Tag Archives: Lon Chaney Jr

The Many Faces of The Wolf Man: A Legacy of Lycanthropy

10 Friday Jan 2025

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As Leigh Whannell prepares to unleash his vision of Wolf Man on modern audiences, it’s worth reflecting on the cinematic journey of one of horror’s most iconic monsters. The Wolf Man has prowled across the decades, transforming with the times while maintaining his primal appeal. From the tragic figure of the 1941 classic to the varied reimaginings that followed, the legacy of the Wolf Man is a fascinating study in reinvention.

The Birth of a Legend: Lon Chaney Jr. and Universal’s Classic Era
The Wolf Man’s journey began in 1941, with Lon Chaney Jr. donning the iconic fur in Universal’s The Wolf Man. Directed by George Waggner and written by Curt Siodmak, the film introduced audiences to Larry Talbot, a sympathetic protagonist cursed to transform into a werewolf under the full moon. Chaney’s portrayal of Talbot’s anguish gave the film its heart, and Jack Pierce’s groundbreaking makeup solidified the character’s image.

The success of The Wolf Man led to three sequels: Frankenstein Meets the Wolf Man (1943), House of Frankenstein (1944), and House of Dracula (1945). These films further developed Talbot’s tragic arc, weaving his story into Universal’s monster crossover universe. Each sequel reinforced the character’s dual nature: a man tormented by his monstrous alter ego.

A Lighter Touch: Abbott and Costello and the Wolf Man
By 1948, the Wolf Man had taken on a comedic edge, appearing alongside Frankenstein’s Monster and Dracula in Abbott and Costello Meet Frankenstein. Chaney reprised his role, playing Talbot as the straight man amidst the comedic chaos. The film’s success demonstrated the character’s flexibility, capable of navigating both horror and humour.

Unexpected Turns: Alvin and the Chipmunks, Van Helsing, and Beyond
Over the years, the Wolf Man’s influence extended into unexpected territory. He howled his way into pop culture parodies like Alvin and the Chipmunks Meet the Wolfman (2000), where the character’s legacy was reimagined for younger audiences.

In Stephen Sommers’ Van Helsing (2004), the Wolf Man returned to his monstrous roots, albeit with a modern action-horror twist. This iteration leaned into the creature’s ferocity, pitting him against Dracula and showcasing a more physically imposing design.

Another notable homage came with House of the Wolf Man (2009), an independent film that sought to recapture the spirit of Universal’s golden age. The film’s black-and-white aesthetic and classic monster vibes paid loving tribute to the Wolf Man’s origins.

The Modern Wolf: Benicio Del Toro in The Wolfman
In 2010, Universal attempted to revitalise their iconic character with The Wolfman, starring Benicio Del Toro as Lawrence Talbot. Directed by Joe Johnston, the film embraced the gothic atmosphere of the original while updating the story with modern effects. Despite mixed reviews, Del Toro’s brooding performance and Rick Baker’s Oscar-winning makeup honoured the character’s tragic essence.

A New Moon Rises: Leigh Whannell’s Vision
As we look ahead to Leigh Whannell’s upcoming Wolf Man, there’s excitement in seeing how this legendary figure will be reimagined for a new era. Whannell’s track record with The Invisible Man (2020) suggests a fresh, psychological approach to the tale, potentially emphasising themes of isolation, inner turmoil, and the beast within.

A Legacy of Transformation
From Lon Chaney Jr.’s mournful Larry Talbot to Benicio Del Toro’s tortured Lawrence, the Wolf Man’s enduring appeal lies in his duality. He is both victim and villain, embodying the eternal struggle between man and monster. Over the decades, this tragic figure has adapted to reflect the fears and sensibilities of each generation, ensuring his place among the pantheon of cinematic monsters.

Whannell’s Wolf Man will undoubtedly add a new chapter to this storied legacy. Whether it will embrace the past, forge a new path, or find a balance between the two, one thing is certain: the howl of the Wolf Man will continue to echo across the ages.

  • Saul Muerte

Spider Baby (1967): A Twisted Tale That Crawls Just Short of Greatness

29 Sunday Dec 2024

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Jack Hill’s Spider Baby is a strange, grotesque, and undeniably ambitious horror-comedy that teeters between campy fun and genuinely disturbing imagery. Dubbed “the maddest story ever told,” the film centres on the Merrye family, whose hereditary condition causes them to regress mentally as they age, resulting in murderous, childlike behaviour.

Lon Chaney Jr., in one of his final roles, anchors the film as the loyal caretaker Bruno. Chaney’s performance is surprisingly heartfelt, lending a sense of tragedy to the Merrye family’s twisted plight. His rendition of the haunting theme song only adds to the film’s offbeat charm.

The standout performances come from Jill Banner and Beverly Washburn as the deranged Merrye sisters, whose blend of innocence and malice creates an unsettling dynamic. Sid Haig also makes a memorable appearance as the simple-minded but dangerous Ralph.

While the premise is intriguing and the black humour is effective in places, Spider Baby struggles to maintain its tone. The low budget is evident in the uneven production quality, and the narrative often feels disjointed. Hill’s direction shows flashes of brilliance, but the film ultimately feels more like an experiment than a fully realised work.

Despite its shortcomings, Spider Baby has developed a cult following for its unique vision and daring approach. It’s a flawed but fascinating oddity, worth a watch for fans of offbeat horror looking for something different.

  • Saul Muerte

“The Haunted Palace (1963): A Gothic Fusion of Poe and Lovecraft with Price and Chaney”

20 Saturday Jul 2024

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The Haunted Palace (1963), directed by Roger Corman and starring Vincent Price, is one of the eight collaborations inspired by the works of Edgar Allan Poe. While the film has its moments of atmospheric dread and solid performances, it doesn’t quite reach the heights of some of the duo’s more celebrated works. Nonetheless, it remains a noteworthy entry in the Corman-Price-Poe canon, primarily due to its cast and the unique blend of Poe’s and H.P. Lovecraft’s influences.

Roger Corman and Vincent Price teamed up to create a series of films loosely based on the works of Edgar Allan Poe, and The Haunted Palace stands out as an interesting deviation from the formula. While the title and promotional material suggest a Poe adaptation, the film is actually based on H.P. Lovecraft’s novella The Case of Charles Dexter Ward. This blending of Poe’s gothic sensibilities with Lovecraft’s cosmic horror provides a unique, though somewhat uneven, narrative experience.

Corman’s direction, as always, is efficient and atmospheric, making the most of the limited budget. The film’s set design and use of color contribute to its eerie ambiance, creating a suitably oppressive atmosphere. However, the film’s pacing occasionally falters, with moments of tension undercut by slower, less engaging scenes.

Vincent Price delivers a dual performance as Charles Dexter Ward and his malevolent ancestor, Joseph Curwen. Price’s portrayal of Curwen is particularly compelling, showcasing his ability to embody both charm and menace. His performance is the film’s anchor, providing a sense of continuity and gravitas even when the narrative wavers.

The inclusion of Lon Chaney Jr. adds another layer of interest to the film. Chaney, known for his significant contributions to horror cinema, brings a sense of gravitas to his role as Simon Orne, Curwen’s loyal servant. His presence serves as a reminder of the film’s roots in classic horror, bridging the gap between the golden age of monster movies and the more psychological horror that Corman and Price were known for.

The Haunted Palace excels in creating a visually rich and atmospheric experience. The gothic sets, combined with the moody cinematography, evoke a sense of dread that is characteristic of Corman’s best work. The film’s exploration of themes like ancestral guilt and the supernatural aligns well with Poe’s literary legacy, even as it diverges into Lovecraftian territory.

However, the film’s narrative structure is less successful. The fusion of Poe and Lovecraft results in a story that sometimes feels disjointed, struggling to balance the psychological horror of Poe with the cosmic terror of Lovecraft. This inconsistency can be jarring, preventing the film from achieving the same level of cohesion seen in other Corman-Price collaborations like The Masque of the Red Death or The Pit and the Pendulum.

Additionally, while Price’s performance is strong, some of the supporting characters lack depth and development, making it difficult for the audience to fully invest in their plights. The film’s slower moments detract from the overall tension, leading to a pacing that feels uneven.

The Prognosis:

The Haunted Palace may not be the strongest entry in the Corman-Price-Poe series, but it remains a film of interest for fans of classic horror. Its atmospheric visuals, strong performances from Vincent Price and Lon Chaney Jr., and the intriguing blend of Poe and Lovecraft make it a unique, if flawed, addition to the genre.

In retrospect, The Haunted Palace stands as a testament to the creative risks taken by Corman and Price, as well as their ability to craft memorable horror experiences even when the material isn’t at its strongest. While it may not reach the heights of their best work, it remains a fascinating piece of horror history, worthy of appreciation for its ambition and atmospheric strengths.

  • Saul Muerte

Retrospective: The Black Castle (1952)

26 Saturday Mar 2022

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In the following year to Universal’s The Strange Door, the production house would release the last real gothic horror story in their canon, The Black Castle. It would pull out all the stops in another melodramatic tale, harbouring the talents of Boris Karloff and Lon Chaney Jr to steer the film both from a financial and credibility perspective.

The movie didn’t come without its problems however with original director Joseph Pevney stepping aside due his lack of faith in the script to make way for art director Nathan Juran to take the helm for what would be his first time in the director’s chair. Juran would go on to direct The Deadly Mantis; Attack of the 50ft Woman; and The 7th Voyage of Sinbad among his credits. For his initial feature though, he would openly admit that he was guided by the on screen talent to provide their valuable knowledge in the films making.

The plot for The Black Castle is admittedly minimalistic and in that sense, one can understand Pevney’s reservations. It also has similar themes to The Strange Door around imprisonment and escape from an evil antagonist, this time in the guise of Count Von Bruno (Stephen McNally).

The movie has been treated kindly by notable reviewers retrospectively, most notably because of its high quality in most of the production elements, and the cast are strong enough to ground the film. For me, the film doesn’t hold enough appeal to make it an iconic one.
Cinephiles will appreciate it for its cinematic value at the decline of Universal horror which is warranted, but others may struggle to connect to the films narrative.

  • Saul Muerte

Retrospective: The Abbott and Costello Universal Monster years

20 Sunday Feb 2022

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Despite some reluctance from the stars, Bud Abbott and Lou Costello’s light was starting to wane in the public eye, and along with their contract through Universal were tied to another outing; one that would preserve their initial encounter with the Production house’ monsters into the National Film Registry for its historical significance. That film would be…

Abbott and Costello Meet Frankenstein (1948)

Here would mark a turning point for Universal, who had made a great deal of success through the 1930s for their Gothic line of Universal films. This notable change would occur at a time when the inkwell was running dry, and the Production house would be looking for alternate ways to capitalise on their winning formula by subverting the genre from horror to comedy. This transposition would not be treated in kind, especially from Lon Chaney Jr, who would proclaim “Abbott and Costello ruined the horror films: they made buffoons out of the monsters…”
His words would hold deeper meaning for the future of Universal’s horror genre, which by the end of the 50s would be all but non-existent. Despite this and during the time of its release, the film would go on to be one of the most successful of the Frankenstein franchise.

In Meet Frankenstein, the comedy duo would be pitted against The Wolf Man (Lon Chaney Jr), Dracula (Bela Lugosi – who would actually speak favourably of the depiction of his most known character), and The Monster (Glenn Strange) to keep alive the buzz generated from their monster universe. It even boasts a cameo from The Invisible Man in the film’s climax, voiced by Vincent Price.

A lot of the movie revolves around pantomime tricks and scares but brought to life by the comic timing of Costello who falls prey to the “cry wolf” syndrome, despite his cries being genuine, combined with Abbott’s straight man routine. Despite my ambivalence towards the movie, as in heart I echoed Chaney Jr’s sentiments, the film would still holds a strong position. The looks to camera breaking the fourth wall was a joy to watch, and the formula would generate s further four movies for Abbott and Costello in the Universal Monsters universe. The first of these would be…

Abbott and Costello Meet The Killer, Boris Karloff (1949)

Rounding out the 40s, Boris Karloff was the only notable star absent from the previous movie, although he was paid to promote it, and was also reluctant to watch it. Karloff was hired only five days before shooting began, the role originally a female called Madame Switzer, and would play that of a swami with mysterious intent.
I thoroughly enjoyed this movie, a whodunnit where Costello’s bellboy Freddie becomes the prime suspect in a murder. And when the body count starts to pile up, he can’t seem to get rid of the corpses to clear his name. This would lead to a hilarious scene where Costello and Abbott (supporting him to prove his innocence as detective Casey) play a game of cards with some of the cadavers.

Lenore Aubert is also brought in to support, as the femme fatale Angela Gordon. This continues a theme from Meet Frankenstein where the female costar attempts to seduce Costello, much to Abbott’s chagrin.

Abbott and Costello Meet The Invisible Man (1951)

Having dangled the imperceptible carrot in Meet Frankenstein it was inevitable that Abbott and Costello would come face to face with the Invisible Man. This time our anti-hero is played by Athur Franz as Tommy Nelson, a boxer who is framed for the murder of his manager after refusing to throw a fight. Out to prove his innocence, Tommy steals the invisible formula from scientist Dr. Gray (Gavin Muir) who warns him of the dangers of the serum and the effects that brought about the ruin of Jack Griffin. 

Abbott and Costello enter the scene as private detectives by Tommy during the investigation and become embroiled in the mystery leading Costello’s Lou Francis to go undercover as an underdog in the boxing scene aided by the invisible Tommy to help him win the fights.

Sandwiched between this feature and the next Universal confrontation would be Abbott and Costello Go To Mars, another indication of Universal’s departure from the horror scene and into the world of science fiction, which would be in tune with the popular zeitgeist of the time.

Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953)

Abbott and Costello’s fourth outing in the Universal Monster scene drawing inspiration from the Robert Louis Stevenson novel and are cast as American detectives in Edwardian London following the pursuit of some murders that have taken place, allegedly by Dr. Jekyll, played by Boris Karloff. The Hyde counterpart would be portrayed by stuntman Eddie Parker.

Interestingly, there would be no transformation scenes, instead depicting both Jekyll and Hyde individually, and fuelling the idea that there is no good at all in Dr. Jekyll, who yearns for the misdeeds performed by his alter-ego.

The film itself would also show the cracks beginning to form in Universal’s marriage with the comic duo, with signs that the humour was running dry, resorting to slapstick performances. There would however, be one more feature before Abbott and Costello would bow out of the comedy / horror scene…

Abbott and Costello Meet The Mummy (1955)

28 movies into their working partnership for Universal-International, Abbott and Costello would play against the last of the production house monster’s, the mummified Klaris (Eddie Parker). The comedy duo find themselves in the midst of an archaeological feud between Semu (Richard Deacon) and Madame Rontru (Marie Windsor) for the treasures of Princess Ara and control over Klaris. 

Abbott and Costello would continue their usual comedy schtick but here it sits well as they bumble around Cairo. It is somewhat fitting that they could lay their comedy horror routine to rest amongst the Egyptian tombs. Their routine by this time is becoming stale and trying. They would eventually part ways in 1957 albeit amicably.

  • Saul Muerte

Related Links:

Dracula (1931)

The Mummy (1932)

The Invisible Man (1933)

The Bride of Frankenstein (1935)

Retrospective: The Mummy’s Curse (1944)

14 Sunday Feb 2021

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For what would be the final instalment of The Mummy franchise for Universal Picture and its fourth outing for the shambling mummified corpse of Kharis, I’m surprised and delighted to say that it took an upward trajectory on the satisfaction front, especially following The Mummy’s Ghost, which personally was a huge disappointment.een completely blown free

Don’t get me wrong, the cobwebs haven’t blown away completely and The Mummy’s Curse has more than its fair share of creeks in the plotline, namely the obscure choice to move the location to New England because of its vast swampland. It also suffers from a strange and curiously long flashback sequence using stock footage which feels out of place in the film series.

Lon Chaney Jr returns for the third time as the titular menace and the storyline actually ties neatly onto the ending of its predecessor 

The film begins as a company is draining the swamps and along the way one of the workmen turns up murdered and reports of Kharis resurrected and on the rampage soon spreads like wildfire.

From here on in there are the usual tropes expected from the now well-trodden franchise. There’s the disciple of the Arkam sect, Princess Ananka transformed (this time played by Virginia Christie) the central target for Kharis’ drive, and the scientific, archaeologist hero at the centre of the fold.

There are some key significant moments that lift this a little from the quagmire, namely the initial rise of Ananka from the swampy bogs, lifting her hand out from its depths with an image that has now been so often reproduced. Also, Martin Kosleck’s (The Frozen Ghost ) performance of Ragheb, the backstabbing, lustful protege from the Arkam sect.

The central theme that seems to run through the story is one of wrong-doing, mistrust and broken allegiances that literally bring the house down at the end of the film.

There is some familiarity about it all which brings some warmth to the genre, and although it doesn’t offer too much new, The Mummy’s Curse does manage to entertain enough to keep the viewer a little interested in how it will all come to a head in the conclusion.

  • Saul Muerte

Retrospective: The Mummy’s Ghost (1944)

07 Sunday Feb 2021

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The Mummy’s Ghost would be the second of three sequels to Universal’s The Mummy, following The Mummy’s Tomb and would also see Lon Chaney Jr step into the shuffling bandaged corpse of Kharis.

Unfortunately The Mummy’s Ghost is by far the weakest of the franchise so far, which for me comes down to lazy writing. It feels as though the creative department were happy to rest on their laurels and aim for more of the same in the franchise.

In doing so, it fails to stimulate and to say that it runs through the numbers in the process would be a misjudgement, as there are a lot of numbers that Universal are happy to skip past to deliver the basics in horror for the time of its initial release. 

Once again we are greeted with a high priest handing down the duties to a younger member of the fold, Yousef Bey played by a suitably hammy John Carradine (House of Dracula). Kharis is still transfixed by the lure of tana leaves and tramps around for his latest fix while Bey tries to stick to his mission in finding the body of Ananka and return her to her resting place in Egypt.

Ananka however has transformed her soul into the body of another, Amina (Ramsay Ames), which puts a spanner in the works.

Time has not been kind in the passing years, and this feature feels stale as a result and if it weren’t part of a franchise would have been served better entombed in the past.

It’s one saving grace that allows it to stand out happens to be shrouded in its bitter end, with Kharis carrying an unconscious Amina into the swamp, where they can be reunited in the afterlife. This is delightfully offbeat considering its age, and I can only wonder how this came across to the audience of the time. It may have had a more profound impact if more care and dedication were taken into building up a more imaginative narrative to steer away from the now tired formula.

  • Saul Muerte

Retrospective: Pillow of Death (1945)

12 Tuesday Jan 2021

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https://www.youtube.com/watch?v=2QNrRMpeYbc

Unfortunately for the sixth and final instalment of the Inner Sanctum Mystery feature films produced by Universal Pictures starring Lon Chaney Jr. I found that the delivery was incredibly formulaic and as such all I wanted to do was reach for the snooze button.
Upon reflection, my opinion may have been marred from watching each instalment within close succession and it may have warranted a little bit of space between each viewing to allow each film to strike up its own identity.
Without wanting to give too much of the plot away, the one strength that Pillow of Death has over its predecessors is the twist finale, going against the grain of our expectations.

This time around Chaney Jr. stars as an attorney, Wayne Fletcher, whose heart belongs to his secretary Donna Kincaid (Brenda Joyce – Strange Confession), who also happens to be from a fairly wealthy family.. Bound by wedlock, Fletcher is in the midst of filing for a divorce so that he can be with Donna when his wife is found murdered, suffocated by the titular weapon of choice.
This makes Fletcher prime suspect number one and must now fight to prove his innocence.

The one person standing in Fletcher’s way is a fraudulent medium, Julian Julian (J. Edward Bromberg) a man who despite his charlatan ways is intent on pointing the finger at Fletcher for his wife’s murder. What makes the task for both parties is the rise in the body count whilst staying at the family mansion one evening.

The film takes on a slightly lighter tone in comparison to the other Inner Sanctum Mysteries, much like other Universal outings such as The Mystery of Marie Roget. One can almost sense the doors opening for Abbott and Costello to march into the mansion and infuse it with satire at any given moment.
That direction was not long off for Universal and the tide is certainly changing away from that darker edge that they had been synonymous for over the past decade and a half. It’s a shame as I feel that if they were willing to push the boundaries of dread, their films would have marked an altogether different experience and been much more rewarding, but they were hindered by their times and one must remember that world was going through its own dark times, carrying the burden of a Global war on its back. The stark reality is that people were needing an escape from the world and a need for humour to step in and poke fun at the grim and dire circumstances that humanity had to endure. For Universal, Abbott and Costello would provide that alternate formula… but that’s for another retrospective.

  • Saul Muerte

Retrospective: Strange Confession (1945)

12 Tuesday Jan 2021

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By the time Universal were producing their fifth instalment of the Inner Sanctum Mysteries starring Lon Chaney Jr., the fizzle had run out in this writers’ mind.

Strange Confession sees Chaney Jr. as chemist Jeff Carter, who has been running tests to find a cure for influenza. 

One could argue that this film could be viewed with the lens of all the horrors that Capitalism can arise. Carter works for an egocentric tycoon, Roger Graham (J. Carroll Naish) who is always eager to gain a profit by any means even if that means cutting corners. When Carter grows wise to Graham’s ways he initially resigns, and works at a local store. Once married to  Mary (Brenda Joyce) and raising a son, their fiances take a strain and Carter finds that he has no choice but to work once more for Graham. It is here that he potentially finds the influenza cure and is encouraged by Graham to go to South America to perfect his findings.
Unbeknownst to Carter however, Graham has eyes on rolling out the formula despite not having a 100 percent success rate, and also to prize Mary away from Carter while he is away.

Tragedy inevitably strikes when Carter’s son is fatally struck down by the killer virus. Once Carter learns of this, he only has vengeance on his mind.

It takes the final reel before this film hits home and true, but the lead up to its conclusion is slow and cumbersome.
Stand out performance goes to Lloyd Bridges as the bright and cheery friend to Carter, Dave Curtis, and potentially the only real spark in the film.

  • Saul Muerte

Retrospective: The Frozen Ghost (1945)

07 Thursday Jan 2021

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https://www.youtube.com/watch?v=cLimHQDIgnM

When I came to casting a retrospective of the Universal Inner Sanctum Mystery movies, I decided to watch them all fairly close together. As such, due to the similarity in style and substance, combined with the fact that Lon Chaney Jr. starred in all sic of the, a blurring of the narratives came about. 

In the case of The Frozen Ghost, I found that I struggled to bring to mind what actually occurred without looking it back up again. This is surely an indicator that the movie had little or no impact on me, which says a lot about my connection to the movie.

When I did research back into it again, the visuals soon sprang to mind and I was left pondering about why it didn’t resonate so well.

My resolution comes down to that the film was just a bit messy in its delivery. 

The tale presents Chaney Jr as mentalist Alex Gregor, who is provoked by an intoxicated non-believer in his audience that he is a fake, so out of anger, hypnotizes the individual spurring a heart attack that leads to the man’s untimely death.

Gregor is now consumed with grief and then turns within himself, ending his relationship with assistant Maura (Evelyn Ankers in a subdued performance, albeit still a strong one) and runs away to work as a lecturer for an old friend, Mme Valerie Monet (Tala Birell).

Trouble creeps up once more however when Valerie also turns up dead and Gregor becomes prime suspect number one.

The continuing theme involved with the Inner Sanctum Mysteries centres around mystery, intrigue and in the case of the movies, a wronged man troubled with murder most foul.

The Frozen Ghost has to shift and change on numerous occasions to accommodate the plight of its lead protagonist, who tries to figure out if he truly is responsible for the death of these individuals through the use of paranormal abilities.

The road isn’t a straight one to the conclusion and the perpetrators are all too obvious, so the attempt at clever deception is lost much to the detriment of the film.

The performances are still strong regardless, but unfortunately the executions is just too weak. 

  • Saul Muerte