The Budget Sequels
The Ghost of Frankenstein (March 1942) and Chaney’s performance marked the transition of Frankenstein’s Monster from Karloff’s confused, hurt, and occasionally dangerous creature seeking some kind of human connection to the slow, clumsy, blank-faced killing machine he would remain in many people’s imaginations from then on. (People who see Karloff in the first two Frankenstein films are often surprised by how lithe and expressive the Monster was initially.)
Now that Universal had Chaney, Tom Tyler was given his walking papers (shuffling papers?) after a single performance as the Mummy. Lon was duly wrapped up into his least-favorite character and staggered through increasingly bored performances in The Mummy’s Tomb (October 1942), The Mummy’s Ghost (July 1944) and The Mummy’s Curse (December 1944). On-set sources say he had a flask of gin wrapped into his mummy bandages by the costume department, with the tip of a drinking tube near his collarbone. If nothing else, he was a creative engineer of ways to get his daily intake. He did create the Mummy’s well-known gait, based on the damage the monster sustained by Tyler’s incarnation in Hand…left arm cradled against his chest, left leg dragging.
And who better to play Count Dracula than the lumpy, pot-bellied, double-chinned Lon Chaney? Universal’s commitment to putting Chaney into all of its monster roles reached its ludicrous limit when the hilariously miscast Chaney donned the cape and fangs in Son of Dracula (November 1943). The title is a head-scratcher — most of the time, the movie seems to think that the leading character is the Count himself. (Anyone suggesting the 61-year-old Lugosi should reprise his role would have been laughed out the room, but Chaney is even more risible.)
What’s frustrating is that this had the potential to be a pretty good B-level horror flick. It’s based on an original story by Wolf Man scribe Curt Siodmak, and its setting among the old plantation houses of Tennessee gave it an eerie, swampy, Southern Gothic atmosphere. It boasted the first on-screen bat-to-man transformation. Long-suffering Evelyn Ankers gamely returned for a third go-round as Chaney’s on- and off-screen victim.
Well over a year before Son of Dracula splattered onto the screen, Curt Siodmak off-handedly mentioned a funny idea for a title to producer/director George Waggner …Frankenstein Wolfs the Meat Man. Waggner took him seriously…
“Frankenstein Wolfs the Meat Man”
Lon Chaney was Universal’s in-house horror star, and had already played both Frankenstein’s Monster and the Wolf Man. Was it possible he could play both at the same time? He insisted he was up to the challenge. Director Roy William Neill, a veteran of Universal’s Sherlock Holmes series starring Basil Rathbone, considered the possibility. With a liberal use of doubles and a little trick photography, he decided it could be done. But it would inflate the budget, and Chaney’s reliability was questionable. Universal nixed the idea.
The next option was someone who was a big name in horror, and whose salary would not break the bank. To Universal, that could only mean one thing — get Bela. This would actually neatly tie in with the end of Ghost of Frankenstein, where the Monster received Ygor’s brain. It was a logical development that he should speak with Ygor’s voice. (Not that Universal ever cared a fig for continuity, it would just be a happy coincidence.) Would Lugosi take on the role of the Monster, that he had so famously turned down over a decade before? Lugosi was in no position to turn down high-profile work. He would soon turn 60 and had recently begun self-administering morphine to ease the pain caused by sciatica. So Bela subjected himself to the rigors of Jack Pierce’s Monster make-up at long last. (“For the money,” confirmed his wife later.)
Frankenstein Meets the Wolf Man was released in March 1943. The first half is all Lon Chaney as Larry Talbot, resurrected by grave-robbers working under a full moon, and desperate to find a final cure for his lycanthropy, or at least the sweet relief of a permanent death. He believes the secret is to be found in the journals of Dr. Frankenstein (?!), and sets off to find the doctor, or his notes. For some reason, after perishing in a laboratory fire in his previous appearance, the Monster is found by Talbot frozen in a block of ice under the ruins of Castle Frankenstein. The Monster (mostly blind and speaking in Ygor’s voice in the original script) is run-down and of little help.
Ilona Massey takes over the role of Elsa Frankenstein from Evelyn Ankers, so for anyone still desperately clinging to the notion that the name “Frankenstein” should never be applied to his Monster, I guess this is the Frankenstein Larry Talbot meets. (Lionel Atwill appears as the local mayor.) In due course, Talbot runs across a scientist who decides to — you guessed it — restore the Monster to full strength. And he decides to do it on the night of a full moon. Wolf Man and Frankenstein’s Monster do indeed duke it out, before being swept away by floodwaters released by vengeful, torch-bearing villagers.
For anyone watching closely, the Monster is played by stuntmen Eddie Parker and Gil Perkins almost as much as by Lugosi, who simply wasn’t up to the rigors of the more physical aspects of the role. Also, someone made the executive decision — once the movie had been entirely shot — that the Monster speaking in Ygor’s gruff, thickly-accented voice just didn’t work, and had all of his dialogue cut out (very clumsily in places.) Along with it went any reference to the Monster’s semi-blindness, and his explanation for how he ended up in ice. As the film now plays, there’s no reason for Lugosi to always have his arms held stiffly straight out in front of him, which became essential to all bad Monster imitations forever into the future. Continue reading