A VISIT TO UNIVERSAL'S EUROPEAN VILLAGE

Like many other film studios, Universal built their sets with the idea of using them for other productions befitting the architecture. One such location on the lot was their European village, which was used in countless movies, including many monster movies.

Here, in this installment of a series of articles for CLASSIC IMAGES (February, 2011) is an inside look at the scenery that has become so familiar with monster fans and the classic Universal Monster movies.

CLASSIC IMAGES NO. 460

Marching inexorably to its 460th issue, CLASSIC IMAGES shows no signs of wearing out. Included this issue are two excellent articles on actor Robert Rockwell and the noted Hollywood portrait photographer, George Hurrell.

Robert Rockwell (b. 1920 - d. 2003) had a long career acting in both the movies and television. He was so identified with "Mr. Boynton" on Our Miss Brooks that it was difficult for him to land any serious dramatic roles afterwards. He was the forest ranger at the crash site in the original THE WAR OF THE WORLDS and played Superman's father, Jor-El, on the TV series, both uncredited. He also appeared in a string of classic shows like The Lone Ranger, Sky King, Tales of Wells Fargo (one of my favorite Westerns), Gale Storm, Loretta Young, Yancy Derringer (another favorite Western of mine), Surfside 6, and Maverick.

Rockwell spent a year at Republic Pictures. He relates the tale of penny-pinching studio owner Herbert Yates: "I enjoyed my year at Republic, but Yates was probably one of the biggest cheapskates who ever lived . . . Yates said to me, 'You're wearing the same suits too often [on camera]. I'll have the producer go downtown with you and get a couple more.' That sounded fine, so we got the suits. Well, lo and behold, I came to find out in my next paycheck that Yates was taking out money towards the cost of those two suits." Despite his "garnished" wages, Republic's THE BLONDE BANDIT, co-starring with Dorothy Patrick, was a break-out film of sorts. He also acknowledges the irony of inflation: "For Adventures of Superman, I had the dubious honor of playing the role of Jor-El, Superman's father . . . perhaps one day's work. I received $50 for doing that; whereas, 25 years later, Marlon Brando, playing the same character for about ten minutes in the Christopher Reeve feature version, got $35 million."

In his review of Mark A. Vieira's second book on George Hurrell, George Hurrell's Hollywood: Glamour Portraits, 1925-1992, David Chierichetti makes a point that is hard to deny: "Think of a movie-star portrait from Hollywood's Golden Era -- Joan Crawford, Clark Gable, Jane Russell, Robert Taylor, Jean Harlow, Norma Shearer. If it was glossy, sexy, and captivating, it probably was made by George Hurrell." He goes on to declare Hurrell as "the supreme creator of the Hollywood glamour portrait." After gazing at the two-dozen or so sample photographs of his prolific work that accompany this article, anybody (including me) with any kind of appreciation for photography, beauty, and the interaction of each, will be left amazed.

As an amateur photographer myself, I am struck by the fantastic lighting that he was able to achieve (he developed and retouched his own work) and the images, frozen in time, that are all instantaneously indelible. There is a movement in the world of photography these days to re-invigorate the craft of black and white images. Shutterbugs take heed: Hurrell's work is a prime example of the artistry that can be achieved without the use of color.

Not many top stars escaped Hurrell's lenses in the day, and to have your image captured by his camera was to ensure a certain Hollywood immortality. But, not every picture made it into the light of day. Sometimes the studio, or the studio's publicity department would kill a shot because maybe there was too much showing of an actress's body, or an actor's expression wasn't quite right, or simply that Hurrell had taken too many pictures during the session. The book shows examples of these rejected shots.

As for his personal life, Hurrell (b.1904 - d. 1992) was plagued -- as have been so many other artists -- with a defective character that was in conflict with his creative side. He was irascible and prone to a violent temperament. Thankfully, it is his work that is remembered, and rightly so. All one has to do is to look at the some of the shots that accompany the article (including a small photo of Lon Chaney); the color photo of a dashing Erroll Flynn, and the black and white magic of Clark Gable, as well as poses by the steaming hot Ann Southern and Jean Harlow, are breathtaking.

This issue of CLASSIC IMAGES also has the usual, generous helping of book reviews, notices of upcoming DVD's, and many sources for collectors of movie history, including posters and 16mm films. Anyone who wants to immerse themselves in the history of the Golden Age of Hollywood needs to read CLASSIC IMAGES. You can buy the latest issue, including scads of back issues, HERE.

Humphrey Bogart.

Gary Cooper.

JohnnyWeismuller.

Tod Browning's mistress and actress, Anna May Wong.

Joan Crawford.

Jean Harlow.

Anther pose by Harlow.

'CLASSIC IMAGES' INCLUDES MONSTERS

"Hollywood is the most dangerous place in the world. It is sure to be, for an actress, who has to work on herself as a human being more than anyone else because she is supposed to be a symbol of many others." - Academy Award Winner, Luise Rainer

 
Editor Bob King must be a very busy man. While he's not putting together the latest FILMS OF THE GOLDEN AGE magazine, he's cranking out monthly issues of CLASSIC IMAGES (which incorporates the former MOVIE COLLECTOR'S WORLD). Both of these publications exude the warm nostalgia of the "good old days" of Hollywood.

I just received the September issue of CLASSIC IMAGES (#459!). Like it's sister publication, it contains lengthy articles on screen personalities of the past. I was particularly enthralled with the captivating biography of Luise Rainer, star of such vintage classics as THE GREAT ZIEGFELD and THE GOOD EARTH.

Miss Rainer, a native of Germany, celebrated her 103rd birthday this year. She was the first to receive back-to-back Oscars. Only four others (including Tracy and Hepburn) have done it since then. The article is accompanied by my count, at least 40 photos (!).

In other features, Sally Kellerman talks about her days playing Hot Lips Houlihan in M.A.S.H. and her new autobiography, Read My Lips, and the aging beauty Maureen O'Hara appears in public at a John Wayne birthday celebration earlier this year.

Our favorite monsters are not overlooked in this issue, either. The word is out regarding new Blu-ray releases of Universal's THE WOLF MAN, FRANKENSTEIN, THE BRIDE OF FRANKENSTEIN, and DRACULA. Also getting the Blu-ray treatment are THE FLY and, deserving or not, a Kino restoration of DEVIL BAT. Peter Dendle's The Zombie Movie Encyclopedia (McFarland) is covered in the book review section, Gloria (Dracula's Daughter) Holden's birthday is remembered, and there are capsule obits of cult actress Haji and Karen Black. Included is the news about Heritage Auction's big day with their $262,000-plus sale of a rare 1931 FRANKENSTEIN insert. Not a bad monster count for a mainstream movie publications!

Similar to FILMS OF THE GOLDEN AGE, there is much to like about CLASSIC IMAGES. Even with the shortage of monster material (and there is generally at least a tidbit or two in each issue), there are tons of ads and resources for film fans and collectors. I even ordered a few DVDs from one of the advertisers, including a print of SPIRITS OF THE DEAD, which I haven't seen since I went with my Dad (it was rated "R", after all!) to the Art Theater in Canoga Park, CA when it was released back in the Summer of 1969.

I recommend both publications. You can support them, too, by visiting www.classicimages.com.