BorisKarloff Tagged Articles at Cinematical

Anthologies are common in the horror genre, whether two or more directors band together on a project, or whether one director takes on several short stories alone. Usually the result is that at least one of the entries is pretty weak, but the strongest entry makes the film worthwhile. Once in a while, however, you get something like Mario Bava's Black Sabbath, which has three strong entries. Bava's secret is that he was never very strong on plot or story or character; he could direct the hell out of any old script with his astonishing use of colors, mood and atmosphere. The best thing about Black Sabbath -- which the distributor American International Pictures re-titled to cash in on the success of Bava's Black Sunday -- is that it actually does have some good stories. In the first one, "The Telephone," a woman gets a phone call and learns that a dangerous man from her past has been released from jail; the entire story is set in her apartment, and Bava makes you jump each time the phone rings.

Why recast the relatively small role of a doctor in a thriller? Michael Mann's Manhunter was an excellent thriller, featuring Brian Cox in a small role as the imprisoned, chillingly cold cannibal Dr. Hannibal Lecktor. When the time came to adapt another one of Thomas Harris' bestsellers, Jonathan Demme went in a different direction, casting Anthony Hopkins as the good doctor. The character's family name was restored (Lecter, not Lecktor) and a whole new set of tics and tricks were placed on display. Hopkins may have been the only actor alive who could have hammed it up to such extreme levels and yet, somehow, made Lector creepy rather than campy, unnerving rather than unbelievable. For his memorable efforts in The Silence of the Lambs, Hopkins won an Academy Award.

Recasting villains is a tricky business. Everyone needs to love, identify with, and cheer the hero or heroine, but if the villain doesn't provide the requisite level of opposition, the picture runs the risk of becoming unbalanced, leaving a gaping hole that cannot be filled in with special effects. And if an actor has established the character in the public's mind, it's difficult for anyone else to measure up.

So Dylan Walsh has an advantage in The Stepfather, which opens tomorrow. Terry O'Quinn originated the title role in the 1987 original, and was a truly memorable monster. Yet the film is not steeped in the public consciousness to a high degree, and O'Quinn has become much better known from playing John Locke in Lost. Walsh's fame, such as it is, comes from the lesser-seen TV series Nip/Tuck. Walsh has a shot of creating his own distinct brand of villain.

If you're a fan of the classic Universal Studios movie monsters, including Dracula, Frankenstein, the Wolfman, the Creature from the Black Lagoon, the Mummy, and more, then you've probably found yourself haunted by a severe lack of ginormous books that focus on your obsession. With Halloween just around the corner, Michael Mallory's Universal Studios Monsters: A Legacy of Horror arrives just in time.

It's chock full of over 300 black and white and 25 color behind-the-scenes photos, original movie posters, publicity shots, and articles from people like James Whale (director of Frankenstein, Bride of Frankenstein, and many more), makeup marvel Jack P. Piece, FX man John Fulton, and more. It's officially endorsed by the studio, so I'm not sure if this will be the Bela Lugosi tell-all expose that you're looking for. The whole package is 252 pages long, and at 9" by 12 ", it can double as a blunt object if you need to brain anyone.

Check out a very cool exclusive pic from the book over at Horror Squad.

In researching this list, I made two realizations: most horror films don't bother with supporting casts; the supporters are often ghosts and monsters and supernatural forces (the other humans tend not to listen). And also, there are more great performances by women in horror films. Consider just the list of women who were nominated for -- or won -- Oscars for horror films: Patty McCormack, Janet Leigh, Ruth Gordon, Linda Blair, Ellen Burstyn, Sissy Spacek, Piper Laurie, Sigourney Weaver, Kathy Bates, Jodie Foster, Juliette Lewis, Toni Collette, etc. Perhaps women are more intuitively in touch with the supernatural. Either way, I think I came up with a pretty good list:

1. Maria Ouspenskaya in The Wolf Man (1941)
Her name's a mouthful, but once you learn to say it, you'll never forget it. She was born in 1876, which put her at about 65 when The Wolf Man was made. She was a theater actor, before the movies were invented, she became an acting teacher and she received two Oscar nominations prior to this role. She plays Maleva (what a great name!), the old gypsy woman, and mother to Bela (Bela Lugosi), who possesses the knowledge of all things werewolf. With eyes like obsidian, her line readings are quiet, mysterious, intelligent, and though she's practically half the size of star Lon Chaney Jr., she towers over him.

2. Christina Ricci in Addams Family Values (1993)
Every once in a while the movie gods smile down and create something wonderful, like the moment that young Ricci walked into the "Addams Family" auditions, hoping for the role of Wednesday. The resulting movie, released in 1991, wasn't very good, but the sequel was much improved and Ricci was so good in both that she clearly announced the beginning of a fascinating career full of brave, unusual choices. With her round, pale face, huge eyes and tiny mouth shaped like a talon, she was scary and funny and just a little bit odd, and when she grew older, she took on a dangerous kind of sexiness. She could be the direct genre descendant of Elsa Lanchester or Barbara Steele.

In the rush to see big-budget new movies like Transformers or Live Free or Die Hard, which feature the latest visual effects, the biggest stars or more explosions per minute than any other film, we often forget about the great, classic films that helped pave the way for the big-budget movie-going experience we get to enjoy today. Over the years, some great films have come out of Hollywood and the indie world which are regarded as classics of their genres and are still entertaining and influencing audiences and filmmakers around the world.

Some of these great films of the past include a whole bunch of horror classics from Universal, which, according to DVD Drive In, are now on their way to your waiting hands via exclusive box sets of DVDs. Just in time for Halloween, a horror collection which includes such campy classics as Horror Island, Captive Wild Woman (one of my personal favorites) Man-Made Monster starring Lon Chaney Jr. and The Black Cat starring both Boris Karloff and Bella Lugosi, will hit store shelves. A Sci-Fi box set from the studio is also in the works which includes films such as The Deadly Mantis, The Leech Woman, Dr. Cyclops. and Cult of the Cobra starring a young David Janssen.

Not to be left out, MGM is also set to release two classic film DVD box sets of its own in the coming months. The first, featuring the work of the great Vincent Price, collects such Price classics as The Abominable Dr. Phibes, Tales of Terror, Madhouse and Theater of Blood, co-starring the sexy Diana Rigg. The set will also feature bonus material including a documentary about the late actor as well as two making-of shorts. Also coming from MGM is a box set of Roger Corman classics including Bloody Mama, starring Oscar-winners Shelley Winters and Robert De Niro, The Young Racers, The Trip and The Wild Angels. Some great films made for almost no money that remind us what filmmaking is all about: interesting characters and compelling stories told well. Although, it is fun to blow stuff up sometimes too.

Recent Theatricals

Hard Candy (Lionsgate) -- Ice-blooded chiller about a potential pedophile and the turning of tables. (two commentaries, documentary, featurette, deleted scenes)

Loverboy (Universal) -- Smothery mother slowly turns creepy. Kyra Sedgwick does some great work here. (director's commentary)

The Proposition (First Look) -- Reeks of Sam Peckinpah and Walter Hill. And is a damn fine film. (filmmaker commentary, five featurettes, deleted scenes)

Stay Alive (Disney) -- They made a horror movie out of that silly old marble game? (filmmaker commentary, FX reel)

Stick It (Disney) -- No, you stick it. I got good movies to watch. (two commentaries, blooper reel, featurette, deleted scenes)

Catalog Picks

Backdraft (Universal) -- Ron Howard gets fiery and throws a little Lecter in there. (director's intro, deleted scenes, five featurettes)

Boris Karloff Collection (Universal) -- Includes Night Key (1937), Tower of London (1939), The Climax (1944), The Strange Door (1954) and The Black Castle (1952). (trailers)

Chucky Killer Collection (Universal) -- Includes Child's Play 2 (1990), Child's Play 3 (1991), Bride of Chucky (1998) and Seed of Chucky (2004). (Because the original is an MGM title, that's why.) (all the extras from the previous releases, which (on parts 4 and 5) are a lot)

Grease: Rockin' Rydell Edition (Paramount) -- Otherwise known as: The Edition They Should Have Released Five Years Ago. (four featurettes, deleted & extended scenes, DVD launch party footage, trailers)

When I went back to St. Louis to visit my family over the holidays, I stumbled upon a 20-something 7-11 employee whose forearms featured tattoos of horror legends: Boris Karloff, Lon Chaney, and Bela Lugosi all held places of pride. After I picked my jaw up off the floor, we chatted about all the crap that's made these days, and the lack of respect for the movies those men made. I mention that guy at this particular moment because I know he's having a rage-filled morning: Universal is remaking The Wolf Man.

Originally made in 1941 with Lon Chaney, Jr. in the title role (not to mention the supporting talents of A-list names like Claude Raines, Ralph Bellamy, and a dude named Bela), the film is "stylishly-made" and incredibly entertaining, despite its solidly B-movie status. Though the remake will share the original's Victorian England location, but since Universal can't leave well-enough alone, it will also feature new characters and plot elements "that take advantage of cutting-edge visual effects technology." Yippee, CGI!

Wolf Man fan Benicio Del Toro will star and co-produce, and the "new" screenplay is being written by Andrew Kevin Walker.

[via Dark Horizons]

Boris Karloff was born William Henry Pratt in the Camberwell district of London, thousands of miles from the place that would make him a star of such magnitude that, for a time, he was known merely by his (fake) last name. Though he appeared in dozens of silent films, Karloff shot to fame with his moving portrayal of The Monster in James Whale’s Frankenstein, and went on to star in a slew of other mostly horror films, from The Mask of Fu Manchu to Edgar G. Ulmer’s Poe adaptation, The Black Cat.

Next week, in recognition of the 75th anniversary of the release of Frankenstein, New York’s Film Forum is presenting a week of Karloff features. The series includes the trio of films mentioned above, as well as Bride of Frankenstein, Targets and a pair of virtually unseen pre-Frankenstein rarities: Graft and The Guilty Generation, in addition to seven others.

Thought of primarily as a looming, sinister screen presence, Karloff was in fact an actor of remarkable skill and subtlety, traits that were never more fully realized than in Frankenstein. Despite having not a single line to speak, Karloff infused the Monster with such a profound melancholy that even today the movie, despite its otherwise often dated acting, remains deeply affecting. Though he had never worked with the actor before, Whale clearly understood the power at his disposal: instead of portraying the monster as the pitiless beast he had been in previous screen incarnations, he instead gave us a massive, awkward creature who, from the very beginning, is abused and misunderstood. And in Karloff’s hands, the creature’s suffering is abundantly clear; a sense of solemnity comes over the movie when he first appears on screen after nearly 30 minutes of buildup, and it refuses to relinquish its grasp until the credits roll. Given the restrictions placed on his character by the creature’s awkward body and wordlessness, Karloff was able to use only his face to convey emotions. Despite this, he created a being that, by turns, is befuddled, desperate to please, terrified, and filled with explosive rage.