tant fact—Chaney was now under contract what would become known to Metro-Goldwyn-Mayer. Lon Chaney’s as the quintessential old dark star was nearing its apex at MGM and the house mystery. Universal likelihood of his being loaned out, even for quickly pegged Leni as the a plum project like The Man Who Laughs, is director for The Man Who questionable. Also at issue was the matter of Laughs, and from there it was Chaney’s previous experiences with Univer- but a small step to secure the sal, which were contentious at best. Chaney’s talents of Conrad Veidt, with hostility toward director Rupert Julian during whom Leni had worked in the making of The Phantom of the Opera is well the 1924 German horror an- documented, and the post-production debacle thology Waxworks. A skilled that plagued that film prior to its release prob- actor who had appeared in a ably did little to allay his resentment. Now a number of German Expres- top-tiered box office attraction, Chaney was in sionist classics, Veidt had a a position to demand creative control over the striking look and was more film, up to and including the choice of co-star than adept at handling the and director. Most likely, none of the cinematic emotive extremes that a role traffic cops who toiled behind Universal’s like Gwynplaine required. megaphones would have met with Chaney’s Veidt’s performance as approval, necessitating the acquisition of an Gwynplaine, in fact, became outside director such as Clarence Brown or one of the film’s primary Victor Seastrom. Was Universal really inter- assets. Emotionally fragile ested in adding these and other complications despite his horrific outward to a project whose budget was already slated appearance, Veidt’s Gwyn- Conrad Veidt as Gwynplaine in 1928’s The Man to top the million-dollar mark? plaine is more a victim than Who Laughs. Jack Pierce is responsible for Veidt’s With Chaney unavailable, Universal, not he is a monster and, along toothy grin. (Courtesy of Photofest) surprisingly, tapped into its Germanic roots. with Chaney’s Quasimodo Director Paul Leni, an import from Berlin and Phantom, became a prototype for many added to the episode when Gwynplaine is and a former designer in Max Reinhardt’s Universal horror characters to come. Yet seduced by the Duchess Josiana (Olga Ba- renowned theatrical troupe, had scored a siz- one wonders how Chaney might have ap- clanova), a pivotal scene in the film. Chaney able hit for the studio with 1927’s The Cat and proached the role. Chaney, unique among certainly would have provided more box the Canary. Leni, with an assist from cinema- film actors of the day, had an uncanny knack office clout in the U.S. market than Veidt, tographer Gilbert Warrenton, had directed for conveying both menace and pathos in the important for a film that was released in the WHAT IF— Canary with an eye toward stylized sets guise of a single character. His gift for expres- waning days of silent features. The net sum and a shadowy, evocative lighting scheme, sive body language would also have been an of these changes is important to consider. If qualities that enhanced the effectiveness of asset; one can imagine what he might have The Man Who Laughs had become a success ALTERNATIVE CASTINGS IN CLASSIC HORROR FILMS on the level of The Hunchback of Notre Dame and The Phantom of the Opera, By Steven Thornton classic films into something quite different sympathy from the audience—celebrated would the upcoming Universal horror from what we know today. character star Lon Chaney. cycle have been tipped in the direction The basic facts of horror film history Some of what follows is shrouded in ru- The planned casting of Chaney, long of historic melodramas? are well known to any neophyte movie fan. mor and speculation. But buried in the cracks rumored but never proven conclusively, is The Man Who Laughs emerged After the success of The Hunchback of Notre Dame and Bela Lugosi became a screen legend via his of these stories lie hints of an alternate reality, commonly thought to have been a catalyst The Phantom of the Opera, it was logical to consider Lon as an effective, though uneven, mix portrayal of Count Dracula. Boris Karloff one in which the familiar lies are juxtaposed behind the genesis of the film. Chaney’s Chaney for the lead in The Man Who Laughs. Had Chaney of moody visuals and melodramatic achieved cinematic immortality as the Fran- with the unimagined. So, armed with a hand- powerful performances in Universal’s The starred, it would have been interesting to see his makeup flourishes. Paul Leni’s directorial for the role. (Courtesy of Photofest) kenstein Monster. These cultural archetypes ful of press releases, studio publicity blurbs, Hunchback of Notre Dame and The Phantom skill, again aided by cinematographer were so enduring it is tempting to think that and some imaginative guesswork, we will now of the Opera were professional triumphs, Warrenton, fully utilizes the film’s the mating of the role and performer was peek behind the curtain of cinema history and securing his status as one of Hollywood’s impressive sets while Conrad Veidt’s somehow preordained, jointly agreed upon envision some of Hollywood’s most important most popular performers and scoring im- stylized performance creates a charac- by the producers that ruled Hollywood and horror films as they might have been. pressively at the box office. In addition to ter that is indeed memorable. The film the dark gods that lord over Halloween. echoing the historic settings of these earlier also solidified at least one significant But film historians also tell us that for a The Man Who Laughs films, the role of Gwynplaine would have trend—the emergence of Jack Pierce brief moment in time, key casting choices in In 1928, Universal embarked upon an given Chaney yet another chance to “play as Universal’s resident makeup ex- the landmark horror films of the 1930s and ambitious and expensive film adaptation of the ugly” and supplement his lengthy list of pert. Veidt’s grinning countenance, ’40s were up for grabs. Dozens of names Victor Hugo’s melodrama L’Homme qui Rit. bizarre makeups and memorable character achieved through the application of were bandied about for lead roles in these The film’s grim scenario, concerning Gwyn- roles. The pathos aspect of the story would a denture-like appliance, was simple and other classic shockers during the early plaine, the son of a 17th century nobleman, likely have appealed to Chaney’s fans, add- yet startling and paved the way for stages of the pre-production process. Some whose face is mutilated by renegade Gypsies ing to the likelihood of box office success. the landmark monster designs that of these names are well known today, some as part of a power struggle among the ruling Taken together, these arguments lend plau- Pierce would champion in the years are no more than a footnote in the pages of class, was strong stuff for the silent screen. sible support to the notion of casting Chaney to come. Even without the talents of forgotten movie lore. But the selection of any Seemingly, only one man could portray such as The Man Who Laughs. Lon Chaney, The Man Who Laughs one of these actors might have changed these a grotesque role and still elicit a measure of But such supposition ignores one impor- holds up as one of the darkest fan-

34 MONSTERS FROM THE VAULT #29 SUMMER 2011 35 Eighty years after Dracula’s release, it’s hard to imagine anyone other than Bela Lugosi as Count of now obscure players, Chester Along with his skill as an actor, Chaney’s on the fast track for the directorial chair of once mighty nobleman and, Dracula. (Courtesy of Photofest) Morris and Ian Keith among popularity depended largely on the balance Dracula. Had Leni lived to direct Dracula, the like Karloff’s Frankenstein’s them, before settling on Bela Lu- between menace and sympathy he was able possibility of Veidt in the title role becomes Monster, sought to reveal the gosi for the role that would make to elicit from his grotesque characterizations. more plausible—and more intriguing. soul behind the monster. On him a horror film legend. But Dracula, a figure of consummate evil, offered Based on his handling of The Cat and the debit side of the equa- two rumors stand prominently precious few opportunities for such sympa- the Canary and The Last Warning, Leni would tion, Veidt is unlikely to have above the rest, both in terms thy. It is conceivable that the role may have have strived to give Dracula an effective captured the sexual heat that of the talent involved and the been retooled to fit Chaney’s screen persona, balance between pace and atmosphere. It Lugosi brought to the part; it impact they might have had on either via double casting (with Chaney as is a safe bet that he would have taken full is difficult to envision female the Universal horror series. both Dracula and Van Helsing) or by mak- advantage of the film’s impressive sets, es- fans writing Veidt to ask if his Film writers have long spec- ing Dracula a multifaceted character. Such pecially Carfax Abbey, which barely appears preference extended only to ulated about Lon Chaney’s pos- changes, however, could well have resulted in the finished version. Leni had a knack for “maiden’s blood.” The end sible involvement in the project. in a Dracula that was even further from Bram expressing his ideas visually and for valu- result is that a Leni/Veidt Such conjecture is understand- Stoker’s original conception than the Brown- ing action at a premium over exposition; Dracula, successful though it able given Chaney’s on-screen ing/Lugosi version proved to be. Also, there no doubt he would have avoided the “talk, may have been, would likely image and his history with was the matter of Chaney’s voice and appear- talk, talk” trap into which Tod Browning and have been a very different beast Dracula director Tod Browning. ance, which were decidedly non-European in company would fall. And it is refreshing to than the film that, warts and all, Chaney’s death in August 1930, nature. The same problem, ironically, would consider the prospect of comedy relief that has endured for 80 years. so the theory goes, robbed us of confront Lon Chaney, Jr., in 1943’s Son of might have actually elicited a chuckle or two. Dracula changed the what may have been the screen’s Dracula. These issues suggest that a Chaney But a key question is—What kind of course of history for Univer- greatest vampire. But do performance would Leni have elicited from sal Pictures. Although the such musings coincide with Conrad Veidt? With his imposing height and film has taken its lumps from the probable facts? gaunt, skeletal frame, Veidt would certainly critics both then and now, its As fate would have it, have cut a memorable figure as the undead success opened the door for After Bela Lugosi turned down the part of the monster in the 1931 film Frankenstein, Boris Karloff stepped in, and tasies of the late silent period. Perhaps the Chaney, then in the throes of death, was at Count. His work in the Expressionist cinema the great Horror Boom of the the role made him one of Universal’s biggest stars for only tangible benefit of Chaney’s presence the peak of his success. Named the most of his home country also suggests more than 1930s. It is certainly possible years to come. (Courtesy of Photofest) would have been the greater visibility it popular male box office attraction by the- just a passing affinity with dark and outré that a Leni/Veidt Dracula would have provided to a film that, to this ater exhibitors in 1928 and ’29, Chaney’s subject matters. Veidt’s appearances in films might be seen as a more effective and memo- in the summer of that year. day, remains underappreciated in the canon first speaking role was anticipated with like The Hands of Orlac, The Student of Prague, rable motion picture today. This scenario, The initial choice of Lugosi was a logical of prototype American horror films. as much fervor as Greta Garbo’s much and The Man Who Laughs reveal an actor who however, would have robbed us of the defini- though somewhat questionable bit of casting ballyhooed talkie debut. Chaney’s status was especially adept at externalizing the inner tive performance by one of horror cinema’s on Universal’s part. Lugosi was a perfect fit Dracula at MGM made him a critical asset during conflicts of emotionally tortured characters. most iconic personalities. Horror fans may for the role of Dracula, his matinee idol looks As documented in David Skal’s Hol- a period of growing economic upheaval, His performance as Dracula, consequently, forever have to debate which they would and Old World charm lending a veneer of se- lywood Gothic, the journey of Dracula from and his lucrative contract (he had signed might have focused on the tragic nature of the rather have seen—a great vampire movie or ductive civility to the character. The box office novel to the movie screen was indeed thorny. an extension with Metro in January 1930) a classic match between success of Universal’s vampire thriller also Universal, which embarked on production would have forced Universal to pay a role and performer. argued in favor of another Lugosi headline of the film in mid-1930, considered a roster steep premium to acquire his services role. But for Frankenstein, this match of role on a loan-out. The transi- Frankenstein and performer was less than ideal. Lugosi’s tion to sound was another Because of his enormous success at Universal and And now we come flamboyant acting style and powerful person- issue clouding the Dracula MGM in the 1920s, Lon Chaney might have been the to the Queen Mother of ality would have likely turned the monster first choice to play Dracula, but he succumbed to argument. Chaney’s throaty cancer in 1930. (Courtesy of Photofest) alternate casting rumors. into an intense and menacing figure, bereft baritone and mid-American Following the suc- of the “lost soul” quality that Karloff would accent were serviceable in his Dracula, even if it had been a popular success, cess of Dracula, Universal bring to the role. Lugosi himself was leery of only talkie, 1930’s The Unholy would never have achieved the iconic status rushed ahead with a film a part that required heavy character makeup Three, but in the role of a Tran- that the film ultimately enjoyed. Like John adaptation of Mary Shel- and offered no dialogue. He, with the sup- sylvanian Count they may have Barrymore in Svengali, perhaps this was a ley’s Frankenstein. Horror port of director Florey, originally lobbied for been less than convincing. As case in which Chaney’s performance would film mavens know the the role of the creator and not the creation, he admitted late in life, the have been remembered as just another entry facts—a screen test was although this plea was to fall on deaf ears. presence of sound curtailed in an admittedly impressive body of work. arranged with Bela Lugosi The test footage of Bela Lugosi as the the use of some of his most Death settled the Chaney/Dracula ques- as the monster and Robert Monster was assuredly the best indicator effective makeup devices. All tion forever, just as it colors the speculation Florey as director in mid- of how a Florey/Lugosi version of the film great stars reinvent themselves surrounding another name that was report- summer 1931. By August, would have looked. Unfortunately, the two- at some point in their career. edly associated with the film. In 1929, Conrad James Whale had usurped reel test was seen by precious few studio Conrad Veidt (left) and Paul Leni (right) were rumored Had Chaney lived, perhaps the Veidt abandoned Hollywood and returned Florey’s role on the project insiders and has become one of the lost to star and direct in Universal’s Dracula, but Veidt change from silent to talking to his native Germany. Concern over his and Lugosi was replaced treasures of horror film history. Its absence is abandoned Hollywood and Leni died before produc- tion of the film began. (Courtesy of Photofest) cinema might have convinced language skills at a time when talking films by little-known character keenly felt, given that those who participated the Man of a Thousand Faces had become all the rage is usually cited as actor Boris Karloff. A leg- had widely conflicting impressions regard- that it was time to chart his film the primary motivator for Veidt’s decision. end was born. But in the ing the event. Producer Carl Laemmle Jr. persona in a new direction. But the death of director Paul Leni may have decades that followed, reportedly laughed aloud while watching the Even if Lon Chaney had been a contributing factor as well. Leni, who Bela Lugosi finally donned the monster boots in 1943’s film writers have had a footage in a studio screening room. Lugosi, Frankenstein Meets the Wolf Man. Here, Bela relaxes on the been cast as Dracula, the end succumbed to blood poisoning that same set with Bela Jr. (Courtesy of Photofest) field day speculating on however, was apparently pleased and cited result was far from certain. year, was generally regarded to have been the fateful turn of events Paul Ivano’s camerawork as “magnificent.”

36 MONSTERS FROM THE VAULT #29 SUMMER 2011 37 One of the projects in which Universal hoped to star their new King of Horror, (included in MagicImage Filmbook’s 1989 sibility that is fascinating to consider. coming increasingly con- Boris Karloff (shown in The Old Dark publication of the Frankenstein film script) Universal’s initial conception of the vinced of his invincibility. House), was an adaptation of H.G. Wells’ The Invisible Man. (Courtesy of indicates this is so. To the contrary, it appears story bore little resemblance to the novel Karloff was seldom cast Photofest) likely that the original conception of the mon- Wells had penned. In an unused draft writ- in roles of such grandiose ster would have been something darker and ten by none other than Preston Sturges, a fervor, although his work more sinister. Instead of a creature driven to medical researcher (the script suggests Paul in The Mask of Fu Man- hate by the world’s rejection, a Lugosi mon- Lukas for the part) is probing the secrets of chu, in which he incites ster would have likely been a personification invisibility. With Bolshevik agents in hot throngs of Asian warriors of pure evil from the get-go. Any hints of pursuit, half-witted lab assistant Karloff to rise up against the humanity we now associate with the monster is injected with the formula and goes on Western world, comes were still a few months down the road, wait- an axe-wielding, murderous rampage. The close. Growing hysteria is ing for a personnel shakeup to reveal the true Karloff role, incidentally, seems to have another typical plot bro- potential behind the Frankenstein project. been a thankless and undistinguished one, mide. Here Karloff was in Frankenstein was a landmark of 1930s a factor that undoubtedly contributed to the less comfortable territory. cinema that kicked Universal’s fledgling rejection of this early draft by the decision An actor who was at his horror cycle into overdrive. Without the makers at Universal. (Gracious thanks to best when conveying key casting of Karloff as the monster, the Ted Newsom for information on the unused thought and emotion via film would likely have been remembered Karloff/Invisible Man script.) Once director subtle expressions, he as a soulless shocker geared toward more James Whale became involved with the sometimes resorted to mundane thrills. And under that scenario, it project, such wild and wooly plot twists stock mannerisms when is quite possible that Universal’s celebrated were scrapped and a script was written to the time came to “play horror tradition might have died aborning. approximate the Wells’ original with liberal big” (witness his Fran- doses of black humor added to the mix. kenstein-like grunts and The Invisible Man Even though he’s only heard and not seen in It is maddeningly difficult to state with touches turns to death, and with each tragedy Given the convoluted history of the poses when tormented by most of the film, Claude Rains’ performance in any degree of certainty what the monster that he unknowingly sets off his sense of isola- In the wake of Frankenstein, The Old Dark script, it is difficult to state with certainty Bela Lugosi in The Raven). The Invisible Man is one of the standouts of the looked like at this early date. Reports regard- tion grows more complete. Do not overlook House, and The Mummy, Boris Karloff’s star how a Karloff version of The Invisible Man Unquestionably, the ’30s. (Courtesy of Photofest) ing Lugosi’s appearance are frustratingly the visual aspect of the Frankenstein Monster, was on the rise. His name alone was enough would have “looked.” Yet there are enough casting of Claude Rains brief and ambiguous to the point of being either; even casual movie fans acknowledge to headline motion pictures and draw crowds elements common to any invisibility story as Jack Griffin in The Invisible Man (his first ance gains much from the playing of Claude nondescript; one news reporter who was on that Karloff’s “look” was just right. With his into movie houses of the 1930s. One of the that some inferences can be made. One is the significant role in a motion picture) offers Rains, whose quirky/menacing performance the scene wrote that Lugosi’s makeup melted quirky face and bony physicality, Karloff’s projects that Universal initiated to capitalize emphasis on the voice as a primary means some delightful moments. The playful, as the Invisible One matches the black come- in streaks of “red, yellow and blue” under visage provided the foundation for one of on his newfound celebrity was an adaptation of menace. In this regard, Karloff was quite mocking quality in Griffin’s voice, especially dic tone of the script. It seems unlikely that the the hot studio lights. Further confusion was horror cinema’s iconic images. of H.G. Wells’ sci-fi thriller, The Invisible Man. adept; his nuanced handling of dialogue, in during his confrontations with the towns- presence of Boris Karloff could have improved added by Edward Van Sloan, cast in the role Above all, Boris Karloff will be forever Karloff’s association with the project ended fact, became one of the joys of such films as folk, conveys the impression of one who on this, regardless of how the project might of Dr. Waldman in both the Frankenstein test remembered for giving the monster a soul. once his initial contract with the studio ex- The Mummy and The Body Snatcher. Another is gradually becoming unhinged. Griffin’s have been tailored to suit his talents. and the finished film; decades later, Van Sloan Were Lugosi and Florey aiming for the same pired in 1933. But the speculation concerning staple of these films is the gradual onset of ongoing cycle of madness is also revealed by remarked that Lugosi looked like “something result? Nothing in the script of the screen test his performance in the role is another pos- megalomania with the invisible menace be- the gentle ease with which he contemplates WereWolf of London out of Babes in Toyland.” This certainly mass murder. By contrast, his The early publicity releases for this film does not sound like the Frankenstein explosive rant at the villagers promised a real treat for horror fans—an equal Monster we know and love today. It is who intrude upon his privacy matchup between the two Titans of Terror, important to note, too, that the unique (“You’re crazy to know who I Boris Karloff and Bela Lugosi. But it was not Jack Pierce “flat top” makeup was de- am, aren’t you!”) reveals an to be. Many changes occurred during the early signed to capitalize on the particular unchecked inner rage. The stages of production, including a recasting of bone structure of Karloff’s face. Put this frustrated romance angle of the leads and the demotion of the film to mid- look on Lugosi and you are likely to find, the plot gains from Rains’ level programmer status. As a result, WereWolf as the producers of Frankenstein Meets the presence as well; in all likeli- of London would garner a reputation as one of Wolf Man did a dozen years later, that hood, he is more believable as the lesser entries in Universal’s initial cycle of neck bolts and jagged scars alone do not a love interest than Boris Kar- horror films. Would this opinion have held a classic monster make. loff would have been. Finally, true if the promised matchup between the Perhaps it is helpful at this point there is the unexpected benefit horror legends had become a reality? to cite the many attributes that Karloff of novelty casting. The curios- The most common complaint levied brought to the role. Chief among these ity factor involving a character against WereWolf of London is the unsympa- was a harrowing combination of con- who remains unseen through- thetic performance of Henry Hull as botanist fusion and innocence. Karloff’s eyes out much of the film takes on turned lycanthrope, Wilfred Glendon. The express this best. Laced with bewilder- added dimension with the fault is not entirely Hull’s—with a script that ment at the world around him and casting of Rains, who was then casts him as the third leg of a love triangle rimmed with those ghastly dark circles, a new and unfamiliar face. (with the much younger Valerie Hobson as they plead for our sympathy even while The Invisible Man remains his wife), the deck is stacked against him they fill us with revulsion. Effective, too, one of the most satisfying of from the start. And, truth be told, Hobson’s are Karloff’s displays of pent-up rage. all the Universal horror films. character, who flirts with infidelity from the Though not large in physical stature, One can only imagine what The Invisible Man would have It is, arguably, director James opening moments of the film, does even less Karloff convincingly projects a power- been like if Boris Karloff had starred in James Whale’s Whale’s most effective mating to endear herself to the audience. But Hull’s Claude Rains as Jack Griffin in James Whale’s The Invisible Man. (Courtesy of Photofest) 1933 film. (Courtesy of Photofest) ful and menacing aura. Everything he of horror and humor. This bal- frosty demeanor complicates an already

38 MONSTERS FROM THE VAULT #29 SUMMER 2011 39 Early publicity for 1935’s WereWolf of London promised a Karloff/Lugosi matchup in the film; however, Henry Hull landed the title role and Lugosi was nowhere to be seen. (Courtesy of Photofest)

in a vehicle worthy of his talents. For this reason alone, horror fans are inclined to look at Dracula’s Daughter with a tinge of regret. Even with limited screen time, the thought of seeing a cape-clad Lugosi at his peak once more is enough to make dedi- cated horror fans bemoan this film’s eventual fate. (If you need convinc- ing, look at the candid face-to-face photos of Lugosi and Gloria Holden taken during production. So close, yet so far away.) However, one cau- tion should be noted—it is possible that the dynamic Lugosi might have overshadowed the film’s distaff lead as the primary menace, upsetting the balance of a story that was intended to put the focus on Dracula’s prog- eny. After seeing the Vampire King strut his stuff, any night creature of lesser screen presence would have been a major letdown. In regard to director James Gloria Holden as the evil offspring in Universal’s 1935 film Dracula’s Daughter. (Courtesy of Photofest) Whale, it may be fair to challenge the assumption that he would have necessarily the time of Bride of Frankenstein, the parody intrinsic to Bram Stoker’s character. This, been an asset to this project. By 1935, Whale is getting awfully ripe. Perhaps James Whale more than any other criteria, could have was clearly tiring of his association with hor- was close to jumping the shark. It is signifi- been the determining factor in the success ror films. As evidenced by The Old Dark House cant to note, too, that Whale did not direct of Dracula’s Daughter as it might have been. and The Invisible Man, Whale was slowly but another horror film after 1935, although one Perhaps it is not fair to grouse over surely succumbing to a temptation to send up presumes he certainly had ample opportu- Dracula’s Daughter, which, after all, does shaky bit of casting. A fine actor in character food for thought. Warner Oland does a cred- Whale, and a script chock-full of disturbing the material, playing it for laughs as well as nity to do so. For a Whale-directed Dracula’s hold up as one of the more respectable hor- parts, Hull fails to generate the charisma ible job in the pivotal role of Dr. Yogami, who undercurrents, Dracula’s Daughter might have thrills. The trend is not fatal; indeed one can Daughter to succeed, it would have had to ror sequels of the 1930s. If it is any consola- that is necessary for a film protagonist. As infects Glendon with lycanthropy. His sad- been one of cinema’s all-time shockers! It argue that these two films benefit from this tread a very fine line between horror and tion to horror fans, the early concept for the a result, the film’s sense of tragedy never eyed, soft-spoken turn as Universal’s first didn’t work out that way, of course. The ver- whistling in the graveyard approach. But by comedy, lest it undermine the dark appeal film, with its depictions of physical torture, unfolds as effectively as it should. werewolf is unique and interesting. But if sion of Dracula’s Daughter that was eventually sexual degradation, and parallels be- WereWolf of London presented missed op- you took a poll of horror fans, odds are they released is regarded as a modest, though still Early story treatments for Dracula’s Daughter had tween vampirism and drug addiction, portunities in other areas as well. The story is would prefer to see Bela Lugosi’s take on the satisfying, entry into the Universal horror Bela Lugosi reprising his role as the Count, with would have never made it past the an odd mix of horror and sci-fi elements that role. A more dynamic actor than Oland, Lu- canon. But if any classic horror film might James Whale onboard in the director’s chair. Of newly empowered Breen office of 1936. course, this never played out, and Lugosi didn’t struggle to fit together comfortably. Comedy gosi would have given Yogami a darker edge. have benefited from some creative rethink- wear a cape on film again until 1943’sReturn of the Surely, any discussion of an alternate- relief is so prominent that suspense takes a Dialogue that sounds forlorn and regretful ing, this is certainly a candidate. Vampire. (Courtesy of Photofest) universe version of Dracula’s Daughter back seat for scenes in succession. And why, coming from Oland would have resonated The initial concept for Dracula’s Daugh- must be framed with this in mind. But oh why, does the script fail to capitalize on the as positively menacing when voiced by Lu- ter was so far removed from the final result perhaps, in our wildest fantasies, there scenario that is every horror fan’s fantasy—a gosi. And—admit it—who among us would that, on first glance, it is difficult to compare was a moment when Count Dracula werewolf versus werewolf battle to the death? not want to have seen Boris and Bela at each the two. In an early draft, penned jointly by reached out to haunt the dreams of his The casting of Karloff in the Glendon other’s throats in the film’s climax, the full Whale and R.C. Sherriff (and recently pub- unholy offspring and, by extension, role addresses some, but not all, of these moon bringing out the beast in both of them? lished in book form by BearManor Media), our dreams as well. That could have issues. Karloff indeed had a knack for WereWolf of London remains one of Lugosi was to have reprised his role as King been something really special. portrayals that balanced menace and sym- Universal’s missed opportunities. The film of Vampires via a lengthy prologue that pathy; one look at his work in Frankenstein is impressive in moments but fails to come would have explained the curse of the Dracu- Son of Frankenstein and The Walking Dead confirms this. But as together as a satisfying whole. With Karloff las. This treatment presents the imaginative The importance of Son of Fran- a love interest, even for a relationship that and Lugosi in the cast, it may still have premise that a wizard (a possible role for kenstein is often overlooked by those is waning, Karloff seems like an odd choice. fallen short of the standards established by Boris Karloff) was responsible for transform- who chronicle film history. Coupled Given their age discrepancy, Karloff and Universal’s top-shelf thrillers, but it might ing the Count’s court into foul creatures of the with a successful double bill re-release Hobson surely would have had their hands have been more readily embraced by its night and inflicting upon Dracula his eternal of Dracula and Frankenstein, Son was full trying to create any believable on-screen audience, both then and now. thirst for human blood. Although the script instrumental in breathing new life into chemistry. Script problems also remain an was clearly over-the-top (Whale reportedly the dormant horror genre of the late open issue. Unless some major story retool- Dracula’s Daughter had a disdain for the project and wished to 1930s and paved the way for Univer- ing had been done, Karloff’s attempts to Looking at the early story treatments scuttle it), it makes for fascinating reading. sal’s resurgence as a fright film factory salvage WereWolf of London could have been for this film, one cannot help but marvel at Bela Lugosi was so intrinsically right for in the decade to come. One of the joys of as problematic as Hull’s had been. what might have been. With a major support- the role of Dracula it is a pity that Universal this entry in the lucrative Frankenstein The other potential cast change offers ing role for Bela Lugosi, direction by James never gave him a chance to reprise the role series was the casting of familiar faces

40 MONSTERS FROM THE VAULT #29 SUMMER 2011 41 countless 1940s thrillers. Frankenstein to a close. part of overzealous researcher As a result, the role of Today, Peter Lorre is remembered as a Sovac. Universal hired char- Wolf van Frankenstein distinctive character actor who could con- acter actor Stanley Ridges for would, by necessity, vincingly project a creepy on-screen persona the Kingsley/Cannon role, have required some re- without even trying. This is true despite his who, incidentally, turns in tooling to accommodate horror credits numbering but a handful. Son the performance of a lifetime. Lorre’s image as one of Frankenstein might have changed that, for Lugosi, meanwhile, was de- of the screen’s natural- better or for worse. It could have opened moted to rival gang leader born bad guys. Perhaps the door to a lengthy stay at Hollywood’s Eric Marnay and, incredibly, a more active role in chief procurer of monster movies. But it does not share a single scene the reawakening of the might also have cheated moviegoers out of with fellow headliner Karloff. monster or some note- singular supporting performances in some Lugosi’s subordinate part worthy skullduggery of Hollywood’s classic mainstream movies. is all the more disappoint- of his own would have Our loss was film history’s gain. ing when viewed through the befitted Peter Lorre’s “What if?” looking glass. The admission into the Fran- Black Friday character of Sovac, with his “all kenstein family tree. By 1940, Universal was looking for ways for the cause of science” moti- Basil Rathbone, de- to reinvent its tried-and-true formula for vation, was tailor-made for the spite his overwrought horror movies. Black Friday, released that flamboyant actor. In addition, Boris Karloff was originally cast to play the performance, brought year, was the result of this new approach. the compassionate moments dual role of Professor Kingsley/Red Cannon in a likable presence to his Noteworthy for the appearance of horror between Sovac and Kingsley Black Friday, but he opted to play Dr. Sovac role as the offspring of icons Boris Karloff and Bela Lugosi and for could have provided a glimpse instead. Stanley Ridges (left) ended up in the horror cinema’s great- its quirky combination of crime and horror of a Lugosi seldom captured on Kingsley/Cannon role. (Courtesy of Photofest) est misguided medico. elements, the film also enjoys another distinc- film. Karloff’s unwillingness Rathbone’s matinee idol tion—it is remembered for one of the most to take on the role originally Peter Lorre as Wolf Frankenstein in 1939’s Son of Frankenstein? looks provided a much- curious casting switcheroos of them all. slated for him is understand- That was the original plan. (Courtesy of Photofest) needed sense of normal- As has been widely reported, Karloff able, given the awkwardness cy in a story dominated was originally cast to play the dual role of he displays in such early crime- Boris Karloff, Bela Lugosi, Lionel Atwill, and by misshapen monsters and omnipresent mild-mannered Prof. Kingsley and crime driven talkies as Scarface and Behind the Mask. Friday’s miscast bathwater, let us consider the personality take on a big city tough guy is so Basil Rathbone in the film’s key roles. But shadows. And behind his outward ap- boss Red Cannon, two radically different But however uncomfortable Karloff might performance Stanley Ridges gives as Kings- spot-on it is a wonder Ridges did not find a what if Peter Lorre had been cast in the role of pearance is just the hint of swashbuckling personalities who share the same body, thanks have been on-screen, it surely would have been ley/Cannon. Ridges’ transformation between permanent niche as a specialist in film noirs. Wolf van Frankenstein as originally planned? derring-do that comes in most handy at the to the brain-grafting work of Dr. Sovac (to be preferable to hearing Lugosi’s thick Hungarian the two characters (aided by the minimalist Watching such an assured performance in a By 1938, Lorre’s film career was at a film’s finale. Try as he might, it is hard to played by Bela Lugosi). But Karloff reportedly accent mangle the streetwise prose of a gun- makeup of Jack Pierce) is so convincing that second-rung time killer like Black Friday is an crossroads. Laboring at Fox Studios in the image Peter Lorre pulling off the Douglas had cold feet over his ability to pull off the totin’ Al Capone wannabe. viewers are easily fooled into thinking it is unexpected delight. Mr. Moto detective series, the celebrated actor Fairbanks-like exploits that bring Son of gangster role and opted instead to play the Before we throw out the baby with Black the work of two different actors. His Type-A- Black Friday was fated to be a minor film feared that he might become stuck regardless of how its casting issues in the artistic hell of second-string While Basil Rathbone ultimately starred as Wolf Frankenstein Had Karloff played the Kingsley/Cannon role in Black Friday as were resolved. The movie’s lurid, planned, it would have opened up for Bela Lugosi the Dr. Sovac programmers. Opportunity, in the in Son of Frankenstein, many feel the film’s true star was Bela potboiler plot and modest budget Lugosi as Ygor. (Courtesy of Photofest) part, seemingly tailor-made for him. (Courtesy of Photofest) form of career-making supporting ensures that. Perhaps it would have roles for Warner Bros., was still a earned a special spot in the hearts of few years away. So the prospect horror fans had its original teaming of of appearing in a horror film, Karloff and Lugosi been carried off as which could have easily become originally planned. Yet it is refreshing yet another professional dead end, to see a new face in a Universal bad- was probably not on his short list guy role, especially when the playing of career objectives. Time would is handled with such panache as change that, of course, as Lorre Stanley Ridges in Black Friday. So, in made a number of genre-related recognition of the surviving members appearances in the 1940s. But at this of the Stanley Ridges Fan Club, rate stage, Lorre was probably as happy this one a toss-up, as what was lost as anyone that a chance to share the would have surely balanced out what silver screen with the Frankenstein would have been gained. Monster passed him by. Had Lorre appeared in Son of Frankenstein Meets the Wolf Man Frankenstein, the tone of the film The concept of the monster rally would have been decidedly differ- was yet another innovation that Uni- ent. Lorre’s screen presence was versal championed in the horror film dynamic and, more often than not, genre. Although often on the receiv- hinted at some underlying twisted ing end of critical scorn, the studio’s persona. This quality would serve monstrous matchups of the 1940s him well in The Maltese Falcon, Casa- provided good box office and remain, blanca, The Mask of Dimitrios, and decades later, high on the list of all-time

42 MONSTERS FROM THE VAULT #29 SUMMER 2011 43 been for theatergoers Boris Karloff had played the part? of the 1940s to have Massey imbues the role of Jonathan watched Boris Karloff Brewster with sinister and violent under- tread the boards in the pinnings. The laughter his character elicits original production of is mostly of the nervous variety. Even the Arsenic and Old Lace. A show-stopping line “He said I looked like major hit of the 1941 Boris Karloff!” comes off more as a disquiet- Broadway season, the ing, matter-of-fact observation than the self- original run of Arsenic referential in-joke it was intended to be. The played for an impres- look of this long-lost Brewster brother—his sive 1,444 performances. face is a ghastly map of scars and stitches— And if Hollywood his- only adds to the unnerving quality of the tory had unfolded just a character. When others make droll comments bit differently, Karloff’s about Jonathan’s childhood tendency to pull standout role might have the wings off flies, Massey keeps the intensity been captured on film for turned on high, his eyes burning like hellish the entire world to see. laser beams. As a result, his character is as W h e n d i r e c t o r dark as the shadows Capra uses to accentuate Frank Capra adapted the film’s foreboding mood. the film version of Ar- The mere presence of Karloff in the senic for Warner Bros., cast would have given the film more of a concessions were made sardonic tone. Lacing horror with humor to accommodate the is now acknowledged as a Karloff specialty theatrical production, although his film work up to this point had Boris Karloff as Jonathan Brewster in the Broadway production which was still ongoing. shown little evidence of it. In fact, it was Ar- Arsenic and Old Lace. (Courtesy of Photofest) Co-stars Josephine Hull, senic that provided the breakthrough, show- Jean Adair, and John Al- ing that the screen’s premier bogeyman the monster with menace, cunning, and pa- exander were allowed to take leave from the could handle the funny stuff effortlessly, a thos, little of which come across on film. Mod- play, but not Karloff, who was both the main skill that would later prove valuable in the ern film writers typically bemoan Chaney’s draw and a primary investor. To replace television era. And, obviously, Karloff could Monster as dull and lifeless. (Chaney sup- him, Capra cast character actor Raymond hold his own in the menace department. porters contend this was the fault of director Massey, best known to movie fans for his Watching Karloff find the balance between Erle C. Kenton, who instructed Chaney to Oscar® nominated role as the 16th presi- laughs and shivers was always entertain- imbue the monster with robotic qualities. dent in 1940’s Abe Lincoln in Illinois. Massey ing, especially since his interpretation of The original cast list for Frankenstein Meets the Wolf Man had Lon Chaney, Jr., Being diplomatic, I concede that both actor gives a fine performance as Arsenic’s Jonathan Brewster reportedly relied on a penciled in to play not only Lawrence Talbot, the ill-fated Wolf Man, but also and director share in the blame.) primary menace, especially in scenes he knowing smirk as much as an evil leer. Frankenstein’s Monster. (Courtesy of Photofest) On the upside, it is possible that Franken- shares with fellow heavy Peter Lorre. But Perhaps the biggest benefit to a Karloff stein Meets the Wolf Man could have allowed film fans have always wondered—what if appearance in Arsenic would have been to fan favorites. Frankenstein Meets the Wolf Man, ble casting of Frankenstein Meets the Wolf Man rework made a hash out of Bela Lugosi’s Chaney to atone for his prior the first of Universal’s “more monsters, all the was both logical and predictable. Chaney performance, which adhered to the script’s Frankenstein Monster perfor- time” gambit, provided the template for all the had the character of the Wolf Man nailed concept of a blind and weakened monster mance and live up to the appel- fur-flying, fang-baring fun to follow. And in a down to such a degree that the selection of who spoke with the voice of Ygor, the result lation that the studio had thrust twist that now seems as fantastic as the film’s any other actor for the role was unthinkable. of a brain transplant gone awry in The Ghost of upon him. Nothing would Saturday matinee scenario, the original cast His donning of the bolts and headpiece in Frankenstein. The result—Lugosi flails about, have pleased Universal more list had Lon Chaney, Jr., penciled in as both the previous year’s The Ghost of Frankenstein his mouth voicing nonexistent dialogue for than to establish in the public the Wolf Man and Frankenstein’s Monster. made him the likely choice for the competing no discernable reason. Lugosi’s stint was for eye Lon Chaney’s Monster as Universal, hoping to capitalize on the monster role as well. But as the production years ridiculed as the worst Frankenstein a worthy successor to Karloff’s memory of Chaney’s famous father, was busy date neared, budgetary issues and the lo- Monster performance on film by viewers original. Certainly, the motiva- promoting the young actor as the studio’s gistics of complicated camera/matte work who had no knowledge of Frankenstein Meets tion was there for both parties. “master character creator.” His horror film forced the studio to rethink this admittedly the Wolf Man’s post-production tinkering. If post-production tamper- credentials had already been established awkward strategy. Universal eventually Modern genre fans are somewhat more ing did not pull the rug out with a memorable portrayal as doomed pulled the plug on the trick-casting ploy forgiving in their assessment, but it is fair from under him, it is possible Larry Talbot in The Wolf Man. Appearances and signed 60-year-old Bela Lugosi as the to say that Lugosi still gets few nominations that, given careful direction, a in The Ghost of Frankenstein, Son of Dracula, Frankenstein Monster a mere week before in the category of filmdom’s favorite Fran- Chaney double performance the various Mummy sequels, and Universal’s the cameras were slated to roll. kenstein Monster. Such a post-production in Frankenstein Meets the Wolf Inner Sanctum series soon followed. How Before considering an alternate Fran- debacle could have just as easily undermined Man might have cemented his well Chaney fared in these various roles is kenstein Meets the Wolf Man, we must first a Chaney performance as the Monster. claim as the horror star of the a subject that sparks heated debates among address the last-minute production decisions Another shadow loomed over this pro- World War II years. But that, horror film fans. But in terms of numbers that hung like fog over the finished film. duction—Chaney’s first go-round as Fran- my friends, is a big, big “if.” alone, Lon Chaney, Jr., was clearly the face After principal shooting wrapped, the movie kenstein’s Monster had been received with Raymond Massey stepped into the role of Jonathan Brewster in Frank Capra’s film version of Arsenic of Universal’s horror franchise in the 1940s. was extensively reedited to eliminate the mixed reviews. The Ghost of Frankenstein had Arsenic and Old Lace and Old Lace. (Courtesy of Photofest) Seen in this context, the proposed dou- monster’s speaking voice. This last-minute given Chaney ample opportunity to portray What a treat it must have

44 MONSTERS FROM THE VAULT #29 SUMMER 2011 45 observe his chemistry with the rest of the better Dracula?” A small but won him fame a decade earlier. He even alteration of one tiny detail can have implica- Universal Filmscripts Series Volume 3. MagicI- original Broadway cast. Playgoers of the fervent band of the horror faith- has a Renfield-like sidekick, played by Matt tions that ripple out far and wide. Remember mage Filmbooks. 1940s knew the joy of seeing Karloff’s Jona- ful insist on bestowing the title Willis, who is kept in thrall to his “master” that as you watch a classic shocker from the Riley, Philip J. (1990). Dracula: The Original than Brewster menace dear old Aunt Abby to John Carradine on the basis by preternatural means (in this case, the 1930s or ’40s, and try to imagine Conrad Veidt, 1931 Shooting Script. MagicImage Filmbooks. and Aunt Martha or stare nonplussed at the of the actor’s work in Univer- curse of lycanthropy). Age and impending Lon Chaney, or Peter Lorre in ways you’ve Riley, Philip J. (1990). Frankenstein Meets the antics of Cousin Teddy, the Brewsters’ most sal’s mid-1940s’ monster rallies illness are factors at this point; Lugosi, now never seen them before. Wolf Man: Universal Filmscripts Series Volume delusional relative. And what fun would it House of Frankenstein and House well past his prime, is nowhere near as ener- 5. MagicImage Filmbooks. have been to see Karloff and Peter Lorre to- of Dracula. For such a compari- getic a vampire as Carradine would be. His REFERENCES: Riley, Philip J. (2009). Dracula’s Daughter: An gether again, their characters jointly planning son to be valid, one must image romantic appeal has also ebbed, making his Blake, Michael. (1996). Lon Chaney: The Man Alternate History for Classic Film Monsters. to continue their bloodletting ways on the how Bela Lugosi, the original attacks on vulnerable young women appear Behind The Thousand Faces. Vestal Press. BearManor Media. streets of Brooklyn. Of course, it is possible Dracula himself, might have less of a seduction and more of a corruption. Mank, Gregory William. (1981). It’s Alive! Skal, David J. (2004). Hollywood Gothic: The that with Karloff’s name in the cast, Lorre’s fared in these end-of-the-line But though his physical menace has dimin- The Classic Cinema Saga of Frankenstein. A.S. Tangled Web of Dracula from Novel to Stage to contribution might have been deemed un- horror programmers. ished, the force of his personality remains Barnes & Company, Inc. Screen. (Rev. ed.). Faber & Faber. necessary. With Cary Grant already signed The scenario is not that strikingly vivid. Lugosi’s scenes with Frieda Mank, Gregory William. (2009). Bela Lu- Weaver, Tom; Brunas, Michael; Brunas, John. as a headliner, a budget-conscious studio like farfetched; Universal report- Inescort, the film’s vampire expert/author- gosi and Boris Karloff: The Expanded Story (2007). Universal Horrors: The Studio’s Classic Warner Bros. might have been anxious to cut edly entertained the prospect ity figure, underscore this point. In both of a Haunting Collaboration, with a Complete Films, 1931-1946 (Rev. ed.). McFarland & costs wherever it could. of hiring Lugosi for the Dracula dialogue and screen presence, Lugosi holds Filmography of Their Films Together (Rev. ed.). Company. Karloff’s Arsenic performance later role when House of Frankenstein his own as he engages Inescort’s character in McFarland & Company. made it to television in three separate produc- began production in early 1944. Jean Adair (left) and Josephine Hull (right), cast members of the obligatory “good versus evil” confronta- Riley, Philip J. (1989). Frankenstein: Universal The writer wishes to thank Michael Blake tions—The Ford Theater Hour (1948), The Best Lugosi, however, was com- the Broadway production of Arsenic and Old Lace, were given tion. Moments like this lift The Return of the Filmscripts Series. MagicImage Filmbooks. and Ted Newsom for e-mail correspondence a leave of absence to be in Capra’s film version of the play, of Broadway (1955), and the Hallmark Hall of mitted to a West Coast stage but not Karloff, as he was the main draw for the Broadway Vampire above its programmer origins and Riley, Philip J. (1989). Son of Frankenstein: that contributed to the writing of this article. Fame (1962). A complete copy of the latter is engagement of Arsenic and production. (Courtesy of Photofest) remind us why Lugosi made such an impact currently available for appraisal. Although Old Lace and was unavailable as Dracula both onstage and in film. he is considerably older at this point, Karloff when filming commenced. In While we are at it, it is fun to speculate still manages to evoke some of the magic his place, Universal opted for on what impact the House films might have that made the Great White Way sit up and former Fox contract player John Carradine. led to appearances in low-rent titles like Isle had on Lugosi’s checkered film career. take notice. While Raymond Massey acquits A colorful and well-regarded character actor, of Forgotten Sins, Revenge of the Zombies, and By this point in his life, the die had been himself well in the film version of Arsenic and Carradine had given notable performances Voodoo Man. For Carradine, work on the pretty much cast for the elderly horror Old Lace, it is a pity that Karloff’s legendary in such film classics as The Prisoner of Shark modestly budgeted House of Frankenstein icon. Any ambitions Lugosi may have once performance was not captured on film when Island, Stagecoach, Drums Along the Mohawk, and House of Dracula must have seemed like harbored toward being a mainstream star the chance presented itself. It remains one of and The Grapes of Wrath. But by the mid- a second shot at the big leagues. disappeared once he became stuck with the Hollywood’s lost opportunities. 1940s, Carradine’s professional life had hit Carradine’s youthful appearance (he “spook man” label. Even his best days with a rough patch. Struggling to keep his prized was 38 at the time but looks even younger) Universal Studios were now far behind House of Frankenstein/House of Dracula Shakespearean troupe afloat, the former John adds a spark of virility to his Dracula perfor- him. Further hindering his career options Fans of Universal horror love to debate Ford stock player was accepting any and all mance. A sleek and sexy bloodsucker, Car- was that Hollywood’s cycle of classic hor- such esoteric prospects as “who was the job offers that came along, which inevitably radine uses his hypnotic eyes and melodious ror films, one of the most reliable genres of voice to great advantage, especially when he filmdom’s Golden Age, was coming to an turns his undead charms on intended vic- end. It is unlikely, therefore, that a Lugosi tims Anne Gwynne and Martha O’Driscoll. appearance in House of Frankenstein/House This is one Dracula who could believably of Dracula would have altered his career have his way with the ladies. But for all his path. The only consolation prize for Lugosi seductiveness, there is a quality about Car- would have been a chance to once again radine’s vampire performance that some find don the vampire’s cape and lay further mannered and cold. Displaying the rigid claim to his public identify as the definitive formality of a stage magician—an impression Dracula. That and the cash, of course. reinforced by his ever-present top hat—Car- John Carradine’s Dracula performance radine’s vampire is well versed in the social is more than adequate for the programmer- graces but lacks the personal magnetism styled monster movies that became Univer- that a true King of the Undead must possess. sal’s stock in trade in the 1940s. His smarmy, Perhaps Carradine’s intent was to give his manipulative charm adds uniqueness to the Dracula an alien, otherworldly quality that ever-shifting mythos of Universal Horror. The noticeably set him apart from the living. On fact that Bela Lugosi never had an opportunity that level, Carradine scores a bulls-eye, leav- to reprise his signature role in a big-budget ing one to wonder how the actor might have sequel is indeed regrettable. But it is doubtful handled the role in a major studio adaptation that his late-in-the-day appearances in a pair of Bram Stoker’s vampire thriller. of Saturday afternoon shockfests would have By contrast, Lugosi’s work in 1944’s The improved the films, or his personal fortunes, Return of the Vampire provides a primer in to any measurable degree. Bela Lugosi was considered for the role of how he might have portrayed the Dracula So there you have it—one author’s mus- John Carradine eventually was cast in the role of Count Dracula in Universal’s Dracula in 1944’s House of Frankenstein, Monster Rally filmsHouse of Frankenstein (1944) and House of Dracula (1945). but he was committed to a West Coast stage role in the House films. Although his char- ings regarding many of our favorite horror Here, he seems more interested in leading lady Anne Gwynne than in the House version of Arsenic and Old Lace and was un- acter is named Armand Tesla, it is clear films as they might have existed in an alternate of Frankenstein script. (Courtesy of Photofest) available. (Courtesy of Photofest) Lugosi is channeling the performance that universe. History is a chain of events, and the

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