The Monster Movies of Universal Studios

Although their characters have become iconic, the now classic fantasy monster films of Universal Studios have suffered a reputation of creakiness, cheap thrills, poor characterization and logic gaps. While the images of Bela Lugosi’s Dracula, Boris Karloff’s Frankenstein Monster, and Elsa Lanchester’s Bride of Frankenstein dominate magazine covers, notebooks, posters, mugs and other collectibles, the series of movies that introduced these characters seems to get very little respect from film historians. A step in the right direction to correct this is the excellent new book The Monster Movies of Universal Studios by James L. Neibaur, published by Rowman and Littlefield. In this fascinating new study, the author puts Universal’s horror series into proper historical context. Unlike other books on the subject, Neibaur has limited his focus to films that feature one or more of Universal’s line up of monsters. This book focuses on the classic era, with the range of focus highlighting movies from 1931 through 1956. Any movie made by Universal Studios during this period with Dracula, Frankenstein’s Monster, The Mummy, The Invisible Man, The Wolf Man and The Creature From The Black Lagoon is discussed in depth with a chapter devoted to each feature, twenty nine movies in all. These include all of the sequels and films that blended fantasy and comedy elements when Universal paired up their monsters with their house comedy duo Abbott and Costello. The book is an impressive work of film scholarship and shines a spotlight on classic Hollywood studio moviemaking by looking at one of the longest film series at a major studio. Readers disappointed that Neibaur didn’t discuss such mystery and horror offerings from Universal during this period such as The Old Dark House and Murders in the Rue Morgue (both 1932) shouldn’t be. The focus on the monsters makes the book a one of a kind study devoted to characters that seem to always be taken for granted. While Edgar G. Ulmer’s The Black Cat (1934) is celebrated for it’s daring, unconventional storyline, the films that feature the monsters seem to get lumped in with low budget movies from a later era. In fact, movies such as The Invisible Man (1933), The Bride of Frankenstein (1935) and Dracula’s Daughter (1936) share more in common with The Black Cat then just being made at the same studio. The author restores these films to their proper place as valuable works of cinematic art. This isn’t to say that when there are jumps in narrative logic, especially evident in the later movies, Neibaur doesn’t point them out. However, even these assembly line B films are given more respect in this book then in previous studies of the Universal genre catalog. The usual pattern of writers discussing movies made during The Great Depression and World War II is to highlight the escapism and lighthearted nature that many of those films exhibit. Examples that prove this pattern include the Fred Astaire/Ginger Rogers cycle at RKO, the Topper films, etc. In this work Neibaur presents a different argument- that the monster series presented something very real to fight against, a threat that personified the evils of economic crisis and foreign fascism. Given this argument, it is somewhat less hard to believe that the horror series at Universal would decline in popularity after the war ended. Each chapter is full of behind the scenes information and welcome analysis into the filmmaking process. It’s clear that Neibaur has studied the screenplays for these films, as he points out in The Wolf Man (1941) chapter that the script written by Curt Siodmak never mentions Larry Talbot turning into a werewolf. Another example is the chapter on Abbott and Costello Meet Frankenstein (1948) where the author points out that the exchange banter between Lou Costello and the character of McDougal wasn’t originally in the screenplay. He also details the director’s choices and how that affects each film. Things like shot construction, use of negative space and lighting are discussed and are welcome additions to movies that are sometimes seen as just assembly line end products. Many of the chapters contain rare trade ads, which give insight into how Universal marketed these films to theater owners. In addition to contemporary reviews of each movie, some of the chapters reference a series in the Motion Picture Herald called “What The Picture Did For Me,” in which theater exhibitors wrote in to the Herald and discussed how well certain films did at their theaters. This is a viewpoint of film history that sometimes gets ignored and it is to the credit of the author’s research that he has included these very welcome additions in certain chapters.

I'm a lifelong fan of the classic Universal monsters. I thought I'd read everything there was about them, but then I discovered James L. Neibaur's book. Since it's not an official Universal Studios publication, it has the freedom to see the good, bad, and ugly (no pun intended) of these films. Extras like artwork from trade magazines, reviews from theater owners, and some behind-the-scenes gossip make each chapter a fun glimpse into each individual achievement in horror as well as the whole cycle. As a completist, I'm glad he included "The Invisible Woman" and "Werewolf of London," which aren't traditionally part of the classics collections, but continue the horror sequence and are important films themselves. If you saw these monster films as a kid in the theater, or on TV, or on DVD, this is the perfect companion.

I did NOT have high hopes for this book. I was ,instead, VERY pleased. For a small book it covers a lot of movies in the order they were released. I learned a lot about certain Universal Monster flix that are not usually covered in larger books on the same subject. I give this book a 5 star rating for THAT reason. Buy with confidence. You will not be disappointed.

I had looked forward to reading this book as I believed it would be a new look at the the classic Universal Monster films of the 30s and 40s. When the book arrived I was first concerned that it was small, only 196 pages, to cover all the movies in this period. The reason it was so small is that the author's work is so incomplete. He does cover all of the films but does it in such a cursive manner that one is left wondering if he and you had seen the same movie. He, at times, confuses characters in the movie, calls them by different names, and leaves out vital details. When discussing "Dracula" he never mentions the intense and vital confrontation scene between Dracula (Lugosi) and Von Helsing (Edward Sloan). He fails to mention on the cinematic importance in "The Mummy" of when Norton (Bramwell Fletcher) goes mad at seeing the mummy alive, which sets up another scene following that one. He makes mistakes that people who love these movies will catch. He states that for his role in "Dracula's Daughter" Lugosi was paid $4000 but never filmed a scene and "..was twice as much as he had received for Dracula"(p.51) The truth is Lugosi was paid $500 a week for a 7 week shooting for $3500 and not the $2000 as Neibaur suggest. The book devotes 15 pages or almost 10% of entire book to "Abbott and Costello Meet Frankenstein" and only 10 pages on "Dracula" and "Frankenstein". One has to only shake his head at this grievous oversight. If you are one who has never seen a Universal Monster movie or has never read any material on one, then this book may to interesting. If you are a fan of the classic monsters and want information and entertainment this book will be a disappointment and a waste of time and money,

Entry level book on the Universal Monster movies. Some factual errors and omissions (The Invisible Ray 1936, though not technically a monster movie, is frequently included in other books of this type), but nicely illustrated and a good introduction to these well loved movies.

Those Creepy Universal Monsters Make Another Comeback This Time In Print. Author James L Neibaur as compiled a Detailed reference book charting The movies from when They first featured in The early 30s ( yes some of Them are That old ) concluding into The late 1950s. The movie That really put Universal on The map as The studio That made Horror movies was of course Dracula. released way back in 1931 Two years even before The original King Kong was made The studio cast The Then unknown Bela Lugosi as The infamous Count Dracula. as History now Tells us The movie was a major smash hit for The studio and is now widely regarded as a classic of cinema. with The success of Dracula The Studio Quickly put into production Frankenstein starring Boris Karloff In The Title role The rest as They say is History. The Mummy, The Wolf Man, The Invisible Man and The Gill Man would all soon follow making up The famous Universal Monsters we know and love Today. James L Neibaur splendid book on The subject details all Those movies and Their sequels breaking down full cast list for each movies key scenes from The movies discussed in more detail and finally Trivia Notes on all The productions. for instance I was fascinated To learn That Valerie Hobson was only 17 when she co starred in The Bride Of Frankenstein it's These little bits of Trivia That movie fans just Don't get enough off. The book comes layered with photos and stills from The movies Throughout its pages admit most we have seen before Though These are beautifully reproduced no fuzziness here. one striking feature I have To say is The front and back covers which come in an almost velvet waxed Touch feel To it I have never owned a book with hardback covers like This before. I wouldn't go as far as To say it is The Definitive book on The subject but its certainly an excellent Quick reference book and one That will compliment your Blu-ray box set of The films. The Author Quite rightly points out it does not cover Director James Whale's excellent Old Dark House olso starring Boris Karloff and filmed by Universal as it is first and foremost The Monsters on view. with That out of The way readers will Take Delight That it Does include That mad cap comedy caper Abbott & Costello Meet Frankenstein. Spine Tingling reading is The order of The day if I could go beyond five stars I certainly would and a whole lot more.

There are a few typos in the text which suggest that another proofreading was in order; however, the book will be sure to entertain and enlighten fans of the classic monsters. I recommend it.