Just in Time for Halloween – Outtakes from Classic Horror Films

If there’s one thing that is more indestructible in film history than Count Dracula, Frankenstein’s Monster, and the Phantom of the Opera, it has to be the films themselves. With every innovation in home entertainment, these Universal Pictures monsters were in the forefront – from the old days of broadcast TV, then VHS, and then DVDs, more recently Blu-ray, and most recently, 4K transfers, not to mention video streaming – these guys just won’t go away.

And as familiar as many of us are with these classics through repeated viewings, it may come as a surprise that there were some scenes filmed but left on the proverbial cutting room floor. For this Halloween I thought we would marvel and be mystified with these “orphan” sequences that were deemed unsuitable for the finished product for one reason or another.

Alas, the sequences themselves no longer exist but a number of 8×10-inch stills have survived to hint at what was deleted. Our tour begins in 1923 and ends in 1935. I have taken the liberty of creating color version of these great B&W photos much in the same way that the old Hollywood studios themselves turned their b/w photos into the glorious colorized lobby cards.

[SUGGESTION: if you are viewing these photos on an iphone or ipad, I urge you to switch to a full-screen monitor to fully appreciate the clarity and detail of the images.]

Let’s began with a curious scene from Lon Chaney, Sr.’s THE HUNCHBACKOF NOTRE DAME (1923), based on the classic novel by Victor Hugo. This film has been recently restored by Universal on Blu-ray and 4K. This scene was included in the original “Road Show” exhibitions in major cities when the film was first released. Later, when released to local neighborhood theatres, the movie was shortened and among the excised footage was this touching scene where Quasimodo (Chaney) attempts to buy some clothes for Esmeralda (Patsy Ruth Miller). His efforts don’t go well with the shopkeeper and he ends up attacking the man:

Next we return to 1925 and the film that many regard as the granddaddy of American horror films: THE PHANTOM OF THE OPERA. Again, Lon Chaney, Sr. created an unforgettable character that, like HUNCHBACK, was based on a hugely successful novel by another Frenchman, Gaston Leroux. The filming was a muddle and many scenes were discarded after preview audiences reacted unfavorably. Among the deleted scenes is this one below where Christine Daae (Mary Philbin) and Raoul (Norman Kerry) meet secretly in a cemetery. Things do not go as planned as you can see, and we know that eventually even the Erik the Phantom (Chaney, of course) shows up:

It seems that there were problems in deciding who the Phantom’s victims should be. In this discarded scene, Erik strikes among the opera patrons as one of the stagehands, Simon Buquet (Gibson Gowland), is found dead on the Grand Staircase in the lobby. In the finished work, Simon not only survives, but leads the angry mob to invade the Phantom’s underground lair and force him out to a watery grave.

 

On a lighter note, scenes showing playboy Raoul De Chagney (Norman Kerry) flirting with the ballerinas were likewise cut:

Even creating a satisfying ending for PHANTOM proved difficult. The two photos below show the unused ending, inspired by the novel’s ending, where poor Erik dies of a broken heart. An action ending was substituted:

MGM gave the nascent horror film genre a try during the silent era with LONDON AFTER MIDNIGHT (1927), perhaps the most famous “lost film” of all time. This film was a vehicle for Lon Chaney. Sr. who plays a dual role in this murder mystery where one of the suspects is a vampire(!). Since the film can no longer be viewed, we have as a guide the existing continuity script that showed film editors how to assemble copies of the film back in ’27. Only shots that actually were used in the final edit are listed in the continuity script so photos of scenes not listed were likely cut. Here’s an atmospheric photo of Chaney as the vampire (aka “the man in the beaver hat”) and Edna Tichenor as a “bat girl,” which may simply be a posed photo or an actual scene that was cut:

American “horror” films of the silent era – the genre really was not established during that time – always explained away the supernatural events as caused by scheming humans. But the late 1920s play, DRACULA, based on the 1897 novel by Bram Stoker, didn’t flinch and insisted right to the end that vampires were real. With Bela Lugosi in the title role, American audiences needed very little convincing. The 1931 Universal film followed this construct and the first genuine American horror film dealing with the supernatural was created. A number of scenes were filmed but not included in the final cut. Among the most interesting are detailed sets, or likely scale models, of Castle Dracula and a nearby village that were not used in the film:

Perhaps this is a way station near the Borgo Pass for the coach that is taking poor Renfield to meet the Count, likewise cut:

Boris Karloff soon joined Bela Lugosi as a major star of the horror genre as the result of his playing the Monster in FRANKENSTEIN (1931). Karloff’s follow-up film for Universal was THE MUMMY (1932), which seemed to combine the ideas of DRACULA and FRANKENSTEIN to create an entirely new story of a long-dead Egyptian mummy who is restored to life by a magic incantation. Again, the audience was not spared by a last-minute “explanation” and the film created some real controversy in its depiction of reincarnation. The revived Karloff, after being dead for 3700 years, only wanted to find his lost love from antiquity, played by Zita Johann. In this photo from a scene cut from the film, we see Karloff and Zita in the throes of passion in ancient Egypt. It would end badly for them:

Our final film for this Halloween review is one of the finest – and abundantly edited – among all the classic horror film. It is a sequel that is generally considered superior to the original film, BRIDE OF FRANKENSTEIN (1935). There are many, many production stills suggesting many cut scenes. Most involved subplots that Universal decided to drop because they only complicated the plot line and added unnecessary footage to the film. Here’s an assortment among many deletions. First, here’s a nice portrait of Ann Darling, the shepherdess who is barely seen in the film. She is almost frightened to death by the Monster until two hunters drive him away:

In a jettisoned subplot, after the Monster escapes from jail and runs amuck, a little girl is found slain, among others. Suspicions fall upon the Monster. Indeed, the audience is left to assume that too. But the real killer is Karl, played by Dwight Frye, for reasons never made clear because the subplot was dropped:

Another dropped subplot involved the idea of using Elizabeth’s heart (Valerie Hobson), the fiance of Henry Frankenstein (Colin Clive), to implant in the Bride. It sounds absurd but this photo shows the kidnapped Elizabeth (to secure Henry’s cooperation) being approached by Karl with a very visible knife in his hand. This idea was dropped but in the finished film Karl murders an unfortunate young woman to obtain her heart:

Finally, here is a unique photo of the Bride herself, memorably played by Elsa Lanchester. Obviously, this is not a cut scene but I included this not only because it has Elsa’s autograph, but because it also has her sketch of her character.

I hope you enjoyed this tour in a true “cinematic crypt” of unseen scenes from these classic films.

HAPPY HALLOWEEN 2021!

Vintage Glass Slides Celebrate Classic Horror Films + An Interview with Colin Clive!

Halloween 2015 gives us a good reason to take a fresh look at some of the greatest horror film classics ever made. But not by viewing the familiar artwork found in vintage posters and lobby cards. Instead we have found several rarely-seen and extremely fragile glass slides that were projected onto movie screens over 80 and 90 years ago. Let’s begin the tour.

DR. JEKYLL AND MR. HYDE (1920) is often credited as the first American horror film. Although filmed many times beginning in 1911, this 1920 silent film version starring John Barrymore in his “breakthrough” movie performance is generally regarded as the best film version. This takes nothing away from at least two excellent sound film versions made in 1931 and 1941. The 1920 version is readily available today on Blu-ray, DVD, and streaming video:
Jeykyll Hyde slide

Before Lon Chaney frightened audiences in THE HUNCHBACK OF NOTRE DAME (1923), the Man of 1,000 Faces created chills in this 1922 film, which alas, is lost:
Chaney A Blind Bargain

Decades before JURASSIC PARK let loose an army of angry dinosaurs, movie audiences were awed by living prehistoric creatures in THE LOST WORLD (1925). Based on the popular novel by Sir Arthur Conan Doyle, this film is available on DVD:
Lost World copy_edited-Final

Lon Chaney scored a huge hit with one of the most memorable films of all time. New generations today find THE PHANTOM OF THE OPERA (1925) is still a potent brew. The enduring popularity of the Chaney film has resulted in this PHANTOM being available on Blu-ray as well as DVD. We are also lucky to have TWO glass slides for this classic:
Phantom slide_edited-Final
Phantom_edited-1 copy

Chaney Sr. did not rest on his laurels with PHANTOM, but followed it up with edgy dramas such as THE ROAD TO MANDALAY (1926), which only partially exists today:
Road to Mandalay 1

American horror films didn’t become established until the talkie era with DRACULA and FRANKENSTEIN, both released in 1931. A lesser-known film released in 1932 is THE WHITE ZOMBIE starring Count Dracula himself, Bela Lugosi. This low-budget film has grown in stature through the years and today is considered a classic. As a sign of its stature, ZOMBIE is available on DVD and even Blu-ray:
White Zombie

One of the best of the early 1930s horror classics is THE INVISIBLE MAN (1933), based on a novel by H.G. Wells, and starring Claude Rains in his first film. The romantic lead was Gloria Stuart who 60 years later appeared in TITANIC (1997):
Invisible Man Final

1933 was a banner years for classic films and horror movies were no exception. In addition to THE INVISIBLE MAN, the public was treated to KING KONG:
KING KONG

The public barely had time to catch its collective breath when later in 1933 the sequel to KONG was released. While not as good as the original, SON OF KONG is enjoyable on its own terms:
Son of Kong Glass Slide

Another early horror talkie that has grown in stature is THE BLACK ROOM (1935) starring the Frankenstein monster himself, Boris Karloff. And yes, it’s available on DVD:
The Black Room 1935 copy

It was only a matter of time before those Twin Princes of Horror Films, Boris Karloff and Bela Lugosi, were co-starred. THE RAVEN (1935) is the second of several successful films from the Karloff-Lugosi team and, yes, is on DVD:
Raven Final

Is there a consensus on one classic horror film that is considered the best ever made? Well, if there is, that film would be the sequel to FRANKENSTEIN (1931). Filmed under the working title of THE RETURN OF FRANKENSTEIN, this stunning film would be known to the world as THE BRIDE OF FRANKENSTEIN (1935). Of course, this one is available on Blu-ray and DVD:
Bride_Final

British actor Colin Clive played Dr. Henry Frankenstein in those first two films of the series, FRANKENSTEIN (1931) and THE BRIDE OF FRANKENSTEIN (1935). Here is a candid of Colin Clive and Valerie Hobson on the Universal backlot in January 1935 during the filming of BRIDE:
Clive_ Hobson-copy_Final

Colin Clive was regarded as a gifted actor but a troubled individual. He passed away in 1937 following years of alcohol abuse complicated by tuberculosis. Typical of many actors of that time, Mr. Clive was unhappy with his being cast in these so-called “horror films.” But unlike other actors, he had no hesitation to go public with his concerns. Here is a rare interview with the man that many consider to be the definitive Dr. Frankenstein:
Clive Interview

HAPPY HALLOWEEN!

Halloween 2014 – From the Artists’ Viewpoint

There are a number of talented modern-day artists who have turned their skills to the Classic Horror Films of Hollywood’s Golden Age. These individuals have made their works available on the Internet so what follows is a Halloween roundup with credit given where it is properly deserved.

Robert Semler offers a few of the 1,000 Faces of Lon Chaney Sr.:
semler_lon_of_1000_faces

Chaney’s THE HUNCHBACK OF NOTRE DAME (1923) by Robert Semler:
semler_hunchback-of-notre-dame

THE PHANTOM OF THE OPERA (1925) by Robert Semler:
semler_phantom-of-the-opera

The lamentably long-lost LONDON AFTER MIDNIGHT (1927) by Robert Semler:
semler_london-after-midnight

Another artist, Daniel Horne, painted this exquisite portrait of THE PHANTOM:
PHANTOM PAINTING 3 by Daniel Horne

Daniel Horne gives us LONDON AFTER MIDNIGHT:
CHANEY VAMPIRE2-1 Daniel Horne

Moving into the 1930s, Boris Karloff as the Frankenstein Monster by Daniel Horne:
Horne-Frankenstein 1931-1-1 by Daniel Horne

Mr. Horne also sculptures. Here is Karloff again in two works as Ardath Bey aka THE MUMMY (1932):
The Mummy by Daniel Horne
ARDETH BEY SCULPT02 by Daniel Horne

The Monster again in sculpture by Daniel Horne:
BRIDE KAROLFF FINAL01 by Daniel Horne

Everybody’s favorite Halloween couple, Karloff and Elsa Lancaster in THE BRIDE OF FRANKENSTEIN (1935) by Daniel Horne:
Horne-TheBrideOfFrankenstein-1-5 by Daniel Horne

An exquisite painting by Daniel Horne of the BRIDE herself:
BRIDE by Daniel Horne

It just wouldn’t seem like Halloween without Bela Lugosi. From THE MARK OF THE VAMPIRE (1935) by Daniel Horne:
BELA LUGOSI'S EYES4 by Daniel Horne copy

One of my All-Time Favorites – Henry Hull as THE WEREWOLF OF LONDON (1935) by Daniel Horne:
Werewolf of London by Daniel Horne

Finally, here is your blogmeister’s attempt at an artistic potpouri of images from our favorite ghouls!
Universal 1935 ltrhead Final_Halloween_edited-1
Happy-Halloween-HD-Wallpaper-picture

On the Set with Colin Clive

Clive002_New Final Final_edited-2
Colin Clive (1900-1937) is forever immortalized as Henry Frankenstein in the first two Universal FRANKENSTEIN films. His real forte as an actor was playing angst-ridden neurotics – meaning that he was perfectly cast as Henry Frankenstein – and when portraying a driven nervous energy character he didn’t seem to be acting. Much has been written about Colin’s health issues including a tubercular condition and alcoholism that eventually brought him to an early death. But here we’d like to celebrate his unique persona and compelling voice that made him so unforgettable even though his career was relatively brief. As you scroll down to the images, listen to his rare “lost” radio performance of November 14, 1935. Colin is introduced by host Rudy Vallee:

Colin takes a tea break with co-star Valerie Hobson on the set of BRIDE OF FRANKENSTEIN (1935). They seem to be in the middle of filming their first scene when Henry Frankenstein is brought back home on a stretcher and his fiance Elizabeth believes that he is dead:
Colin-Clive,-Valerie-Hobson copy_Final

Universal publicists were eager to take a number of photos of Colin and Boris Karloff taking breaks on the BRIDE set:
Karloff048 copy_Final

A playful Colin hugs Valerie Hobson somewhere on the backlot of Universal during the making of BRIDE during January-February 1935:
Clive_ Hobson-copy_Final

Another BRIDE publicity shot – the Monster is supposed to hate fire but perhaps that doesn’t apply to lighting his cigarettes:
Clive and Boris BRIDE copy_edited-Final

When Colin worked for 20th Century Pictures in late 1934, the studio did a publicity shoot at his apartment at the Hollywood Tower located on Franklin Avenue in Los Angeles:
Clive 2_edited-1 copy_Final

At Warner Bros. filming THE KEY (1934), a story of the Irish Rebellion. To Colin’s right are director Michael Curtiz and the film’s star William Powell:
Clive Curtiz Powell the Key_edited-1 Final

Colin and girlfriend Iris Lancaster out on the town circa 1935. It is believed that Iris paid the expenses of his funeral. She worked as an actress in films until 1944 and thereafter vanished from public life:
Colin and Iris Lancaster_edited-Final

On the roof of the Hollywood Tower (still in operation today offering luxury apartments), Colin looks out over the LA landscape towards the “Hollywood” sign in the distance:
Clive001 copy_edited-Final
If you are only familiar with Colin’s work in the FRANKENSTEIN films, you definitely will want to check out his performances in CHRISTOPHER STRONG (1933) with Katharine Hepburn, MAD LOVE (1935) with Peter Lorre and Frances Drake, and HISTORY IS MADE AT NIGHT (1937). with Jean Arthur and Charles Boyer.

On the Set with Warner Oland

Today, the name Warner Oland (1879-1938) is synonymous with Charlie Chan, the fictional Honolulu detective created by Earl Derr Biggers. But Mr. Oland was much more than a talented character actor. He spoke several languages and, with his wife Edith, made the first English language translations of plays by August Strindberg. Born in Sweden, his family emigrated to the United States when Warner was 13 years old. He gravitated from the stage to films in the 1910s and first attracted attention playing the villain in Pearl White’s legendary movie serial, THE PERILS OF PAULINE (1914).

Warner Oland001 new copy_Final

In those days the craft of acting included the ability to credibly portray characters of different nationalities or ethnic origins, and even different races. We are much more parochial today about these things but Warner Oland was the first actor to successfully portray a Chinese hero in American films. How successful? He starred in seventeen Charlie Chan films at 20th Century-Fox from 1931 through 1937 (technically, 18 films if we count an uncompleted one begun in January 1938 but abandoned as Warner’s health deteriorated).

Oland and Karloff_Final
Boris Karloff co-starred with Warner in CHARLIE CHAN AT THE OPERA (1936)

Warner had already established himself in a variety of ethnic roles during the silent film era, most notably as Cantor Rabinowitz in THE JAZZ SINGER (1927). He also impersonated an Austrian Archduke in the lavish DON Q, SON OF ZORRO (1925):
fairbanks don q_edited-2

DON JUAN (1926), the first feature film to use synchronized sound, had Warner in the historical role of Cesare Borgia. Here is Warner on the DON JUAN set with Montagu Love on the right, and seated left to right, Helene Costello, Estelle Taylor, and Myrna Loy:
Don juan1_Final

Elaborately costumed as an unscrupulous Frenchman in WHEN A MAN LOVES (1927):
Barrymore Manon_Final_Final_edited-1

By 1929, sound films revealed Warner to have a rich and soulful voice. Here he plays an American gangster in THE MIGHTY (1929) with Raymond Hatton (standing) and George Bancroft:
Oland007_Final_edited-1

By 1931, Warner switched tracks from villain to hero with CHARLIE CHAN CARRIES ON, one of four lost Chans. The film became an unexpected hit and the second film in the series, THE BLACK CAMEL (also 1931), was actually filmed in Hawaii. Here, Warner looks as menacing towards Dorothy Revier as Bela Lugosi in THE BLACK CAMEL:
Lugosi Oland Revier2 1931_Final

Offscreen, Warner was a doting papa to his schnauzer Raggedy Ann:
Oland and Raggety Ann Final

Back at work, Warner takes time out for a Ouija Board on the set of CHARLIE CHAN’S SECRET (1936), a story that involved spiritualism and seances:
CC Secret_edited-Final

Producer John Stone (left) confers with director H. Bruce Humberstone as Warner and William Demerest listen on the set of CHARLIE CHAN AT THE OPERA (1936):
Chan Opera John Stone producer_edited-1 copy

Two visiting Chinese doctors on their way to Johns Hopkins in Baltimore stop by the set of OPERA to check Warner’s pulse:
Oland018 copy_Final

Author Earl Derr Biggers wrote six Chan novels and based Charlie Chan on a real life Honolulu detective named Chang Apana. Warner met Apana when he was in Hawaii filming THE BLACK CAMEL. It’s worth noting that Warner Oland admired Charlie Chan because the character had many qualities that Warner lacked. Chan was a non-smoker and a teetotler whereas Warner was a heavy smoker and (later) a heavy drinker. Chan had eleven children but Warner, who liked kids, was childless. Eventually, Warner remained in the character of Chan even when not filming and signed his name on legal documents as Chan.

Keye Luke played Chan’s son Lee in several of the later Oland entries in the series, here in OPERA. The two actors became good friends offscreen:
Oland011_edited-1 copy

Celebrity-endorsed products are nothing new. Here is Warner and apparently Charlie Chan recommending the new 1938 Desoto:
CC Auto Show

Today, many of Warner’s films, silent and sound, are readily available on DVD including all of his surviving Charlie Chans.

On the Set Again with Karloff & Lugosi: A New Halloween Tribute

Last Halloween and thereafter, we received quite a number of hits on our tribute to those unsurpassed masters of the macabre, Boris Karloff and Bela Lugosi. Since there’s plenty more, we decided to salute our horrific heroes again for this Halloween. Admit it, we know that we’re in the presence of the masters when reciting a single line such as, “I never drink – wine,” from DRACULA (1931), or “I dislike to be touched,” from THE MUMMY (1932), can be more blood curdling than the goriest of chainsaw massacres.

On the DRACULA set, Bela Lugosi greets Horace Liveright who produced the Broadway play version that brought stardom to Lugosi. The film’s director Tod Browning stands to the left of Bela:

Boris Karloff has survived the rigors of makeup and costuming as he checks the script before filming a scene for THE MUMMY (1932):

But nothing was as arduous as sitting for hours as makeup artist Jack Pierce literally made a Monster out of Boris. Judging by the status, I’d say they were only at the beginning of the procedure:

By contrast, Bela Lugosi’s greatest makeup challenge as Dracula was to make himself look as handsome as possible:

The boys would vary their horror film appearances with an occasional non-horror movie where they still gave audiences the creeps. Here Bela Lugosi as a medium matches wits with Warner Oland as Charlie Chan in THE BLACK CAMEL (1931), the only Charlie Chan movie filmed on location in Hawaii. Bela and Warner are standing in the lobby of the Royal Hawaiian Hotel:

Boris Karloff plays an anti-Semitic Prussian nobleman whom George Arliss has outwitted in THE HOUSE OF ROTHSCHILD (1934):

Colin Clive as Dr. Frankenstein shares a tea and cigarette break with Boris on the set of BRIDE OF FRANKENSTEIN (1935):

It was inevitable that Boris and Bela would be teamed, but the real surprise is that they worked very well together. The first and arguably the best of their co-starring vehicles is THE BLACK CAT (1934), a film that had nothing to do with Edgar Allan Poe, and almost nothing to do with cats either:

Their third pairing is a personal favorite of your blogmeister, THE INVISIBLE RAY (1936), a stylish sci-fi yarn that seamlessly blended in the Gothic horror elements of their earlier films. Here Dr. Karloff has been poisoned by his discovery of Radium X, and appeals to Dr. Lugosi for help. You just know this will turn out badly:

These guys seem to be holding their own Halloween party. On the set of SON OF FRANKENSTEIN (1939) they are really celebrating Boris’ birthday – from left to right, Boris, director Rowland V. Lee, Bela, and Basil Rathbone:

Halloween Bonus! Hear Boris Karloff and John Carradine on INFORMATION PLEASE, a live and unrehearsed radio show exactly as broadcast on February 20, 1942:

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