Production Company: Rolling M. Productions
Executive Producer: Donald E. McCoy
Producer: Edward D. Wood Jr
Associate Producer: Tony McCoy
Script / Story: Alex Gordon, Edward D. Wood Jr
Director: Edward D. Wood Jr
Assistant Directors: Bob Farfan, William Nolte
Directors of Photography: William C. Thompson, Ted Allan
Camera Operator: Bert Shipham
Electrician: Louis Kriger
Key Grip: Thomas J. Connolly
Film Processing: Consolidated Film Industries
Editor: Mike Adams
Music: Frank Worth
Sound Recordits: Dale Knight, Lyle Willey
Sound Effects: Ray Erlenborn, Mike Pollock
MAKE UP AND COSTUMES
Make Up: Louis J. Haszillo, Maurice Seiderman
Special Effects: Pat Dinga
DESIGN AND SET CONSTRUCTION
Property Master: George Bahr
Technical Supervisor: Igo Kantor
Locations: Palm Canyon, Griffith Park, Los Angeles, California, USA; Ted Allen Studios, Hollywood, California, USA; Centaur Studios, Hollywood, California, USA
Bela Lugosi (Dr Eric Vornoff)
Tor Johnson (Lobo)
Tony McCoy (Lt Dick Craig)
Loretta King (Janet Lawton)
Harvey B. Dunn (Captain Tom Robbins)
George Becwar (Professor Vladimir Strowski)
Don Nagel (Detective Marty Martin)
Bud Osborne (Mac)
John Warren (Jake)
Ann Wilner (Tillie)
Dolores Fuller (Margie)
William Benedict (newsboy)
Ben Frommer (drunk)
Paul Marco (Officer Kelton)
Conrad Brooks (policeman / suspect)
Amit a filmről és körülményeiről biztosan tudunk: a forgatás 1954 október 26-án kezdődött meg. 1955 május 11-én mutatták be.
Elhunyt Eartha Kitt énekesnő, kabaré, musical-, film- és tévészínésznő. Pályáját táncosnőként kezdte, Párizsban figyeltek fel énekesnői tehetségére, Amerikában pedig ő lett az egyik első fekete bőrű szexszimbólum, avagy ahogy nevezte magát: "sex kitten". Több nagy slágert is énekelt az ötvenes évektől, de leginkább a színpadon érezte jól magát.
Eartha Kitt, eredeti nevén Eartha Mae Keith 1927. január 17-én született egy North nevű kisvárosban, South Carolina államban, egy gyapotültetvényen. Édesanyja fekete és cherokee ősöktől származott, édesapja valószínűleg fehér volt, az is lehet, hogy Eartha nemi erőszak eredményeképpen fogant. Nyolcéves korában édesanyja Harlembe küldte, ahol nagynénje nevelte - de az is lehet, hogy Mamie Kitt volt a valódi édesanyja. A rossz körülmények között felnőtt lány húszéves kora előtt tagja lett Katherine Dunham tánctársulatának. A honlapján olvasható életrajz szerint egy barátja vette rá a félszeg tinit, hogy jelentkezzen. Ugyanitt olvasható az is, hogy a társulat párizsi fellépésén fedezte fel énekesi tehetségét egy mulató tulajdonosa.
Amerikába visszatérve a Broadwayen aratta első nagy énekesi-előadói sikereit a New Faces Of 1952 című előadásban. Szexi, "cicásan" búgó-doromboló hangjára és külsejére hamar felfigyeltek, így ő lett az egyik első fekete bőrű szexszimbólum (bár származása miatt egyes rokonainak éppen hogy nem volt eléggé fekete). Ő maga úgy nevezte magát: "sex kitten"; három közül egyik önéletrajzának is ez az alcíme: Confessions Of A Sex Kitten. Mint 2007-ben nyilatkozta: "Szeretem a férfiakat, és szeretek évődni velük" - és a beszámolók szerint nyolcvanéves korában is képes volt elbűvölni a közönséget. Előadói énjét nem csak a csábításra építette: a humort is előszeretettel használta, mint egyik legnagyobb slágere, a Santa Baby is bizonyítja. (Nemrég szerepelt a Quarton.) Híres számai közé tartozik még a Let's Do It, I Want To Be Evil, Just An Old-Fashioned Girl és az alant látható C'est Si Bon.
1954-ben jelent meg első lemeze, az RCA Victor Presents Eartha Kitt, de nem a rögzített zene volt számára a legfontosabb. Nagy koncertektől kis klubestekig számos fellépést vállalt, a világ számos országában, egyébként tíz nyelven énekelt dalokat. Több musicalben szerepelt, de filmekben is játszott, és prózai színésznőként is bemutatkozott például az Orson Welles rendezte Doctor Faustusban. (A rendező volt egyik híres szerelme; egyszer azt mondta róla, hogy Eartha Kitt a "legizgalmasabb nő a világon.") Legemlékezetesebb filmszerepe a Batman tévésorozat Macskanője volt - a szexi gonosz szuperhősnő generációkra volt nagy hatással.
Túl azon, hogy komoly szerepet játszott a faji előítéletek lerombolásában, olykor nyíltan is politizált. 1968-ban a Fehér Házban Lyndon B. Johnson elnök felesége, Lady Bird Johnson tartott egy estét, és Eartha felszólalt a vietnámi háború ellen - ennek következtében a CIA és az FBI is nyomozott utána, és évekig távol kellett maradnia Amerikától, csak 1974-ben tért vissza, nagy sikerrel. Sok kritikát kapott azért is, hogy a nyolcvanas években Dél-Afrikában turnézott, de ő azzal védekezett, hogy az apartheid miatt nemzetközi embargó alatt lévő országban csakis vegyes közönség előtt volt hajlandó fellépni, és a keresett pénzből iskolák építését támogatta.
A koncertezéstől akkor sem vonult vissza, amikor két éve vastagbélrákot diagnosztizáltak nála. Két hónappal ezelőtt még koncertezett, és 2009-re is kötött le fellépéseket. December 25-én hunyt el.
Én azért még hozzátenném a művésznő ismertebb filmjeihez az Erik the Viking (1989) és a I Woke Up Early the Day I Died (1998) című mozikat. RIP
Posted by Satanizmo | Posted in forrest j. ackerman , lugosi bela , youtube | Posted on 11:44
Production Companies: Bel-Air Productions / Prospect Productions
Executive Producer: Aubrey Schenck
Producer: Howard W. Koch
Script: John C. Higgins
Story: Gerald Drayson Adams
Director: Reginald Le Borg
Director of Photography: Gordon Avil
Lighting Technician: Joe Edesa
Camera Operator: Ben Colman
Key Grip: George Fenaja
Editor: John F. Schreyer
Music: Les Baxter
MAKE UP AND COSTUMES
Make Up: George Bau
Costumes: Angela Alexander, Wesley V. Jefferies
Photographic Effects: Jack Rabin, Louis DeWitt
Monster Designer: Volpe
DESIGN AND SET CONSTRUCTION
Sets: Bob Kinoshita
Basil Rathbone (Sir Joel Cadman)
Akim Tamiroff (Odo the Gypsy)
Herbert Rudley (Dr Gordon Ramsay)
Patricia Blake (Laurie Munroe)
Lon Chaney Jr (Dr Munroe)
Bela Lugosi (Casimir)
John Carradine (Bohemund? Borg?)
Phyllis Stanley (Nurse Daphne)
Tor Johnson (Mr Curry)
Sally Yarnell (Nancy - female subject)
George Sawaya (K-6 - sailor subject)
Peter Gordon (Sergeant Steele)
Claire Carleton (Carmona Daly)
John Sheffield (Detective Redford)
Clive Morgan (Roundsman Blevins)
Louanna Gardner (Angelina Cadman)
Howard W. Koch (prison coroner's aide - uncredited)
Több megfigyelő is állította, hogy Chaney (aki folyamatosan ivott) állandóan piszkálta Bélát. Ezt tette már az Abbott & Costello film közben is, de most annyira bekattant, hogy még fel is kapta Lugosit. Állítólag azért, mert az megjegyzéseket tett Chaney teljesítményére vámpírként a Son of Dracula c. filmben. Ez az összeveszés csaknem verekedésbe torkolt (emlékezzünk rá, hogy Lugosi 73 éves volt akkor)
Béla hangot adott elkeseredésének, hogy Rathbone játssza a főszerepet (az ő szerepét), míg ő csak egy semmitmondó szerepet kapott és a neve csak vendégcsalogatónak van a stáblistán. Rathbone hallott Lugosi csalódottságáról és egy üzenetben a következőket írta neki: "Ami elmúlt megmásíthatatlan és a bölcs ember a jelenével és az elkövetkezendőkkel foglalkozik" Béla megtartotta papírjai között ezt az üzenetet. Rathbone Shakepear-t idézte: "O thoughts of men accurs'd! Past and to come seems best; things present worst"
Később többen is azt állították, hogy Lugosi azért kapta ezt a szerepet, mert képtelen volt megjegyezni a szövegeit. Ez igencsak kétséges, közeli ismerősei határozottan állítják, hogy Lugosi mindvégig hibátlanul idézett régebbi szerepeiből. Lévén egyfajta méltóság és büszkeség benne, nem engedte meg magának, hogy akár egyetlen sort is tévedjen. Az ok, amiért ez a szerep jutott neki inkább az, hogy mikor szerződtették már minden egyéb szerep ki volt osztva. Jellemző módon a kor bizonyos újságírói között divatossá vált Lugosi besározása. Még a stáb köreiből is többen támadták őt, sőt, azzal vádolták, hogy be van drogozva. Ez persze már nem volt igaz, de azért az italt nem vetette meg.
(1925 augusztus 23 - 2008 december 20)
Az amerikai filmrendező 83 éves volt
A művész hosszabb ideje szívbetegséggel küzdött. Robert Mulligan legismertebb műve a számos díjjal jutalmazott Ne bántsátok a feketerigót! (To Kill a Mockingbird) című alkotás volt, amelynek főszerelője Gregory Peck volt.Rendezései között számos nagysikerű film van. Ilyen például az 1961-ben forgatott Mr. Szeptember (Come September) Rock Hudsonnal és Gina Lollobrigidával. De sikert aratott az 1963-ban készült Szerelem egy megfelelő idegennel (Love with the Proper Stranger) Natalie Wood és Steve McQuinn főszereplésével, valamint Reese Witherspoon első mozija, az 1991-es Holdember (The Man in the Moon).
Posted by Satanizmo | Posted in | Posted on 14:28
'Herrrman, I vant to talk vith yyooouuu…!'
By Tom Weaver
There have been other, more notable get-togethers in horror movie annals—the historic confab of FRANKENSTEIN AND THE WOLF MAN, the memorable "Meet"ings of various monsters with Abbott and Costello and others. But for offbeat behind-the-scenes monkey shines, few rival BELA LUGOSI MEETS A BROOKLYN GORILLA (1952).
In the early 1950s, there was no hotter team in show business than Dean Martin and Jerry Lewis, stars of stage, screen and TV. Imitators were inevitable, and Jerry Lewis' was uncanny: A teenage Bronx comic named Sammy Petrillo who once appeared opposite Lewis (as his baby son) on TV. Petrillo subsequently teamed with singer-actor Dominick "Duke" Mitchell, a Dean Martin type who cut his hair to look more like "Dino." Mitchell and Petrillo began making appearances in small Los Angeles clubs while their personal manager Maurice Duke pitched them to various movie producers. Duke finally found a willing partner in Jack Broder, the head of Realart Pictures—but Broder's assistant Herman Cohen had misgivings making a movie with Mitchell and Petrillo. In fact, Cohen says, "I thought they stunk."—
When I got out of the Marine Corps in 1949, I started working for Columbia Pictures, as sales manager in their Detroit branch. I didn't want to stay there, but my mother wasn't too well at the time. When my mother passed away, then there was nothing holding me in Detroit, and that's when I came out to California. I got a job in the Columbia publicity department.
Jack Broder owned theaters in Detroit, but I had never met him. But now that I was out in Hollywood, I was told by many people, "You ought to look Jack up," because he was an ex-Detroiter. He was the head of Realart Pictures, the company that had bought the Universal library. Jack was about to go into production [of his own low-budget pictures] and he was looking for an assistant, someone who would work very cheap. I went to his offices in Beverly Hills, in the Bank of America Building, and had an interview with him, and he hired me. When we started the production company, our first offices were at Hal Roach Studios in Culver City. From Hal Roach, we moved to Sam Goldwyn Studios in Hollywood, where we did BRIDE OF THE GORILLA . Then we moved to General Service Studios, 1040 North Las Palmas Avenue—our offices were next to Desilu, who were getting ready to shoot their first I Love Lucy there. We were the only picture company on the lot, it was basically at that time a TV studio.
Jack Broder was a wonderful, wonderful guy and I owe a lot to him. He wasn't too good with the bucks but he certainly gave me all the titles, up to and including vice-president. Oh, he gave me a lot of titles! I was over his sales manager, Budd Rogers, in New York! I was a little pisher [squirt], and I was Budd's boss! I was just out of the service, and at first the job was too big for me. But if I didn't know something, I'd go to the Cinema Department library at UCLA to know what the hell they were talking about. Our first picture was TWO DOLLAR BETTOR , then THE BASKETBALL FIX  and BRIDE OF THE GORILLA and so on.
The way BELA LUGOSI MEETS A BROOKLYN GORILLA came about is this: Maurice Duke brought these two guys, Duke Mitchell and Sammy Petrillo, in to see Jack and me. Mitchell and Petrillo were a junior Martin and Lewis, and Maurice had them under personal contract. Maurice was a personal manager for very cheap acts, acts you'd see in small clubs. Maurice was crippled, he'd had infantile paralysis, and so he had braces on his feet and he had to walk with canes. (And he walked pretty damn good!) He'd have a big cigar in his mouth, and he had a wild tongue. He would say anything, he didn't give a shit about anybody or anything because of the fact that he had these medical problems.
Maurice sold Jack Broder on the idea to do a picture with these two boys, Mitchell and Petrillo. They had a cockamamie nightclub act imitating Martin and Lewis, and Maurice took Jack to some little club someplace, Culver City maybe, to see these guys. Jack thought they were hilarious. I thought they stunk. I didn't go with Jack and Maurice, I went to see 'em with some friends. Oh, God, they were terrible! But, hey, I was just working for Jack Broder, you know. I was very unhappy on that film because it was such a piece of shit, at the time we made it. But Jack Broder thought these two guys were funny.
Who had the idea of adding Bela Lugosi to the picture, and why, I don't recall. I can't take credit for it because I can't remember, and I don't think it was Jack who brought Bela Lugosi's name in either. It could have been Maurice Duke. But I can't recall.
At first, the title of the picture was WHITE WOMAN OF THE LOST JUNGLE—Jack came in one day and said, "We're gonna call the picture WHITE WOMAN OF THE LOST JUNGLE." "Jack! That'd be ridiculous! We got Bela Lugosi, you gotta use his name!" I remember we had a big argument about that! Actually, I think Bobby, one of Jack's kids, came up with that title. And Bobby at the time was about ten! Jack consulted Bobby all the time. Anything that was submitted to the office, Jack would say, "Let me give it to Bobby," and he'd take it home for Bobby to read. Then Jack would come back in the next day and say, "Turn it down. Bobby doesn't like it." [Laughs] And that ended that! I became very friendly to Bobby to keep him on my side—Bobby could talk his dad into anything, his dad loved him so much. I had no trouble with Bobby, because I won him over with ice cream! Bobby was the pride of Jack because he was the first and the oldest son. He was a good-looking young kid, smart as a whip, and he actually was the "king" behind the scenes of his dad—his dad would discuss everything with Bobby. And I think Bobby was ten at the time! (But I was only 21, so there you are! We had a very young company!) His name now is Robert Broder, of Broder-Kurland-Webb-Uffner, a top Hollywood talent agency, especially for TV. Bob Broder's turned out to be one of the top agents here.
Jack Broder was a millionaire and he was a member of the Friars Club and he knew [producer] Hal Wallis at Paramount, who had Martin and Lewis under contract. Now, there's a funny story that very few people know: The rumor got around that we were gonna do a movie with these two guys Mitchell and Petrillo. My office was right next to Jack's, you had to go through my office before you got to Jack Broder. Anyway, one day at the office, this guy came dashing in and he said [in an angry voice], "Where's Jack Broder?!" I said, "Well, he's in his office, right there—" It was Jerry Lewis. He came in because he knew Jack Broder through the Friars Club and he was furious about this [the Mitchell-Petrillo movie]. And Jerry Lewis and Jack had a screaming session and what have you. I didn't go into the office, I stayed out. I didn't want any part of it. Then when Jerry Lewis walked out, they were still calling each other names: "You fuckin' asshole," "You this," "You that" and what have you. Maurice Duke had an office on the other side of the lot, but I don't know whether Lewis saw Maurice or not.
On the set, Mitchell and Petrillo were funny guys. Duke Mitchell was much more classy than Sammy, but Sammy was the Jerry Lewis character and Duke thought he was Dean Martin. They were easy to get along with...we told 'em what the fuck to do, they did it. Duke Mitchell had a pretty good voice; in fact, after he and Sammy split, I saw Duke in a small club in Palm Springs where he was singing. Petrillo was a nutty kid. Duke Mitchell was much more serious. Petrillo, as they say in Yiddish, was meshugah, he was crazy. And he was funny. But he was insecure.
I signed William Beaudine to direct—I got him to direct the picture because he did the Leo Gorcey-Huntz Hall Bowery Boys movies at Monogram. We needed somebody who was fast…who was not too bright and intelligent, but who knew film. I went over to Monogram and I watched him work on several things, and I said, "Jack, this is the director for this movie. He knows comedy, he knows crap"—and we got William Beaudine. And he was wonderful. I mean, no prima donna in him at all. You could tell Bill Beaudine to do this, do that, blah blah blah, and it'd get done. I loved that old guy. He just loved the business, he was unbelievable. And the photographer was Charles Van Enger, who I used in about seven pictures. This guy was terrific, and we were lucky to get him. There was nothing he didn't know about lighting—nothing. And he was so fast—God, was he fast! We used him in picture after picture. I loved him too. We hired all these oldtimers, and they taught me a great deal 'cause I'd sit and talk to them about the industry and about what they were doing and this and that and what have you. Now I look at some of these prima donnas today…they don't know what day it is!
I would say we made the picture for about $100,000, including Bela Lugosi—he didn't get paid that much. Bela only worked, I think, four days. Bela was not too well, he looked sick all the time. And I had a tough time getting him on the stage, because I didn't realize, young pisher that I was, that he was taking morphine. Whenever he had to dash back to his dressing room, I thought that he was going to the bathroom or something, and he was getting his morphine shots. But he was a nice man—oh, golly! I used to break up talking to him, because he always was playing Dracula. "Herrrman! Herrrman, I vant to talk vith yyyooouuu…!" I used to break up! But he was difficult to get into a conversation with. (And if you mentioned Boris Karloff, he got pissed off. "Boris Karloff cannot act like meeeee!") He did have some trouble with lines, but…we made the bloody thing in seven days, he couldn't give us too much difficulty!
We also had this little fat broad named Muriel Landers—she was funny. In the picture, she was in love with Sammy Petrillo and was chasing him all around. I remember Bela Lugosi laughing at her, he also thought she was funny. Muriel Landers was very talented, a funny Jewish girl from New York. Ramona the Chimp we got from a company in Saugus that had chimps and apes and what have you. He was smart. The gorilla in the picture was Steve Calvert—what a nice guy. You know where I met Steve? He was the head bartender at Ciro's—I got free booze whenever I came into Ciro's. He was also the gorilla in BRIDE OF THE GORILLA. Years later, I rented Steve's gorilla suit when I did KONGA —we shipped the gorilla suit to London.
Jack Broder would come onto the set a few times during the day. Jack was a very short guy and he had a habit of putting his right hand in his belt—he'd walk like Napoleon. He'd say, "Herman. You tell dem if dere behind schedule, I pool the shwitch. I pool the shwitch!" (Jack had a foreign accent, he was born in Europe.) Then when Jack would leave the soundstage, Maurice Duke would get up and repeat Broder: "Herman! If dere behind schedule, pool the shwitch! Pool the shwitch!" That used to be our running gag every night! Oh, Maurice Duke had a grrreat sense of humor. Did you ever hear of Borrah Minevitch and His Harmonica Rascals? Maurice was one of the Harmonica Rascals as a kid—he played beautiful harmonica! I liked him and his wife, because he was a bundle of laughs, and he took to me. The night that James Dean, who was a friend of mine, was killed, I was at Maurice Duke's house for dinner. All during the years, I stayed in touch with Maurice.
Maurice had a strident voice. He'd arrive on the lot, wherever I happened to be, if he wanted to see me. No appointment or anything, he'd just come on the lot. I could be in my office and I'd hear [shouting], "Hoiman! Hoiman! It's Maurice! It's Duke!" And I would take him to lunch, 'cause he wanted me to take him to lunch [laughs]. And Maurice had this wonderful guy, Tony Roberts, who loved him. Maurice couldn't drive, and Tony Roberts was his driver and right hand man and he ran Maurice's errands for him. This guy did everything for Maurice—in fact, his name is in the credits of BROOKLYN GORILLA, as "Assistant to the Producer." Maurice treated him like shit but deep down he loved him, they loved each other, and this big, big, nice guy stuck with Maurice for years. Maurice Duke was quite a character. I really enjoyed this man, I really liked him.
BROOKLYN GORILLA was a fun set.There were lots of set visitors, because they wanted to see Bela Lugosi. Not Mitchell and Petrillo—Bela Lugosi. General Service was like a family in those days, so we had Lucy and Desi drop in—in fact, I would bring 'em on the stage. Ozzie and Harriet and their two little sons came on, and, oh God, this one gal I loved, Joan Davis, who then was doing her TV series I Married Joan. She would come on and we would yock with laughs. In those days, everything was fun. General Service is now Hollywood Center Studios—they just built two new, beautiful soundstages there. It's now owned by this multi-millionaire from Canada.
People have speculated that Jack Broder made the picture planning not to release it, that he made it figuring that Hal Wallis would pay him off not to release it. That's not true. However…Jack did have a meeting with Hal Wallis, to see if Wallis wanted to buy the film. Wallis knew Jack Broder, and was pissed off at Jack [for producing it]. Jack figured, "Hey, if he wants to buy the negative, I'll make a lot of money!" Wallis wanted to buy the negative and burn it. I was in on that meeting, but I don't remember how much money they were talking. (We made the picture for three cents!) But Jack couldn't get what he wanted from Wallis, and he decided he was going to release it. [Did Wallis go away mad?] He never talked to Jack Broder again at the Friars Club—that should tell you something!
[Did you think the team of Mitchell and Petrillo was "going" anywhere?] Yeah, they were goin' to Schwab's and see if they could pick up a free meal [laughs]! This was their first movie and their last movie. And I didn't think the picture would be a success…never in a million years. I thought it was so bad, I didn't even want my name on it. I told Maurice Duke, "Look, you take all the credit," and he said, "But you did all the work!" Maurice got the producer credit, but he didn't do anything but bring in Duke and Sammy, because he was their personal manager.
The picture didn't have to do too much to make its money back, we only spent about 100,000 on it. It didn't break any records anyplace, but it did well. Then it became a cult thing because of Bela Lugosi. I've had a lot of calls on it because of Bela Lugosi. Not because of Mitchell and Petrillo. Because of Bela Lugosi.
Tom Weaver is an award-winning author and film historian who has written numerous articles and books on classic horror and science fiction movies and their creators. This interview has been reprinted with the permission of the author.
Script: John Argyle, Patrick Kirwan, Walter Summers
Additional Dialogue: Jan Van Lusil
Novel: Edgar Wallace
Director: Walter Summers
Assistant Director: Jack Martin
Director of Photography: Bryan Langley
Cameraman: Ronald Anscombe
Editor: E.G. Richards
Music / Arranger: Guy Jones
Organ Music: C. King Palmer
Recording Supervisor: H. Benson
Sound Recordist: A.E. Rudolph
DESIGN AND SET CONSTRUCTION
Art Director: Duncan Sutherland
Production Assistant: George Collins
Studio: Welwyn Studios, England, UK
Bela Lugosi (Dr Feodor Orloff)
Hugh Williams (Detective Inspector Larry Holt)
Greta Gynt (Diana Stuart)
Edmon Ryan (Lieutenant O'Reilly)
Wilfred Walter (Jake)
Arthur E. Owen (Blind Lou)
Alexander Field (Fred Grogan)
O.B. Clarence (voice of Dearborn (uncredited))
May Hallatt (Policewoman Grady (uncredited))
Bryan Herbert (Police Superintendant Walsh (uncredited))
Charles Penrose (Morrison (uncredited))
Gerald Pring (Henry Stuart (uncredited))
Julie Suedo (Orloff's Secretary (uncredited))
1939 márciusában Lugosi éppen egy kisebb szerepet játszott el a The Gorilla c. filmben. Ez időtájt Angliában egy kezdő rendező saját horror filmet készült csinálni, ez volt a The Dark Eyes Of London (The Human Monster néven is ismert) Lugosi személye jelentette a garanciát az amerikai sikerekre. A film forgatókönyve Edgar Wallace novellájából készült el.
Lugosi a filmben két szerepet is játszik. Az egyik John Dearbone atya, a Vakok Intézetének szintén vak vezetője. A másik pedig Dr. Fedor Orloff, aki egy biztosítási ügynök, maga a gyilkos.
Így Béla 1939 március 24-én a Queen Mary fedélzetén Londonba utazott, Los Angeles-i otthonában hagyva Lilliant (feleségét) és 14 hónapos kisfiát. Másnap megérkezett, a forgatás elkezdődött és 11 napig tartott. A filmet 1939 novemberében muatták be, a szerepéért pedig 7500 dollárt kapott.
Posted by Satanizmo | Posted in | Posted on 11:01
A film Public Domain státuszban van, ami azt is jelenti, hogy ingyenesen letölthető az Internet Archive-ről.Rendezte: Christy Cabanne
Szereplők: Bela Lugosi, George Zucco, Nat Pendleton, Molly Lamont, Joyce Compton, Gladys Blake
A felvételeket 1946 áprilisában kezdte meg a Golden Gate Pictures (a Gordon Street Studio-ban) 'Accent on Horror' munkacímen, de több mint egy év telt el mire a mozikba került, így az első vetítés 1947 júliusában volt.
A film silány kísérlet volt ugyan, de zűrzavaros története még így is megfogta a nézőket. annak ellenére, hogy a kritikusok a mai napig túlértékeltnek tartják, szerintük ez Lugosi legrosszabb filmje. A rendező még a némafilmes korban tett szert a hírnévre. Benne és Lugosi-ban közös volt, hogy mindketten egy letűnt dicsőség fennmaradt példányai voltak. A film egyik szereplője Angelo Rosito, akivel Béla több filmben is dolgozott együtt (Spooks Run Wild (1941), The Corpse Vanishes (1942) és akivel ez volt utolsó közös munkája. Ugyanígy George Zucco-val is, akivel szintén több filmben dolgozott együtt (Return of the Ape Man (1944), Voodoo Man (1944) A Terry-t alakító Douglas Fowley-vel pedig a One Body Too Many c. kevésbé ismert Lugosi filmben is találkozunk.
Public Domain film! Forrás: Internet Archive
Posted by Satanizmo | Posted in | Posted on 8:17
A film Public Domain státuszban van, ami azt is jelenti, hogy ingyenesen letölthető az Internet Archive-ről.
A film Public Domain státuszban van, ami azt is jelenti, hogy ingyenesen letölthető az Internet Archive-ről.
Született: 1921 December 10
Elhunyt: 2008 Január 10 (Hollywood, Los Angeles, CA, USA) FIND-A-GRAVE
Televíziós személyiség. Az '50-es években alkotta meg Vampira karakterét (állítólag akkori férje -Dean Riesner (Mesa of Lost Women (1953)- adta a nevet, aki forgatókönyv író volt) Televíziós horror hostess-ként és filmszereplőként Vampira karaktere tette le az alapokat más elkövetkezendő horror hostess-ek, színésznők és rajzfilm figurák számára. Nurmi álmában halt meg, természetes halállal, hollywood-i otthonában. 86 éves volt.
Her legacy today rests with a brief but memorable silent cameo as the raised-from-the-dead wife of Bela Lugosi in Ed Wood's cult classic Plan 9 From Outer Space (1959); she also appeared in such films as Too Much, Too Soon (Warner Bros. - 1958), The Beat Generation (MGM - 1959), Sex Kittens Go To College (Allied Artists - 1960), The Magic Sword (United Artists - 1962), and I Woke Up Early The Day I Died (Cinequanon Pictures International - 1998). Nurmi got her start as a showgirl and starlet, but in 1953 her career stalled. Hoping to grab a little attention, she disguised herself as Charles Addams's yet-unnamed New Yorker Magazine ghoulishly-macabre cartoon character (eventually to be named Morticia), a dark-haired, wasp-waisted character married to Addams's pen & ink morbid male (Gomez in later drawings), and attended Lester Horton's annual Bal Caribe Masquerade in Hollywood where indeed she not only took First Prize, but was spotted by Television entrepreneur/impressario Hunt Stromberg Jr. (5/23/23-11/25/86). Stromberg had moved into television as the program director on KABC-TV, a Los Angeles station. At the time, Stromberg happened to be looking for a host for a late-night horror movie showcase on his station to boost its ratings. Other local stations around the country had begun hiring hosts for their showings of these and other movies, and Stromberg thought that the wittily provocative, eerily sexy Nurmi as Vampira, would set his station apart from any conceivable competition. Nurmi true to character vanished into the night, and Stromberg spent months tracking her down. In 1954 Maila Nurmi (aka Vampira) went on the air, hosting a gaggle of resurrected vintage scary flicks on the local KABC-TV outlet. Her original show ran on KABC-TV, Channel 7 in Los Angeles, from April 30, 1954 until April 2, 1955, less than a year, but her outrageously seductive personality attracted national coverage in publications like Life, Newsweek, and TV Guide. She became Stromberg's major contribution to popular culture, and a more enduring one than either of them could have guessed in the mid-'50s. In 1955 she was nominated for an Emmy as "Most Outstanding Female Personality" and made "Who's Who in America." Her archetypal host character was well known all over the country when Screen Gems' SHOCK! package was first syndicated in October 1957. Her Hollywood companions included James Dean and Marlon Brando, and after Dean passed away she claimed to be contacted by his spirit. Few kinescopes of her program have survived. In 1956 Nurmi met producer-director-writer Edward D. Wood Jr. and he put her into his film Plan 9 From Outer Space. By the time the movie was made, Vampira was off the air and her career was virtually ended, owing to a dispute with her television station and, by her own account, her subsequent blackballing by the industry. By the end of the 1950s, Stromberg had become a protege of James Aubrey, the top programming executive at the CBS network. As a production executive at the network, Stromberg was one of those responsible for bringing on the air such series as The Beverly Hillbillies, Hogan's Heroes, Green Acres, and Lost in Space.) Of "Plan 9" Maila Nurmi once said, "At the time, I thought it was horrible. I knew immediately I'd be committing professional suicide." Ironically, it became the film for which she is best remembered. As Maila Nurmi had no immediate family, funeral arrangements are pending. Friends are planning to arrange services and a plot at Hollywood Forever Cemetery, and are organizing a hearse procession. (bio by: Verne Langdon)
Abbott és Costello a '40-es évek Amerikájának legnépszerűbb komikusai voltak és igen sok filmet csináltak. Ezt a filmet -mint jónéhány másik A & C filmet is- Charles Barton rendezte és első darabja volt az Universal 'A & C meet...' sorozatának (az eredeti címe The Brain of Frankenstein volt)
A sztárparádé része még Lon Chaney, Jr. aki itt is (mint az 1941-es The Wolf Man-ben és még pár más filmben) a Farkasembert alakítja.
Maga a történet nagyon röviden ennyi: Dracula és egy tudós, akit most először egy nő (Lenore Aubert) alakít kitalálják, hogy Lou Costello agyát ültetik Frankenstein teremtményének fejébe. A Farkasember hivatott megakadályozni a gonosz tervet...
Mindeközben persze sok-sok mókás jelenetet láthatunk.
Az ide tartozó információk gyűjtése még folyamatban van.
Plot: While on an Arctic expedition, two scientists find the frozen body of a prehistoric caveman. They bring him home to their laboratory, but decide that in order to fully utilize (and control) him, they must transplant a more developed brain into the caveman.
- A sarki expedició képsorait egy 1926-os filmből, Alaskan Adventure-ből vették 'kölcsön' (forrás IMDb)
Production Company: Paramount Pictures
Screenplay: Waldemar Young, Philip Wylie
Novel: The Island of Dr Moreau by H.G. Wells
Director: Erle C. Kenton
Director of Photography: Karl Struss
Music: Arthur Johnston (uncredited)
Sound Mix: Western Electric Sound System
Locations: Catalina Island, California, USA
Charles Laughton (Dr Moreau)
Richard Arlen (Edward Parker)
Leila Hyams (Ruth Thomas)
Bela Lugosi (Sayer of the Law)
Kathleen Burke (Lota the Panther Woman)
Arthur Hohl (Montgomery)
Stanley Fields (Captain Davies)
Paul Hurst (Captain Donahue)
Hans Steinke (Ouran)
Tetsu Komai (M'ling)
George Irving (American consul)
Jack Bardette (uncredited)
Evangelus Berbas (uncredited)
Joe Bonomo, Buster Crabbe, John George, Alan Ladd, Duke York (beasts - uncredited)
Harry Ekezian (Gola - uncredited)
Rosemary Grimes (Samoan girl - uncredited)
Robert P. Kerr (uncredited)
Bob Kortman (Hogan - uncredited)
Robert Milasch (uncredited)
Constantine Romanoff (uncredited)
Jack Walters (uncredited)
Randolph Scott (bit part - uncredited)
Alan Ladd (beast - uncredited)