Podcasts about Dwight Frye

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Play Episode Listen Later Jan 29, 2024 40:22

Jim pays tribute to Universal Studio's first pairing of two of its iconic monsters in a feature film - 1943's "Frankenstein Meets The Wolfman,"starring Lon Chaney Jr, Bela Lugosi, Patric Knowles, Ilona Massey, Maria Ouspenskaya, Lionel Atwill, and Dwight Frye. On a quest to find Dr. Frankenstein, Larry Talbott crosses paths with "The Monster." Find out moe about this historical meeting on this episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.

Frankenstein Meets The Wolfman | Episode 396

ESO Network – The ESO Network

Play Episode Listen Later Jan 29, 2024 40:22

Jim pays tribute to Universal Studio’s first pairing of two of its iconic monsters in a feature film – 1943’s “Frankenstein Meets The Wolfman,”starring Lon Chaney Jr, Bela Lugosi, Patric Knowles, Ilona Massey, Maria Ouspenskaya, Lionel Atwill, and Dwight Frye. On a quest to find Dr. Frankenstein, Larry Talbott crosses paths with “The Monster.” Find […] The post Frankenstein Meets The Wolfman | Episode 396 appeared first on The ESO Network.

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FRANKENSTEIN (1931) Part Two

The Pod and the Pendulum

Play Episode Listen Later Jan 11, 2024 103:54

The Monster is loose! We're back with the second half of Universal's FRANKENSTEIN. This week we talk about the masterful innovations director James Whale brought to the screen. We discuss how Frankenstein is an example of a horror movie with no true villain, and how Boris Karlof gives one of the most sympathetic performances in genre history. We talk about the tropes this movie started ( the hunchback side kick in Dwight Frye's Fritz, the rampaging villagers armed with torches and pitchforks) and movies core themes such as parental abandonment, and the dangers of progress without accepting responsibility can have dangerous outcomes. We touch on the queer and darkly humorous aspects of the movie and talk about the shocking aspects such as the murder of young kids. It's one of our best discussions to date, and if you haven't already, make sure you go back to listen to the first half of our episode with Mike, Brian, Devaughn and guest Garrett McDowell. Please read Brian's "Faces of Frankenstein: The Innovation and Influence of James Whale's Frankenstein" or more information on this seminal film. If you like what you're listening to make sure to subscribe wherever you get your podcast feeds. Please take a moment to rate and review us on the Apple Podcast app, or rate us on the Spotify app. Reviews and five star ratings help new listeners find us every day, and we greatly appreciate the feedback and support. Check out our website for easy access to our full catalog of shows, with hundreds of hours of free content. You can search the catalog, leave a review and even leave us feedback all from the site. Go to www.podandthependulum.com to check it out. If you have the means, consider becoming a patron today and support the show. Patreon members get exclusive full length episodes, audio fan commentaries, exclusive mini-sodes and more. Join today at patreon.com/podandthependulum.

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Frankenstein (1931): Movie Review from the Ray Taylor Show

Ray Taylor Show

Play Episode Listen Later Oct 20, 2023 17:14

Frankenstein (1931): Movie Review from the Ray Taylor ShowShow topic: Dive into the classic horror genre with Ray Taylor as he revisits the monumental 1931 adaptation of "Frankenstein", brought to the silver screen under the adept direction of James Whale. This timeless tale, rooted in Mary Shelley's iconic 1818 novel "Frankenstein; or, The Modern Prometheus", transitions from page to stage to film in a fascinating evolution, with this particular version drawing inspiration from Peggy Webling's 1927 play. Join Ray as he delves into the film's narrative, exploring the poignant tale of Henry Frankenstein (played by the talented Colin Clive), an impassioned scientist driven to the extremes of human exploration, as he endeavors to craft life from the remnants of the dead. But the heart of this film truly beats in the form of the iconic creature, immortalized by Boris Karloff's unforgettable portrayal and Jack Pierce's masterful makeup design. With a supporting cast that boasts names like Mae Clarke, Dwight Frye, and Edward Van Sloan, this iteration of "Frankenstein" remains a hallmark in the annals of horror cinema.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/links Genres: Horror

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Thom and Bill dissect minute 3 of GHOST OF FRANKENSTEIN.

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Sequel Too, Deja Vu - ”The Bride Of Frankenstein”

Cinema Degeneration

Play Episode Listen Later Mar 12, 2023 86:08

On this show, our specialty is sequels, sequels, and more sequels. From the good ones, to the bad ones, to the really ugly ones, we'll be covering them all! We've got homicidal maniacs that won't stay in the grave, sci-fi epics whose stories cannot be told in a single tale, and much much more. For our 21st episode, we are tackling our first Universal Horror movie from 1935 with the legendary "THE BRIDE OF FRANKENSTEIN". Directed by the also legendary James Whale and starring horror icon Boris Karloff as The Monster. Also starring Colin Clive, Dwight Frye and Elsa Lanchester in a dual role as Mary Shelley and The Bride. This first follow up to Universal's mega-hit the OG 1931 Frankenstein is arguably one of the greatest classic horror sequels of all time. In this Gothic tale the titular Dr. Frankenstein builds the Monster a mate which has disasterous results. Join our host Cameron Scott and first time co-host and pop culture/horror enthusiast Matt Hageman as they dissect a classick favorite black and white horror gem. "To a new world of gods and monsters!"

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Dracula (1931)

Brothers in Armchairs

Play Episode Listen Later Feb 24, 2023 96:42

We appreciate all the requests! We recorded this episode back in 2021 and it remains our most listened to episode of our catalog.This week Kenny and Del re-release Dracula (1931)Join Kenny and Del as they pay homage to the Dracula that set the standard for the Dracula persona we know today. An innovator of its day, this film set many firsts for Universal Studios, cinema, and pop culture. In many ways, those involved in this project, most notably Karl Freund, Bela Lugosi, and Dwight Frye, set standards that have are utilized ever since in film, animation, comics, etc. In this show, the guys will cover history, cast and crew, trivia, and Dracula's impact over the course of 91 years. The research involved for this Podcast resulted in an overwhelming amount of fantastic information. We tried to get as much as we could into this podcast, but ultimately what you hear is a condensed version for a recording session that could have lasted for hours. Our goal is to inform and entertain you, and as an added bonus, if our discussion peak your interest on Dracula (1931), we consider our job done. Dracula (1931) Universal Studio Documentary - https://youtu.be/jzBAjR3dPQYThe Road To Dracula - https://youtu.be/EXv4Lu0xe5sThanks for listening, and feel free to hit us up on any of our social media platforms! https://linktr.ee/BiAPodcastTheme song "Loli'ana" was written and performed by award-winning musician Kamuela Kahoano. Listen to more of Kamuela's music on iTunes and https://kamuelamusic.com/. Also, "Loli'ana" performed live at The Ko'olau Banquet Hall can be seen here https://youtu.be/YDJ1NNJgEiA Thanks for listening! And please subscribe and review!ws episodes! And please subscribe and review!

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The Crime of Dr. Crespi – SSP096

Scary Spirits Podcast

Play Episode Listen Later Feb 22, 2023 64:20

In honor of Dwight Frye's 124th birthday on February 22, Greg has chosen the 1935 film "The Crime of Dr. Crespi" for our enjoyment this week. Join Greg and Karen as they discuss the film while they enjoy a “Catatonic Cocktail“.

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Dracula (1931)

Celluloid Days

Play Episode Listen Later Oct 31, 2022 35:43

It is Halloween so we look at the 1931 Universal classic, Dracula. This film stars Bela Lugosi, David Manners, Helen Chandler, Dwight Frye, and Edward Van Sloan. It is an American pre-Code supernatural horror film directed and co-produced by Tod Browning. I'll take about the English Language version and Russell will dig a little into the Spanish version, made at the same time. Happy Halloween!

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RMR 0183 Dracula (1931)

Retro Movie Roundtable

Play Episode Listen Later Oct 27, 2022 120:14

Special guest Matthew Coniam, Author of Dracula AD 1931, joins your hosts Dustin Melbardis and Russell Guest for the Retro Movie Roundtable as they revisit Dracula (1931) [PG] Genre: Horror, Thriller, Fantasy, Mystery Starring: S Bela Lugosi, Helen Chandler, David Manners, Dwight Frye, Edward Van Sloan, Herbert Bunston, Frances Dade, Charles K. Gerrard, Joan Standing Director: Tod Browning Recorded on 2022-10-01

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Episode 107: Dawn Brodey and Brian Forrest on “Frankenstein” and “Dracula.”

The Occasional Film Podcast

Play Episode Listen Later Oct 19, 2022 58:38

This week on the blog, a podcast interview with Dawn Brodey and Brian Forrest, talking about the various film versions of “Frankenstein” and “Dracula.”Dawn gave me 4.5 films to revisit: The 1931 version of Frankenstein, Frankenweenie (the feature and the short), Mary Shelley's Frankenstein, and Young Frankenstein.Meanwhile, Brian assigned me the original Nosferatu, the 1931 Dracula, Abbott & Costello Meet Frankenstein, Horror of Dracula, Dracula in Istanbul and Bram Stoker's Dracula. LINKSDawn's podcast (HILF): http://dawnbrodey.com/ - showsBrian's Blog and Vlog, Toothpickings: https://toothpickings.medium.com/ A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Frankenstein (1931) Trailer: https://youtu.be/BN8K-4osNb0Frankenweenie Trailer: https://youtu.be/29vIJQohUWEMary Shelley's Frankenstein (Trailer): https://youtu.be/GFaY7r73BIsYoung Frankenstein (Trailer): https://youtu.be/mOPTriLG5cUNosferatu (Complete Film): https://youtu.be/dCT1YUtNOA8Dracula (1931) Trailer: https://youtu.be/VoaMw91MC9kAbbott & Costello Meet Frankenstein (Trailer): https://youtu.be/j6l8auIACycHorror of Dracula (Trailer): https://youtu.be/ZTbY0BgIRMkBram Stoker's Dracula (Trailer): https://youtu.be/fgFPIh5mvNcDracula In Istanbul: https://youtu.be/G7tAWcm3EX0Fast, Cheap Film Website: https://www.fastcheapfilm.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastDawn and Brian TRANSCRIPT John: [00:00:00] Before we dive into the assignment you gave me—which was to watch stuff I hadn't seen and also rewatch stuff I had seen to get a better idea of who's done a good job of adapting these books—let's just jump in and talk a little bit about your area of expertise and why you have it. So, I'm going to start with you, Brian. I was very surprised after working with you a while to find out that you had a whole vampire subset in your life. Brian: A problem, you can call it a problem. It's fine. John: Okay. What is the problem and where did it come from? Brian: I was just vaguely interested in vampires for a while. When I was in my screenwriting days, someone had encouraged me to do a feature length comedy about vampires, and that led me to do a lot of reading. And then I just kind of put it aside for a while. And then I was, I had just finished a documentary for Committee Films and they said, do you have any other pitches? And I thought, and I said, you know, there's still people who believe in vampires even today, that could be really interesting. And I put together a pitch package. Then, the guy in charge of development said, [00:01:00]this is what we need to be doing. And then it stalled out. Nothing ever happened with it. And I said, what the hell. I could do this on my own. I could fly around and interview these people. And I did, I spent a couple years interviewing academics and some writers. And along the way, I started finding all these very intriguing moments in the history of either vampire lore or fiction or even just people who consider themselves vampires today. And all these things would connect to each other. It was a lattice work of vampires going back hundreds of years. It didn't fit the documentary, unfortunately, but I found it way too interesting. And I said, I need some kind of outlet for this. And so I started writing about it on Tooth Pickings. And that eventually put me in touch with people who were more scholarly, and it opened up a lot more conversations. And now I can't get out. I'm trapped. John: Well, the first sign is recognizing there's a problem. [00:02:00] Okay. Now, Dawn, you had a different entryway into Frankenstein. Dawn: Yeah, well, I was a theater major and a history minor at the University of Minnesota. Go Gophers. And, this was in the late nineties, early two thousands, when there were still a lot of jobs for people who had degrees and things like this. Or at least there was a theory that this was a reasonable thing to get educated in. And then I graduated in 2001, which was months after 9/11, when all those jobs went away. And so, I had this education so specific and what was I gonna do? And gratefully the Twin Cities is a great place for finding that kind of stuff. And one of my very first jobs out of college was at the Bakkan museum. So, the Bakkan museum was founded by Earl Bakkan, who is the inventor of the battery-operated pacemaker. And he has always, since childhood, been obsessed with the Frankenstein movie that came out in 1931. And he attributes [00:03:00]his great scientific invention and many others to a science fiction in general. And to the spark of the idea that comes from sources like this. So, when he opened the museum, he insisted that there'd be a grand Frankenstein exhibit. And that means going back to the book, and that meant going back to the author, Mary Shelley, who wrote the novel Frankenstein, she started writing it when she was 16.And so, I was hired because—boom, look at me—my degree is suddenly colliding, right? So, I was hired by the Bakkan museum to create a one-woman show about the life of Mary Shelley, where I would play Mary Shelley and would perform it within the museum and elsewhere. And through the course of that research, I read the novel for the second time, but then I read it for my third, fourth, fifth onwards and upwards. Because the show was about 45 minutes long, I referenced, you know, the novel, the books, the popular culture, the science behind it. And the deep dive just never stopped. And so long after I was required to do the research and the show was done and up, I just kept reading. [00:04:00] And it gave me the opportunity to meet experts in this field and the peripheral field, as I would sort of travel with this show and be an ambassador for the museum and stuff like that. And, yeah, it still curls my toes. John: All right, so with that background. I'm going to just be honest right here and say, I've read Dracula once, I've read Frankenstein once. So that's where I'm coming from, and both a while ago. I remember Frankenstein was a little tougher to get through. Dracula had a bit more of an adventure feel to it, but something I don't think has really been captured particularly well in all the movies. But they both have lasted and lasted and lasted.Why do you think those books are still, those ideas are still as popular today? Dawn: I will say that I think Frankenstein, it depends on what you mean by the idea. Because on the surface, just the idea of bringing the dead to life, is, I mean, the Walking Dead franchise is right now one of the most popular franchises. I mean, I think we are really pivot on this idea. And I remember saying to a friend once that the part in [00:05:00]Revelation where the dead rise is like the only part of the Bible that I don't question. It's like, oh, the dead will get up. You know, we always just seem to be real sure that at some damned point, they're getting up. And so I think that that is part of why that it sticks in our brains. But then the story around Frankenstein—especially as it was written in 1818—has so many universal and timeless themes, like ambition and what is right and wrong. And the question that Jurassic Park posed in 1995 and continues to—1993 around there—and continues to pose, which is: just because science is capable of doing something, should it do something? And how do we define progress? Surely the very idea of being able to beat death and not die seems to be kind of the ultimate goal. And here is someone saying, okay, so let's just say, yeah. We beat death and everyone goes, oh shit, that'd be terrible. [00:06:00] You know? And then also, I always love the idea of the creature, the monster, Frankenstein's creature himself, who has a lot of characteristics with which people have identified throughout history. Some people say, for example, that Mary Shelley's whole purpose for writing Frankenstein was a question of: didn't God do this to us, make us these ugly creatures that are imperfect and bumbling around and horrifying? And then once he realized that we weren't perfect, he fled from us in fear or fled. He just keeps going and every generation has a new media that tells the story a little bit better, a little bit different, and yeah, there we are. John: I will say that for me, the most memorable part of the book was the section where the monster is the narrator and is learning. And I think with the exception of Kenneth Branagh's film, it it's something that isn't really touched on that much. There's a little bit in Bride of Frankenstein, of him going around and learning stuff. But the sort of moral questions that he [00:07:00] raises as he's learning—what it is to be human—are very interesting in the book. And I wish they were in more of the movies, but they're not. So, Brian on Dracula, again, we have dead coming to life. Why do we love that so much? Brian: Well, it's one of the questions that made me want to make a film about it myself: why has the vampire been so fascinating for hundreds of years? Why does it keep coming back? You know, it ebbs and flows in popularity, but it never leaves. And it keeps seeming to have Renaissance after Renaissance. Dracula specifically, I think one of the interesting things about that novel is how many different lenses you can look at it through and not be wrong.People have looked at it through the lens of, is this thing an imperialist story? Is it an anti-imperialist story? Is it a feminist story? Is it an anti-feminist story? And you can find support for any of those views reading Dracula. And I think that some of it might be accidental; there's times where Dracula is catching up to whatever the cultural zeitgeist [00:08:00] is right now. And we look at Dracula and we say, oh, he was thinking about this back then. Or maybe Bram Stoker was just very confused and he had a lot of different ideas. John: All right, let's explore that a little deeper. You each gave me an assignment of some movies to watch or to re-watch that you felt were worth talking about, in relation to your subject of Frankenstein or Dracula. I'm going to start with Frankenweenie, just because I had not seen it. And in going through it, I was reminded—of course, as one would be—of watching Frankenweenie, I was reminded of Love, Actually. Because I came to the realization after years of Love, Actually being around that it—Love, Actually—is not a romantic comedy. It is all romantic comedies, all put into one movie. And Frankenweenie is all horror films. Condensed, beautifully and cleverly into one very tasty souffle. [Frankenweenie Soundbite] John: I stopped at a certain point making note of the references to other horror films. Just because there are so many of them. But the idea that it references everything from Bride of Frankenstein to Gremlins. They do a rat transformation that's right out of American Werewolf in London. The fact that they have a science teacher played by Martin Landau doing the voice he did as Bela [00:10:00] Lugosi in Ed Wood. I mean, it's a really good story that they just layered and layered and layered and layered. What was it about that movie that so captivated you? Dawn: Well, so much of what you just said. And also it seems to me the epitome of the accessibility of the story of Frankenstein. The idea that if anyone can think of any moment in which if I could bring someone back to life. But what I love about it too, is that the novel Frankenstein that is not Victor Frankenstein's motivation. It generally tends to be the motivation of almost every character, including the Kenneth Branagh character--at some point, he, when Elizabeth dies, his wife dies for the second time, he says, yes, I'm going to try to bring her back. But it is so not the motivation of the scientist in the book. It is just ambition. He just wants to do something no one else has done. And lots of people die around him and he really never, ever says to himself at any point in the novel, I wish I could bring them back, I'm going to bring them back. That's never, that's never part of it. He just wants to be impressive. And so, I love [00:11:00] that it starts with that pure motivation of wanting to bring the dead to life; just wanting to bring your dog back, so that it's so accessible for everyone watching it. Who wouldn't wanna try this? But then, even in that scene with the teacher, when he shows the frog. And he's demonstrating that if you touch a dead frog with electricity, its legs shoot up, which give the kid the first idea of bringing his dog back. Which is like a deep cut in, in the sense that that's nothing -- Mary Shelley herself and her friends were watching experiments exactly like that before she wrote the book: galvanism and animal magnetism were these really popular public demonstrations happening in London and elsewhere where they would do just that. But because electricity itself was so new, I mean, it blew people's hair back you know, that these dead frogs were flopping around. It was the craziest thing. And a lot of them were thinking to themselves, surely it is only a matter of time before we can, we're gonna have our dead walking around all the time. So, it was so circulating and so forward. [00:12:00] So it's not just movie references and it's not just Frankenstein references. That movie really includes source deep source references for how Frankenstein came to be. And I just love it. John: Which brings me to Frankenstein, the 1931 version, in which Colin Clive has a similar point of view to what you were talking about from the book. He just wants, you know, he wants to be God. [Frankenstein soundbite] John: What I was most impressed with about that movie or a couple things was: it starts, it's like, boom. We're in it. First scene. There there's no preamble. There's no going to college. There's no talking about it, right? It's like, they're starting in the middle of act two. And I think a lot of what we think of when it comes to Frankenstein comes from that movie, [00:13:00] that the stuff that James Whale and his cinematographer came up with and the way they made things look, and that's sort of what people think of when they think of Frankenstein. Now, as you look back on that movie, what are your thoughts on the, what we'll call the original Frankenstein? Dawn: Yeah. Well, I love it. You'll find with me and Frankenstein that I'm not a purist. Like I love everything. Like I have no boundaries. I think this is great. One of the things that 1931 movie did was answer—because it had to, anytime you take a novel and make it a movie, you take a literary medium and make it a visual medium, there's obviously going to be things that you just have to interpret that the author left for you to make for yourself individual. And in this instance, that individual is the cinematographer. So, we're gonna get their take on this. And one of the real ambiguous things that Mary Shelley leaves for you in the novel is the spark of life. What is the spark of life? She does not in any [00:14:00]detail describe lightning or static or any of the recognizable or, or future developments of how electricity would've been. Brian: I was shocked when I first read that book and saw how little space was devoted to that, that lab scene. It's blink of an eye and it's over. Dawn: “I gathered the instruments of life around me that I may infuse a spark of being into the lifeless thing that lay at my.” Period. I just, what I love is what I love about film in general is that they went, oh, spark being all right, girl, it's a dark and stormy night and you know, and there's chains and there's bubblers and there's a thing. And the sky opens. I mean, God bless you, like way to just take that thought. Make it vivid, make it, build a set, make us believe it. And it's so, so pervasive that in Frankenweinie, you know, which of course is about Frankensein. [00:15:00] Like that is one that they do: he's got the white robe that ties in the back and the gloves. And in Young Frankenstein, it's the, you know, that lab scene. And so I love that. And the other thing that they had to do was describe the look of the creature, make the creature—Frankenstein's monster himself—look so like something. Because she, similarly in the novel, says that he is taller than a regular man, has dark hair and yellow watery eyes. That's all we know about what the Frankenstein looks like. And so, in 1931, Boris Karloff with the bolts. And it's black and white, remember, we don't think his skin is green. That he turned green at some point is kind of exciting, but of course he was just gray, but just dead flesh, you know, rotten, dead walking flesh is what's frightening. And, I just thought that the movie did that so well, John: I think the makeup was kind of a green/gray, and that when color photos came out of it, that's why someone went, oh, [00:16:00] it's green, but it wasn't green. Brian: I thought I saw a museum piece of, you know, an actual makeup bit that Jack Pierce did and I thought it was greenish. Dawn: Yeah. Greenish/gray. I think, yeah, the rots, just kind of trying to capture the sort of rotten flesh. Brian: It's just like the bride's hair was red. Dawn: That's right. That's right. My day job here in Los Angeles is as a street improviser at Universal Studios, Hollywood. And two of their most treasured characters of course are Frankenstein and Dracula. So, while most people might separate them, John, they are usually arm and arm where I work every day. And the bride has recently come back to the theme park as a walking character, and they gave her red hair. We don't mess around. John: That's excellent. But you mentioned Dracula, let's jump into the 1931 Dracula. There's a connection point between the two that I want to mention, which is the amazing Dwight Frye, who is Fritz, I believe in Frankenstein. And I'm not the first one to mention his naturalistic [00:17:00] acting kind of putting him above everybody else in that movie. Famously, when he's running up the stairs, stopping to pull his socks up at one point. He's just really, really good in that. And then you see him in Dracula as the, essentially the Harker character. I think he was called Harker -- Brian: Yeah. Well, he's Renfield in Dracula. They merged those two characters. I thought it was a smart move for a first attempt at the film. Yeah. And Dwight Frye, he's in a lot of other Universal horrors, too. Dwight Frye often doesn't get the credit. He somehow was not the leading man he should have been. John: I don't know why that is. He turns up again as an assistant in Bride of Frankenstein. He's a towns person in Frankenstein meets the Wolfman. And then he tragically died on a bus ride to an auto parts job that he took because he wasn't getting any acting work, which was too bad. A really, really good actor. Brian: There is another intersection besides the fact that they were both produced by Junior. Lugosi was put into the [00:18:00] short, the trial film they shot for Frankenstein. I can't call it a short film, because it was never intended for release. But they shot a cinematic test reel and they had Lugosi play the monster, but he was under a sheet the whole time. I think he may have been able to pull the sheet off. It's a lost film. We don't know for sure. We just have kind of the recollections of a few crew people. John: I've never heard of that. I would love to see that. Brian: I would too. I think a lot of people would really love to see it, but it was as much a kind of a testing ground for Lugosi— whether they wanted him to be the monster—as it was for some of the techniques, the things they wanted to try in the film. And what I understand is the producer saw the test reel and they said, yes, we love this look, this is the look we want you to give us. And then it's whatever version of Lugosi not getting that part you want to believe: whether Lugosi turned it down or the producers didn't like him or something. But he ended up not taking that part. John: But he is of course always known as Dracula. So, what are your thoughts on their adaptation? Which [00:19:00]again is not the first adaptation but is the kind of first official? Brian: Yeah. The first to bear the name Dracula, although, well, I'll back up a second. Because some releases of Nosferatu called it Dracula. He would be named as Dracula in the subtitles, you know, because that's an easy thing to do in silent film, you can just swap that out however you want to. But yes, it's the first authorized official film adaptation. John: Well, let's back up to Nosferatu, just for a second. Am I wrong in remembering that the Bram Stoker estate—Mrs. Stoker—sued Nosferatu and asked that all prints be destroyed? And they were except one print remained somewhere? Brian: Close. That is the popular story that she sued Prana Films. She won the lawsuit. All films were set to be destroyed. Now there's a guy named Locke Heiss and a few others who've been doing some research on this. And they will tell you that there's no proof that a single print was ever destroyed. It's a more fun story to say that, you know, this one was snuck away and now we have the film. But there was no real enforcement mechanism for having all the theaters [00:20:00]destroy the film. Who was going to go around and check and see if they actually destroyed this film or not? Nobody, right? So maybe some people destroyed it. Maybe Prana Films destroyed their remaining copies. But the exhibitors kept all of theirs and there's different versions and different cuts that have been found. So, we know that some of these reels went out in different formats or with different subtitles or even different edits. And some of them have made their way back to us. John: There's some really iconic striking imagery in that movie. That haunts me still. Brian: What I always tell people is see the film with a good live accompaniment, because that still makes it hold up as a scary film. If you see a good orchestra playing something really intense when Orlok comes through that door. It feels scary. You can feel yourself being teleported back to 1922 and being one of those audience people seeing that and being struck by it. John: What do you think it would be like to have [00:21:00] seen that or Dawn to have seen the original Frankenstein? I can't really imagine, given all that we've seen in our lives. If you put yourself back into 1931, and Boris Karloff walks backwards into the lab. I would just love to know what that felt like the first time. Dawn: You know, what is so great is I was fortunate enough to know Earl Bakkan who saw the movie in the theater in Columbia Heights, Minnesota when he was 10 years old.And he went, he had to sneak in. People would run outta this, out of the theater, screaming. I mean, when they would do the close up of Frankenstein's Monster's face, you know, women would faint. And of course that was publicized and much circulated, but it was also true. People were freaking out. And for Earl Bakkan—this young kid—the fear was overwhelming, as you said. And also in this theater, I was lucky enough, I did my show in that theater for Earl and his friends on his 81st birthday. So, I got to hear a [00:22:00] lot of these stories. And they played the organ in the front of the curtain. Brian: Is this the Heights theater? Dawn: Yes, the Heights. Brian: Oh, that's an amazing space. Dawn: So, they played the organ in there and it was like, oh my God. And it was so overwhelming. So, I'm glad you asked that question because I was really fortunate to have a moment to be able to sort of immerse myself in that question: What would it have been like to be in this theater? And it was moving and it was scary, man. And yeah, to your point, Brian, the music and the score. I mean, it was overwhelming. Also, I think there's something that we still benefit from today, which is when people tell you going in this might be way too much for you, this might scare you to death. So just be super, super careful. And your heart's already, you know… John: And it does have that warning right at the beginning. Dawn: Yeah. Versus now when people sit you down, they're like, I'm not gonna be scared by this black and white movie from 1931. And then you find yourself shuffling out of the bathroom at top speed in the middle of the night. And you're like, well, look at that. It got me. Brian: That reminds me, there [00:23:00] was a deleted scene from the 1931 Dracula that was a holdover from the stage play. Van Helsing comes out and he breaks the fourth wall and he speaks directly to the audience. And he says something to the effect of—I'm very much paraphrasing—about how we hope you haven't been too frightened by what you've seen tonight, but just remember these things are real. And then black out. And they cut that because they were afraid that they were really going to freak out their audience. Dawn: It's like a war of the world's thing, man. It's oh, that's so great. I love that. [Dracula Soundbite] John: So, Brian, what is your assessment of the 1931 version? As a movie itself and as an adaptation of Stoker's work? Brian: The things they had to do to try to adapt it to film, which they borrowed a lot of that from the stage play. They used the stage play as their guide point, and I think they made the best choices they could have been expected to make. You know, there's a lot of things that get lost and that's unfortunate, but I think they did a decent job. I don't find the 1931 version scary. I like Bela Lugosi. I think he's a great Dracula. I think he set the standard. With the possible [00:25:00]exception of the scene where the brides are stalking Harker slash Renfield, I don't think the imagery is particularly frightening. The Spanish version, I think does a little bit better job. And you know the story with the Spanish version and the English version? Dawn: We actually talk about it on the back lot tour of Universal Studios. Because they shot on the same sets in some cases. Brian: Yeah. My understanding is that Dracula shot during the day, Spanish Dracula would shoot at night. So, they got to benefit maybe a little bit by seeing, okay, how is this gonna be shot? How did Todd Browning do it? Okay. We're gonna do it a little bit differently. It's a little bit of a cheat to say they move the camera. They do move the camera a lot more in the Spanish version, but the performances are a little bit different. I'm going to, I can't get her name out. The actress who plays the ingenue in the Spanish Dracula, I'm not going to try it, but you can see her kind of getting more and more crazed as time goes on and her head is more infected by Dracula. You see these push-ins that you don't see in the English version. There's blocking [00:26:00] that's different. I put together a short course where I was just talking about how they blocked the staircases scene. The welcome to my house, the walking through spider web. And how it's blocked very differently in the two versions. And what does that say? What are these two directors communicating differently to us? In one, Harker slash Renfield is next to Dracula. In one, he's trailing behind him. In one, we cut away from the spider web before he goes through. And in the other one, we see him wrestle with it. That's not really what you asked, John. Sorry, I got off on a tear there. John: I agree with you on all points on the differences between the two films. Although I do think that all the Transylvania stuff in the English version is terrific: With the coach and the brides. The Spanish version, the biggest problem I have is that their Dracula looks ridiculous. Brian: He's not Bela Lugosi. You're right. John: He looks like Steve Carell doing Dracula and there is no moment, literally no moment [00:27:00] where he is scary, whereas Lugosi is able to pull that off. Brian: There's a lot of people who have observed that the Spanish Dracula would be a superior film were it not for Bela Lugosi being such an amazing Dracula in the English version. John: He really, really nailed it. Brian: And since he learned his lines phonetically, he could have done the Spanish Dracula. Just write it out for him phonetically, because he didn't speak English very well. John: If we could just go back, you know, cause a lot of things in history we could change, but if we could just be at that meeting and go, Hey, why not have Bela do it? Okay. So then let's jump ahead, still in Dracula form, to Horror of Dracula. From 1958. With Christopher Lee as Dracula and Peter Cushing as Van Helsing. [Soundbite from Horror of Dracula] Brian: For some people, Lee is the ultimate Dracula, and I think that's a generational thing. I think he's great. He's got the stage presence and I love Peter Cushing as Van Helsing. I don't like the film as a whole. It feels like I'm watching a play with a camera set back. It doesn't work for me the way it works for other people. That is personal taste. Don't come after me. John: It does, however, have one of the greatest, ‘Hey, we're gonna kill Dracula' scenes ever, with Peter Cushing running down the table and jumping up and pulling down the drapes and the sun. Brian: Oh, right. Interesting. Because in Dracula, the book, the sun is not deadly, remotely really. But that's [00:29:00]the influence of Nosferatu being pasted onto the Dracula cannon, that the sunlight is deadly to Dracula. Dawn: I remember having this fight very enthusiastically in the nineties when Bram Stoker's/Winona Ryder's Dracula came out and I was already sort of a literary nerd. And they were like, hey, they have a scene with him walking around during the day. And I was like, yeah, nerds. That's right. That's cuz vampires can walk around during the day.I was very already, like, you don't know anything, go back to history. Brian: And there's a seventies version where he's out on a cloudy day, but he is not hurt either. There suggestions in the book that he's more powerful at night. Dawn: He's a creature of the night. I always understood he had to wear sunglasses. He was sort of like a wolf. Like they show him as a wolf during the day; it can happen, but it's not great. Brian: I like the way they did it in the Gary Oldman version. He's suited up. He's got the sunglasses on. There's not a whole lot of skin exposed. But he's not [00:30:00] going to turn into smoke. John: Well, okay. Let's talk about that version and Kenneth Branagh's version of Frankenstein. Dawn: Ug. John: I'm not going to spoil anything here, when I say it doesn't sound like Dawn cared it. Dawn: You open this, you opened this can of worms. John, sit down for a second. Listen. He calls it: Mary Shelly's fucking Frankenstein. I inserted the fucking. I'm sorry, I wasn't supposed to say that. He calls it. He calls it. How dare you, Kenneth, Brannagh, call this Mary Shelley's Frankenstein. So that was A-number one. But I went into it all excited: It's Kenneth Brannagh. Love him. He calls it Mary Shelley's Frankenstein and he starts with the ship captain out at sea, just like the book. And so I pull up my little, you know, security blanket and I'm like, oh, Kenneth Brannagh, do this to me, buddy. Do it to me buddy. Show me Mary Shelley Frankenstein as a movie. [00:31:00] And then he just fucks it up, John. And he doesn't actually do that at all. It's a total lie. He screws up every monologue. He makes up motivations and then heightens them. And it's dad. The acting is capital B, capital A, capital D across the board. Everybody sucks in this movie. It looks bad. The direction is bad, and it has nothing to do. He tries to bring Elizabeth back to life. This is a huge departure from Mary Shelley's Frankenstein. Thank you very much, Mr. Brannagh, that's all I have to say for now. John: All right, I was fooled by the fact that he started at, at the north pole. Dawn: That's because he's tricking us, John. That's because it's the whole movie is a lie. John: Okay with that same mindset, what do we think of Bram Stoker's Dracula by Francis Ford Coppola? Dawn: I love that one. Brian: I'm afraid that I don't have, I can't match Dawn's intensity in either respect. Um, except I thought Robert DeNiro [00:32:00] was really good in Frankenstein. Dawn: But that's no, he's not. you're wrong. Your opinion is valid and wrong. Yeah, I'm kidding for listeners who don't know me. I am, I am kidding. Of course. Everybody's opinion is valid except for that one. Yeah. The movie, everything about that movie is bad. John: He is, I think, miscast. Dawn: And Helen Bonan Carter is one of the finest actresses of not just our generation, but of all time. And she sucks in this movie. John: Right. So. Bram Stoker's Dracula. Brian: Bram Stoker's Dracula. [Soundbite: Bram Stoker's Dracula] Brian: Also produced by Branagh. And I assume that is the connection, why they both start with the author's name. I always call it Coppola's Dracula because it gets too confusing to make that distinction. I thought it was a decent movie, but it didn't feel like Dracula. It felt like someone who had heard of Dracula and wrote a good script based on what they had heard. So many divergences that bothered me, although I think it's aged better than it felt the first time. I remember seeing it when it first came out in the nineties and not thinking much of it. And I think audiences agreed with me and it seems like it's been kinder, that audiences have been kinder to it as it's gotten older. John: Okay. Dawn, you love it. Dawn: I loved it. I loved it. It, you know what though? That was one of [00:34:00] those movies that unlike, unlike Mary Shelley's Frankenstein, I can't look at with like an adult critical eye because I, what year did it come out? Was it like 90, 92? I'm like middle school getting into high school and like Winona Ryder was everything. Vampires are everything. I mean, Gary Oldman is the, is a great actor and it's so sexy, very sexy. The sex is Primo. And so I remember loving it, very moving. I don't remember comparing it as certainly not as viciously to the novel because I read Dracula after I had seen the movie. And so there's always that inherent casting where Nina is always going to be Winona Ryder. But I do remember really loving the Gothic convention of the letter and that the movie did seem to utilize and to great effect how letter writing can build suspense and give us different perspectives in a, in a unique cinematic way. Brian: [00:35:00] The two or three biggest stakes that film puts in the ground are not to be found in the book. So there's no love story in the book. There's no Vlad in the book. John: Can I interject there? Isn't that basically, didn't they just rip that off of Dark Shadows, The idea of my long lost love is reincarnated in this woman. I must connect with her. Brian: That is a good question, John. I'm glad you asked that because I call it the doppelganger love interest. Right? We first see that, the first time I know of it happening, I'm sure there's an earlier precedent, is in The Mummy, but then Dark Shadows does it. But that's not where Stoker, I mean, that's not where Coppola and a screenwriter claimed to have gotten the idea. They claimed to have gotten it from Dan Curtis's Dracula in 74. John: Dan Curtis, who produced Dark Shadows, with Barnabas Collins, falling in love with his reincarnated love. Brian: But Dan Curtis's Dracula comes out two years after Blacula. That has a reincarnated love interest. John: Not only does the Blaclua [00:36:00] have a reincarnated love interest, but if I'm remembering movie correctly at the end, when she says I don't want to go with you. He goes, okay. And he's ready to go home. It's like, sorry to bother you. Brian: No, uh, in Blacula, he commits suicide John: Oh, that's it? Yeah. He walks out into the sun. Brian: He goes home in a different way. John: Yes. He's one of my favorite Draculas, the very stately William Marshall. Brian: Yeah, absolutely. That is a favorite of mine. John: Anyway, you were saying stakes in the ground from Coppola's Dracula. Brian: Well, the, the love story, the equating Dracula with Vlad the Impaler. And I felt like they did Lucy really bad in that movie. They had her turn into a wanton harlot, which is not in keeping with the book. Some things are okay, but they really said these are the building blocks of our story and that bugged me. But Anthony Hopkins I liked, so, all right. Dawn: Alright, but see, this [00:37:00] the itch that still that still makes me wanna scratch though: why say Bram Stoker's Dracula? Why say Mary Shelley's Frankenstein? I mean, because I think you heard the venom, obviously. If they took Mary Shelley's name off that thing, you can make Frankenweenie. And I will love, like, I love Frankenweenie. Do your Frankenstein homage all day, all the time. But when you call, when you say it's Bram Stoker's, I think that this is what has been frustrating historians like me and getting high school students Ds in English class ever since. Because it just creates the false perception that you've basically read the book. Right. Or that you, if you know the thing you know the book and it's just a cheap ploy. And I don't like it. Brian: I think, somebody correct me on this, that there, there had been a plan to do a reboot of the Universal monster franchise, and these two movies were supposed to be the reboot of it. [00:38:00] And then they would've then done HG Wells' Invisible Man. John: The Mummy killed it. They've tried to reboot it several times. And that was the first attempt. Brian: Yeah, I've heard that called the dark universe. They were trying to do their own MCU. Dawn: Yeah. Well, at Universal Studios, there is of course in, in LA, in general, there's the property wars, you know? What what's, who has what? And sometimes those get really blurred. Like why does Universal Studios have Harry Potter? When we can see Warner Brothers from the top of our wall/ And that's obviously, you know, those things happen. But when it comes to like the IP or intellectual property, those original monsters are so valuable and they always are at Halloween. And then it's like, sort of, how can we capitalize on this? And yeah. And it's cross generational. Brian: All they really own right now is the look right? They own Jack Pierce's makeup job from Frankenstein. Dawn: But I think that that's exactly the point; [00:39:00] the delusion of what is it that you own if you own, you know, Frankenstein, whatever. But yes, there was definitely an interest to sort of revamp all of the original Universal Monsters they call them and it's the Mummy, Frankenstein, Dracula, and the Invisible Man. John: It's everybody who shows up in Mad Monster Party. Dawn: Exactly. [Soundbite: Mad Monster Party] Dawn: But yeah, The Mummy, starring Tom Cruise, was a tremendous flop. And I think that sort of took the wind out of everybody's sails. John: Let me ask you this, Dawn. If Mel Brooks had titled his movie, Mary Shelley's Young Frankenstein, instead of Mel Brooks' Young Frankenstein, would you have a problem with that? Dawn: Yeah, no, but no, I would not have had a problem, because that would've been irony and juxtaposition. Not just a straight lie. John: So that brings us to some comedies. Young Frankenstein and Abbott and Costello meet Frankenstein, which I was very surprised and a little unnerved to [00:40:00] realize a few years back, Abbott and Costello meet Frankenstein was made a mere 10 years before I was born. And I had always assumed it was way back then. And it's like, no, it wasn't all that way back then. It was pretty, pretty recently. Brian: That happened to me when I realized that Woodstock was only six years before my birth. And it always seemed like ancient history. John: Is that the common thing, Madame Historian? That people kind of forget how recent things were? Dawn: Oh yeah. Remember Roe V. Wade. Sorry, too soon. Brian: We're recording this on that day. Dawn: Yeah, absolutely. I think that it happens to everybody so much faster than you think it's going to. I remember looking around in the nineties feeling, well, surely the seventies was ancient history, you know, because they had That Seventies Show, which debuted as like a period piece. I am still very young and hip and happening and [00:41:00] they are in production for That Nineties Show right now. And I said to my husband, That Nineties Show. I was like, Jesus, I guess that's 20 years because I was in the nineties they did That Seventies Show. And he goes, no baby that's 30 years. And I was like, I'm sorry. I said, I'm sorry, what? He goes, the nineties was 30 years ago. And I just had to sit down and put my bunion corrector back on because these feet are killing me. John: All right. Well, let's just talk about these two comedies and then there's a couple other things I wanna quickly hit on. What are our thoughts on, let's start with Young Frankenstein? [Soundbite: Young Frankenstein] Dawn: I told you I'm not an idealist and we're not a purist about Frankenstein, but I am an enthusiast. So that is why I told you to watch Kenneth Branagh's movie, even though I hate it so much. And that is also why I love Young Frankenstein, because I think that it is often what brings people into the story. For many, many people, it introduces them to the creature. They may know literally nothing about Frankenstein except for Young Frankenstein. And that's actually fine with me because I'm a comedian myself. And I believe that parody is high honor. And often when you parody and satirize something, especially when you do it well, it's because you went to the heart of it. Because you got right in there into the nuggets and the creases of it. And there is something about Young [00:43:00] Frankenstein as ridiculous as it is that has some of that wildness and the hilarity and The Putting on the Ritz. I did find out from my Universal Studios movie history stuff, that that scene was very nearly cut out. Mel Brooks did not like it. And he just didn't like that they were doing it. And of course it's the one, I feel like I'm not the only one who still has to make sure that my beverage is not only out of my esophagus, but like aside, when they start doing it. [Soundbite: Young Frankenstein] Brian: And I understand they were about to throw away the sets from the 1931 Frankenstein when Mel Brooks or his production designer came up and said, Stop stop. We want to use these and they were able to get the original sets or at least the set pieces. John: I believe what it [00:44:00] was, was they got Kenneth Strickfaden's original machines. Ken Strickfaden created all that stuff for the 1931 version and had been used on and off, you know, through all the Frankenstein films. And it was all sitting in his garage and the production designer, Dale Hennessy went out to look at it because they were thinking they had to recreate it. And he said, I think it still works. And they plugged them in and they all still worked. Brian: Oh, wow. Dawn: Oh man. It's alive. John: Those are the original machines. Dawn: I didn't know that. That's fantastic. John: At the time when I was a young kid, I was one of the few kids in my neighborhood who knew the name Kenneth Strickfaden, which opened doors for me. Let me tell you when people find out, oh, you know of the guy who designed and built all those? Oh, yes. Oh, yes. I know all that. One of my favorite stories from Young Frankenstein is when they sold the script. I forget which studio had said yes. And as they were walking out of the meeting, Mel Brooks turned back and said, oh, by the way, it's gonna be in black and white, and kept going. And they followed him down the hall and said, no, it can't be in black and white. And he said, no, it's not gonna work unless it's in [00:45:00] black and white. And they said, well, we're not gonna do it. And they had a deal, they were ready to go. And he said, no, it's gonna stay black and white. And he called up Alan Ladd Jr. that night, who was a friend of his, and said, they won't do it. And he said, I'll do it. And so it ended up going, I think, to Fox, who was more than happy to, to spend the money on that. And even though Mel didn't like Putting on the Ritz, it's weird, because he has almost always had musical numbers in his films. Virtually every movie he's done, he's either written a song for it, or there's a song in it. So, it's weird to me. I've heard Gene Wilder on YouTube talk about no, no, he didn't want that scene at all, which is so odd because it seems so-- Brian: I never thought about that, but you're right. I'm going in my head through all the Mel Brooks films I can remember. And there is at least a short musical interlude in all of them that I can think of. John: But let's talk then about what's considered one of the best mixes of horror and comedy, Abbott and Costello Meet Frankenstein [00:46:00] [Soundbite: Abbott & Costello Meet Frankenstein] Brian: As with comedies of that age, it, it starts off slow, but then it starts to get very funny as time goes on. And all the comedy is because of Abbot and Costello. They are the, [00:47:00] the chemistry they have on screen. I don't know how much of that was actually scripted and how much of it was just how they rolled with each other. But it works really well. Not much of the comedy is provided by the monsters or the supporting cast or even there's maybe a cute, a few sight gags. But wouldn't you say most of the comedy is just the dynamics between them? John: It is. The scary stuff is scary and it's balanced beautifully at the end where they're being chased through the castle. The monsters stayed pretty focused on being monsters and Abbot and Costello's reactions are what's funny. Dawn: If I may, as someone who has already admitted I haven't seen much of the movie, it's feels to me like it may be something like Shaun of the Dead, in the sense that you get genuinely scared if zombie movies scare, then you'll have that same adrenaline rush and the monsters stay scary. They don't have to get silly. Or be a part of the comedy for your two very opposing one's skinny, one's fat, you know, and the way that their friendship is both aligning and [00:48:00]coinciding is the humor. Brian: I believe there is one brief shot in there where you get to see Dracula, Frankenstein's monster and the Wolfman all in the same shot. And I think that might be the only time that ever happens in the Universal Franchise. During the lab scene, does that sound right John? John: I think you really only have Dracula and the Wolfman. I'll have to look it up because the monster is over on another table-- Brian: Isn't he underneath the blanket? John: Nope, that's Lou Costello, because it's his brain that they want. And so they're fighting over that table. And then just a little, I have nothing but stupid fun facts. There's a point in it, in that scene where the monster gets off the table and picks up someone and throws them through a window. And Glenn Strange, who was playing the monster at that point -- and who is one of my favorite portrayers of the monster, oddly enough -- had broken his ankle, I believe. And so Lon, Chaney, Jr. put the makeup on and did that one stunt for him, cuz he was there. Brian: He did that as Frankenstein's monster? John: Yes. Frankenstein. Brian: I didn't know that. Yes, I [00:49:00] did not know that. So he plays both of those roles in that movie? John: Yes. Let me just take a moment to defend Glenn Strange, who played the monster three times: House of Dracula, House of Frankenstein, and Abbott and Costello Meet Frankenstein. In House of Frankenstein, he is following up the film before that, which was Frankenstein Meets the Wolfman, in which, in this very convoluted universe, Lugosi is playing the monster, even though he didn't wanna do it in 31. Because his brain in Ghost of Frankenstein had been put into the Monster's body. So, in Frankenstein Meets the Wolfman, it is Lugosi as the Frankenstein monster. It is Lon Chaney Jr., who had played the monster in Ghost of Frankenstein, now back to playing Larry Talbot. So, it is Wolfman versus Frankenstein. And the premise of the script was he's got Ygor's brain and it's not connecting properly. He's gone blind. They shot that. They had tons of dialogue between the two characters of Larry Talbot pre-wolfman, and the monster, Bela Lugosi. And the executives thought it sounded silly. So they went in and they cut [00:50:00] out all of Lugosi's dialogue out of the movie. So now you have a blind monster stumbling around with his arms in front of him, but he doesn't talk. And if you look at the movie, you can see where he's supposed to be talking and they cut away quickly. And it's really convoluted. Glenn Strange who then has to play the monster next, looks at that and goes well, all right, I guess I'm still blind. I guess I'm still stumbling around with my arms in front of him. Which is the image most people have of the Frankenstein monster, which was never done by Boris in his three turns as the monster. So with, in that regard, I just think Glenn Strange did a great job of picking up what had come before him and making it work moving forward. Anyway, a couple other ones I wanna just hit on very quickly. Brian asked me to watch Dracula in Istanbul. Under the circumstances, a fairly straightforward retelling of the Dracula story. I would recommend it--it is on YouTube--for a couple of reasons. One, I believe it's the first time that Dracula has actual canine teeth. Brian: Yes. John: Which is important. But the other is there's the scene where he's talking to Harker about, I want [00:51:00] you to write three letters. And I want you to post date the letters. It's so convoluted, because he goes into explaining how the Turkish post office system works in such a way that the letters aren't gonna get there. It's just this long scene of explaining why he needs to write these three letters, and poor Harker's doing his best to keep up with that. That was the only reason I recommend it. Brian: That movie is based on a book called Kazıklı Voyvoda, which means The Warrior Prince and it was written in, I wanna say the 1920s or thirties, I wanna say thirties. It's the first book to equate Dracula and Vlad the Impaler, which I've come back to a couple times now, but that's significant because it was a Turkish book and the Turks got that right away. They immediately saw the name Dracula like, oh, we know who we're talking about. We're talking about that a-hole. It was not until the seventies, both the [00:52:00] fifties and the seventies, that Western critics and scholars started to equate the two. And then later when other scholars said, no, there, there's not really a connection there, but it's a fun story. And it's part of cannon now, so we can all play around with it. John: But that wasn't what Bram Stoker was thinking of? Is that what you're saying? Brian: No. No, he, he wasn't, he wasn't making Dracula into Vlad the Impaler. He got the name from Vlad the Impaler surely, but not the deeds. He wasn't supposed to be Vlad the Impaler brought back to life. John: All right. I'm going to ask you both to do one final thing and then we'll wrap it up for today. Although I could talk to you about monsters all day long, and the fact that I'd forgotten Dawn, that you were back on the Universal lot makes this even more perfect. If listeners are going to watch one Dracula movie and one Frankenstein movie, what do you recommend? Dawn, you go first. Dawn: They're only watching one, then it's gotta be the 1931 Frankenstein, with Boris. Karloff, of course. I think it has captured [00:53:00] the story of Frankenstein that keeps one toe sort of beautifully over the novel and the kind of original source material that I am so in love with, but also keeps the other foot firmly in a great film tradition. It is genuinely spooky and it holds so much of the imagery of any of the subsequent movies that you're only watching one, so that's the one you get. But if you do watch any more, you've got this fantastic foundation for what is this story and who is this creature? John: Got it. And Brian, for Dracula? Brian: I was tossing around in my head here, whether to recommend Nosferatu or the 1931 Dracula. And I think I'm going to have to agree with Dawn and say the 1931 for both of them, because it would help a viewer who was new to the monsters, understand where we got the archetypes we have. Now, why, when you type an emoji into your phone for Vampire, you get someone with a tuxedo in the slick back hair or, I think, is there a Frankenstein emoji? Dawn: There is, and he's green with bolts in his neck. [00:54:00] Brian: Yeah, it would. It will help you understand why we have that image permanently implanted in our heads, even though maybe that's not the source material. We now understand the origins of it. Dawn: And if I may too, there's, there's something about having the lore as founded in these movies is necessary, frankly, to almost understand what happens later. I mean, I get very frustrated in 2022, if there is a movie about vampires that takes any time at all to explain to me what a vampire is, unless you're breaking the rules of the vampire. For example, you know, like in Twilight the vampire sparkles, like a diamond when it's out in the sunshine and is the hottest thing ever. That's really great to know. I didn't know that about vampires. That wasn't necessarily true before, you know, but you don't need to take a lot of time. In fact, when you do read Dracula, one of the things for me that I found very frustrating was the suspense of what is it with this guy? They were like: He said we couldn't bring [00:55:00] garlic and they take all this time. And you're kind of as a modern reader being like, cuz he is a fucking vampire. Move on. Like we know this, we got this one. It's shorthand Brian: That's one snide thing I could say about the book is that there are times where Dracula's powers seem to be whatever his powers need to be to make this next scene creepy and move on to the next chapter. John: He was making it up as he went along. Yeah, yeah, yeah.

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GGACP Classic: Dana Gould

Play Episode Listen Later Aug 25, 2022 93:31

GGACP celebrates the birthday (August 24) of comedian, actor, Emmy-winning writer, podcast host and film buff Dana Gould with a revisit of this hilarious interview from 2016. In this episode, Dana weighs in on everything from Hollywood “fixers” to werewolf transformations and regales Gilbert and Frank with stories about everyone from Dwight Frye to Mark Hamill. Also, Dana meets Merv Griffin, mimics Adam West (and Don Knotts!), befriends Vampira and remembers Roddy McDowall. PLUS: “Mars Attacks!” The genius of Dan Curtis! The sexism of James Bond! Gregory Peck meets Gopher! And the mysterious death of Albert Dekker! Learn more about your ad choices. Visit megaphone.fm/adchoices

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Dracula (1931) | Episode 316

vampires dracula bela lugosi dwight frye monster kid monster attack

Play Episode Listen Later Feb 21, 2022 52:20

Jim revisits the very first "Vampire' film he ever saw and takes an emotional trip down memory lane with "Dracula," starring Bela Lugosi, Dwight Frye, Edward Van Sloan, Helen Chandler, Davis Manners and Herbert Bunston. This was the film that launched Universal Films as the king of horror just four years after the introduction of talking pictures. Find out how this masterpiece influenced a very young "Monster Kid" on this episode of MONSTER ATTACK!

Dracula (1931) | Episode 316

ESO Network – The ESO Network

Play Episode Listen Later Feb 21, 2022 52:19

Jim revisits the very first “Vampire’ film he ever saw and takes an emotional trip down memory lane with “Dracula,” starring Bela Lugosi. Dwight Frye, Edward Van Sloan, Helen Chandler, Davis Manners and Herbert Bunston. This was the film that launched Universal Films as the king of horror just four years after the introduction of … Dracula (1931) | Episode 316 Read More » The post Dracula (1931) | Episode 316 appeared first on The ESO Network.

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311: Dwight Frye (1899-1943)

The Eldritch Review

Play Episode Listen Later Nov 30, 2021 14:25

“The Man with the Thousand Watt Stare!” “The Man with 1000 Deaths!” Listen to hear the story of one of the most historic and creepy method actors who terrified audiences with his villainous portrayals that still haunt our nightmares to this day . Tune in if you dare.

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75. Bride Of Frankenstein

Still Any Good?

Play Episode Listen Later Oct 26, 2021 66:35

Join us for part 1 of our Halloween Special as we dig up a very old film and see if it still has some life. Rob has chosen the 1935 horror sequel BRIDE OF FRANKENSTEIN."Still Any Good?" logo designed by Graham WoodCrap poster mock-ups by Chris WebbTheme music ("The Slide Of Time") by The Sonic Jewels, use with kind permission(c) 2021 Tiger Feet ProductionsFind us:Twitter @stillanygoodpodInstagram stillanygoodpodEmail stillanygood@gmail.comSupport the show (https://www.ko-fi.com/stillanygoodpod)

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Dracula

The Top 100 Project

Play Episode Listen Later Sep 27, 2021 46:47

The 1931 version of Dracula was the first Universal Monster movie and it stars perhaps the most famous vampire actor of all time. Bela Lugosi was certainly committed to the part and this is obviously his trademark role. You'll just have to work hard to overlook his almost funny schtick. Is Lugosi any good as the Count though? Well, is anyone in this cast any good? Maybe one guy (Dwight Frye) nails it by going deliriously over the top. Yeah, it's fair to say we didn't have much lust for Tod Browning's picture. His direction is creaky and stilted and if his film was scary to audiences 90 years ago, it certainly isn't anymore. However, the sexual subtext and the theme of a Transylvanian visitor representing a foreign plague are effective, just as they were in Bram Stoker's classic book. So go to bed in your trusty coffin just as home invaders have come to kill you, but before you lay down, cue up the 410th Ellises' Analysis to hear us yack about Drac. You can't get a discount on superb coffee if you like to add blood, but you CAN get one if you go to Sparkplug Coffee's website and stay away from the red stuff. You can save a delicious 20% by using our promo code (“top100project”). Hey, Twitter is a place to post thoughts. We are @moviefiend51 and @bevellisellis Our website remains top100project.com Ryan also jabbers about sports movies on Scoring At The Movies

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Episode #25: Frankenstein (1931 film)

The Mark Hastings Experience

Play Episode Listen Later Sep 22, 2021 49:39

In this episode Mark talks about the 1931 American science fiction horror film "Frankenstein" directed by James Whale, produced by Larmmle Jr., and adapted from 1927 play by the Peggy Webling, which in turn was based on Mary Shelley's 1818 novel 'Frankenstien; or The Modern Prometheus'. The film stars Colin Clive, Boris Karloff, Mae Clarke, John Boles, Dwight Frye, and Edward van Sloan. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/markthepoet/message

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Rick Baker & David J. Skal

The Monster Rally Podcast

Play Episode Listen Later Jul 19, 2021 115:37

It's Halloween in July as Gilbert and Frank celebrate the 90th anniversaries (1931-2021) of Universal Studios' original "Dracula" and "Frankenstein" by welcoming Oscar-winning makeup creator Rick Baker and author-historian David J. Skal for a fascinating conversation about sympathetic monsters, mad scientists (real and imagined), the origin of horror films, the genius of Jack Pierce and the premature deaths of Colin Clive, Dwight Frye and Lon Chaney. Also, David interviews Carla Laemmle, Rick turns Martin Landau into Bela Lugosi, Glenn Strange appears in Boris Karloff's obit and Bram Stoker's widow tries to kill off "Nosferatu." PLUS: Ghoulardi! "Man of a Thousand Faces"! The influence of Forrest J. Ackerman! Bette Davis (almost) plays the Bride of Frankenstein! And the boys (once again) try to make sense of "The Black Cat"! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Ghost of Frankenstein

Play Episode Listen Later Jul 15, 2021 62:29

A baker's dozen episodes in, and the Monster Rally Men are FINALLY in the studio together. That's right, y'all: the boys are back in town again for the very first time. We're talking about 1942's The Ghost of Frankenstein, which was either directed by Erle C. Kenton, Erle C. Keaton, or Michael Keaton. We say a lot of words in this one: -Would Jason Segel make an amazing Frankenstein's Monster? -Does Gary know the words to the Star Spangled Banner? -Is that Dwight Frye again?!? Follow us on Facebook by searching Monster Rally Podcast Follow us on Twitter at @monsterrallypod Follow us on Twitter at @monsterrallypod (also) Buy some of our (exceptional) merch at TeePublic Learn more about your ad choices. Visit megaphone.fm/adchoices

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Monster Kid Radio #525 - Michael Legge, Deader Than Dead, and Dwight Frye

Monster Kid Radio

Play Episode Listen Later Jun 3, 2021 75:51

is the newest book from Michael Legge (aka the horror host Dr. Dreck), and this week he joins Derek on Monster Kid Radio to talk about it. (It's a fun read!) Additionally, they spend a good deal of time talking about one of Michael's favorite classic actors - Dwight Frye. Kenny returns to the podcast with a piping fresh hot Look at Famous Monsters of Filmland, and Mark Matzke Ultra-hits us with another Beta Capsule review. Voicemail: 503-479-5MKR (503-479-5657) Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Electronics Service Unit No. 16 - Follow Mark Matzke Monster Study Group - Small Town Monsters - Follow Michael LeggeAmazon Author Page - Dr. Dreck on Facebook - Monster Kid Radio on TeePublic - Next week on Monster Kid Radio: King Kong - Alive with Paul McComas "" () appears courtesy of () All original content of Monster Kid Radio by is licensed under a .

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Minisode 5 "Dracula (1931) 90th Anniversary"

Brothers in Armchairs

Play Episode Listen Later Apr 2, 2021 96:42

Today's show is to celebrate the 90th Anniversary of DRACULA (1931). Join Kenny and Del as they pay homage to the Dracula that set the standard for the Dracula persona we know today. An innovator of its day, this film set many firsts for Universal Studios, cinema, and pop culture. In many ways, those involved in this project, most notably Karl Freund, Bela Lugosi, and Dwight Frye, set standards that have are utilized ever since in film, animation, comics, etc. In this show, the guys will cover history, cast and crew, trivia, and Dracula's impact over the course of 90 years. The research involved for this Podcast resulted in an overwhelming amount of fantastic information. We tried to get as much as we could into this podcast, but ultimately what you hear is a condensed version for a recording session that could have lasted for hours. Our goal is to inform and entertain you, and as an added bonus, if our discussion peaks your interest on Dracula (1931), we consider our job done. Thanks for listening and be sure to subscribe to get instant notifications of our next show!If you enjoyed our program, keep in mind that we have other shows for you to enjoy:Our Flagship Show that we drop Bi-Weekly without fail!Our News Show where we cover major movie and pop culture News.Our Request Line Show, where we review a film by request from a listener.Our Specials, that pay tribute to special occasions.Our Series, themed shows that run for several episodes; like the one on Breaking Bad (currently available!).Email us at: BrothersinArmchairsPodcast@gmail.com Get our latest news on movies and pop culture by joining our social media: Twitter at: @BroArmchairs Facebook group at: https://www.facebook.com/groups/217059166060270 Instagram at: https://www.instagram.com/brothersinarmchairspodcast/ And finally, all of our Pods are available https://BrothersinArmchairs.buzzsprout.com Theme song "Loli'ana" written and performed by award winning musician Kamuela Kahoano. Listen to more of Kamuela's music on iTunes and https://kamuelamusic.com/. Also, "Loli'ana" performed live at The Ko'olau Banquet Hall can bee see here https://youtu.be/YDJ1NNJgEiA Thanks for listening! Don't forget our next bi-weekly Pod and keep an eye out for our specials, series, request line, and news episodes! And please subscribe and review!

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Dana Gould Part 1

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Play Episode Listen Later Mar 15, 2021 64:59

In the first of a 2-part episode, comedian, actor and Emmy-winning writer Dana Gould returns to the show for a funny, frenetic conversation about the "science" of monster movies, the extravagance of Sammy Davis Jr., the generosity of Roddy McDowall (and Charlton Heston!) and the new web series, "Hanging with Dr. Z." Also, Dwight Frye checks out, Darren McGavin dons a bathrobe, Orson Welles turns down "Beneath the Planet of the Apes" and Andy Griffith "punches up" "The Ghost and Mr. Chicken." PLUS: Burt Mustin! "King Kong Escapes"! "Dr. Goldfoot and the Bikini Machine"! Don Knotts meets Mr. Potter! And Dana teams with the one and only Mel Brooks! Learn more about your ad choices. Visit megaphone.fm/adchoices

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2.60 - Dwight Frye, Stair Master

Frankenstein Minute

Play Episode Listen Later Feb 26, 2021 19:54

Bill and Thom dissect minute 60 of BRIDE OF FRANKENSTEIN.

Dracula (1931) - 90th Anniversary

A Cure for the Common Craig

Play Episode Listen Later Feb 14, 2021 82:35

Happy Valentine's Day, listeners! This date marks the 90th anniversary of Universal Pictures release of Dracula from 1931, starring Bela Lugosi. Join us in celebrating not only a legendary horror film and performance, but also a classic piece of cinema history.

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#42 – Tecnologia e Tributação – com Paulo Caliendo

Direito Líquido Incerto - DLI

Play Episode Listen Later Feb 8, 2021 73:38

Nesse episódio, nossa equipe recebe o Doutor, Professor e Pesquisador Paulo Antônio Caliendo Velloso da Silveira (Currículo Lattes: http://lattes.cnpq.br/9047483160060734; site: http://www.paulocaliendo.com.br; instagram: @paulo_caliendo; tweeter: @PauloCaliendo; facebook: https://www.facebook.com/paulo.caliendoii.9), para uma reflexão sobre smart cities, ética tecnológica, futuro e limites da tributação, além de outros assuntos sobre o futuro das relações entre estado, tecnologia e o indivíduo. Referências citadas: CALIENDO, Paulo; LIMA, Manuela. O caráter extrafiscal da CIDE-Royalties. In Revista Interesse Público, v. 11. Belo Horizonte: Fórum, p. 133-153, 2019; DICK, Phillip. Minority Report: A nova lei. São Paulo: Record, 2002; EX_MACHINA: INSTINTO ARTIFICIAL (Ex_Machina). Direção: Alex Garland. Produção: Andrew Macdonald, Allon Reich. Intérpretes: Domhall Gleeson, Alicia Wikander, Oscar Isaac, Sonoya Mizuno, et al. Roteiro: Alex Garland. Reino Unido, 2015; FRANKENSTEIN (Frankenstein). Direção: James Whale. Produção: Carl Laemmle Jr. Intérpretes: Boris Karloff, Colin Clive, Dwight Frye, Edward Van Sloan, Mae Clark, et al. Roteiro: Peggy Webling, John L. Balderston, Francis Edward Faragoh, Garrett Fort. Estados Unidos, 1931; ORWELL, George. 1984. São Paulo: Companhia das Letras, 2009; SANTANA, Hadassah Lais; AFONSO, José Roberto (coord.). Tributação 4.0. São Paulo: Almedina, 2020.

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32: Dracula (1931) - The Minds & Myths behind him

What Happens in the Crypt

Play Episode Listen Later Jan 19, 2021 42:54

This week get ready to learn about Dracula, who played him and who wrote him. We have a lot of great info to share this week and we hope you enjoy.Please comment and let us know what you think. Don't forget every review and follow helps!Check us out on instagram @whathappensinthecrypt or Twitter @WHITC_Official

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The Vampire Bat 1933 Movie Review ( Dwight Frye )

The Late Late Horror Show

Play Episode Listen Later Nov 23, 2020 84:34

The Vampire Bat 1933 Movie Review ( Dwight Frye ) OFFICIAL MERCHANDISE: https://teespring.com/stores/the-late-late-horror-show SUPPORT US ON PATREON: https://www.patreon.com/thelatelatehorrorshow CHECK US OUT ON ITUNES: https://podcasts.apple.com/us/podcast/the-late-late-horror-show/id1524214985 -------------------------------------------------------------------------------------------- PUNK EYE RECORDS: https://www.youtube.com/channel/UCu5kVQaIJyep0Lm8JE4GYhw?view_as=subscriber PARANORMAL INTO THE NIGHT: https://www.youtube.com/channel/UCB3oya2-N-387W8oL6qfFfQ?view_as=subscriber SUBSCRIBE: https://www.youtube.com/channel/UC25J6ueIa1L2NTqbbAeGN7A TWITTER: https://twitter.com/DinoEwelt FACEBOOK: https://www.facebook.com/THELITTLEMONSTERSMOVIEPODCAST/ HORROR TOWN: https://www.facebook.com/groups/406961509492457/ HORROR DRIVE-IN: https://www.facebook.com/BESTCULTCLASSICHORRORMOVIESPODCAST/

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Attention Surplus Disorder - Episode October 31, 2020

Attention Surplus Disorder

Play Episode Listen Later Nov 1, 2020

Playlist: Scott MacLeod - Straight AheadAlice Cooper - Second Coming/Ballad of Dwight FryeAnima Morte - Blessing Of The Dead/Illusion Is The CatalystPink Floyd - Atom Heart MotherGenesis - Stagnation/Dusk/The KnifeExperimental Artificial Sphere - Carrie Master 16bTimes Up - Black Wing and PrayerEmerson Lake & Palmer - Lucky Man/TankNeil Merryweather - Hollywood BoulevardMoon Letters - Sunset of ManNeil Merryweather - King Of Mars

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Episode 213 - Frankenstein (1931)

Damn Good Movie Memories

Play Episode Listen Later Oct 24, 2020 85:56

While Dracula was the first Universal monster movie, Frankenstein had the biggest impact on audiences when it was released nine months later. Starring Boris Karloff as the terrifying iconic monster and Colin Clive as the mad scientist Henry Frankenstein. Co-starring Dwight Frye and Edward Van Sloan. Directed by James Whale.

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HORROR BUSINESS Episode 87: DRACULA (31) & THE CREATURE FROM THE BLACK LAGOON (54)

Horror Business

Play Episode Listen Later Oct 8, 2020 87:44

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1931’s Dracula and 1954’s Creature From The Black Lagoon. Off the top we apologize for the audio issue/sound quality. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve done involving horror recently. We talk about Random Acts Of Violence, Liam talks about watching the original The Amityville Horror for the first time recently as well as watching Children Of The Night and The Borrower. Justin talks about watching Night Of The Living Dead at the Mahoning Drive In. Up first is Dracula. We briefly talk about Tod Browning’s body of work including the famous lost film London After Midnight. We talk about the phenomenon of a large amount of people having read the book due to schools assigning it to students while not having seen the film, and how the film is based more on the stage production of the book than the book itself. We talk about strange unorthodox structure of the source material, the concept of sexuality and shame in the film, and Bela Lugosi’s status as a somewhat washed up sex symbol. We go off on a brief tangent on how the film differs from Coppola’s version, in that Coppola’s version dives way deep into Dracula’s backstory. We talk more about Lugosi’s stardom and his semi-feud with Boris Karloff. Justin rambles about being more frightened of Dwight Frye as Renfield than he is of Lugosi. Harker’s non-presence is touched upon. The film’s status as something of a keystone of Universal’s legacy when it comes to horror is touched upon. We briefly touch upon some of the things about the production of the film that we don’t about, including some of the things that are clearly holdovers from when the film was a stage production. Up next is The Creature From The Black Lagoon. Justin talks about how when he first saw Monster Squad as a child, the Gill Man was the monster that grabbed his attention the most and how for him the Gill Man is the only monster whose really withstood the test of time. We talk about some of the underlying themes of the film, such as the unusually positive stance on science for a ‘50s B film, the vague touches of racism (monstrous other menacing white woman). Liam talks about his first exposure to the film. We talk about how ‘50s sci fi monster movies are usually not our cup of tea. The gorgeous cinematography of the film is touched upon, as is the pacing and creature design. We talk about how the film deftly avoids the “wise indigenous person” trope but also has a touch of the previously mentioned “woman in peril from Other” trope. We talk more about the ‘50s cinema tendency to portray scientists as effeminate and useless, and how this film portrays scientists not only as not effeminate but as somewhat brawny and overly traditionally masculine. First and foremost, thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers,

Episode 83 - 1 Man, 1 Movie, 100 Days

3000 Movies to Die Before You Watch

Play Episode Listen Later Jul 26, 2020 73:47

This week we welcome guest Dwight Frye who has watched Dead Man on Campus every day for over 100 days in a row now, and he wasn't even forced into it. Obviously we talk at length about that one, but we also discuss cosmic horror movie Mandy, as well as 2019's Clownado, which is exactly what you think it is and you should definitely watch it.

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Bride of Frankenstein| Episode 229

Night Of The Horrorphile: A Horror Movie Podcast

Play Episode Listen Later Jun 22, 2020 54:18

In celebration of its 85th Anniversary, Jim, Mark and Madeline discuss a Universal Classic directed by James Whale, "Bride of Frankenstein," starring Boris Karloff, Elsa Lanchester, Colin Clive. Ernest Thesiger, Valerie Hobson and Dwight Frye. Considered by some to be the greatest Universal Monster Movie ever made, "Bride" has established itself as on of the BFI Top-10 films of all time. Find out more about this gem on this week's episode of "Monster Attack!"

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Episode 39: Dracula (1931)

Play Episode Listen Later Feb 21, 2020 114:30

When you say Dracula one person comes to mind, Bela Lugosi. In 1931 under Tod Browning's direction Bela Lugosi brought a legend to the silver screen and cemented Count Dracula as a horror icon. Join Leigh and Brittany as they enter the world of the Universal monster flick that helped form the horror genre we know today. DRACULA (1931)Directed by: Tod Browning, Karl FreundStarring: Bela Lugosi, Dwight Frye, Edward Van Sloan, and Helen Chandler as Mina. Night Of The Horrorphiles theme song (BBQ MANIAC) was written and performed by John BrennanYou can find and purchase Johns music at https://shopjb.bandcamp.com/ & http://badtechno.com/ Find us on twitter, Instagram, Facebook, and on the web at https://nightofthehorrorphile.com/ Copyright 2020 NOTH Studios

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Halloween Special Subject: Dracula (1931) and Bram Stoker’s Dracula (1992)

Another Kind of Distance: A Spider-Man, Time Travel, Twin Peaks, Film, Grant Morrison and Nostalgia Podcast

Play Episode Listen Later Oct 31, 2019 81:01

Our first Halloween special looks at a monster for whom familiarity has bred unjustified contempt. Looking at Tod Browning's 1931 DRACULA and Francis Ford Coppola's misleadingly-titled BRAM STOKER'S DRACULA from 1992, we discuss the Cursed Count as a romantic and a sympathetic figure; the two films' departures from Bram Stoker's novel; xenophobia and monstrousness; their very different takes on Van Helsing; their problematic fascination with female sexuality; and Dwight Frye's unforgettable Renfield. And as a Bonus: our brief takes on two Halloween art movies we saw at rep theatres this season, James Whale's THE BRIDE OF FRANKENSTEIN and Charles Laughton's NIGHT OF THE HUNTER. We conclude that the universe posited in all four films is godless at best, or, at worst, illustrates Calvin's thesis that God hates us, every one. Spoilers! Time Codes: 0h 01m 00s: Dracula (dir. Tod Browning) 0h 36m 32s: Bram Stoker’s Dracula (dir. Francis Ford Coppola) 1h 07m 23s: Fall Cinemagoing Update – Night of the Hunter at The Royal & Bride of Frankenstein at The Revue +++ * Find Elise’s latest published film piece – “Elaine May’s Male Gaze” – in the Elaine May issue of Bright Wall/Dark Room* *And Read Elise’s Writing at Bright Wall/Dark Room, Cléo, and Bright Lights.* Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com Theme Music: “What’s Yr Take on Cassavetes?” – Le Tigre

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Tod Browning's Dracula

Bill & Claire's Excellent Adventures

Play Episode Listen Later Oct 29, 2019 44:32

This week, #OperationUniversalHorror continues with Tod Browning's Dracula, starring the incomparable Bela Lugosi. We get into the great performances, including Dwight Frye's phenomenal performance as Renfield. Plus, there's a great conversation about how art can facilitate conversations about pressing social issues. Through that, we explore the depiction of mental health and the treatment of patients on film. Follow the podcast @BaCEAPodcast on Twitter. Don’t forget to leave a review or comment. And as always, thank you for listening. Let us know, what did your kids think of this one? Bill & Claire's Excellent Adventures is an In The Mouth of Dorkness production. Follow them @ITMODcast on Twitter, Instagram, and Facebook.

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Dracula

Adapt or Perish

Play Episode Listen Later Oct 22, 2019 132:50

Happy Halloween! In this very spooky episode of Adapt or Perish, we discuss Bram Stoker’s greatest creation, Count Dracula! For this episode, we read and watched: Bram Stoker’s 1987 Gothic horror classic. Read it on iBooks or Amazon. Nosferatu (1922), directed by F.W. Murnau, written by Henrik Galeen, and starring Max Schreck, Gustav von Wangenheim, and Greta Schröder. Watch it on iTunes or Amazon. Dracula (1931), directed by Tod Browning, written by Garrett Fort, and starring Bela Lugosi, Dwight Frye, Helen Chandler, David Manners, and Edward Van Sloan. Watch it on iTunes or Amazon. The Horror of Dracula (1958), from Hammer Film Productions, directed by Terence Fisher, written by Jimmy Sangster, and starring Christopher Lee, Peter Cushing, Michael Gough, and Melissa Stribling. Watch it on iTunes or Amazon. Count Dracula (1970), directed by Jesús Franco, written by Augusto Finocchi, and starring Christopher Lee, Herbert Lom, Klaus Kinski, Frederick Williams, and Maria Rohm. Watch it on Amazon. Bram Stoker’s Dracula (1973), directed by Dan Curtis, written by Richard Matheson, and starring Jack Palance, Simon Ward, Nigel Davenport, Fiona Lewis, Murray Brown, and Penelope Horner. Watch it on iTunes or Amazon. Count Dracula (1977), directed by Philip Saville, written by Gerald Savory, and starring Louis Jourdan, Frank Finlay, Susan Penhaligon, Judi Bowker, and Jack Shepherd. Watch it on YouTube. Nosferatu the Vampyre (1979), written and directed by Werner Herzog, and starring Klaus Kinski, Isabelle Adjani, and Bruno Ganz. Watch it on iTunes or Amazon. Dracula (1979), directed by John Badham, written by W.D. Richter, and starring Frank Langella, Laurence Olivier, Donald Pleasence, and Kate Nelligan. Watch it on iTunes or Amazon. Bram Stoker’s Dracula (1992), directed by Francis Ford Coppola, written by James V. Hart, and starring Gary Oldman, Keanu Reeves, Winona Ryder, Anthony Hopkins, Richard E. Grant, Cary Elwes, Billy Campbell, and Tom Waits. Watch it on iTunes or Amazon. Dracula: Dead and Loving It (1995), directed by Mel Brooks, written by Mel Brooks, Rudy De Luca, and Steve Haberman, and starring Leslie Nielsen, Peter MacNicol, Steven Weber, Amy Yasbeck, Lysette Anthony, Harvey Korman, and Mel Brooks. Watch it on iTunes or Amazon. Dracula (2006), directed by Bill Eagles, written by Stewart Harcourt, and starring Marc Warren, Rafe Spall, Sophia Myles, Dan Stevens, and Stephanie Leonidas. Watch it on Amazon. Footnotes: Epistolary novels, a novel written as a series of letters or other documents Vampyros Lesbos (1971), directed by Jesús Franco Abbott and Costello Meet Frankenstein (1948) Robert Bolt’s 1960 play A Man for All Seasons Dan Curtis of Dark Shadows Richard Matheson of I Am Legend, the Twilight Zone, and Duel The Streisand effect German Expressionism Bruno Ganz as Adolf Hitler in Downfall (yes, you know this scene) You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us and all of our show notes online at adaptorperishcast.com. If you want to send us a question or comment, you can email us at adaptorperishcast@gmail.com or tweet using #adaptcast.

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Episode 155 - Dracula (1931)

Damn Good Movie Memories

Play Episode Listen Later Sep 13, 2019 88:46

The blueprint for all future Dracula and vampire movies came from the 1931 Universal Pictures classic starring the iconic Bela Lugosi. Co-starring Dwight Frye and directed by Tod Browning.

dracula universal pictures bela lugosi tod browning dwight frye

Episode 99 - Poverty Row Dracula

Play Episode Listen Later Feb 20, 2019 54:33

We head back to poverty row studio PRC for Sam Newfield's DEAD MEN WALK (1943) starring George Zucco, Dwight Frye, Nedrick Young, Mary Carlisle, and George Zucco! The strength of the vampire is that people will not believe in him... let's test this hypothesis! PRC is the bottom rung of the studio prestige ladder, yet DEAD MEN WALK shows a semblance of talent out of Sam Newfield... so why did Newfield succeed where Ed Wood tended to fail? This and more discussion of classic horror awaits. Context setting 00:00; Synopsis 13:52; Discussion 27:44; Ranking 41:24

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Frankenstein | Monster Attack! Ep.156

Stuff You Missed in History Class

Play Episode Listen Later Jan 21, 2019 52:56

"Monster Attack!" celebrates its 3rd Anniversary with a visit from Mark Maddox. Jim and Mark examine a ground-breaking motion picture that re-defined Film Horror. With unique set design and camera angles, "Frankenstein" opened up a new genre of film for many fans of cinema. Join us for this tribute to James Whale's classic work and relish in performances by Boris Karloff, Colin Clive, Mae Clark, Dwight Frye and Edward Sloan on this episode of "Monster Attack!"

Dwight Frye

Play Episode Listen Later Nov 12, 2018 38:26

If you don’t know Dwight Frye by name, you’ve probably seen one or two of his performances. He was one of the lesser-known horror actors that helped make the genre Universal’s great success of the 1930s, but he also had a successful Broadway career. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

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Monster Kid Radio #381 - Michael Legge and The Crime of Dr. Crespi

Monster Kid Radio

Play Episode Listen Later Aug 2, 2018 86:07

Edgar August Poe kicks off with a film featuring one of the icons of classic horror - Dwight Frye - as well as a director who would probably never be caught dead, or undead, directing a monster movie but he did act in this one - Erich von Stroheim. It's 1935's The Crime of Dr. Crespi (dir. John H. Auer), and Derek has Michael Legge (aka Dr. Dreck) to thank for bringing this fun kinda-sorta-Poe-adaptation(?) into his life. Plus Jeff Polier's Weird Wednesday Report, and a new segment from Ken Blose about Famous Monsters of Filmland! Voicemail: 503-479-5MKR (503-479-5657) Email: Monster Kid Radio on TeePublic - Next week: Tales of Terror (dir. Roger Corman) with Larry Underwood () The opening and closing song "" () appears by permission of All original content of Monster Kid Radio by is licensed under a .

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this Podcast Is...Just Okay Episode 79 "Records Unchained: Welcome To OZ"

This Podcast Is...Just Okay

Play Episode Listen Later May 22, 2018 48:20

Welcome to Everyone's FAVORITE Mediocre Program, This Podcast Is...Just Okay Episode 79 "Records Unchained: Welcome To OZ" In the first of a new series, along with promotions for the new book, Nick Rose takes a page out of the Decibel Geek catalogue and breaks down the first OZ record track by track, in this revealing in depth conversation about the music Nick has played through the years, what it took to produce the record, where the character Dwight Frye came from, and how each song came about. We break into the very minutia of details in this one of a kind episode. Guaranteed to make you bang your head. Welcome to the mysterious Adventure. Songs available for download at soundcloud.com/thispodcastisjustokay facebook.com/thispodcastisjustokay justokaypod@gmail.com @justokaypodcast on twitter kissmembr34 on instagram cafepress.com/thispodcastisjustokaymerchandise NEW BOOK IS AVAILABLE FOR DIGITAL DOWNLOAD AND PAPERBACK PRINT ON AMAZON!!! "A lot of rock, and a little roll" by Nick Rose!

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Uppföljare

Vargtimmen

Play Episode Listen Later May 6, 2018 88:56

Vi granskar skräckkulturens credo att uppföljaren alltid är underlägsen originalet och lyfter ett par exempel inom både film och litteratur där motsatsen är fallet. Tomas frågar sig varför Alice Cooper-sanktionerade trettiotalsskådisen Dwight Frye aldrig fick en egen monsterfilm och Lars gläntar på dörren till en del av filmhistorien som kanske borde förblivit stängd. Vi pratar också om: Iron Maiden, Terminator 2, Kiss, Mad Max 2: the Road Warrior, Mötley Crue, Prom Night 2, The Devil’s Rejects, House of 1000 Corpses, Ouija: Origin of Evil, Creepshow 2, Halloween 2, Evil Dead 2, Aliens, Hellbound: Hellraiser 2, Saw 2, Scream 2, 28 Weeks Later, The Exorcist III, Dawn of the Dead, A Nightmare on Elm Street 3: Dream Warriors, Steve Miner, H20, Ron Kurz, Fredagen den 13:e del II, Kevin Bacon, Amy Steele, The Texas Chainsaw Massacre, Kirsten Baker, Anton Tjechov, Betsy Palmer, Ed Gein, Titta Dom Snackar, Vacancy, Bride of Frankenstein, Odysseen, Illiaden, Frakenstein, Mary Shelley, Percy Shelley, Lord Byron, John Polidori, Genevesjön, James Whale, Boris Karloff, Franz Waxman, Vincent Price, Bela Lugosi, Chistopher Lee, Return of the Jedi, Frankenstein vs. Wolfman, Ricky Gervais, John Ajvide Lindqvist, Rörelsen: den andra platsen, Himmelstrand, Johan Theorin, Skumtimmen, Nattfåk, Blodläge, Rörgast, Anders Fager, Svenska kulter, Jag såg henne idag i receptionen, En man av stil och smak, Jens Lapidus, Snabba cash, Susan Hill, Daphne du Maurier, Rebecca, Mrs. De Winter, Seth Grahame-Smith, Jane Austin, Pride, Prejudice and Zombies, Ben Winter, Sense, Sensibility and Sea Monsters, Thomas Harris, Silence of the Lambs, Herman Geijer, Död snö 2, Tommy Wirkola, Christian Wibe, Evil Dead, Martin Starr, Freaks n’ Geeks, Nollor och nördar, Jurtjyrkogården, Bonnie Tyler, Total Eclipse of the Heart, Star Wars, 10 Cloverfield Lane, J.J. Abrams, John Goodman, The Cellar, The Cloverfield Paradox, Overlord, Dan Trachtenberg, Black Mirror, Playtest, Hajen, Zombi 2, La Casa, Cruel Jaws, Alien 2: on Earth, Shocking Dark, Rats: Notte de Terrore, Bruno Mattei och Strike Commando. Nostalgi, löst tyckande och akademisk analys i en salig röra.

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Episode 55 - A Broken Clock

ranking context edgar allan poe erich synopsis broken clock stroheim dwight frye republic pictures

Play Episode Listen Later Apr 11, 2018 50:22

Your deadicated hosts take on THE CRIME OF DR CRESPI (1935) out of Republic Pictures! This poverty row picture brings together Dwight Frye (!) and Erich von Stroheim (!!) in this strange adaptation of Edgar Allan Poe's short story, "The Premature Burial." Context setting 00:00; Synopsis 24:39; Discussion 31:18; Ranking 38:34

Episode 37 - It's Neat, But...

context neat fay wray melvyn douglas dwight frye lionel atwill

Play Episode Listen Later Nov 29, 2017 47:23

Your deadicated hosts endure Majestic Pictures' 1933 mockbuster THE VAMPIRE BAT, directed by Frank Strayer and starring Fay Wray, Lionel Atwill, Melvyn Douglas and Dwight Frye! Context setting 00:00; plot summary 13:06; discussion 23:33; ranking 39:44

Frankenstein (1931)

Video Vault

Play Episode Listen Later Oct 9, 2017 23:00

Halloween Month continues in the Video Vault as JB and Eddie put on their lab gear and take a look at James Whale's 1931 classic Frankenstein. Tune in to hear about Boris Karloff's sad story in getting the part, his general disrespect on set, the underrated icon Colin Clive, the Monster just being the Monster, and JB's ever-growing man crush on Dwight Frye. Also, the Cabinet of Dr. Galigari gets eviscerated, how Hammer dropped the Frankenstein ball, what Frankenstein learned from Dracula, and Eddie yells at JB!

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Dracula 1931-1958

Video Vault

Play Episode Listen Later Sep 30, 2017 30:00

JB and Eddie kick off a Halloween-themed October with a discussion of the original blood-sucker himself, Dracula! The guys take their love of both Halloween and horror and discuss two Dracula films, 1931's original starring Bela Lugosi, followed by a brief take on the 1958 Hammer Horror version that made Christopher Lee a star. Between the cult celebrity of Dwight Frye and the unexpectedness of Peter Cushing being a total badass, the lovable hosts have plenty to say on the matter. Plus, the stupidity of Victorian children, Lugosi overacting, and how Hammer basically told science it didn't matter.

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Bride Of Frankenstein | Monster Attack Ep.85

Play Episode Listen Later Sep 11, 2017 43:12

It's another Universal Classic as Jim looks at James Whale's 1935 follow-up to "Frankenstein" - "Bride Of Frankenstein," starring Boris karloff, Colin Clive, Ernest Thesiger, Elsa lanchester, Valerie Hobson and Dwight Frye. Victor Frankenstein is having second thoughts about his quest, when Dr. Pretorius shows up with an offer he can't refuse. Find out what happens on this episode of "Monster Attack."

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August Poetry, Read by Ciro Faienza and Elizabeth P. Glixman

Strange Horizons

Play Episode Listen Later Aug 28, 2017 14:39

In this episode of the Strange Horizons podcast, editor Ciro Faienza presents poetry from the August issues of Strange Horizons. "Bird House" by Holly Lyn Walrath, read by Ciro Faienza. You can read the full text of the poem and more about Holly here. "ode to Dwight Frye" by Gwynne Garfinkle. You can read the full text of the poem and more about Gwynne here. "Sometimes a Thousand Twangling Instruments" by Lora Gray. You can read the full text of the poem and more about Lora here. "The Estranged" by Elizabeth P. Glixman. You can read the full text of the poem and more about Elizabeth here.

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Episode 24 - Inventing American Horror

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Play Episode Listen Later Aug 23, 2017 93:15

Tod Browning's 1931 Dracula starring Bela Lugosi, Dwight Frye, Edward Van Sloan, and Helen Chandler wows the deadicated hosts as this film defines the American horror genre. Context setting 00:00; summary 40:34; discussion 47:05; ranking 1:21:33

Dead Men Walk (1943)

Orphaned Entertainment

Play Episode Listen Later Feb 17, 2017 58:51

Lydia and Christopher take a stab at the 1943 picture, Dead Men Walk, starring George Zucco, Mary Carlisle, and Dwight Frye. Promo: Monster Kid Radio (http://www.monsterkidradio.net) (The song "Memory Subtract" by seven7hwave used under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. http://seven7hwave.bandcamp.com/track/memory-subtract)

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Frankenstein

The Catacombs of Halloween Horror Night

Play Episode Listen Later Feb 6, 2017 67:50

“Frankenstein” In this episode, Matt, Quint and Karen discuss the classic Universal Studios Monster movie, 1931s “Frankenstein”! Starring Colin Clive, Boris Karloff, Mae Clarke, John Boles, Edward Van Sloan and Dwight Frye, “Frankenstein” plays a huge part in the basis for the enter genre of horror films and has been the inspiration of many staples of “Halloween Horror Nights”. We hope you enjoy this special episode of “The Catacombs of Halloween Horror Nights”. The Catacombs of Halloween Horror Nights podcast and all the work we do at NeoZAZ is made possible through the generosity of Patreon supporters. To learn how you can help support the show and have the opportunity access some our support exclusive content, please visit our Patreon Page at:https://www.patreon.com/neozaz

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126. Dana Gould

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Play Episode Listen Later Oct 24, 2016 91:47

Comedian, writer, actor and dedicated film buff Dana Gould drops by the studio to chat about everything from Hollywood "fixers" to werewolf transformations and to regale Gilbert and Frank with stories about everyone from Dwight Frye to Mark Hamill. Also, Dana meets Merv Griffin, mimics Adam West, befriends Vampira and remembers Roddy McDowall. PLUS: "Mars Attacks!" The genius of Dan Curtis! The sexism of James Bond! Gregory Peck meets Gopher! And the mysterious death of Albert Dekker! Learn more about your ad choices. Visit megaphone.fm/adchoices

VS

Vargtimmen

Play Episode Listen Later Aug 7, 2016 77:01

Vi tittar närmare på traditionen att ställa två etablerade karaktärer från olika "universum" mot varandra. Tomas offrar sig för mänskligheten och Lars får japansk bakisfeeling. Vi pratar också om: Mega Shark vs. Giant Octopus, Mega Shark vs. Crocosaurus, Bigfoot vs. Zombies, Tsunami vs. Earthquake, Vacancy, Frankenstein Meets the Wolf Man, Lon Chaney Jr, Bela Lugosi, Dwight Frye, David Lynch, Twin Peaks, Mulholland Drive, Lost Highway, Ishiro Honda, Eiji Tsuburaya, King Kong vs Godzilla, Godzilla vs. Mothra, Godzilla vs. Biollante, Godzilla vs. Destroyah, Dracula vs. Frankenstein, Al Adamson, J. Carrol Naish, Russ Tamblyn, Underworld, Dark Horse, Alien vs. Predator, Paul W.S Anderson, Lance Henriksen, Aliens, Predator, Stan Winston, H.R Giger, Freddy vs Jason, Tucker and Dale vs. Evil, Ash vs. Evil Dead, Sam Raimi, Frankenstein vs. The Mummy, Damien Leone, Sadako vs. Kayako, Koji Shiraishi, Noroi - The Curse, Batman vs. Superman, Zack Snyder, Marvel, DC Comics, The Avengers, Farfarsparadoxen och Oskar Källner. Nostalgi, löst tyckande och akademisk analys i en salig röra.

Dracula | Monster Attack Ep.7