"I saw what I saw when I saw it..."

What do Bud Abbott, Groucho Marx, Rex Reed, and Mahatma Ghandi all have in common? It could be a joke, given today's topic but it isn't. All four of these great men were born on October 2, and in a belated celebration of Bud Abbott in particular, I am going to talk about a few of the wonderful horror and mystery parodies that Bud and his partner, Lou Costello did. Before Scary Movie and all of the other modern parody films, Bud and Lou were using a mix of satire, parody, comedy, slapstick, straight man/funny man, and over all hijinks to create tons of classic movies, all of which remain hilarious to this day.

Perhaps the first purveyors of horror parody, Bud and Lou came out with such gems as Abbott and Costello Meet Frankenstein, Abbot and Costello Meet the Mummy, Abbott and Costello Meet the Invisible Man, Africa Screams, Abbott and Costello Meet the Killer, Who Done It?, and Abbott and Costello Meet Dr. Jekyll and Mr. Hyde, a list of films longer than that of some modern Hollywood A-listers, yet only a portion of the Abbott and Costello films. Bud and Lou took their routine into the backdrops of these frightening horror films, using many of the actual cast members from the real movies themselves.

In Meet Frankenstein, they meet Lon Chaney, Jr. as the Wolf Man, Bela Lugosi as Dracula, and Glenn Strange as Frankenstein's monster. In Meet the Killer, they team up with a frightening Boris Karloff and do so again when he plays the other lead role in Meet Dr. Jekyll and Mr. Hyde. The films Meet the Mummy and Meet the Invisible Man do not use actual actors from the film, though some original footage is used in Meet The Invisible Man. These two films are strictly parodies of the originals. Africa Screams could easily be a King Kong parody, but instead has Bud and Lou mining for diamonds and encounter lions, headhunters, and giant apes. Who Done It? is a radio mystery near scary movie where Bud and Lou have to solve the murder committed at the station they hope to work at in a climatic, almost Hitchcock style ending filled with drama and suspense.

To me personally, Bud and Lou are the end-all, be-all of comedic teams. I love all of their films, but since it is Fright Fest and all, I can only focus on these select horror films. Somehow, they manage to make these films frightening and at the same time, laugh your pants of funny, which is a difficult thing for any film to do. Comedy and horror are genres that never really seem to exist, except when something is so horrible its funny or so funny its horrifying. These films I mentioned manage to cross genre lines and at the same time, be excellent examples of film. I could probably do an entire blog on the comedy of Bud Abbott and Lou Costello, but I will limit myself to this one post for the time being.

Those of you who want to know more about Bud and Lou or are big fans yourself can check out the excellent web page their families created here, which totes itself as helping "Abbot and Costello Meet the Internet". The movie Africa Screams is public domain and can be watched here. The other films you will have to track down yourself. And just because, here is the entire "Who's On First Routine", since I cannot mention Bud and Lou without thinking of the routine of theirs that everyone recognizes.

Unrequited Love Comes Back from the Dead

There have been several incarnations of films about Mummies and Egyptian lore, but the first one that started it all was The Mummy in 1932, staring the legendary Boris Karloff. The script was written by John L. Balderston who contributed to the scripts of Dracula and Frankenstein, and was directed by Karl Freund, the Dracula cinematographer. One of the Monster Movie elite, Karloff was Bela Lugosi's main rival for the title of Horror King after the death of Lon Chaney, Sr. The movie is also in the pantheon of great horror films that overall add to our pop culture imagery of certain horror stereotypes. I found a version the film online that you can watch here, for those of you that are interested.

The premise of the movie is that Ancient Egyptian priest Imhotep (Karloff) is accidentally revived by an archaeological expedition, lead by Sir Joseph Whemple (Arthur Byron) that uncovers his mummy. Imhotep escapes from the archaeologists and goes through Cairo, looking for the reincarnation of his long-lost lover, the Princess Ankh-hes-en-amon (Zita Johann). Imhotep was mummified alive after trying to resurrect the dead princess and when he finds her, he intends to mummify her, make her his bride, and the two of them will live forever in a sort of Corpse Bride bliss. Ten years after Whemple originally set the mummy loose on an unsuspecting Egypt, he returns with son Frank in tow (David Manners) and use the help of Ardath Bay (Karloff) to help them locate the mummy's whereabouts. Bay abducts the beautiful Helen Grosvenor (Zita Johann) and it is up to Frank and Dr. Muller (Edward Van Sloan) to uncover the mystery of the mummy and save the day.

Karloff's Mummy isn't you're average last minute Halloween costume where you wrap yourself up in a bunch of toilet paper. His mummy is actually pretty convincing as a the revived soul of an ancient Egyptian priest. Again, make up magician Jack Pierce helped Karloff create his creature's iconic costume. Cotton, collodion, and spirit gum were attached to Karloff's face and clay into his hair. The linen bandages that create the long-staying image of the Mummy were previously treated with acid and burned in an oven before being wrapped around Karloff. The make up took eight hours to apply and only two to take off. The removal of the gum was painful to Karloff and he was quoted as saying putting on and taking off the Mummy costume was "the most trying ordeal I ever endured".

The success of the first Mummy movie spawned a good dozen or so sequels and spin-offs, most b movies such as The Mummy's Hand, The Mummy's Tomb, The Mummy's Ghost, and The Mummy's Curse. Comedic duo Abbott and Costello also poked fun of The Mummy and these b-sequels in the spectacular comedy Abbott and Costello Meet the Mummy. Recent versions of The Mummy have been made in the past ten years or so, little of the original scripts and characters surviving. These new Mummy movies are more action/thriller films than actual horror films, as the original The Mummy was intended to be.

"When the wolfbane blooms and the autumn moon is bright"

Perhaps the most famous werewolf story and certainly the one that has had the most cultural impact on our society in the past sixty years, The Wolf Man is one of those quintessential horror flicks that everyone needs to watch. I could not find the film in its entirity, but a YouTube user has the entire film posted, albeit divided into seven parts. You can watch the movie starting with the first part here.

Released in 1941 by Universal, the film had an all-star cast, including Claude Rains, Bela Lugosi reprising his famous vampiric role, and none other than the great Lon Chaney Jr. in perhaps some of the most famous and tediously applied stage make up ever. Everyone knows the famous quote from the movie, "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", as well as the additions to the werewolf lore that than can only be killed by a silver bullet, a silver knife, or a stick with a silver handle.

I will sum up the story of The Wolf Man, since most of you know it already. Larry Talbot (Chaney) returns home after the death of his brother to his home in Wales and reconcile with his father (Claude Rains). While there, he buys a silver staff with a wolf for his sweetheart, Gwen (Evelyn Ankers). The villagers recite the wolf poem several times throughout the course of the movie following Gwen informing Larry of the myth and first recitation of the poem. That night, in an attempt to save Gwen's friend Jenny, Larry kills a wolf but is bitten first. A gypsy fortuneteller living in the woods tells him it was not a wolf but a werewolf and now he will become one too. The animal, she says, was actually her son Bela (Lugosi). Now that the curse has been passed to Larry, he must deal with the supernatural forces taking a hold of him.

The werewolf fur Chaney used in his make up was actually yak hair. A plaster mold was made to keep Chaney's face still as his image was photographed then an outline was drawn on glass in front of the camera. The make up wizard behind the monsters, Jack Pierce, used grease paint, a rubber snout appendage, wigs, and glued layers of the yak hair to create the Wolf Man character. This process was repeated over and over again over a period of ten hours to create an image that only took a few seconds on screen. Seventeen face shots were made and it took six hours to put on Chaney's make up though only three to take it off.

The Wolf Man is in the great pantheon of early horror and creature films, along with such other notable classics as Dracula, Frankenstein, The Mummy, Creature from the Black Lagoon, King Kong, Godzilla, and The Invisible Man. The website classic-horror.com has done a great review of The Wolf Man, which you can find here, though word of caution, it does contain spoilers. I would highly recommend that you check out this movie when you can make the time since its legacy continues to live on.

"There are spirits everywhere..."

Perhaps the first horror film ever made, The Cabinet Of Dr. Caligari or as it was originally titled in German Das Gabinet des Dr. Caligari, came to the screen in 1920 as a German Expressionist film directed by Robert Weine. Thanks again to public domain, you can watch a wonderful version of the film here.

The film is one any film student should watch and I also recommend it for those of you out there who are artists. The techniques used in the film are a little trippy and surreal at times. Expressionism, which was very prominent in Germany, was about distorting reality to create emotional turmoil. Other expressionist works include artist such as El Greco and Edvard Munch's famous and oft-stolen painting "The Scream", two of the German films I blogged about earlier The Golem as well as Nosferatu, the music of George Gershwin and Igor Stravinsky, as well as the literary works of August Strindberg, Franz Kafka, and Eugene O'Neill. Though you don't have to be a student of art or film to enjoy this movie, there are definite aspects of the movie art and film lovers would see before the rest of us.

The plot is somewhat elusive since the film is Expressionist, and all. The main character Francis (Friedrich Feher) tells a story about his friend Alan (Hans Heinrich von Twardowki) and Francis’s fiancée Jane (Lil Dagover). Alan and Francis go to a fair where they meet the strange Dr. Caligari (Werner Krauss) who shows his future-predicting sleepwalker Cesare (Conrad Veidt) to them. Cesare tells Alan he has until dawn to live and it comes to pass that Alan is murdered the next day. Cesare is the prime suspect and abducts Jane. Turns out, Dr. Caligari has been using Cesare to help him commit murders while sleepwalking for a period of time. Cesare runs away from those pursuing him, dying of exhaustion. After Cesare has died, they find Dr. Caligari has fled. Francis finds Caligari at a mental asylum. The ending at the asylum provides you with several twists and turns, making you wonder if anything in the film actually happened at all. The film may make you think or may leave you scracthing your head, trying to figure out what it was you just watched. Either outcome, I still think you should watch it.

The technical and artistic effects used in this movie are strange and wonderful, hence their appeal to the art and film lovers out there. The current time is done in strange blueberry hues whereas the flashback is done in dingy brown ones. This is one of the first films to do a “frame story” or flashback premise. The makeup is artistic and creates an image that is sort of a cross between a mime, a goth, Edward Scissorhands, and the guys from KISS. The scenery is extremely artistic and surreal. Most of the sets were made from paper and shadows were painted on the walls. The effects of the film are often citing as influencing film noir. The entire film has a dreamlike, surreal quality to it, which meshes perfectly with the macabre and unforeseen ending twists.

An artical done on the plot and further exploration of the film can be found here, written by the film and movie buffs at Plume-Noir.com. The Plume-Noir article details how this film influenced future German Expressionist film as well as its impact on German films in the 1930s and those made when Hitler came to power. Also, the Moving Picture Blog has done a great study on the film as well, which you can read here. Joe Leydon of this blog probably did a better job of describing the film than I did, so I would highly recommend you checking this out if you want to know more about the film.

"Uh, you folks American citizens...?"

Today Entertainment Weekly did a review for the 50th anniversary of Touch of Evil, a 1958 film with an all-star team behind it. Orson Welles directed and played a part in the film with Charlton Heston, Janet Leigh, Joseph Calleia, Akim Tamiroff, and Marlene Dietrich in various roles. One of the last of the Film Noir genre, the controversially made film still remains timeless.

The last film Orson Welles made, he was reluctant to sign on for the project. He was fired during post-production and in his will left instructions on how the film should be edited. The studio ignored his request and Welles's version of the film was not created until a version of it was released in 1998. Monsters and Critics did a good piece on Welles's problems with the film and how the modern version he wanted was finally created.

The story of Touch of Evil is that of Mexican narcotics officer, Mike Vargas (Charlton Heston), having a quickie honeymoon in a border town with his newly wed wife Susie (Janet Leigh), who is an American. Vargas must testify against drug lord Grandi (Akim Tamiroff) , who has all of his goons out to threaten and scare Vargas out of testifying. Soon, Vargas gets too involved in the case, endangering his wife, after a wealthy US developer is killed by a car bomb. Vargas catches a famed US cop (Orson Welles) planting evidence to make a Mexican national responsible for the bombing. The plot gets thicker and Vargas uncovers twisted tales of corruption, lies, deceit, drugs, and that justice and law don't mean the same thing to everyone.

The Chicaco Reader has done a great overview and analysis of the film that you can read here. This film is truly a marvelous one. You can tell from the all-star cast, Welles's direction, and the impact it has had on the culture since. It is amazing that we have had fifty years with this film.