According to Bela Lugosi‘s official bio, before coming to America he had been a star on the Hungarian stage, appearing in major Shakespeare productions. However, several biographers have disputed Lugosi’s “star” ranking during that period. It seems most of his roles had actually been small ones. Regardless, Lugosi enlisted in the Hungarian army during the First World War, was wounded several times, and later had to flee Hungary during a tumultuous political climate which was unfriendly to his leftist leanings. After a stay in Germany, Lugosi arrived penniless in the States. Eventually, he made his way to the New York stage and began appearing in plays and silent films. In 1927, Lugosi was cast in the role of Dracula in Hamilton Dean’s famous stage play. With that, Lugosi became a major star of the stage, and stardom brought him numerous female fans, including Clara Bow, with whom he had a brief affair.
In 1929, director Tod Browning, shopping around for the lead of the film version of Dracula, cast Lugosi as a vampire-like inspector in The Thirteenth Chair (1929). Although Lugosi was not a great actor in the conventional sense, he did have an undeniably magnetic screen presence and brought an air of European mystery to the most rudimentary melodramas. Browning capitalized on this as few directors could and it worked, leading to Lugosi landing the career-making role of Bram Stoker’s Count in Browning’s 1931 film, Dracula. The 49 year old Lugosi was perfect for the part. His idiosyncratic mannerisms, unique mangling of the English language (which, despite rumor, he did not deliver phonetically), and otherworldly persona made for a compelling figure, a point made all the more obvious when compared to Carlos Villarias’ laughable performance in the Spanish language version of Dracula (shot at the same time on the same sets as Browning’s classic). Years later, Lugosi bitterly complained about the typecasting which resulted from the film, but realistically, Dracula was the best thing that happened to the actor. With his limited acting skills and heavy accent, Lugosi never could have been successful in the romantic matinee roles he desired.
Continue reading “A BELA LUGOSI RETROSPECTIVE”
Luis Bunuel‘s self-imposed exile in Mexico from 1946-1964 yielded a fruitful harvest, and his films from this period are, arguably, his most organic and economically composed. The director listed Nazarin, based off the Benito Perez Galdos novel, as a film he felt much affection for, and that affection extended to the character Father Nazario (Francisco Rabal). Buñuel’s paternal attachment to this child/film was sincere enough that when the film failed to win the Prix de l’Office Catholique (Catholic Film Prize), he could express a sense of relief.
The saturnine Fr. Nazario lives in a phantasmagoric haze, imagining that he is following the commandment of Christ to “take up one’s cross,” but only disaster lies in the stations Nazrio visits. Nazario does not build his house on rock, but on mud. He keeps company with a menagerie of freaks: beggars, thieves, whores, and a dwarf. Nazario refrains from bolting his door, despite the fact that his mob plunders his abode daily. He is relieved of all possessions, save his Sunday best and crucifix. Thank God for that. He befriends the suicidal Beatriz (Marga Lopez), whose self destructiveness is birthed from her incessant need for the abusive man who regularly deserts her.
Continue reading “BUNUEL’S NAZARIN (1959)”
The mummy, as a character, quickly became bland. In 1932, director Karl Freund, writer John L. Balderstein, and stars Boris Karloff and Zita Johnann made a poetic film for the Universal Horror cannon, re-working the story of Dracula in Egyptian guise. The Mummy’s Hand (1940) starring cowboy actor (and later Captain Marvel) Tom Tyron, was the first and only real decent of the Universal mummy sequels. Increasingly feeble films followed Hand, all starring a rotund mummy in the form of a disinterested Lon Chaney, Jr. Dating back to the original, the plot rarely varied throughout the series. An Egyptian princess reincarnates in the form of a twentieth century woman, only to have her ancient lover come back, a tad lethargic, gauze and all, to reclaim her.
Oddly, Francis Ford Coppola lazily utilized the mummy’s reincarnated dead lover plot for his version of Dracula (1992), which, otherwise, was a (mostly) well done, imaginative version of that story. In 1999 the mummy was revived again in a dumbed down, lame, testosterone-laden joke of a movie starring Brendan Frazier. That film also spawned numerous sequels. True to form,the succeeding mummy entries were even worse, which, in this case, isn’t saying anything. Continue reading “TERENCE FISHER’S THE MUMMY (1959)”