View allAll Photos Tagged wolfman
All Photos © Jason Jerde - All Rights Reserved
Please do not copy, distribute or use my photos in any way, without consent.
Leica M2
Leica Summicron 35mm f/2 IV "King of Bokeh"
Fomapan 400
Kodak HC-110 Dil B (1+31)
7 min sec 20°C
Scan from negative film
"Wolfman Waiting to Catch the 68 to Go to the Jack in the Box Next to Kinney Shoes, Next to Cortez Audio"
3.5 x 5"
Ink on Paper, 2015
Inktober Day 5
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FPP Wolfman 100 is a beautiful ASA-100 panchromatic film that works well in bright light! With fine grain, excellent contrast and tonal separation plus good edge sharpness!
Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 (Yellow-12) - FPP Wolfman 100 @ ASA-100
SPUR HRX (1+20) 9:45 @ 20C (Constant Rotation)
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
I've been horribly neglectful of this hobby this year (been shooting more location stuff which I'll slowly upload some of here), but I'm hoping to start doing better this year. Figured for my return, I'd pick up where I really left off, with the classic monsters.
from a distance.
It's easy enough to get to but we had a lot of ground to cover that day.
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Summer 2015: "Up was Down"
June 9th: Comb Ridge
I keep doing this to myself, trying to find Soviet cameras that I actually like! While I have had a rough experience with the Symbol's progenitor, the 8m, the Symbol has fixed much of the trouble I had with the 8m in terms of functionality while keeping this camera's optical nature.
You can read the full review online
www.alexluyckx.com/blog/index.php/2021/09/07/camera-revie...
ЛОМО Смена Символ - ЛОМО T-43 4/40 - FPP Wolfman @ ASA-100
Ilford Ilfotec HC (1+63) 12:00 @ 20C
Meter: ReveniLabs LM-1
Scanner: Epson V700
Editor: Adobe Photoshop CC
(Realart, R-1949).
Lobby Card (11" X 14"). With Chaney occupied as the Wolfman, Universal needed someone else to fill The Monsters' massive boots! Bela Lugosi was chosen for name recognition and a classic was made in the process. "Frankenstein Meets the Wolfman" was an entirely new creation for the studio as it featured two of their classic monsters in a duel for the first time!
Frankenstein Meets The Wolfman
youtu.be/5jkW_Ip1zzw?t=6s Part 1
Starring Bela Lugosi, Lon Chaney Jr., Patric Knowles, Ilona Massey, Lionel Atwill, Maria Ouspenskaya, Dennis Hoey, Don Barclay, Rex Evans, Dwight Frye, Harry Stubbs, David Clyde, Sonia Darrin, Cyril Delevanti, and Charles Irwin. Directed by Roy William Neill.
In 1943, Universal cranked out yet another so-so sequel, but created the first monster vs. monster films. Frankenstein Meets the Wolfman (FMW) is a double sequel. It is the fifth chapter in the Frankenstein saga, and a first sequel for the Wolfman ('41). As the Frankenstein fifth film, the story is weak, yet it is a highly significant chapter because Bela Lugosi plays the monster. (more in Notes section) Curt Siodmak, who penned many 50s sci-fi screenplays, wrote this sequel to his popular 1941 Wolfman film. Siodmak would also write the chapter, House of Frankenstein in 1944.
Synopsis
Grave robbers break into the Talbot family crypt looking for jewelry. They open the casket of Laurence Talbot, letting in a beam of moonlight. This revives the immortal werewolf. Laurence is found unconscious on a Cardiff street. He is taken to the hospital. Dr. Mannering and Inspector Owen don't believe he can turn into a wolfman and kill people, but change their mind when they see the casket is empty. Larry runs away and finds Maleva, the gypsy woman whose werewolf son bit him and made him a werewolf. She says a Dr. Frankenstein can help Larry die and stay dead. They travel from Wales to the village of Visaria. The doctor is dead, but the villagers are hostile towards anyone looking for a Frankenstein. Larry, turned to a werewolf, killed a young woman and got chased by the usual mob of angry villagers. He falls into the basement catacombs of the old castle. Next morning, now as Larry, he finds the monster encased in ice. He digs him out and asks him to locate the diaries. No success. Larry poses as a Mr. Taylor, pretending to want to buy the estate so he can meet baroness (Elsa) Frankenstein. He asks her for the diaries, but she pretends not to know. A quaint village festival of the new wine waxes musical. Larry loses his cool at the song lyrics which speak of living forever. Dr. Mannering followed Larry's trail of murders across Europe to find him in Visaria. He and Elsa find Larry hiding in the castle ruins. She opens the secret compartment revealing the diaries. Dr. Mannering thinks he know how to de-activate both the monster and Larry. The townsfolk fret and worry over what Dr. Mannering and "that Frankenstein woman" are doing up in the castle. Barkeper Vasec proposes they blow up the dam and flood the castle, killing them. No one signs onto his plan. They all go out to see the castle glowing from the electric arcs. Mannering has the the two hooked up to the machines. At the last moment, he can't deactivate the monster, but wants to see it at full power. He charges the monster. Filled with new power, the monster rips off his restraints. He chases and grabs Elsa. Talbot turned into the Wolfman. He stops the monster. The two fight, trashing the lab. Mannering and Elsa escape the castle. Vasec rigged explosives at the dam and blows it up. A model flood sweeps down on a model castle. It crumbles into rubble. The End.
The "science" is thinner in this chapter of the saga. Dr. Mannering recites some generalisms about entropy. The monster was energized with the life-giving cosmic rays. The "key" to deactivating him, is draining off his energy by reversing the poles of Frankenstein's sparky machines. Having Curt Siodmak as the screenwriter, gives FMW a family link to Golden Era sci-fi. Siodmak wrote some early sci-fi, such as F.P. 1 Doesn't Answer ('33), but also many 50s titles, such as: Donovan's Brain ('53), Magnetic Monster ('53), Riders to the Stars ('54) Creature With the Atomic Brain ('55) and Earth vs. Flying Saucers ('57).
The only carryovers from the fourth movie was the monster and baroness Elsa (daughter of Ludwig from "Ghost"). Elsa is played by a different actress. The monster is played by Bela Lugosi. While he doesn't have the build or stature for a good monster portrayal, the logic was that he would speak with Ygor's voice, as he did at the end of the fourth movie. This, since he got Ygor's brain. The blindness from the end of the fourth movie also explains the raised stiff arms Lugosi uses.
FMW may be a lesser-grade sequel, but it is historically significant because Bela Lugosi plays the monster (the only time he does). Back in 1931, when Universal was planning the original Frankenstein film to follow up their success with Dracula, they wanted Lugosi to play the monster. He made such a good Dracula, his name would have marquee power. Lugosi is said to have turned down the role because it had no speaking parts. Universal then tapped Boris Karloff, who had played mostly uncredited bit parts. Karloff then went on to greater fame as the monster. Lugosi may still not have been keen on playing the monster, but since it got Ygor's brain in the previous film, and the monster was to speak (like Ygor). He agreed.
Ironically, even though Lugosi's monster had some speaking lines, they all got edited out. The traditional story is that test audiences laughed at the monster speaking with Ygor's voice, so Universal cut them all out. Something doesn't line up in this traditional. The monster spoke with Lugosi's Ygor voice at the end of the previous film and it caused no laughter. Perhaps Universal was disingenuous about letting Lugosi have speaking lines. Perhaps they felt it better keep their cash-cow monster a mute beast. Maybe Lugosi's talking monster wasn't as frightening as speechless monster. Supposedly, his lines were to have explained his partial blindness (and hence his iconic stiff armed walk), as well as some back story tying in the previous film. Apparently this was not not crucial. Fans of the saga knew those details anyway.
Universal themselves contributed to the ongoing confusion over the name of the monster. The title of the film (and posters) show the monster fighting the Wolfman. To the average Joe, that meant the name of the monster was "Frankenstein." It seems unlikely that the title refers to Elsa Frankenstein meeting the Wolfman. Although she does chat with Talbot. in the mayor's office and at the festival, this hardly seems like a film's title moment.
Fans of the saga would have known that the ending of the film was really no ending at all. The Wolfman could not die. We learned that in the first half of the film. A mere flood wouldn't kill him. The monster, too, was deemed immortal earlier. Neither fire, nor cave-in, nor being frozen, nor molten sulphur had killed him before. Why would a mere flood kill him? Fans knew it would not. Universal was leaving their sequel options open
There must be something about those Frankenstein women. In the original story, the abandoned monster is jealous of the doctor's wife because SHE gets his attention. In the 1910 Edison version, the monster is also jealous of the doctor's young bride. This plays out too in the 1931 version. The monster seems almost lusty for Elizabeth. In Bride, the monster actually kidnaps Elizabeth. Now in FMW, the monster carries off the lovely Elsa.
Doctor Lloyd: "I believe a man lost in the mazes of his own mind may imagine that he's anything."
Mez-its Wolfman.
Lobby Still.
Frankenstein Meets The Wolfman
youtu.be/5jkW_Ip1zzw?t=6s Part 1
Starring Bela Lugosi, Lon Chaney Jr., Patric Knowles, Ilona Massey, Lionel Atwill, Maria Ouspenskaya, Dennis Hoey, Don Barclay, Rex Evans, Dwight Frye, Harry Stubbs, David Clyde, Sonia Darrin, Cyril Delevanti, and Charles Irwin. Directed by Roy William Neill.
In 1943, Universal cranked out yet another so-so sequel, but created the first monster vs. monster films. Frankenstein Meets the Wolfman (FMW) is a double sequel. It is the fifth chapter in the Frankenstein saga, and a first sequel for the Wolfman ('41). As the Frankenstein fifth film, the story is weak, yet it is a highly significant chapter because Bela Lugosi plays the monster. (more in Notes section) Curt Siodmak, who penned many 50s sci-fi screenplays, wrote this sequel to his popular 1941 Wolfman film. Siodmak would also write the chapter, House of Frankenstein in 1944.
Synopsis
Grave robbers break into the Talbot family crypt looking for jewelry. They open the casket of Laurence Talbot, letting in a beam of moonlight. This revives the immortal werewolf. Laurence is found unconscious on a Cardiff street. He is taken to the hospital. Dr. Mannering and Inspector Owen don't believe he can turn into a wolfman and kill people, but change their mind when they see the casket is empty. Larry runs away and finds Maleva, the gypsy woman whose werewolf son bit him and made him a werewolf. She says a Dr. Frankenstein can help Larry die and stay dead. They travel from Wales to the village of Visaria. The doctor is dead, but the villagers are hostile towards anyone looking for a Frankenstein. Larry, turned to a werewolf, killed a young woman and got chased by the usual mob of angry villagers. He falls into the basement catacombs of the old castle. Next morning, now as Larry, he finds the monster encased in ice. He digs him out and asks him to locate the diaries. No success. Larry poses as a Mr. Taylor, pretending to want to buy the estate so he can meet baroness (Elsa) Frankenstein. He asks her for the diaries, but she pretends not to know. A quaint village festival of the new wine waxes musical. Larry loses his cool at the song lyrics which speak of living forever. Dr. Mannering followed Larry's trail of murders across Europe to find him in Visaria. He and Elsa find Larry hiding in the castle ruins. She opens the secret compartment revealing the diaries. Dr. Mannering thinks he know how to de-activate both the monster and Larry. The townsfolk fret and worry over what Dr. Mannering and "that Frankenstein woman" are doing up in the castle. Barkeper Vasec proposes they blow up the dam and flood the castle, killing them. No one signs onto his plan. They all go out to see the castle glowing from the electric arcs. Mannering has the the two hooked up to the machines. At the last moment, he can't deactivate the monster, but wants to see it at full power. He charges the monster. Filled with new power, the monster rips off his restraints. He chases and grabs Elsa. Talbot turned into the Wolfman. He stops the monster. The two fight, trashing the lab. Mannering and Elsa escape the castle. Vasec rigged explosives at the dam and blows it up. A model flood sweeps down on a model castle. It crumbles into rubble. The End.
The "science" is thinner in this chapter of the saga. Dr. Mannering recites some generalisms about entropy. The monster was energized with the life-giving cosmic rays. The "key" to deactivating him, is draining off his energy by reversing the poles of Frankenstein's sparky machines. Having Curt Siodmak as the screenwriter, gives FMW a family link to Golden Era sci-fi. Siodmak wrote some early sci-fi, such as F.P. 1 Doesn't Answer ('33), but also many 50s titles, such as: Donovan's Brain ('53), Magnetic Monster ('53), Riders to the Stars ('54) Creature With the Atomic Brain ('55) and Earth vs. Flying Saucers ('57).
The only carryovers from the fourth movie was the monster and baroness Elsa (daughter of Ludwig from "Ghost"). Elsa is played by a different actress. The monster is played by Bela Lugosi. While he doesn't have the build or stature for a good monster portrayal, the logic was that he would speak with Ygor's voice, as he did at the end of the fourth movie. This, since he got Ygor's brain. The blindness from the end of the fourth movie also explains the raised stiff arms Lugosi uses.
FMW may be a lesser-grade sequel, but it is historically significant because Bela Lugosi plays the monster (the only time he does). Back in 1931, when Universal was planning the original Frankenstein film to follow up their success with Dracula, they wanted Lugosi to play the monster. He made such a good Dracula, his name would have marquee power. Lugosi is said to have turned down the role because it had no speaking parts. Universal then tapped Boris Karloff, who had played mostly uncredited bit parts. Karloff then went on to greater fame as the monster. Lugosi may still not have been keen on playing the monster, but since it got Ygor's brain in the previous film, and the monster was to speak (like Ygor). He agreed.
Ironically, even though Lugosi's monster had some speaking lines, they all got edited out. The traditional story is that test audiences laughed at the monster speaking with Ygor's voice, so Universal cut them all out. Something doesn't line up in this traditional. The monster spoke with Lugosi's Ygor voice at the end of the previous film and it caused no laughter. Perhaps Universal was disingenuous about letting Lugosi have speaking lines. Perhaps they felt it better keep their cash-cow monster a mute beast. Maybe Lugosi's talking monster wasn't as frightening as speechless monster. Supposedly, his lines were to have explained his partial blindness (and hence his iconic stiff armed walk), as well as some back story tying in the previous film. Apparently this was not not crucial. Fans of the saga knew those details anyway.
Universal themselves contributed to the ongoing confusion over the name of the monster. The title of the film (and posters) show the monster fighting the Wolfman. To the average Joe, that meant the name of the monster was "Frankenstein." It seems unlikely that the title refers to Elsa Frankenstein meeting the Wolfman. Although she does chat with Talbot. in the mayor's office and at the festival, this hardly seems like a film's title moment.
Fans of the saga would have known that the ending of the film was really no ending at all. The Wolfman could not die. We learned that in the first half of the film. A mere flood wouldn't kill him. The monster, too, was deemed immortal earlier. Neither fire, nor cave-in, nor being frozen, nor molten sulphur had killed him before. Why would a mere flood kill him? Fans knew it would not. Universal was leaving their sequel options open
There must be something about those Frankenstein women. In the original story, the abandoned monster is jealous of the doctor's wife because SHE gets his attention. In the 1910 Edison version, the monster is also jealous of the doctor's young bride. This plays out too in the 1931 version. The monster seems almost lusty for Elizabeth. In Bride, the monster actually kidnaps Elizabeth. Now in FMW, the monster carries off the lovely Elsa.