WEREWOLF OF LONDON AD CAMPAIGN

This year marks the 90th anniversary of Universal's WEREWOLF OF LONDON. Released on May 13, 1935, it is notable as being the first and only werewolf feature film of the 1930's. It starred Henry Hull (as the titular character), Werner Oland (as his nemesis, Dr. Yogami),Valerie Hobson, Lester Matthews, Lawrence Grant and Spring Byington.

Character actor Egon Brecher played an uncredited bit part. Brecher also appeared in the genre films THE BLACK CAT (1934) MARK OF THE VAMPIRE (1935), THE BLACK ROOM (1935) and THE DEVIL DOLL (1936). Reginald Barlow was also cast in a bit part and had small roles in KING KONG (1933), BRIDE OF FRANKENSTEIN (1935), TOWER OF LONDON (1939) and THE MAD MONSTER (1942).

Despite it's title, WEREWOLF OF LONDON was filmed entirely in California. The interiors were shot on the backlot of Universal Studios and the opening sequence exteriors at Vasquez Rocks less than an hour's drive away (maybe longer these days with traffic!).

Tibet camp exterior shot at Vasquez Rocks.

Largely a result of Henry Hull's cachet, Universal heavily promoted this picture and dedicated nearly a full issue of their in-house publication, UNIVERSAL WEEKLY to it.

BRIDE OF FRANKENSTEIN BALLYHOO

A month after shooting began on THE BRIDE OF FRANKENSTEIN (January 2, 1935) this two-page ballyhoo was published in the February 9th issue of Universal's house magazine UNIVERSAL WEEKLY. The article lists the actors and describes the sets and other details that were being put into the production. One photo shows Jack Pierce applying makeup to Boris Karloff as the monster. Whoever wrote the piece was a few years off on the time table as he mentions the original makeup was done "last year".

NOTE: The image for the two-page spread is skewed due to the age of the document and its condition.

SHE GIVES YOU THAT WEIRD FEELING!

Universal's DRACULA'S DAUGHTER is the 1936 follow-up to 1931's DRACULA and sometimes flies like an invisible bat under the radar. It seems to have become most notable over the years for its suggestive scene of lesbianism between Gloria Holden (Countess Marya Zaleska) and Nan Grey (Lili). Besides all that hullabaloo, it's an atmospheric and sometimes creepy movie with gothic overtones. Actor Irving Pichel as Sandor, Zaleska's servant, delivers a fine performance. Edward Van Sloan returns as Dr. Van Helsing and is just as archaic and stilted as in the original!

The article below is a promo puff piece from Universal's in-house magazine, UNIVERSAL WEEKLY (March 21, 1936).

Original One Sheet Movie Poster.

British "Quad" Poster.

BEHIND THE SCENES WITH THE WEREWOLF OF LONDON

This page from the house publication, UNIVERSAL WEEKLY (April 20, 1935) shows the cast of WEREWOLF OF LONDON just before its release the following month.

This film is where many elements of the werewolf myth began (such as if one is bitten by a werewolf they would become a werewolf themselves) that would evolve over the years. Some present-day film historians and critics give WOL low marks as being one of the weaker 30's Universal horror films, but I find the story concept compelling. The added talents of the sinister Warner Oland as Dr. Yogami and the fetching 18-year-old Valerie Hobson (that we would see again shortly soon after in BRIDE OF FRANKENSTEIN) helps it along. The opening sequence in Tibet I still find pretty creepy.

THE STRANGEST SIGHT YOU EVER SAW!

And one of the strangest films in the Universal "horror" series of the 1930's! U even admitted that THE INVISIBLE RAY was not going to be billed as a horror film, instead categorizing it as "unusual" (i.e. science-fiction). However, it was horror by association with the headlining stars being the pairing of Boris Karloff (Dr. Janos Rukh) and Bela Lugosi (Dr. Felix Benet), their third together after THE BLACK CAT (1934) and THE RAVEN (1935).

Overall, an interesting story -- a bit sprawling, but quite visually arresting and mixes images of the gothic (which U was known for), as well as futuristic lab sets (also used in the FLASH GORDON serials and DRACULA'S DAUGHTER) and even a "jungle adventure" sequence.

The filming of the picture was kept a secret on the Universal lot, even banning studio execs who weren't involved directly with the making of the film, so claimed the accompanying article in the November 9, 1935 issue of the internal news magazine, UNIVERSAL WEEKLY. The reason for the secrecy was because of the dazzling special effects that were to be unveiled during the story. Unfortunately, U again makes the mistake -- like that with makeup genius, Jack Pierce -- with giving the creators of these effects short shrift with the kudos. I am making up for it here:

• Raymond Lindsay: special effects (uncredited) 
• John P. Fulton: special cinematographer
• Cleo E. Baker: miniatures (uncredited)
• Jack Cosgrove: matte artist (uncredited)
• David S. Horsley: effects assistant (uncredited)
• Russell Lawson: matte artist (uncredited)

Frances Drake plays Diana Rukh, wife of Janos, who sees his husband turn from great scientist to desperate criminal. No shrinking violet is Diana, but she does succumb to another's charms while her husband is off murdering for a cure to his radiation disease, the type of subplot that was used to create sexual tension. Born Frances Morgan Dean, the doe-eyed and beautiful Frances Drake (October 22, 1912 – January 18, 2000) is shown as a strong (and erotic) female, exemplified in a shot were she stridently crosses the screen in a sheer gown that leaves just enough to the imagination. I had the honor several years ago, of paying my respects at her graveside located at the Hollywood Forever Cemetery.

BONUS! Movie Herald for THE INVISIBLE RAY.

SCARE 'EM STIFF! (PART 2)