Frankenstein Meets the Wolf Man
****
Although I absolutely love Frankenstein [‘s Monster] Meets the Wolf Man (1943), I recognize that Siodmak was tasked with the impossible: to take a rubbish concept and somehow make it work in a reasonable screenplay. Helped extensively by Roy William Neill’s direction—aesthetically rich in gothic tones (more so during my favorite of the film’s two parts, the beginning in London)—and an ace cast (including Dennis Hoey, known as Inspector Lestrade in the Universal Sherlock Holmes series, as a cop in London before the film shifts to Visaria), FMtWM is better than it has any right to be. I did notice that there does seem to be a healthy dosage of werewolf in this one which certainly appealed to me. Yes, Chaney, Jr. is pouring on the pitiable sad sack who just wants to die (who can blame him, though, considering the innocent people he kills under the full moon curse?), appearing to
Maria Ouspenskaya’s Maleva for guidance and help. We do get plenty of Maleva, too, so FMtWM really ties well to one of my favorite horror films, The Wolf Man (1941). I didn't recall a lot to do with the Monster but tonight's viewing did give Lugosi a little more to do than Glenn Strange. Atwill is once again a high ranking member in a town (at least he's mayor this go-around instead of yet another copper), with Ilona Massey certainly lovely enough as the ancestor of Frankenstein with no interest in seeing the Baron's work continue. I think my problem is mainly in the finale. Not the dam dynamited pouring engulfing water over the castle ruins but how Dr. Mannering seems to fall prey to the obsessions of giving life to the Monster. It never makes sense why he'd give the Monster strength when history has shown that this is such a bad idea. The town of Visaria comes alive during a festival where a moment's happiness is shattered when the Monster once again parades about town with arms swaying (he's blind although Universal can't help but fuck it up). Even Dwight Frye, dour and serious, talks of the wolf somewhere about, tearing into the throats of their locals. And poor Chaney, Jr. just looking to end his misery and no longer endure the lycanthrope within him.
Wrote in October 27, 2008…
Lawrence Talbot is
resting comfortably idle(..but unknowingly alive)in his casket when a couple of
grave-robbers disturb his tomb, removing the wolfsbane keeping him at bay
unleashing the werewolf on an innocent community once again. Talbot, realizing
that if the killing is to stop he must die, seeks out the old gypsy woman
Maleva(Maria Ouspenskaya) whose son brought the curse upon him. But, the
authorities and his psychiatric doctor, Dr. Mannering(Patric Knowles) are out
to find him, hoping to return him to an asylum thinking he's merely a mad
murderer needing to be locked away. Instead, Talbot is led to Vasaria where Dr.
Frankenstein's castle was located hoping he could help him. Unfortunate for
Talbot, the doctor has since died and he finds the monster encased in ice,
blind and weak. Talbot desires Frankenstein's diary and appeals to the
scientist's ancestor, Baroness Elsa Frankenstein(Ilona Massey)hoping to sell
the place ridding herself of an accursed property that has slandered her name,
and finds a village of people wishing him to leave. When the monster(..played
by a stilted Lugosi, attempting to show it's limitations due to a loss of power
and sight)bursts upon frightened villagers, Talbot finds himself in need of
help. Mannering promises the village he'd disassemble the monster as his
creator had pieced it together. Led by Elsa to the castle, Mannering finds a
will to provide the monster with full strength due to a mad curiosity. Finding
the diary thanks to Elsa, Talbot hopes to rid himself of the lycanthropic
curse, but Mannering has other plans. With a dam underneath the castle, the
village might decide to take drastic measures to relieve themselves of
Frankenstein's memory forever.
I love most of this movie, especially Talbot's struggles to rid himself of the curse that has become an obsession due to his uncontrollable killing spree. Great scene where he attacks a street copper and this perhaps, next to The Wolf Man, Chaney's meatiest role as Talbot. We do get a climactic battle between the werewolf and Frankenstein's monstrous creation, but I was never quite sure of the motivations behind Mannering who seemed very stable and controlled..I wasn't convinced that such a man would purposely give strength to such a humongous and dangerous monster threatening to harm anyone in it's way. It was really neat seeing Maria Ouspenskaya with a stronger role as Maleva, who refers to Talbot as her son bringing a warmth and tender relationship between the two. I'm not sure what happens to her at the end as the castle is reduced to rubble, but it was great seeing her as a more prominent figure trying to help a troubled soul with a burden beyond his control. Massey is a stunner, dressed very well by the costume department, under a sexy accent. Atwill is the mayor of Vasaria, attempting to keep his people from forming into a lynch-mob. Dwight Frye is merely reduced to a villager questioning the mayor of his methods at not interfering with the activities of those in Frankenstein's castle ruins when it's clear experiments are taking place. Thanks to the impeccable work of director Roy William Neill, who was a seminal artist behind the beloved Holmes/Watson films, develops an incredible atmosphere and his noirish stylistic imprint displays what he could do with Universal's studio backing. I think this is essential viewing to all Wolf Man fans despite it's story flaws. Kind of episodic as Talbot seeks a cure, meeting various situations to the conclusion in the Frankenstein castle. You get to see the Wolf Man move around more than later on, especially at the end when the beast continually charges the enormous monster. I won't ridicule Lugosi considering the infamous history of production problems which would explain certain facets of the monster not explained on screen. I will say that this must've been an embarrassment to him considering how Karloff made the monster such an indelible iconic figure, and his performance turns out so laughable due to cuts and edits.
I love most of this movie, especially Talbot's struggles to rid himself of the curse that has become an obsession due to his uncontrollable killing spree. Great scene where he attacks a street copper and this perhaps, next to The Wolf Man, Chaney's meatiest role as Talbot. We do get a climactic battle between the werewolf and Frankenstein's monstrous creation, but I was never quite sure of the motivations behind Mannering who seemed very stable and controlled..I wasn't convinced that such a man would purposely give strength to such a humongous and dangerous monster threatening to harm anyone in it's way. It was really neat seeing Maria Ouspenskaya with a stronger role as Maleva, who refers to Talbot as her son bringing a warmth and tender relationship between the two. I'm not sure what happens to her at the end as the castle is reduced to rubble, but it was great seeing her as a more prominent figure trying to help a troubled soul with a burden beyond his control. Massey is a stunner, dressed very well by the costume department, under a sexy accent. Atwill is the mayor of Vasaria, attempting to keep his people from forming into a lynch-mob. Dwight Frye is merely reduced to a villager questioning the mayor of his methods at not interfering with the activities of those in Frankenstein's castle ruins when it's clear experiments are taking place. Thanks to the impeccable work of director Roy William Neill, who was a seminal artist behind the beloved Holmes/Watson films, develops an incredible atmosphere and his noirish stylistic imprint displays what he could do with Universal's studio backing. I think this is essential viewing to all Wolf Man fans despite it's story flaws. Kind of episodic as Talbot seeks a cure, meeting various situations to the conclusion in the Frankenstein castle. You get to see the Wolf Man move around more than later on, especially at the end when the beast continually charges the enormous monster. I won't ridicule Lugosi considering the infamous history of production problems which would explain certain facets of the monster not explained on screen. I will say that this must've been an embarrassment to him considering how Karloff made the monster such an indelible iconic figure, and his performance turns out so laughable due to cuts and edits.
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