In June 1948
Bud and Lou made a comedy horror film that managed to single-handedly revive
not just their fortunes, but those of their studio’s languishing monster icons.
Although Abbott and Costello Meet
Frankenstein was the brain-child of producer Robert Arthur, the boys themselves
had considered a horror team-up with Frankenstein’s Monster, Dracula and the
Wolfman as far back as around 1943 which would have pre-dated Universal’s two
botched serious attempts to combine them in what became a kind of ‘King of the
Ring’ tawdriness. The format would have been a Broadway show playing to their preferred
live audience, but at that point they didn’t have the time to develop it.
By 1948, their
studio Universal had already shelved its creature features and Abbott and
Costello were similarly finding their usual comedy vehicles were running out of
steam. Arthur pondered how to refresh their brand with his writers when it
struck him that they could have the duo tangle with Frankenstein’s Monster. Gradually
the team of John Grant, Frederic Rinaldo and Robert Lees all chipped in ideas:
a plot motive could be that the huge behemoth had now grown too dangerously
intelligent to serve an evil master - and who better to provide a more suitably
backward brain than Lou’s dim-bulb comedic character? Perhaps the leathery-winged
Dracula could be flown in as owner of the body and the Wolfman, with his
soulful, tortured alter-ego could warn them of impending danger. It all fitted,
and the beauty of it was that Universal still owned the copyright on all these
former cash cows.
Initially
the script was not to Abbott and Costello’s liking; Lou in particular didn’t find
it funny enough. After this was fine-tuned, next came the all-important casting.
Lon Chaney (Jr) was the assured choice for Lawrence Talbot/The Wolfman,
continuing his proud sole ownership of the character on screen for the fifth
time. Dracula however proved a case of history repeating itself agonisingly for
Bela Lugosi. Once again he had to suffer the indignity of Universal weighing up
a replacement – in fact the same actor. Back in 1931, despite originating the
role on Broadway Lugosi had to wait while the studio pondered Ian Keith for the
movie version. Such was Lugosi’s evident desperation that this sadly established
a weak bargaining position from which his career choices never recovered. To be
fair to Universal, by 1948 the Hungarian horror star was a long-in-the-fang 66
years old, but his association with the role was firm in audience’s minds even
after just the 1931 Dracula film due
to regular money-spinning theatrical tours of it over the years.
For the part
of the Monster, there was no way Karloff would agree to return to the part. He
had already retired from the role after three physically tortuous incarnations –
although he did agree to help publicise the new movie. Instead, the safe option
was to re-use Glenn Strange who had already played the part in the last two
sequels House of Frankenstein (1944) and
House of Dracula (1945), albeit
crowbarred into brief, rushed cameos bringing the house down. As a former prolific Western actor, Strange
had in fact worked with Bud and Lou the previous year in their oater The Wistful Widow of Wagon Gap.
It was
make-up supremo Jack Pierce who had spotted Strange’s physical potential for
the Monster whilst applying scarring to him for a Western. More than his 6ft
6-inch height, he possessed a facial bone structure that Pierce thought ideal
for the Creature. Sadly, Abbott and
Costello Meet Frankenstein would not benefit from Pierce’s pioneering
talent. He was unceremoniously dropped from Universal after twenty years to
make way for Bud Westmore of the famed Westmore make-up family dynasty. The studio
felt that Pierce’s painstaking prosthetics, ground-breaking in the Thirties,
were now deemed too costly and time-consuming for their future productions.
Westmore would in turn be a pioneer in their use of foam rubber which, in the
case of the Monster’s head construction, reduced the application time from four
hours or more to roughly one and a half. Whilst this obviously suited actors like
Strange needing detailed work, one disadvantage was the discomfort caused by rubber’s
inability to absorb collected sweat under the strong lights, something that
Pierce’s cotton and collodion materials could achieve.
Off-screen
conflicts aside, the actual filming of Meet
Frankenstein was a merry affair by all accounts. Abbott and Costello had
established a good relationship by now with director Charles Barton and pranks
aplenty were encouraged to keep the required energy levels up amongst cast and
crew. The set even had its own resident professional clown Bobby Barber on hand
to cause mayhem with pies, squirted soda syphons etc. The documentary Abbott and Costello Meet the Monsters features
him in some priceless outtakes including one where Lugosi makes one of his grand entrances down a staircase, not realising that a black-shrouded
Barber follows mischievously behind him, waiting to blow the take.
Moving on to
the execution of the film, it soon becomes clear how much it departs from
previous entries and learning from past mistakes. There’s a knowing shift in style
catering toward the younger audience that Abbott and Costello brought with them
- the opening credits depict cartoon versions of the monsters pursuing frightened
skeletons of our heroes. The morphing of Dracula between bat and vampire is
rendered as confident and deliberate animation instead of looking like the lazy
spot effect fill-in of before. The pace is bright and the gags played fast and
loose with plenty of great one-liners. Tonally, there’s a pleasing balance
between the boys’ familiar shtick and performances by the horror stars gauged
for a surprisingly serious edge to bounce the gags off.
Having
Chaney’s lugubrious lycanthrope on board immediately grounds the plot. Never
an actor hired to radiate unconfined joy, he opens the film already with a grim
agenda. From London, Lawrence Talbot calls a railway office in Florida to
impress on them that on no account must two huge crates be delivered to their
destination, a wax museum called The McDougal House of Horrors. He knows they
contain the bodies of Lugosi’s Dracula and Strange’s Frankenstein Monster.
Unfortunately the call is taken by the world’s most incompetent baggage-handler
double-act of Chick Young and Wilbur Grey (Abbott and Costello) who have enough
trouble negotiating their daily work, what with Chick’s characteristic severe
bullying and Wilbur alternating between the wheezing, cowardly man-boy and harmless
insolence toward authority figures like Frank Ferguson’s weaselly McDougal. Inevitably
time is against Talbot and before he can make Wilbur understand the urgency, that
pesky full moon turns him into an excellent Werewolf incarnation.
Lou’s
lovable persona is so ingrained by now that it doesn’t seem totally
inconceivable that he becomes quite the unwitting ladies’ man. On the one hand,
there is the darkly sexy Dr Sandra Mornay (Lenore Aubert, who would also apply
her Slovenian charm to the team’s next outing with Boris Karloff). She secretly
covets his low-wattage brain for her transplant work with Lugosi upon Strange. Later,
he will be easily be suckered by another self-serving professional, Joan
Raymond (Jane Randolph) an undercover insurance investigator. Val Lewton fans
will recognise Randolph from tangling with aggressive female felines twice in
the Cat People films.
McDougal
insists on the bungling Wilbur and Chick personally delivering the precious
cargo to his museum’s basement, which sets up the fraidy-cat Wilbur
exasperating Chick in one of the duo’s most famous recycled routines – ‘the Moving
Candle’ – from 1941’s Hold that Ghost. Here,
instead of a phantom-powered candle-stick, what moves it is Lugosi’s silent
uprising from the wooden crate as Wilbur quakingly reads from the Dracula
legendry. “Oh Chii-iiick!” splutters Wilbur, constantly calling back his
partner in a variation on the ‘He’s behind you’ ghost sketch familiar as well
to British pantomime audiences.
Lugosi’s
appearance this early on, along with his reactivation of Strange’s Monster when
alone, marks another improvement over the House
Of sequels. Part of their failure was in not integrating their Horror Hall
of Famers properly into the story; both movies side-lined Dracula (House of Frankenstein even killing him
off at the end of the first act, leaving what was left as effectively a
separate film) and kept the Monster strapped to a gurney for solely a literal,
last-minute rampaging climax before the end. Here, all three icons are seen in
the first twenty minutes in a more satisfying bid to involve each as actively
as possible.
Masquerading
as Dr Lejos, Lugosi’s Dracula is positioned with much more to do as the instigator
of a Costello-minded Monster with “No fiendish intellect to oppose his master”.
His return to subtler playing is assisted by the support of better material, careful
direction and the backing of a somewhat more credible budget than he’d had to
endure in Poverty Row flicks – around $800,000, still low enough for the $3.2m box–office
result to make it the second-highest hit for the studio that year.
Though the white
foundation make-up and dark lips given to him are a touch too strong, reminiscent
of Twenties silent movie actors, Lugosi imbues the Prince of Darkness with
imperious power amidst the laughs. What campery there is surrounding him is
more down to circumstance than his performance – (the sight of him in full
Dracula evening-dress working laboratory equipment is an incongruity that no
actor could really sell). He also gets to have fun by applying sly nuances to lines,
such as when coveting Wilbur: “What we need today are young blood – and brains”.
Sandra too
practically salivates over his potential: “So full-blooded, so round, so firm…”
Lou
especially benefits from the contrast between his explosive antics and the
lower-key acting of his co-stars. Chaney’s desperate gravity is a perfect foil
for his irreverence, as in the oft-quoted exchange where Talbot tries in vain to
tell him of the immense danger he poses when transformed:
“In a
half-an-hour the moon will rise and I'll turn into a wolf!
“You and 20
million other guys!”
The
climactic revitalisation of the marauding Monster is probably the film’s most
stunning change of mood when Strange picks up Sandra and hurls her body brutally
through the laboratory window. Rarely has a comedy film switched gears to
horror beats so powerfully. As in the far superior Young Frankenstein (1974), when horror or quiet poignancy are
reached for and succeed, those serious elements are amplified all the more than
if embedded in a straight genre picture.
That’s not
to say Abbott and Costello Meet Frankenstein
ever forgets that it’s ultimately a knowing crowd-pleaser. A lovely verbal
in-joke is saved for the end, introducing a fourth Universal chiller into the
mix: the distinctive, disembodied tones of Vincent Price briefly reprising his
voice as anti-hero Geoffrey Radcliffe from The
Invisible Man Returns (1940). Though he was not seen (or unseen) in 1951’s Bud Abbott and Lou Costello Meet the
Invisible Man, fans of all ages can enjoy his brief cameo closing a first
chapter in the new adventures of a comedy team about to face even more very
familiar foes…
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