J. Skal, Fay Wray and Lupita Tovar among others are interviewed for the documentary.

Again, I think the people unfamiliar with the studio are going to be the ones who enjoy this the most since the story is aimed more at people who might not be experts on the studio and the films. I say this because the documentary mainly looks at the higher known pictures like Dracula, FRANKENSTEIN, THE MUMMY, BRIDE OF FRANKENSTEIN and THE WOLF MAN. Yes, the sequels as well as some of the other films are discussed but the documentary doesn't go into great detail about some of the smaller or lesser known pictures.

Still, the interviews are certainly priceless today as many of the people here are now deceased so getting to hear their thoughts on the studio will be great for history. I did have a few issues with the film including the fact that a good portion of the start takes a look at Lon Chaney who wasn't a Universal star. There's no doubt he was important to the genre but I would have preferred hearing more about the lesser known Universal horror films over Chaney and his work at MGM.

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.