NEW ARTICLE PUBLISHED!

My latest article has been published as the cover story in the newest issue of the revived CASTLE OF FRANKENSTEIN (#40). It's a retrospective of Universal's THE BLACK CAT celebrating its 90th anniversary since it was released in 1934. Running 8,500 words and 14 printed pages, I take a deep dive into one of U's strangest and unsettling horror productions of the 1930's.

If you're interested in supporting Don and Vicki Smeraldi's continuing this classic monster magazine that began with Calvin T. Beck way back in 1962, click on the cover image on the right-hand sidebar of this post.

I also invite you to visit my Author's Page (link on the menu bar) to see what else I've had published recently. It also includes a link to my Amazon Author's Page where you can order copies of NIGHTMARE ABBEY and BLACK INFINITY from there.

You can also click on THE BLACK CAT banner above to access posts about the film on this blog.

Many thanks!

EDGAR ULMER AND HIS BLACK CAT

 

"Like Kafka, he always worked in shadows"

- Shirley Ulmer, wife of Edgar G. Ulmer

High on my list of the best Universal horror films of the 1930's is THE BLACK CAT (1934). The story has a perpetual cloud of gloom hanging over it, and the first pairing in a film of Boris Karloff as Hjalmar Poelzig and Bela Lugosi as Dr. Vitus Werdeghast is nothing short of marvelous. Once again a horror film helped to keep U above the neck in financial waters as it was the biggest box office hit of the year for them.

This article by Paul Mandell, from the October 1984 issue of AMERICAN CINEMATOGRAPHER traces the origins and production of THE BLACK CAT. There are are number of revealing insights regarding the making of the film. Mandell calls it the first American psychological film and more than a little autobiographical for director Edgar G. Ulmer. It's also interesting that the original treatment is covered at length and, like many other films, illustrates how a story can change dramatically from inception to the screen.

This is a fascinating article and is required reading for Monsterologists interested in Universal Horror and the work of Edgar G. Ulmer.

Director Edgar G. Ulmer.

KARLOFF AND LUGOSI ON THE SET OF 'THE BLACK CAT'

It's hard to say for certain exactly how Karloff and Lugosi really felt about their filmic "friendly rivalry". I'd like to believe that, considering the nature of their personalities, they felt a warmness to each other, despite the fact that Karloff had the upper hand in popularity -- and more importantly -- finances. Karloff was grateful, Lugosi was proud, and together they made beautiful movies together.

One of those was Universal's 1934 classic story of Satanism and murder, THE BLACK CAT. The July 1934 issue of MODERN SCREEN showed a picture of Karloff and Lugosi on the set of their first film together, hyped with the promise to out-Frankenstein FRANKENSTIEN and out-Dracula DRACULA!

 

 

HAPPY VALENTINE'S DAY TO MY MAD LOVE

One wonders what Dr. Gogol might have written had he sent a Valentine's Day card to the lovely Yvonne!

Rivaling Universal's THE BLACK CAT in its litany of perversities, MGM's MAD LOVE (a,k.a. THE HANDS OF ORLAC) reads like a What's What of the unnatural: Obsession, lust, greed, lunacy, fetishism, you name it.

Peter Lorre really got into his role as the sinister surgeon and eschewed the bald head cap for the barber's razor to shave his head. Just a couple of years away from his alcohol-related death, Colin Clive plays his usual hysteric role as a famous pianist who loses both his hands. His wife, Yvonne Orlac, is the hapless victim of the diabolical Dr. Gogol's twisted love. Played by Frances Drake, can you blame him?

Here are a trio of startling studio photograph negatives of Peter Lorre (one shown above) in his role, probably shot by Clarence Sinclair Bull. Following is a little story to read to your Valentine today, the Filmbook of MAD LOVE from FAMOUS MONSTERS OF FILMLAND #63 (March 1970).

Gogol by Gogos.

BORIS KARLOFF'S 'BLACK CAT' COSTUME

Viewed through any lens, Universal's THE BLACK CAT (1934) is a remarkable film. Combining the talents of Boris Karloff and Bela Lugosi and placing them as antagonists amidst the backdrop of a post-World War I Art Deco house of horrors is one of the most visually stunning achievements in not only the golden age of Hollywood horror in the 1930's, but in the entire history of the  horror film.

Director Edgar G. Ulmer is largely responsible for both the story and the look of THE BLACK CAT. After getting green-lighted by Junior Laemmle several initial plot synopses were attempted, all of which were discarded. Ulmer took creative control and collaborated on a treatment that would eventually evolve into the shooting script with talented writer Peter Ruric (George Carol Sims, aka mystery noir writer Paul Cain).

Ulmer exerted his unique creativity is all areas of the film, including art direction and costume design. It is not known if he had a hand in Jack Pierce's sinister makeup of Boris Karloff's satanic character, Hjalmar Poelzig, but, considering the rest of the stylized design of the film, it is not outside the realm of possibility.

One thing we do know is that Ulmer designed Boris Karloff's costume. A sleek and sexy black number, Karloff's Poelzig slinks through the film, smooth and cat-like, exuding an air of decadent grace that is both singular and disturbing.

In November, 2009, Karloff's Hjalmar Poelzig 32Wx32L costume went on the auction block. When the gavel dropped, the price was an amazing $89,625.00.

Here are is the official description of the auction lot:

“Boris Karloff's Black Cat Costume. "The black cat is deathless -- deathless as Evil!" purred Boris Karloff in The Black Cat, the darkest and most sinister of all Universal horror classics. Released in 1934, director Edgar G. Ulmer's gruesome, art-deco masterpiece was the first of eight films to feature the two most iconic figures of the genre, Karloff and Bela Lugosi. The actors were pitted against each other as age-old nemeses who face off for an epic final battle with its roots in atrocities committed during the Great War.

Their respective performances rank among the finest of their careers -- Karloff at his most evil as a modern Lucifer (who sacrifices maidens at Black masses), a traitorous ex-soldier turned monstrous architect, responsible for the deaths of thousands; Lugosi at his most unhinged as a a mad psychiatrist (suffering from cat phobia), a haunted hero whose rage and hatred spirals into madness and vengeance. Due to the awesome alchemy sparked by the two stars, The Black Cat cast its wicked spell on moviegoers and became Universal's highest grossing film for that year.

The opening and closing credits and advertising material for the film billed the former as simply "KARLOFF". At the time, Karloff, who'd become an overnight sensation as the Monster in Frankenstein, was the bigger star -- a fact that irritated Lugosi, who had risen to fame first with his performance in Dracula -- hence Karloff's special form of top billing.

Edgar Ulmer personally designed the costumes and later claimed Karloff's primary attraction to The Black Cat was the "out-of-this-world" wardrobe he'd wear as the satanic high priest. This heavy black silk coat with a high collar and matching trousers were worn by Karloff in the movie. They are seen in the sensual, pre-Production Code boudoir scenes Karloff shares in bed with starlet Lucille Lund, and in the deliriously wild climax, as he fights with Lugosi before the latter hangs Karloff on a rack -- and skins him alive! Although stripped to the waist for the skinning, Karloff is wearing these trousers as he suffers on the rack-- a chillingly sadistic scene shot despite the protestations of the censors.

The coat and trousers are remarkably well preserved given their age, in overall Very Fine condition with some mild wear, an appreciable amount of wear to the collar of the coat, and a large area of soiling to the right pant leg. Both pieces have United Costumers costume tags sewn onto them, each with Karloff's name handwritten in black ink.

This is a wonderful relic from one of the most hallowed of horror classics, and from one of Boris Karloff's most brilliantly frightening performances.”

THE BLACK CAT FILMBOOK (PART 2)

Today is the finale of THE BLACK CAT filmbook from FAMOUS MONSTERS OF FILMLAND #67. Above is the magazine intro page that sets the tone.

THE BLACK CAT FILMBOOK (PART 1)

This year marks the 80th anniversary of the quirky Universal thriller, THE BLACK CAT. The pairing of Bela Lugosi and Boris Karloff with Edgar Ulmer directing created an alchemy of unease, horror and perversion that continues to be studied by film historians to this day. It also finds itself on every "Best of Horror Film" list, and for good reason. It is visually arresting, atmospheric and has some of the creepiest moments in 30's horror films.

FAMOUS MONSTERS OF FILMLAND #67 (July 1970) included a filmbook on THE BLACK CAT. It was also serialized in FM #134 and #135 (1977). No credit for authorship is given.

Here is Part 1 of THE BLACK CAT filmbook.

Part 2 tomorrow.