Universal Classic Monsters | |
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Production company | |
Distributed by | Universal Pictures |
Country | United States |
Universal Classic Monsters (also known as Universal Monsters and Universal Studios Monsters) is a media franchise based on a series of horror films primarily produced by Universal Pictures from the 1930s to the 1950s.
While the early films such as Dracula (1931) were created as stand-alone films based on known novels, their success led to Frankenstein . The film was made with plans to have its characters potentially reappearing in sequels. Universal would create more horror film characters such as The Wolf Man in the next two decades. The studio made their first transmedia property in the 1940s and 1950s with the films Frankenstein Meets the Wolf Man (1943), House of Frankenstein (1944) and Abbott and Costello Meet Frankenstein , which united several characters together.
Following screenings of the films on television in the 1950s, several household products and toys were made based on the likeness of the Universal characters likeness, starting in the 1960s. Louis Feola was tasked in the early 1990s by Universal to make the series of Universal films "look like a line". [1] Between 1991 and 1995, Universal released home video VHS editions of many of its horror films. This was the first time the characters were packed together as the "Classic Monster" line, with the addition of a newly designed logo. The home video release was followed by the release of Stephen Sommers' The Mummy (1999) and other films featuring various monster characters, such as Van Helsing (2004).
Steve Jones of USA Today described Universal's most famous monsters as "pop culture icons", specifically Dracula, Frankenstein, the Mummy, and the Wolf Man. [2]
Universal's early horror films began with known adapting work from familiar authors and texts to give their films a prestige appeal. These included Dracula (1931), whose success led to the production of other works such as Frankenstein . [3] [4] Frankenstein's ending was changed by studio head Carl Laemmle Jr., who wanted Universal to be able deploy key characters from Frankenstein into subsequent films. [4] Following the release of other Universal films like The Mummy and Bride of Frankenstein (1935), few horror films were released in the next few following years. [5] [6] [7] [8] Universal only returned to horror film production following a successful re-release of Dracula and Frankenstein which led to the release of Son of Frankenstein (1939). [5] [6] [7] [7] [8]
Universal would only introduce a few new monsters in the 1940s, with the most famous being Lon Chaney Jr. as The Wolf Man. [9] The decade had Universal's horror output include many remakes and sequels to films often directly reused or recombined old sets, scenes and even footage and narratives to replicate certain moments in older horror films. [10] Universal Studios's first transmedia property was from the 1940s and 1950s with the films Frankenstein Meets the Wolf Man (1943), House of Frankenstein (1944) and Abbott and Costello Meet Frankenstein . [11] In these films, the monsters from the studio's earlier films "team up" against various characters. Author Megan De Bruin-Molé suggested that the Universal Classic Monsters film exists as a loose mash-up, which allowed for Dracula to exist and be watched separately from Frankenstein but allowed their characters to be systemically and consistently brought together and developed in other films and media. [12]
The Universal productions made were often crossovers and sequels, such as Frankenstein Meets the Wolf Man (1943), House of Frankenstein and several occurrences in comedy films of Abbott and Costello meeting the monster starting with Abbott and Costello Meet Frankenstein (1945) and ending with Abbott and Costello Meet the Mummy (1955). [12] [13] De Bruin-Molé wrote that Universal's approach to combining the films was made for commercial marketing terms, as having all the monsters would establish the company as the "real" home of horror and that their films contain a world where potentially all monsters may dwell. [14] The sole new monster movies Universal produced in the 1950s were the Creature from the Black Lagoon (1954) and The Mummy (1959) which was co-produced with the British Hammer Film Productions. [15]
Towards the 1960s the Universal monsters grew beyond film and became more consistent transmedial. Initially, this was in 1957 when Universal struck a ten-year television deal with Screen Gems to distribute 52 of their own titles. [15] These television screenings and the films being included on Mel Jass' Mel's Matinee Movie (1958-1979) would also prove to be popular, with the director Stephen Sommers, director of The Mummy (1999) stating that his introduction to the series was owed as much to screening's on Jass's program as it was the film's directors. [16] Universal became part of Music Corporation of America (MCA) in 1962. By 1964, Universal Studios tours would eventually include appearances from Frankenstein's monster. [17] Several products based on the characters from Universal's film series were released, ranging rom plastic model kits, Halloween masks, figures, plush dolls, toys, drinking lasses, coloring books and postage stamps. While some of these objects bare similarity to the actors who portray them, others are more generic interpretations. [18] Other mediums featured the Universal monsters in tandem such as Bobby "Boris" Pickett's 1962 popular song "Monster Mash" and the television series The Munsters (1964) was based on the Universal characters and likeness. [17]
In 1990, Universal was part of a merger between Matsushita, now known as Panasonic, and several other corporations. Between 1991 and 1995 Universal released home video VHS editions of many of its horror films, and was the first time these films were packed together as "Classic Monster" line with a newly designed logo. [17] Before this, these films featuring multiple monsters were called "Super-Shocker[s]" or later "monster rallies" [19] Louis Feola was the head of Worldwide Home Video for Universal Studios and said in 1999 that "a couple of years ago" he decided to "reinvigorate and re-market" Universal's Classic Monsters catalog which included the series Dracula , Frankenstein , The Invisible Man , The Phantom of the Opera, The Wolf Man , and The Mummy . [20] In 1992, in an interview with Billboard , Feola stated that to market and sell home video, the most important thing was the packaging of their sales which was "probably our single biggest priority and has been for a number of years", and that it was key to make the series of films "look like a line". [1]
The 1990s also saw a trend in the merchandising of Universal Monsters material as part of a trend for the decade of recycling and reinventing old material from the past. [17] This led to the release of Sommer's The Mummy (1999) and a "monster rally"-styled film with Van Helsing (2004). [21] Merchandizing of the characters in formats such as clothing and board games has continued into the 21st century. [22] [23] The franchise will be featured in the Dark Universe portion of Universal's upcoming Orlando theme park, Epic Universe. [24]
The columns show the subsequent home video releases.
Dark Horse Comics released comic adaptions of several of the films, featuring four one-shots and one collected edition, in 1993 and in 2006, respectively. [116] [117]
Title | Creatives | Publication Date | |||
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Writer | Artist(s) | Editor | Designer | ||
Universal Monsters: Frankenstein [118] | Den Beauvais | Den Beauvais | Dan Thorsland | Scott Tice | May 1, 1993 |
Universal Monsters: Creature from the Black Lagoon [119] | Steve Moncuse | Arthur Adams (Penciller, Cover); Terry Austin (Inker); Lois Buhalis (Letterer); Matt Hollingsworth (Colorist); Terry Austin (Cover) | Dan Thorsland | Scott Tice | August 1, 1993 |
Universal Monsters: Dracula [120] | Dan Vado | Jonathon D. Smith (Artist, Cover); Clem Robins (Letterer) | Dan Thorsland | Scott Tice | October 1, 1993 |
Universal Monsters: The Mummy [121] | Dan Jolley | Tony Harris (Artist, Cover); Lois Buhalis (Letterer); Matt Hollingsworth (Colorist) | Dan Thorsland | Scott Tice | November 1, 1993 |
Universal Monsters: Cavalcade of Horror [122] | Collected edition of the above; Eric Powell (Cover) | January 11, 2006 |
Skybound Entertainment, an Image Comics company, is recently publishing a new series of Universal Monsters comic books.
Title | Issue(s) | Creative team | Release schedule | |||
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Writer(s) | Artist(s) | Colorist(s) | Premiere date | Finale date | ||
Universal Monsters: Dracula [123] [124] | 1–4 | James Tynion IV | Martin Simmonds | October 25, 2023 | January 24, 2024 | |
Universal Monsters: Creature from the Black Lagoon Lives! [125] | Dan Watters Ram V | Matthew Roberts | Dave Stewart | April 24, 2024 | Present | |
Universal Monsters: Frankenstein [126] | Michael Walsh | Toni Marie Griiffin | August 28, 2024 | TBA |
Abbott and Costello Meet Frankenstein is a 1948 American horror comedy film directed by Charles Barton. The film features Count Dracula who has become partners with Dr Sandra Mornay, in order to find a brain to reactivate Frankenstein's monster ; the ideal brain they find belonging to Wilbur Grey.
Frankenstein is a 1931 American pre-Code science fiction horror film directed by James Whale, produced by Carl Laemmle Jr., and adapted from a 1927 play by Peggy Webling, which in turn was based on Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus. The Webling play was adapted by John L. Balderston and the screenplay written by Francis Edward Faragoh and Garrett Fort, with uncredited contributions from Robert Florey and John Russell.
The Wolf Man is a 1941 American gothic horror film written by Curt Siodmak and produced and directed by George Waggner. The film stars Lon Chaney Jr. in the title role. Claude Rains, Warren William, Ralph Bellamy, Patric Knowles, Bela Lugosi, Evelyn Ankers, and Maria Ouspenskaya star in supporting roles. The title character has had a great deal of influence on Hollywood's depictions of the legend of the werewolf. The film is the second Universal Pictures werewolf film, preceded six years earlier by the less commercially successful Werewolf of London (1935). This film is part of the Universal Monsters movies and is of great cinematic acclaim for its production.
Dracula is a 1931 American pre-Code supernatural horror film directed and co-produced by Tod Browning from a screenplay written by Garrett Fort and starring Bela Lugosi in the title role. It is based on the 1924 stage play Dracula by Hamilton Deane and John L. Balderston, which in turn is adapted from the 1897 novel Dracula by Bram Stoker. Lugosi portrays Count Dracula, a vampire who emigrates from Transylvania to England and preys upon the blood of living victims, including a young man's fiancée.
The Invisible Man is a 1933 American science fiction horror film directed by James Whale based on H. G. Wells's 1897 novel, The Invisible Man, produced by Universal Pictures, and starring Gloria Stuart, Claude Rains and William Harrigan. The film involves a Dr. Jack Griffin (Rains) who is covered in bandages and has his eyes obscured by dark glasses, the result of a secret experiment that makes him invisible, taking lodging in the village of Iping. Never leaving his quarters, the stranger demands that the staff leave him completely alone until his landlady and the villagers discover he is invisible. Griffin goes to the house of his colleague, Dr. Kemp and tells him of his plans to create a reign of terror. His fiancée Flora Cranley, the daughter of his employer Dr. Cranley, soon learn that Griffin's discovery has driven him insane, leading him to prove his superiority over other people by performing harmless pranks at first and eventually turning to murder.
Son of Frankenstein is a 1939 American horror film directed by Rowland V. Lee and starring Basil Rathbone, Boris Karloff and Bela Lugosi. The film is the third in Universal Pictures' Frankenstein series and is the follow-up to the 1935 film Bride of Frankenstein. Son of Frankenstein stars Rathbone as Baron Wolf von Frankenstein who, with his wife Elsa and son Peter, returns to his late father's estate. Near the castle lives Ygor, a crazed blacksmith whose neck was broken in an unsuccessful hanging attempt. Among the castle's remains, Frankenstein discovers the remains of the Monster and decides to try to save his family name by resurrecting the creature to prove his father was correct. He finds, however, the Monster only responds to Ygor's commands.
Frankenstein Meets the Wolf Man is a 1943 American horror film directed by Roy William Neill and starring Lon Chaney Jr. as Larry Talbot and Bela Lugosi as Frankenstein's monster. The script, written by Curt Siodmak, follows The Ghost of Frankenstein and The Wolf Man, though with a number of retcons. Most significantly, Talbot only transforms into werewolf form during a full moon, which became a standard part of werewolf lore. The film involves Larry Talbot, who is brought back to life when his tomb is disturbed. His search for a way to end his seeming immortality leads to his befriending Frankenstein's monster.
Son of Dracula is a 1943 American horror film directed by Robert Siodmak with a screenplay based on an original story by his brother Curt Siodmak. The film stars Lon Chaney Jr., Louise Allbritton, Robert Paige, Evelyn Ankers, and Frank Craven. The film is set in the United States, where Count Alucard has just taken up residence. Katherine Caldwell (Allbritton), a student of the occult, becomes fascinated by Alucard and eventually marries him. Katherine begins to look and act strangely, leading her former romantic partner Frank Stanley (Paige) to suspect that something has happened to her. He gets help from Dr. Brewster (Craven) and psychologist Laszlo who come to the conclusion that Alucard is a vampire.
House of Frankenstein is a 1944 American horror film starring Boris Karloff, Lon Chaney Jr. and John Carradine. It was directed by Erle C. Kenton and produced by Universal Pictures. Based on Curt Siodmak's story "The Devil's Brood", the film is about Dr. Gustav Niemann, who escapes from prison and promises to create a new body for his assistant Daniel. Over the course of the film, they encounter Count Dracula, the Wolf Man and Frankenstein's monster. The film is a sequel to Frankenstein Meets the Wolf Man (1943).
House of Dracula is a 1945 American horror film released and distributed by Universal Pictures. Directed by Erle C. Kenton, the film features several Universal Horror properties meeting as they had done in the 1944 film House of Frankenstein. The film is set at the castle home of Dr. Franz Edelmann, who is visited first by Count Dracula and later by Larry Talbot, the Wolf Man, who are trying to cure their vampirism and lycanthropy, respectively. Talbot is eventually cured, which leads him to discover the body of Frankenstein's monster in a cave below the base of the castle. Edelemann takes the monster's body back to his laboratory but finds Count Dracula has awakened and by attacking his assistants, he captures Edelmann and forces a reverse blood transfusion, which gives Edelmann a split personality and makes him a killer.
The Mummy's Hand is a 1940 American horror film directed by Christy Cabanne and produced by Ben Pivar for Universal Studios. Shot in black-and-white, the film is about the ancient Egyptian mummy of Kharis, who is kept alive with a brew of tana leaves by The High Priest and his successor Andoheb. Meanwhile, archeologists Steve Banning and Babe Jenson persuade magician Solvani to finance an expedition in search of the tomb of Princess Ananka. They are joined by Solvani's daughter Marta, and followed by Andoheb who is also the professor of Egyptology at the Cairo Museum. Kharis is ordered to kill off expedition members Dr. Petrie and Ali, while Andoheb becomes attracted to Marta who he plans to kidnap and make immortal.
The Mummy's Tomb is a 1942 American horror film directed by Harold Young and starring Lon Chaney Jr. as Kharis the mummy. Taking place 30 years after the events of The Mummy's Hand, where Andoheb has survived and plans revenge on Stephen Banning and his entire family in Mapleton, Massachusetts. With the help of the high priest Mehemet Bey, Andoheb and the mummy Kharis Bey takes up a job as a caretaker of a graveyard. At the first full moon, the mummy is fed tanna leaves which allow him to break into the Banning residence and kill the now elderly Stephen. Banning's son then seeks assistance from Babe Hanson, one of the members of the original Banning expedition to Egypt to stop Andoheb and Kharis.
Monster Mash is a 2000 Italian-American direct-to-video animated musical comedy horror film co-produced by DIC Entertainment, L.P. and Rai Fiction. It is an original story, based on the lore of Frankenstein, the Wolfman, and Count Dracula.
The Brute Man is a 1946 American horror thriller film starring Rondo Hatton as the Creeper, a murderer seeking revenge against the people he holds responsible for the disfigurement of his face. Directed by Jean Yarbrough, the film features Tom Neal and Jan Wiley as a married pair of friends the Creeper blames for his deformities. Jane Adams also stars as a blind pianist for whom the Creeper tries to raise money for an operation to restore her vision.
Coming Soon is a 1982 American direct-to-video documentary film directed by John Landis for Universal Pictures. Landis used trailers of old Universal horror and thriller films to create his own contribution to his favorite film genres. The film is narrated by Jamie Lee Curtis.
Shock Theater is a package of 52 pre-1948 classic horror films from Universal Studios released for television syndication in October 1957 by Screen Gems, the television subsidiary of Columbia Pictures. The Shock Theater package included Dracula, Frankenstein, The Mummy, The Invisible Man and The Wolf Man as well as a few non-horror spy and mystery films. A second package, Son of Shock, was released for television by Screen Gems in 1958, with 20 horror films from both Universal and Columbia.
Frankenstein is a film series of horror films from Universal Pictures based on the play version by Peggy Webling and the 1818 novel Frankenstein; or, The Modern Prometheus by Mary Shelley. The series follow the story of a monster created by Henry Frankenstein who is made from body parts of corpses and brought back to life. The rest of the series generally follows the monster continuously being revived and eventually focuses on a series of cross overs with other Universal horror film characters such as The Wolf Man. The series consists of the following films: Frankenstein (1931), Bride of Frankenstein (1935), Son of Frankenstein (1939), The Ghost of Frankenstein (1942), Frankenstein Meets the Wolf Man (1943), House of Frankenstein (1944), House of Dracula (1945) and Abbott and Costello Meet Frankenstein (1948).
Dracula is a film series of horror films from Universal Pictures based on the 1897 novel Dracula by Bram Stoker and its 1927 play adaptation. The series is a loose collection of films, with historians stating that the films all reference characters, events or at least passing knowledge of the 1931 English-language production of Dracula, with historians noting that Dracula's Daughter and Son of Dracula are more closely related to the 1931 film while the character of Dracula would make smaller appearances in later films such as House of Frankenstein and House of Dracula. After Dracula's Daughter, the character of Dracula and other vampires in the series became more Americanized, starting with the release of Son of Dracula, and the later House of films. The character of Dracula appears in all the films outside of Dracula's Daughter, where he is portrayed by Bela Lugosi, Lon Chaney Jr., and John Carradine in the House of films.
The Invisible Man is a film series by Universal Pictures. The series consists of The Invisible Man, The Invisible Man Returns, The Invisible Woman, Invisible Agent, The Invisible Man's Revenge and Abbott and Costello Meet the Invisible Man. The film series borrows elements from H. G. Wells's novel The Invisible Man, but it focuses primarily on the idea of a serum that causes someone to go invisible and its side-effects.
The history of horror films was described by author Siegbert Solomon Prawer as difficult to read as a linear historical path, with the genre changing throughout the decades, based on the state of cinema, audience tastes and contemporary world events.