Tag Archives: Universal Horror

Retrospective: She Wolf of London (1946)

16 Sunday May 2021

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Less She-Wolf of London and more She-Wolf in Sheep’s clothing as this 1946 feature from Universal Pictures attempts to pull the wool over their audience’s eyes.

The ruse is well implanted in the psyche by the antagonist, leading our heroine and us down a mythological lie born out of the fear and paranoia that the Allenby family has werewolf blood in its veins.

It may have served better to have called the film, The Curse of the Allenbys, (which is actually the title given to the feature for its UK release), but then this would not have put as many bums on seats and capitalised on the Universal backlot of Werewolf movies that starred Lon Chaney.
It would also have been cool to have used the same plot but leveraged from the 1936 vehicle starring Henry Hull as Dr. Wilfred Glendon. Instead of using the Allenby family name, if they had used their bluff around Dr. Glendon, then there would have been more merit to the gaslighting component.

All this may sound a little harsh, because in truth, the film is incredibly strong in its delivery and using greed and power as its core theme for the subterfuge. Our lead character, Phyllis (June Lockhart) stands to come into the Allenby fortune, but standing in her way is either her Aunt Martha (Sara Haden) or her cousin Carol (Jan Wiley) who have lived in the mansion all their lives and could lose it all.

The fact that there has also been a series of murders near the estate and reported sightings of a she-wolf only adds fuel to Phyliss’ fears, forced to her bed and away from society in case she is the one responsible.

She-Wolf of London struggles to find an identity of its own as it attempts to prize itself free from the coat-tails of yester-year movies produced by Universal, but inevitably the film is slow and cumbersome with barely a ripple of fear to be seen.

  • Saul Muerte

Retrospective: House of Horrors (1946)

28 Sunday Mar 2021

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This is the movie where Rondo Hatton’s (The Spider Woman Strikes Back) shambling frame comes to the fore and I personally think that it works in this instance. There are some critics that felt at the time and retrospectively feel otherwise, and that the giant killer concept is awkward and laughable.

For me, there is a similarity to Of Mice And Men with the Lenny and and George characters, two misfits in society, outcasts if you will. The Lenny character in this case aligned with Hatton’s character, The Creeper,  instead of a good heart, misguided by those around him, he’s a malicious cold blooded killer seeking to please he’s supposed friend, Marcel De Lange (Martin Kosleck – The Mummy’s Curse, The Frozen Ghost). 

Marcel is an art sculptor and the subject of ridicule among his community. Tired of being savaged by critics, he seeks his vengeance and  just when all seems lost he has a chance encounter and saves The Creeper from drowning.

Now Marcel has a human killing machine at his beckoning call, to carry out his demands on those who’ve wronged him.

The only person who could potentially stand in his way is a female reporter, Joan (Virginia Grey) who Marcel is also infatuated with.

But will love or vengeance lead to ruin for the scared artist?

Once again, Universal were trying to champion a new horror series in The Creeper, but after receiving fairly low reviews, unlike it’s antagonist failed to unleash the horror into the world and the third strike out would leave them stumbling towards the end of the decade.

  • Saul Muerte

Retrospective: The Spider Woman Strikes Back

21 Sunday Mar 2021

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Not to be confused with some kind of Marvel spin off, or even a follow up to the Sherlock Holmes feature some years before, The Spider Woman Strikes Back is a stand alone feature from the Universal vault that starred Gale Sondergaard, who also featured in the afore-mentioned Holmes film, The Spider Woman.

Sondergaard is given reign to flex her acting muscles and prowess as the local town’s wealthiest person Zenobia Dollard, and with that she carries a huge amount of privilege and entitlement of the land and those in her community. 

Zenobia also hides behind her supposed blindness to get people to think she is a weak and ailing old woman, when she is anything but.

Our lead protagonist is Jean (Brenda Joyce), a young woman new to the town to become Zenovia’s personal assistant. It’s not long before Jean suspects that all is not well in the household, and that something sinister has occurred to her predecessors. Just as she starts to uncover Zenovia’s sinister plan, she finds herself ensnared with her life in danger.
Her only hope may lie in her only contact in town, Hal (Kirby Grant) to discover the death serum, concocted by spider venom and Jean’s blood. 

Rondo Hatton is on hand to provide the lumbering muscle to protect and do Zenovia’s bidding, but he doesn’t offer much beyond this stereotype that he was now attached to.

Universal had grand plans to start a new series involving The Spider Woman, but much like The Jungle Woman, which was launched in a similar timeframe, it never registered well with the audience.
This may have something to do with the lack of enthusiasm from director Arthur Lubin, who strongly opposed the idea of directing a horror feature, but was forced to do so by Universal or else lose his contract.

Mostly though, The Spider Woman Strikes Back suffers from a convoluted script and little substance.

It’s a shame though as I could sense from watching the film that Sondergaard would have relished the opportunity to revisit the role.

As such, it has slipped into obscurity a little and Universal were beginning to suffer from trying to climb out of the shadows of Dracula, Frankenstein, etc. to make a mark on the horror genre further.

  • Saul Muerte

Retrospective: Jungle Captive (1945)

27 Saturday Feb 2021

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The third and final outing for Paula Dupree aka The Ape Woman for Universal would revert back to the mad doctor scenario.

This time the twirling moustache award goes to Mr. Stendahl (Otto Kruger) who successfully pulls a rabbit out of the afterlife, resurrected its once lifeless form.
Riding on the euphoria of his achievements, Stendhal then trudges off to be the next Dr. Frankenstein to reanimate the corpse of Paula Dupree.

To do his dirty work however, Stendahl calls upon his lumbering assistant Moloch (Rondo Hatton) to snatch the body from the city morgue, but in his efforts kills the attendant on duty.

Now, not only has a murder occurred, and a body stolen, but Inspector Harrigan (Jerome Cowan) suspects another doctor, Don Young when he discovers a medical smock belonging to the young practitioner at the morgue.

All does not bode well for Don when it is discovered that his fiance, Ann (Amelita Ward) has provided a false alibi.

When Ann suddenly disappears, Don must now prove his innocence, find his gal, and the true murderer.

It is little wonder that this film would inevitably fall flat on its face and kill off any hopes for any further misdeeds from the Ape Woman.

Whilst Kruger puts forward a strong performance as the dastardly doctor, Universal produced another misfire, which never manages to muster up any hopes of creating a monster to be feared from the Ape Woman.
There are too many leaps in the script to ignite any identity of its own, and too often tries to ride on the shoulders of previous incarnations in Frankenstein’s Monster or The Wolf Man.
This is even more stifled in the third outing by not only losing its initial lead in Acquanetta, and even losing its first choice replacement in Betty Bryant, who was dropped two days into the shoot, but mainly due to subjecting the creature into the background, thrusting the maniacal doctor front and centre and in doing so, casts the Ape Woman into the shadows.

  • Saul Muerte

Retrospective: Jungle Woman (1944)

20 Saturday Feb 2021

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Following on from the relative hit of Captive Wild Woman the year before, Universal felt strongly that they had a potential hit series on their hands, especially with “exotic beauty” Acquanetta in their stable to recreate her character of Paula Dupree aka The Ape Woman. 

Universal later revealed that Jungle Woman was an ashamed attempt to rewrite Cat People with a woman transforming into an ape instead of a leopard.
Naturally this would be difficult to translate as the sexual feline factor is lost and as such, rewrites were put in place to make the transition psychological instead.

J. Carrol Naish plays a more than accomplished role as Dr. Carl Fletcher, whose character is in stark contrast to John Carradine’s warped and twisted Dr. Sigmund Walters from the previous film.
This is a deliberate ploy on the part of the screenwriters, Bernard L. Schubert, Henry Sucher and Edward Dein as they present Dr Fletcher on trial for the murder of Paula Dupree at the start of the film, leaving the audience to question how genuine his plee of innocence claims to be. This is weighted even more so when he professes his guilt until he is then forced to tell the true story through a feature length flashback.

The trouble is that the plot is essentially an incredibly weak one and doesn’t offer a lot in expanding the universe or subjecting any real terror on the audience.

The film finds Paula Dupree in an insane asylum having been taken under Dr. Fletcher’s wing after he witnesses the climax of the last film.
Dr. Fletcher is fascinated by this animal magnetism that Paula presents, but fails to realise the true threat that she possesses, especially as her jealousy is fuelled once more when she falls for Bob (Douglass Dumbrille). 

Unfortunately, Bob only has eyes for Joan (Lois Collier), Dr Fletcher’s daughter and with it our love triangle is formed.

The beats are all too familiar and the film shuffles along without any real purpose or direction, so when the inevitable conclusion does arise, we’re left a little bereft of satisfaction.

Jungle Woman does benefit from some early cameos though from Evelyn Ankers (who continues to impress on my journey through the Universal vault) and Milburn Stone who both return to reprise their roles and present the case for Dr. Fletcher’s defence.

The film would ultimately be the last for Acquanetta and Universal as the model felt that she was being used and thus refused to renew her contract, despite the production company having bold plans for her to return again.

  • Saul Muerte

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: 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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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

Retrospective: The Climax (1944)

29 Tuesday Dec 2020

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Originally billed as a sequel to The Phantom of the Opera, The Climax changed its course partly due to the unavailability of Claude Rains’ availability to reprise the role of the phantom. Instead some reworking in the script department led to some significant changes and bringing in Boris Karloff for his first feature released in colour. Karloff would play the role of demented physician, Dr. Hohner, driven by jealousy and the need to dominate his fiance, a prima donna at an established Vienna Royal Theatre, and murders her in his obsession.
Interestingly, Universal would resurplus some of the magnificent set that was used in their 1925 adaptation of Gaston LeRoux’s gothic novel and Susannah Foster who brought Christina Dubois to the silver screen in TPOTO (1943), would return albeit as a young operatic singer on the rise, Angela Klatt

Klatt bears a striking similarity to Hohner’s fiance, who has been missing some 10 years now, hence why Hohner has been able to avoid justice. With Klatt’s appearance though, it triggers the inner demon and conflict in Hohner’s mind and he seems hellbent on once more, keeping the diva for himself.

The film plays a familiar tune to previous Universal features and as such struggles to offer anything new in the horror scene. It is bolded by the presence of Karloff, Foster and Turhan Bey (The Mad Ghoul) as the romantic lead, Franz Munzer, but it’s Gale Sondergaard (The Cat and the Canary) as the dutiful Luise, poised to make Hohner pay for his past deeds that really shines through. 

A solid enough entry to the Universal Horror movies, but not nearly worthy of its predecessors.

  • Saul Muerte