Greetings folks! Ladies and gentlemen. Boys and girls. As we begin this new year it is my great pleasure to announce the start of a brand new “In Review” series. Creature Features…beloved by many, loathed by some, irrefutable masterpieces that tell a tale of where the world is during each era of release. From the nuclear wastelands of Hiroshima in Godzilla and the radiated test sights in Them! to the hideous shadows in swamps and space fiends coming to terrorize quiet small town America in Critters and Swamp Thing to the worlds of mad science and mythology to humanoids and mutations, Creature Feature films have been at every turn in pop culture. Spanning decades, here at Machine Mean, thanks to our mob of talented and twisted guest writers, will bring to you beginning this Thursday and running until December, on every Thursday a Creature Feature in Review. Set your clocks and mark your calendars.
The fun begins this Thursday on Jan 5, 2017.
Follow the series on Twitter at #MonsterThursday
For the past nine months, my weekends have had the added benefit of screening a new Universal Monster movie on Saturday or sometimes Sunday nights, from Frankenstein to The Wolf Man and all the lesser known sequels and House specials. The majority of which I had not previously seen. They were new and largely unknown to me. And of those unknowns, yes a few were just god-awful, but for the most part, the majority were intriguing, a few breathtakingly mesmerizing, and fewer still, though odd and unusual, they held a certain charm about them. When watching movies with 86 years of separation between then and now, you’re bound to find conflicts with storytelling and filmmaking that go against how you understand them. Things were done differently then. People held different beliefs and ideology than today. Different cultures and even customs. Some of those things are pleasant reminders of a simpler time, the way dialogue was crafted with care and chivalry, poetic in its own right. And there were also aspects that were uncomfortable to watch, such as sexism and discrimination towards women and those of African or even Asian descent. Remembering the historical context of the films can help relieve some of the conflicts we feel with those nostalgic glitches.
When Dracula released in February of 1931, the world was in a state of flux. The economic depression (known as The Great Depression) was setting root in not just America, but all over the world. In Germany, the first pangs of the rise of Nazism was felt. Though defeated by a majority win, in just two years time the elected German president, Hindenburg, will elect Adolf Hitler as chancellor . Eugenics was a pop science in which the sterilization of unfit parents and the “euthanasia” of “the defective” and “useless eaters” is making the rounds, not just in Nazi Germany, but also on the shores of the United States. In 1935, the Nuremberg Laws are passed (the first major steps in annihilation and extermination of European Jewry, ie, The Final Solution). In 1936, the Spanish Civil War begins. In 1937, the Rape of Nanjing, which is basically the systematic rape, torture, and murder of more than 300,000 Chinese civilians by Japanese soldiers as they invade China. 1939, Germany invades Poland, and by December 7th, 1941, the Day that will Live in Infamy, the once “civilized” world is thrown back into global conflict. These were uncertain times, to say the least. And we have to keep in mind that this was the backdrop during the production of the majority of the Universal Monster movies. Intentional or not, history shapes and continues to do so.
Every decade, every generation has had a take on the original Universal monsters. Thru the 1950s, into the 60s, 70s, 1980s, 90s, 2000s, and even today, those pillar stories are still being told. And that is a part of what we’ll discuss here today. Those movies we call remakes, the hits of those and the blunders, as well as what waits in store for those of, let’s say, my daughter’s generation. What will the monsters look like tomorrow? This is roughly about 60 years of film history, so we will not tackle each and every monster movie, but rather a survey of each decade. Savvy? Let us begin.
When the last of the Universal monsters, The Creature Walks Among Us (1956), aired, a new generation of monsters was born. The 1950s was a strange era, filled with mutated creatures and aliens from other worlds. Big hits during this decade included Invasion of the Body Snatchers, The Thing from Another World, Godzilla, Forbidden Planet, and Them! (just to name a few). The classic Universal monsters faded into obscurity in America, becoming cult-B movies for those brave enough to venture into the movie theaters with duel Herman Cohen produced flicks, I Was a Teenage Werewolf and I Was a Teenage Frankenstein and the return of Boris Karloff in Frankenstein 1970, a mashup of classic Universal and atomic age science. While the monsters went B in America, they seem to thrive across the pond in the UK as major productions. Universal monsters were reborn in Hammer Production films and a great majority of these are still some of the best monster movies on the market, even by today’s standards. Movies, such as The Curse of Frankenstein, Horror of Dracula, and The Mummy captivated a new generation of monster lovers. The Mummy (1959) starring both Christopher Lee and Peter Cushing, I found was especially good and horrific compared to the original Universal films which were not beloved by many.
Trends from the 1950s continue on into the 1960s. The majority of monsters are the creations of mad science or invaders from other worlds. Godzilla and Mothra being some of the most popular monsters during this era, and other very unique monster created by a couple of rogue filmmakers in Pittsburg, Night of the Living Dead (1968). But that doesn’t mean the classics Universal monsters had died away, there some… Hammer Productions continued with The Evil of Frankenstein, Frankenstein Created Woman, Frankenstein Must Be Destroyed, The Brides of Dracula, Dracula: Prince of Darkness, Dracula Has Risen from the Grave, The Curse of the Mummy’s Tomb, and The Mummy’s Shroud, and NOT FORGETTING the best of the best, The Curse of the Werewolf (1961). In the United States, two classic Universal monsters were melded with the new age craze with the release of Atomic Age Vampire (1960) and Frankenstein Meets the Space Monster (1965) and super low-budget flick Frankenstein Conquers the World (1965). Leaving only one major production, a made for children stop-motion animated musical comedy titled Mad Monster Party? (1967) starring Boris Karloff in his last appearance in any of the classic Universal Monster movies as the voice of Victor Frankenstein.
Hammer Productions continued to flourish with classic monster films such as The Horror of Frankenstein, Frankenstein, and the Monster from Hell, Taste the Blood of Dracula, Scars of Dracula, Dracula A.D. 1972, The Satanic Rites of Dracula, The Legend of the 7 Golden Vampires, and Blood from the Mummy’s Tomb. During this decade we’re introduced to a few well known B-Italian (and German and French included) classic monster movies with Dracula Vs. Frankenstein (starring Lon Chaney in his last reprisal in a “Universal” monster film), The Werewolf Versus The Vampire Women, Frankenstein’s Castle of Freaks, and the very strange Flesh for Frankenstein (aka Andy Warhol’s Frankenstein). Now, for classic Universal monsters in the United States, the 1970s gave birth to a very interesting phase called Blaxploitation. In 1972, on the eve of Blaxploitation, we’re blessed with the likes of Blacula, the tale of an African prince (William Marshall) is turned into a vampire by Count Dracula (Charles McCauley). Sealed in a coffin for several lifetimes, “Blacula” reawakens in 1970’s Los Angeles. Leaving a trail of bloodless victims in his wake. And Blacula returns in 1973 with Scream Blacula Scream. Some other noteworthy Blaxploitation-classic-Universal-monster films include 1974’s Blackenstein and Ganja & Hess.
BUT THAT’S NOT ALL!!!
In 1974, Mel Brooks produced and directed one of the greats spoofs set within the classic Universal monsters lexicon…Young Frankenstein, starring the late great Gene Wilder, Peter Boyle, Teri Gar, and Marty Feldman (to name a few). Though I am a rabid fan of both Hammer and Blaxploitation films, my love for this era falls directly on Young Frankenstein. The film was absolutely respectful of the roots of Frankenstein and even used what remained of the original set. Not to mention was wonderfully written, directed, and acted. Less not forgetting a few other honorable mentions, Werewolves on Wheels, The Boy who Cried Werewolf, Werewolf Woman, and Legend of the Werewolf are all wonderfully gritty and fun to watch.
It’s really hard to hate the 1980s, especially regarding the volumes of horror movies produced during this VHS era. So many monster films and the birth of a new sub-genre, The Slasher, and the reclassification of Universal tropes, whereas the Gillman from the Creature from the Black Lagoon, became Swamp Thing and Toxic Avenger. One of the more obvious “Universal” carry-overs would be Jerry Warren’s Frankenstein Island, starring John Carradine, one of the last surviving members from the original Universal Monster films. But what made this era really great were three films that took the concepts developed by the traditional Universal tropes and created something new from the old.The Howling, An American Werewolf in London and Silver Bullet took what The Wolf Man did in 1941 and set it in a more reality-toned story if you can believe that. The rules of werewolfism became more complex and reminded audiences how fun these kinds of movies can be if done properly. Now…I’d be a horrible film historian/fan if I failed to mention the one single most recognizable “Universal” heavy monster movie from the 1980s. That’s right folks, I’m talking The Monster Squad (1987). This movie took every 80s cliche and every classic Universal Monster cliche, boiled it in a stew and served it with nard pudding. You either love it or you hate, and if you hate you’re probably too terrified to say so, considering how many damn people love this movie!
Looking back on the 90s is like looking through a kaleidoscope. There were so much realism and so much snark the 90s is often really hard to separate diamonds from the squares regarding monster flicks. The 90s gave us more creature features, not necessarily mutated or atomic…just…creatures. And as far as the use of classic “Universal” monster tropes, we have two different extremes. On one end, we get Frankenhooker (1990), a raunchy B-movie where a New Jersey mad doctor (James Lorinz) rebuilds his girlfriend (Patty Mullen) with body parts from exploded hookers. And not forgetting (though I wish I could) Mel Brooks directed Dracula: Dead and Loving It. But on the other extreme, we get these melodrama films such as Mary Shelley’s Frankenstein and Bram Stoker’s Dracula (1992), both of which did their best to follow the source material that inspired the original Universal Monsters. In the middle of all this dueling complexity, we have at least one movie that keeps to both melodramatic and B-ish action, one of my person favorites from this decade, NO, not Monster Mash, I’m talking 1998’s comic to film flick, Blade starring Wesley Snipes, Kris Kristoffer, and Stephen Dorff.
And I guess I’d be amiss if I did not mention one of the first more modern remakes directly linked to the Universal Monster classics. In 1999, The Mummy released starring (then loved now somewhat shunned) Brendan Fraser, Rachel Weisz, John Hannah, Arnold Vosloo, Oded Fehr, and America’s favorite weirdo Kevin J. O’Connor. The remake followed most of the basic tenets of the original Mummy while kicking up the action. I remember actually being really impressed with the film and truth be told…I had seen this one before screening the original. Unfortunately, it suffers from what most 1990s movies suffer from, the crappy use of CGI. But overall, The Mummy is still a fun romp on a late night.
(Shhhh…if we’re quiet and don’t make any sudden movements, no one will mention 1997’s An American Werewolf in Paris…)
The 2000s were not entirely unkind to Universal Monster tropes. Strange…but not unkind. Universal Studios themselves had put out a what should have been a return or at least a nod to the classic hey-day with Van Helsing (2004)…and while they did capture the feeling of watching a Universal Monster flick, the story itself and odd choices with effects and the horribly outdated CGI dropped the bottom out on this movie. It’s amazing how much of a turd Van Helsing is, and it could have been so much more, a virtual House of Dracula, giving audiences werewolves and vampires and hunchbacks and even Frankenstein’s creature but instead filmmakers ignored the lore and added strange new rules that didn’t make sense, making a complete mess of a movie.
The decade was not without some gems. I thought Dog Soldiers (2002) was both brilliant and horrifying. There was also Ginger Snaps (2000) and Ginger Snaps II which were both smart. And, though not a lot of folks liked this one, I thought it was fun and an awesome throwback to the classic vibe of Universal Monsters, 2004’s Wes Craven directed Cursed starring Christina Ricci, Jesse Eisenberg, and Joshua Jackson. Another fan favorite during this decade was action-thriller Underworld (2003), starring the very leather-clad Kate Beckinsale and the always magnetic Bill Nighy. Underworld has developed into a series franchise, putting audiences into a world of vampires versus werewolves. The sequel Underworld: Rise of the Lycans released back in 2009. All of which all fun and entertaining, though very obviously films in a post-Matrix world with all that leather and gun-play. Another vampire hit, for me at least, was 30 Days of Night (2007) which shed the “it’s fun to be a vampire” motif and actually allowed them to be monsters. And while sequels are not always a favorite subject matter, we cannot discount Blade II (2002), this round being directed by then up and coming monster director Guillermo del Toro… And be honest here, who doesn’t love a movie with Ron Pearlman in it? But let’s stop there. No need mentioning Blade: Trinity…ugh!
And as for the best of the 2000s decade, my hat goes off to Let the Right One In (2008), a Swedish “romantic” horror film directed by Tomas Alfredson, based on the 2004 novel of the same title by John Ajvide Lindqvist about a bullied 12-year-old boy named “Oskar (Kåre Hedebrant) living with his mother in suburban Sweden, meets his new neighbor, the mysterious and moody Eli (Lina Leandersson), they strike up a friendship. Initially reserved they slowly form a close bond, but it soon becomes apparent that she is no ordinary young girl. Eventually, Eli shares her dark, macabre secret with Oskar, revealing her connection to a string of bloody local murders.” Let the Right One In was one of those “unknowns,” coming right out of left field. It was a slow burn, but so atmospheric and moody and dark…it gives me the chills just thinking about the movie.
Here we are…roughly 70 years of film history. And with just six (nearly 7) years into the new decade, it seems as if those classic Universal monster tropes are making an epic comeback. Or at least, that’s the vibe I’m getting. Let’s start things off here with my favorite, the 2010 direct remake of the original 1941 The Wolf Man, with a star-studded cast including Benicio del Toro, Sir Anthony Hopkins, Hugo Weaving, and David Schofield to name a few. Now, I’m not saying the movie didn’t have some flaws. The fight scene between Hopkins and Toro is…well…a little odd, but for the majority of the film, the effects and even added CGI wasn’t too shabby. Considering the original is my preferred archetype regarding werewolf stories, I pretty much fell head over heels for this one. And wait, there’s more! Not only did we get a directly linked werewolf movie, but it looks as if the indie film community was filling in where Hollywood failed to capitalize. Consider this fan-favourite and truly underrated horror flick, Late Phases (2014), about a secluded retirement community plagued by mysterious and deadly attacks until a grizzled blind war veteran moves in, rallies the residents, and discovers a beast is behind the killings. Another unrated flick and extremely well done, Stake Land (2010) gives the classic vampire trope a plague-like treatment.
2013’s Wer was another surprise, giving lycanism a hereditary twist and 2012’s Werewolf: The Beast Among Us wasn’t too shabby for a largely unknown action thriller. And 2013’s Frankenstein’s Army was just bizarre enough to be entertaining. A Girl Walks Home Alone at Night (2014) was a smart and surprise hit among monster fans, where residents of a worn-down Iranian city encounter a skateboarding vampire (Sheila Vand) who preys on men who disrespect women. And I thought Abraham Lincoln: Vampire Hunter (2012) was good for a late night screening.
Now…because I’m a dad (totally using this as an excuse), I have to mention one of my top favorites thus far for this decade before moving on to anything else. Hotel Transylvania (2012) was absolutely brilliant. Fun. Funny. And full of classic monster tropes. The story goes, “When monsters want to get away from it all, they go to Count Dracula’s (Adam Sandler) Hotel Transylvania, a lavish resort where they can be themselves without humans around to bother them. On one special weekend, Dracula invites creatures like the Invisible Man, the Mummy, and others to celebrate the 118th birthday of his daughter, Mavis (Selena Gomez). However, an unforeseen complication unfolds when an ordinary human unwittingly crashes the party and falls in love with Mavis.” Say what you will, but I love this movie!
As for the duds…though I still haven’t screened this one, I’ve heard that the steady-cam take on the Mummy monster trope The Pyramid (2014) was not very good. The concept sounded interesting…maybe I’ll give this one a go before passing final judgment. The same for Dracula: Untold (2014), I just haven’t gotten around to watching it, but I’ve heard that it was decently entertaining. And I still haven’t caught up with We Are The Night (2010) or Byzantium (2012), both of which follow a more feminine-centric story trope. One dud that I did actually watch was comic-book based I, Frankenstein (2014). “Two centuries after Dr. Frankenstein assembles and reanimates his creature, Adam (Aaron Eckhart) is still living. He becomes embroiled in a war between two immortal races: gargoyles, the traditional protectors of mankind, and evil demons. Since Adam is neither human nor demon, gargoyle Queen Leonore (Miranda Otto) and demon Prince Naberius (Bill Nighy) each want him for their own purposes. It is up to Adam to discover his inner humanity and the reason for his continued existence.” The movie could have been so much more but casting pretty-boy Eckhart as the monster…well…it seemed to reek of trying too much to be like Underworld to have any real chance of being its own movie. The concept was fun and the addition to the Frankenstein lore…so, at least it had that going for it.
Also on my to watch list: What We Do in the Shadows (2015), and Freaks of Nature (2015). It just seems, part of my problem is that there are so many classic films to choice from my tastes typically shy away back to the 1970s or 80s. That’s not to say the 2010s have nothing to offer, just look at the list above and you’ll find more than one blockbuster worthy of your time. And the year is not even over yet. A think, largely, everyone has their own tastes for horror, and this is especially true for those of the classic Universal Monster breed. My biggest disappointment is the lackluster treatment of my favorite Universal Monster, The Mummy. While the 1999 remake did a rather bang-up job, that’s been…what, 17 years now? I have to wonder what the aversion is. I’m assuming it’s because the Mummy is not a “fan favorite.” Vampires and werewolves sell movie tickets, is that it? You put a screenwriter who loves the trope, some solid practical effects, and a director who knows what they’re doing, and I guarantee you a great film will be made.
And now…a peek into the FUTURE….
As you’ve no doubt heard, Universal Studios will be reviving from their vaults, the return of the classic Universal Monsters in a new series that will eventually tie together all our beloved baddies. This news has been generating for about two years now and it looks as if they’re finally getting the ball rolling. The first monster up for theatric return will be The Mummy, with a June 2017 release date, and starring none other than Tom “Top Gun” Cruise. It feels fortuitous that my favorite Universal monster will be up first in this new rival. The Wolf Man is said to be next, with a 2018 release date and rumors of Dwayne “The Rock” Johnson taking on the lead role. Scarlett Johansson is rumored to be on Universal’s radar for the led in The Creature from the Black Lagoon. Angelina Jolie for Bride of Frankenstein. Johnny Depp for The Invisible Man. And supposedly, Dracula: Untold‘s end sequence opens the door for what all these remakes will be leading towards. At first, I had my reservations. Some of the descriptions for what the producers wanted sounded un-horror and un-betrothed to what the originals were. But it seems those rumors were just that, rumors. As more information has released, the more excited and cautiously optimistic I’ve become. If you’ve tuned into any of the reviews in this series, you’ve no doubt noted how much of a fan I am of the classic Universal Monster. And by-Geroge, I’m glad they’ve finally decided to bring them back to their full glory.
Thomas S. Flowers is the published author of several character driven stories of dark fiction. He resides in Houston, Texas, with his wife and daughter. He is published with The Sinister Horror Company’s horror anthology The Black Room Manuscripts. His debut novel,Reinheit, is published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein and Lanmò His new paranormal series, The Subdue Books, including both Dwelling and Emerging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston Clear Lake with a BA in History. He blogs here at machinemean[dot]org, where he does author interviews and reviews on a wide range of strange yet oddly related topics.
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Something strange started happening during the dawn of the new millennium. Beginning as early as 2003, once revered horror movie classics were being revamped for a supposed new audience, a audience geared toward a sicking predisposition for hyper violence and “better” special effects. Now that we’re well into a new decade, its interesting looking back and speculating why certain trends even started in the first place. The biggest and most fascinating parallel between those “classics” and their children are the things happening in the world when said films were being made. For me, the two biggest world events impacting film worth mentioning (especially considering our horror subject matter!) are the Vietnam War and the Iraq/Afghanistan War.
The Two Wars:
Doing our best to avoid a politico argument, lets look more at the similarities between the two decades (1965-1975, 2001-?). Besides the obvious similarities in the type of war (strategic and tactics, guerrilla urban warfare, and the precarious balance in winning hearts and minds while simultaneously engaging the enemy), the Vietnam War and Iraq War could also be compared to the amount of combat footage that made its way into the mainstream. In the living rooms of millions of Americans, while folks sat down for their nightly news, they were bombarded with images of seemingly “random” acts of violence. Allow me to clarify. These acts of violence feel random because folks in the U.S. and folks over in the desert or jungle getting blown up are disconnected. The people back home in their living rooms have no way of knowing whats really going on “over there” except from what the media provides. This new norm impacted how we engage movies, especially the shock value in horror movies.
The Good, The Bad, and The Ugly:
The best thing that could ever come from the mess over in Asia-Minor was how it effected horror films and turned them into positive avenues of expressing discontent. Some have dubbed this epoch in the history of horror as Savage Cinema. Films, such as: Deliverance (1972),The Last House on the Left (1972), The Texas Chainsaw Massacre (1974) and later The Hills Have Eyes (1977) disconnected horror away from fantasy. The horrors of the world were no longer shown in the castles of Transylvania or some tomb in Cairo, but in our own backyards, down the road, behind the curtain. The monsters were no longer beasts or creatures of myth, but our own neighbors, our relatives, or that seemingly ordinary fellow walking down the street. Horror, in essence, became set in reality.
Now, flash forward to the post modern take on Savage Cinema during the 2000’s. Comparatively, in every way possible, each and every remake falls short of the original. The effects and filmography were often better, but what they left behind was the message, the meaning behind the chainsaw and the desperate family living among the rocks in the Californian desert. The heart was replaced for even stronger images of violence. In a way, I suppose this could say something of the time period. Did we no longer care for actual storytelling? Were we simply looking for our “new” norm among the flooding destruction brought on during our nightly news broadcasts? Perhaps, but can we really forgive those remakes, such as: The Fog (2005), The Wicker Man (2006), Halloween II (2009), The Texas Chain Saw Massacre (2003) and so many more that needless tore asunder classic storytelling for pointless mayhem? The only real forgivable remake during this epoch was Dawn of the Dead (2004), though not entirely. The forgivable aspect of the new Dawn of the Dead was how producers didn’t trash on the old characters, but instead introduced new ones for a new evolution of the film. And, in a way, maintained the similar, though less obvious, take on consumerism.
A New Decade:
Though we are just entering the 2010’s, there seems to be a change in how movie makers are approaching remakes. The trend of completely redoing the classics have, in a way, transformed into a continuation in the story itself, in a undefined kind of way. Basically, the new remakes are not really remakes anymore; they are and they aren’t. Make sense? Consider the recent revamp of Evil Dead. The story wasn’t so much a new story of the original, but a continuation without having to give a huge boring and needless back story. The simply yet obvious easter eggs were enough to reconcile the old with the new. The way Evil Dead was re-imagined could possibly (and hopefully) be a reacquiring trend in how future remakes will be done. News of the upcoming revamp of Poltergeist seems to confirm this “new” direction as we’re given not a retelling of the same story with flashier gimmicks, but a continuation of the story with a new set of characters facing a similar threat without having to spend an hour explaining the original. The most interesting take on this new Poltergeist (which, by the way, the 1982 classic is a personal favorite of mine) is how producers are approaching home ownership. In the original story it was about the 1980’s boom in home development, and with this new revamp, its about the boom in refurbishing old homes. Keeping it the same; not keeping it the same, simultaneously.
Hopefully this trend will continue, especially when pertaining to old classics. While I personally would rather see new stories being told, if Hollywood insists on remaking the classics, let the story evolve instead of just mindlessly rehashing what has already been said.