By Gregory William Mank
Dracula and Frankenstein's Monster are horror cinema icons, and the actors so much deeply linked to the 2 roles additionally shared a different friendship. Bela Lugosi and Boris Karloff starred in dozens of black-and-white horror movies, and through the years controlled to collaborate on and co-star in 8 videos. via dozens of interviews and huge archival examine, this drastically improved new version examines the Golden Age of Hollywood, the period within which either stars labored, recreates the taking pictures of Lugosi and Karloff's mutual motion pictures, examines their strange and relocating own dating and analyzes their ongoing legacies. positive factors comprise an absolutely particular filmography of the 8 Karloff and Lugosi movies, complete summaries of either men's careers and greater than 250 images, a few in colour.
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Additional info for Bela Lugosi and Boris Karloff: The Expanded Story of a Haunting Collaboration, with a Complete Filmography of Their Films Together
It was another item for Bela’s scrapbook: “As for Frankenstein,” notes the feature, “Junior waxed garrulous in his enthusiasm, but was sparing of strict news about Mary Shelley’s thriller of a century ago. It has various startling effects which must remain secret until such time as they are permitted to burst on the public eye from the screen ... ” Then Junior came back to Universal and saw the Florey Frankenstein test. Rick Atkins opened his book Let’s Scare ’Em! (McFarland, 1997) with an interview he’d conducted with a late-in-life Junior Laemmle —complete with a photo of Junior, wizened in his bed, holding his All Quiet on the Western Front Oscar.
It was the embrace of Death their subconscious was yearning for. Death, the ﬁnal triumphant lover.... Thursday, February 12, 1931: Dracula premieres at Broadway’s Roxy Theatre, popularly hailed as “The Cathedral of the American Motion Picture,” complete with a stage show — Hello New York (“a riot of color, dance and song”). ” blazes a full-page ad in Motion Picture Daily. The take for the ﬁrst eight days hits $112,319, boosted by the Broadway prices and a cavernous theatre. Dracula falls short of the high set at the Roxy in January of 1931 by Fox’s The Man Who Came Back, a drama of drug addiction starring Janet Gaynor and Charles Farrell, yet its business is remarkable — and Bela Lugosi’s reviews are outstanding: “Bela Lugosi creates one of the most unique and powerful roles of the screen in this one” (The Film Daily); “Bela Lugosi is Count Dracula and gives a brilliant portrayal” (The Billboard); “Lugosi is remarkable as the strange Count Dracula” (New York Graphic)....
There is a stage show, World of Pleasure, but it isn’t the gala evening one might have expected, as Lillian told me: “It was a theatre in downtown Los Angeles— God knows what it is today, I don’t think it’s a theatre. It really wasn’t a big deal. A. premiere there). Bela follows up the Dracula opening by inviting Lillian to sail with him to Hawaii, where he’ll have a major featured role in the Charlie Chan mystery The Black Camel. ). The fracas is in vain — Bela sailed alone. Meanwhile, business for Dracula at the Orpheum is good —$21,000 in its ﬁrst week in a theatre where the high had been $32,000 (Cimarron) and the low $6,000 (Ex-Flame).