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Phantom of the opera (1943) is Universal's second adaptation of Gaston Leroux's classic novel "Le Fantôme de l'Opéra", on which the film is loosely based. It can also be seen as a remake of the 1925 Lon Chaney version. The film was directed by Arthur Lubin, a prominent director for Universal Pictures in the 1940s and 1950s, and stars Nelson Eddy, Susanna Foster and Claude Rains.

Violin player Erique Claudin is hopelessly in love with a young soprano from the Opera House and secretly tries to support her career. But Claudin is losing the use of his fingers and loses his work. He kills a music publisher and gets acid in his face during the incident. After his misdeeds, there is a mysterious wave of crimes in the Opera House, blamed on "the Phantom".

Although Claude Rains didn't get top billing, he proves to be the true star of this film. He can, like no other, elicit sympathy for his character, who during the film loses almost everything that is dear to him, although at the same time goes on a killing spree. Likewise is the powerful and determined performance of Suzanne Foster, who ensures that the audience experiences the story mainly through her eyes. She is the only one who sympathizes for the lost soul of Claudin.

In contrast to the 1925 version the 1943 version focused on the grand operatic spectacle and downplayed the horror. Director Arthur Lubin shot scenes at the same Paris Opera House studio as the 1925 version. The film also includes the grandiose scene where the chandelier crashes down on the heads of the audience. However, Lubin's film focused more on the romance than the frights. Phantom of the opera was also nominated for best scoring of a musical picture, and rightfully so, the original theme "Lullaby of the Bells", composed by Edward Ward, is beyond perfection.

The 1943 Phantom of the Opera was so successful that Universal announced that a sequel titled "The Climax" would be made, which wasn't nearly as good as its predecessor. With an effective production design and a great musical richness Phantom of the Opera shows Hollywood expertise at its best.

"The Wolf Man (1941)" was the second Universal Pictures film featuring a werewolf, preceded by "Werewolf of London" in 1935. In contrast to its predecessor, The Wolf Man was a major hit and made lead actor Lon Chaney Jr. a star. The film was written by Curt Siodmak, a Jewish war refugee from Germany, and was directed by George Waggner.

In this very recognizable version of the werewolf myth, Lon Chaney Jr. plays the role of Larry Talbot. After the death of his brother Larry returns to his hometown to reconcile with his estranged father. During his stay Larry is bitten by a werewolf. This event literally and metaphorically changes Larrry.

The role of Larry/the Wolf Man would define the rest of Lon's career as well as help him move out of the shadow of his famous father, Lon Chaney (Sr.). He reportedly said of the role: "He was my baby". It is with this passion Chaney approaches his role of Larry. During the day a charming Welshmen who falls in love with a local girl, during the night a werewolf who knows no equal.

Director Geroge Waggner directs a dark and suspenseful film which became the atmospheric masterpiece it is known for. Screenwriter Curt Siodmak created a story that examines the duality of man and superstition versus religion against the backdrop of an estranged father-son relationship. It was also Siodmak who introduced several "werewolf legends", such as: being marked by a pentagram and being nearly immortal apart from being attacked by silver. The emphasis on the suppressed sexuality as the driving force behind Talbot's transformations separates the script from other werewolf stories. Like all the famous Universal Monster films, the success is partly due to the wonderful make-up techniques of Jack Pierce. His design made for a distinct, convincing monster unlike any other.

Due to its success, several sequels were made, all starring Lon Chaney Jr. and in the many years of cinema several Werewolf-films were produced. Nevertheless none of these films reached the superiority of its original.

Universal had to wait almost four years before director Jame Whale accepted the offer to direct a sequel to Frankenstein, his big blockbuster from 1931. Based upon Mary Shelley's timeless novel, and once again starring Boris Karloff as the inimitable monster, The Bride of Frankenstein follows immediately upon the events of the first film.

Henry Frankenstein no longer wants to create life from death. The monster, created by him, causes great mayhem and together with his old mentor Dr. Pretorius, Henry is persuaded in creating a mate for his monster.

Although Boris Karloff wasn't easily convinced, it was decided that the monster should speak. This gives Karloff's performance a great duality; a frightening monster for whom the viewer has a great empathy. The humanization makes him more complete and is more consistent with the character of Mary Shelley's novel. It also makes his desperate search for a comrade more emotional. The Monster's bride, played by Elsa Lanchester, is one of the greatest, most iconic performances in horror-film history, although she only appears for a mere moment on screen.

The greatness of this film lies in the fast conversions from the daunting to the comical. Whales' special sense of humor is particularly evident in the character of the maid Minnie (Una O'Connor) and the effeminate portrayal of Ernest Thesiger (the devilish Dr. Pretorius). In addition to the sublime direction of Whale, the technical aspects are extraordinary. Much of what made this film so popular are the special effects by John P. Fulton, the music by Franz Waxman, and the make-up by Jack Pierce.

The Bride of Frankenstein is a surprising mix of horror and comedy, which in many respects became superior to its predecessor.