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(Universal, R-1960s).
Italian Locandina (13" X 27.5”).
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.
My number #4 Stranger is Wolfman
I met Wolfman at an Army reunion of the 1st Kings Regiment in Liverpool
I was invited to the reunion by a friend of mine who was in the 1st Kings.
we met in the Head of Steam on Lime street Liverpool.
I had been in the pub about an hour there was about thirty lads that had turned up
when i saw this chap walk in , as soon as i spotted him i thought he was my number #4 stranger
i introduced myself to him had a chat for a while then asked him could i take a picture of him
and explaned about my 100 strangers project he said go on then.
Wolfman real name Terry is 51 year old he was born in Bootle Merseyside he now lives in Millom Cumbria and has lived there since 1994
Wolfman has been married three times and has nine children.
Wolfman has many jobs he is a part time barman, A Rep for Cumbria Royal British Leagion
The Riders Branch, County recruitment officer for the British Leagion, also Welfare officer
safeguarding the welfare, interests of the memory of those who are serving or have served in the
Armed Forces. before he did all these jobs he himself spent 18 years and 208 days in the Army.
Wolfmans hobby is riding his motor bikes he told me he was an ex back patch
wich means he was once with a bike gang but he would'nt say wich one.
he has many motor bikes but is currently riding a vw trike 1300cc custom made out of a vw car,
his favourite of his bikes is a Suzuki VS 1400 Custom model.
Wollfman is a giant of a man but great to talk to and very intresting.
A big thank you to Wolfman for being my number #4 stranger.
This picture is #4 in my 100 strangers project. Find out more about the project and see pictures
taken by other photographers at www.100Strangers.com.
100 Strangers Group www.flickr.com/groups/100strangers/pool/with/7395087744/#...
Riding with Wolfman through Volcanoes National Park.
Olympus XA, Kodak Tri-X 400
Developed in D76: Stock
Universal Pictures, Columbia Records and Buzza/Cardoza greeting cards collaborated on this combination birthday card/record, featuring the voice of Mel Blanc
Italian One Sheet
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.
"Even a man who is pure in heart and says his prayers by night, may become a wolf when the wolfbane blooms and the autumn moon is bright."
Lobby Card (11" X 14").
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.
Love at First Fright musical at Six Flags Great America in Gurnee Illinois. Wolfie keeps a close eye on Katie.
there's a weight on my wrists
the gentle pricks of fingertips
the gravitational friction
feather boa constriction
stuttering tongues with strangulated diction
I'm learning a lot from what I don't do
call me a liar, but I've been believed
by more truthful men than you
I made it through on feelings and false starts
but in the process of climbing, I'm falling apart
shouting out encouraging words
that get pecked on the way
by noise-canceling birds
I'm running out of hate
I love before I land
I feel like a boy
my flight is unmanned
stretched beyond
all coming back
a lone wolf lonely
at the center of the pack
when I stretch my jaw to howl
I feel my spirit crack
I don't think that's a metaphor
but I can't say for sure anymore
I'm raging in this room
in the midnight of the moon
I've forgotten forever
what peace was for
I'm making my treaty with war
© Steve Skafte
My books on BLURB:
follow my poetry
on FACEBOOK
(Universal, 1943).
One Sheet (27" X 41").
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.
(Universal, R-1960s).
Italian Locandina (13" X 27.5”).
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.
We don't celebrate Halloween, but I thought it'd be a good day to share a photo of the Wolfman glyph, nonetheless.
(Realart, R-1949).
Lobby Card (11" X 14").
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.
Italian Photobustas (4) (18.5" X 27”).
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.
Italian Photobustas (4) (18.5" X 27”).
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.
(Universal, 1943).
Uncut Pressbook (Multiple Pages, 11.5" X 14”).
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.
i pulled into my driveway, 5D mark II (thank you so much, dave) & 70-200 f/2.8 (borrowlenses) in tow. wolfman, who is incidentally a female, was bouncing about my yard. we believe she belongs to our neighbor, who has two other outdoor cats. i spent the next hour playing & photographing the little lady.
she has the strangest auburn eyes, very edward cullen.
Universal, R-1963).
Italian (55" X 78”).
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.
goodnight process flyer for a concert in portland.
check them here!
Just some cupcakes to take to work today. The wolfmen are chocolate with chocolate cream cheese frosting, and the mummy's are marble cupcakes with regular cream cheese frosting. The orange cupcakes were boring, so they didn't make it into the photo.
Italian Photobustas (4) (18.5" X 27”).
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.
Wolfman checking out the US flag liveried Diablo! Shots from this year’s Cannonball Irish Road Trip starting at the 3 Arena in Dublin, Ireland 09/09/2016. The Cannonball features each year over 150 of the world’s best cars like Ferrari, Lamborghini, Porsche, McLaren, Maserati, Aston Martin, Bentley, AMG etc. Cannonball Ireland over the past few years has raised over € 850,000 for Irish Children’s charities.
Shot with Nikon D-750 & Nikon D-800 camera bodies and zoom Nikkor’s 24-70mm f/2.8 IF-ED & 70-200 f/2.8 IF-ED VR2 lenses and Nikon SB-910 Speedlite/Godox power pack (on the 750).
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