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Frankenstein, MD Goes Online

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A new multiplatform webseries very loosely inspired by Frankenstein launched this week with three episodes that get us nicely up to speed.

Produced by Pemberley Digital, the series repurposes Mary Shelley’s characters to serve pedagogic purposes. Here, in a modern setting, young Victoria Frankenstein (Anna Lore) is a science student with an assistant named Iggie (Steve Zaragoza). The initial episodes deal with electrophysiology, blood substitutes and anesthetics.

It’s all very straightforward and neatly done with interesting information served up with light humor by a good cast. Target audience is Young Adults.

New episodes — roughly six minutes apiece — will appear weekly through PBS Digital Studio and the show will also maintain a presence on multiple social media sites.


Frankenstein, MD on YouTube/PBS Digital Studio 
Frankenstein, MD page at Pemberley Digital.


Related:


Frankensteinian : Gourmelin's Golem in color

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I love how these images, unexpected, undreamed of, emerge to surprise and delight us. Images like Ed Payson’s 3D Frankenstein of 1941 sitting in the makeup chair, or a unique, previously unknown still of makeup man Jack Pierce with Elsa Lanchester as the BRIDE

I previously blogged about the French television adaptation of Gustav Meyrink’s LE GOLEM from 1967, one of the ORTF network’s last productions shot in black and white. Here, across a gap of 47 years, the Golem is revealed in color!

The teleplay was co-written by Louis Pauwels (Morning of the Magicians) and director Jean Kerchbron, whose TV credits include a version of King Lear. Actor André Reybaz played both the lead character, Pernath, and the Golem. The Golem mask was created by Jean Gourmelin, faithful to Meyrink’s description yet also true to artist’s typically surrealistic illustrations.

Here is a tantalizing, 60-second montage from the program in which we glimpse the Golem pursued by an angry mob. Perhaps black and white best suits this adaptation, but the photograph at hand shows that the stone-faced Golem in his thick blue coat was very effective in color, too.


More images from the French TV LE GOLEM.

Related:
Gourmelin’s Golem

Mary Shelley Celebrated

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We mark the birthday, this weekend, of Mary Wollstonecraft Shelley, née Mary Godwin on 30 August, 1797. On this occasion, we also note the recent announcement of two new films devoted to Mary Shelley, both starring young, high profile actresses and both under the guidance of women directors.

MARY SHELLEY’S MONSTER will star Sophie Turner of GAME OF THRONES in a film described as “a story of youth that transcends time, a gothic romance, a love triangle that involves a dark passenger…” The attached director, Coky Giedroyc, is familiar with the period and the subject, having directed a TV movie of WUTHERING HEIGHTS (2009), and two excellent episodes of the Frankenstein-related PENNY DREADFUL series for Showtime.

A STORM IN THE STARS casts Elle Fanning, recently of MALEFICENT (2014) as Mary and tells of her forbidden romance with poet Percy Shelley. The film has been entrusted to Saudi-Arabian director Haifaa Al-Mansour.

We’ll keep an eye out and report on developments on these projects over the months to come.


Meet Senator Frankenstein Fishface

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The gentleman with the exploding mustache is Senator Frankenstein Fishface, a radio personality of the early Forties. A self-professed “foolosopher”, The Senator ran for President on the Pussyfooter’s Party ticket and promoted nudism under the auspices of the Open Pore Nudist Cult of Bareback Gulch, Pa. He also ran for Mayor of New York, promising “to put a radio, overstuffed furniture and a featherbed in every jail cell in our city. That's so our jails will attract a better class of people!"

The Senator was Elmore Vincent (1908-2000), a Texas-born entertainer who first broke into show business as “The Texas Troubadour”. Relocating to Seattle, Vincent got into radio in 1929 on KJR’s Mardi Gras, a daily, 90-minute variety program, appearing as “The Northwest Shanty Boy”, singing lumberjack songs with yodel accompaniment. Having to support his family through the dark days of the Great Depression, Vincent expanded his repertoire, performing comic sketches as a blowhard, word-mangling politician. The show’s director, Ivan Ditmars came up with the name “Senator Fishface” and it is assumed that it was Vincent who added the Frankenstein surname.

In 1934, NBC came calling and persuaded Vincent to bring his act to their San Francisco station. Going out over the Blue Network on the daily Carefree Carnival show, Senator Frankenstein Fishface was a nationwide hit. When the show was cancelled in 1936, Vincent took Frankenstein Fishface on tour, performing live in trademark mustache, a baggy suit and a crumpled high hat. Along the way, he voiced “Pa Scarecrow” for Tex Avery in a Warner’s Merrie Melodies cartoon, I’D LOVE TO TAKE ORDERS FROM YOU (1936).

In New York, Vincent hooked up with NBC again for another 2-year stint, now in his own series co-starring writer-comic Don Johnson as “Professor Willbert G. Figgsbottle”. As a measure of the Frankenstein Fishface character’s enduring popularity, Vincent was recruited to appear in a pioneering test program of RCA’s television system in 1937, beaming out to all of 60 TV sets in New York, live from Radio City. It was Senator Frankenstein Fishface last hurrah. In years to come, Vincent occasionally revisited the character under new names. He was called “Durwood Zinkafoose” in 1949, and “Senator Bolivar Gassaway” in 1961, otherwise Vincent developed a new specialty playing crusty old men. In ’44-45, he played Phineas Peabody on radio’s Lum and Abner, and soon transitioned to television, where he played grandpappys, old janitors and farmer types on classic TV series like DRAGNET, SKY KING, TALES OF WELLS FARGO and THE REAL McCOYS. He played Santa Claus in a 1955 episode of HIGHWAY PATROL and Doc Appleby on THE DUKES OF HAZZARD in 1982. His last TV work saw him play old-timers, including the recurring character “Floyd” on LITTLE HOUSE ON THE PRAIRIE, 1980 to ’82.

Elmore Vincent never quite retired, reprising his old man character — in actual old age — for Dinner Theater plays and speaking engagements. He passed away in 2000 at 91. 

Senator Frankenstein Fishface was a precursor of the double-talking, comically illogical experts and phony politicians such as Red Skelton’s San Fernando Red, and satirists the likes of Pat Paulsen, Prof. Irwin Corey and even Brother Theodore. Plugging “Frankenstein” into the character’s name was good fun and symbolic of the name's ubiquitousness.


A fascinating bio of Elmore Vincent on the Lum and Abner site.

Richard Kiel (1939-2014)

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Actor Richard Kiel passed away on September 10, just a few days short of his 75th birthday. Kiel parlayed his towering size — due to a hormonal condition known as acromegaly — into a film and television career playing gigantic strongmen, mountainous henchmen, colossal aliens and mammoth monsters. When given a chance, he showed he could also act really well, too.

Kiel’s credits include many memorable parts. Early on, in 1962, he was the giant caveman, EEGAH, and the unforgettable alien in the classic TWILIGHT ZONE episode, TO SERVE MAN. His TV work included appearances on THE MAN FROM U.N.C.L.E., THE WILD WILD WEST and KOLCHAK: THE NIGHT STALKER.

Kiel was the original actor chosen to play Bill Bixby’s green alter-ego in THE INCREDIBLE HULK (1978), but he was replaced a couple of days into the pilot shoot in favor of the more muscular Lou Ferrigno. Kiel was happy to bail, having found the full-body makeup and the thick contact lenses most uncomfortable. He was also offered the part of Darth Vader, but the role went to David Prowse after Kiel chose, instead, to play the steel-toothed “Jaws” opposite Roger Moore’s James Bond in THE SPY WHO LOVED ME (1977) and MOONRAKER (1979). It would be the character he’d be most remembered for, though he earned himself a whole new generation of fans with a celebrated turn in HAPPY GILMORE (1996).

Kiel is one of a handful of actors to play two different iterations of the Frankenstein Monster. In 1967, billed as Dick Kiel, he had bolts sticking out of his ears in I WAS A TEENAGE MONSTER, an episode of THE MONKEES in which the boys try to turn The Monster into a pop star. With a bit more to do than just look big and menacing, Kiel demonstrated a fine flair for comedy.

Kiel’s second pass at The Monster had him in full, classic makeup with blue face, flattop — and a bow tie — as a Haunted House club manager in the first season, first episode of THE HARDY BOYS/NANCY DREW MYSTERIES (1977).

In recent years, soldiering on despite a serious car accident in 1992 that left him with reduced mobility, Kiel enjoyed appearing on the convention circuit, happy to meet fans and generous with his time. Richard Kiel was a giant man who, by all accounts, had a heart to match.


Both of Richard Kiel’s Frankenstein appearances are on YouTube. Here are the full episodes of THE MONKEES: I WAS A TEENAGE MONSTER, and THE HARDY BOYS/NANCY DREW MYSTERIES: THE MYSTERY OF THE HAUNTED HOUSE.  


Subway Frankenstein

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If you are a book reader, you never travel alone. That’s the message from Bookish, a promotional website launched in February 2013. Here, a reader shares a subway ride with Scarlett O’Hara, Sherlock Holmes and Frankenstein’s Monster. The art — artist unfortunately unidentified — was featured last year in one of a series of subway ads in New York. Tag line read, “Give your ride more character”.  

Memorable Characterspage on Bookish.com

With thanks to Joseph Grego.

Related:

The Art of Frankenstein : Paco Giménez

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Here’s an adaptation of Frankenstein for Young Adult readers published in 2008 by Bromera in Spanish and Algar in Catalan. The two covers by Paco Giménez capture tragic moments: Deep sadness at The Monster’s murder of Victor Frankenstein’s youngest brother, William, and the sudden, violent revenge killing of Elizabeth, a wedding bouquet falling from her hands.

Writer Jesús Cortés (Jesús Cortés Zarzoso) has adapted a number of classic works including Homer’s Odyssey, Melville’s Moby Dick and Stoker’s Dracula. Paco Giménez (Francisco Giménez Ortega) is an award-winning artist who has illustrated a number of children’s books and comics. His Frankenstein illustrations are done in stark, geometric strokes that are at once economical and lyrical.

Mike Mignola's Frankenstein Underground

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The big Countdown to Halloweencelebrations are underway and I’m just catching up now. My contribution this year will be mostly art — and I have some eye-popping treats coming up for you! — so it’s very appropriate to kick off with this sumptuous illustration by the great Mike Mignola.

The news hit earlier this week and you can read all the details in the MTV interview with Mignolaabout the Frankenstein Undergroundminiseries coming next Spring wherein our favorite Monster becomes part of Mike Mignola’s superlative comics universe.

Mignola’s very personal version of The Monster was first introduced in The House of the Living Deadone-shot, illustrated by Richard Corben. Now we’ll be getting the backstory and continuation of The Monster’s highly unusual adventures written — and with covers — by Mignola, and interior art by Ben Stenbeck. This one is definitely something to cheer and to watch for.


The annual Countdown to Halloween Event, hosted by John Rozum and Shawn Robare, brings together some 200 (!) bloggers to celebrate Pumpkin Season. 

Just click the Creature from the Black Lagoon badge on the menu, top right, and access the complete list of participants. It’s a joyful embarrassment of chilling riches!



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Breaking News! Halloween Celebrations Extended!

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Er… Have you noticed, my Countdown to Halloween celebrations have yet to kick off?

Apologies. Professional obligations have taken up all my time this month, and I even managed to get in some serious Frankenstein-related research that I’ll be sharing with you in due time, so it’s all good. Nevertheless, I had a series of very special posts meant for Countdown October that I’ll be running now, beginning on Halloween day. Put it this way: I’m not late… Think of it as getting a headstart on my Countdown to Halloween for 2015!

Starting now — just a taste, above. Be sure to click the full feature to see it bigger — and through the next two weeks, I’ll bombard you all with a series of posts dedicated to the great Feg Murray, newspaper cartoonist and radio personality of the 30s and 40s whose Seein' Stars feature carried loads of monster art, mostly Universal films and frequent Frankenstein art. Feg Murray was, I believe, the #1 master of monster movie art before Basil Gogos came along.

Don’t forget to check the Countdown to Halloween site and have fun clicking through all the blogs that have made this Halloween another spectacular event. And be here tomorrow and over the days to come for the Feg Murray Art series, brought to you with the indispensable complicity of movie monster historian extraordinaire, George Chastain.

Happy Halloween!

The Art of Frankenstein : Feg Murray (Part 1)

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Here’s a repost, tweaked and updated, of my original introduction to cartoonist Feg Murray, whose work I’ll be showcasing here over the next ten days or so. Lots of beautiful illustration art coming up, and we’ll meet Feg in person later this week! 

Helping kick off the series are Boris And Bela, no less, singing together! Read on…



These yellowed clippings are not just from any old scrapbook. This is a page from makeup master Jack Pierce’s personal scrapbook, circa 1939.

The short article pasted at left documents the first haircut, courtesy Pierce, given one-year old Baby Sandy, Universal’s answer to Shirley Temple. “Sandy”, born Alexandra Lee Henville, generated tons of press and merchandising, but she only made eight films and was out of showbiz by the time she turned five.

The large drawing of Boris Karloff in Son of Frankenstein was clipped from Feg Murray’s Seein’ Stars newspaper feature. 

Frederic “Feg” Murray (1894-1973) was a popular cartoonist and radio personality of the Thirties and Forties. As a young man, he had served in the First World War, then shined as an Olympic athlete, winning a bronze medal in the 110-meter hurdle race at Antwerp, Belgium.

As an illustrator, Murray did a stint as a sports cartoonist with The Los Angeles Times before launching his long-running Seein’ Stars cartoon series, syndicated nationwide by King Features. Modeled on the Believe It or Not format of a large portrait done in pen and ink (in color on Sundays), surrounded by smaller filler pieces, Seein’ Stars was pure movie star trivia: 

Fay Wray spends her spare time making sketches in charcoal and weaving Tapestries. She also collects rare perfumes… Ralph Bellamy was once driven by a dead man!! His car swerved erratically into a fieldand finally ended up against a tree, several minutesafter the driver had died of heart failure!... Jean Harlow has a 15-minute workout on a rowing machine before her dip in the pool every morning.

Studio publicity departments routinely fed stories to newspapers and Murray’s weekly feature was an ideal outlet for PR. Case in point, the Son of Frankenstein piece ranon January 1st, just as Universal was rolling out the ballyhoo for a January 13 release. Interestingly, Murray displayed a soft spot for monster movies, with frequent coverage of Universal’s output and that of other studios as well including appearances by various Jekylls and Hydes, gorilla-suit actors and Republic’s Crimson Ghost.

Feg Murray parlayed his success as a famous “stargazer” into a radio career as the host of an interview and variety show called Seein’ Stars in Hollywood, also known as Baker’s Broadcast. In a celebrated episode, on March 13, 1938, Murray’s guests were Ozzie and Harriet Nelson, Boris Karloff and Bela Lugosi.

Karloff performed a dramatic reading of Rudyard Kipling’s “The Supplication of the Black Aberdeen” and then joined Lugosi in a memorable if awkward duet, the two horror icons warbling, “We’re Horrible, Horrible Men”. Karloff’s lines went, “Though the movies would make me a terrible brute, when my makeup is off I am really quite cute.



Boris, Bela and the Nelsons posed for a gag shot, and here's a YouTube sound clip of that momentous occasion…


The Art of Frankenstein : Feg Murray (Part 2)

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The formula for Feg Murray’s Seein’ Stars was typical of newspaper cartoon features: Large drawings accompanied by a short caption, usually some trivial or curious factoid. Here, in two examples from 1938 recycled as comic book filler, Feg Murray captures Karloff’s Monster in excellent likenesses, with copy addressing the endlessly repeated tidbit about “Frankenstein” being the creator’s name, not The Monster’s, and some rather creative math adding up Karloff’s time in the makeup chair.

It was not uncommon for newspaper strips and features to be re-used in comic books. In fact, comic books began as collections of newspaper strips, soon to be augmented with and eventually replaced by original material. Beginning in 1937, Murray’s Seein’ Starswas recycled along with other King Features syndicated material in Ace Comics and Magic Comics, published by the David McKay Publications out of Philadelphia.


Click the thumbnails to see the whole feature.



The Art of Frankenstein : Feg Murray (Part 3)

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Continuing our series on newspaper cartoonist Feg Murray, here’s an updated repost featuring a fabulous piece of original art!   

Here’s a stunning portrait of The Monster and his Bride by celebrity cartoonist and broadcaster Feg Murray, created for his Seein’ Stars feature syndicated to newspapers in 1936. This, the original art, was found in makeup man Jack Pierce’s personal scrapbook and sold through Heritage Auctions for $2,151 in 2007.



The perfect likenesses suggest that Murray’s art was traced from photos, likely projected onto an art board, a common technique and a necessary expedient for someone drawing realistic portraits on a tight schedule.

Murray used a “screentone” type of art board saturated with small dots that would be made visible by applying a solvent. When photographed and reduced to publishing size, the dots would function as stippling, creating gray tones. Before the advent of computer graphics, pre-textured paper, which came in a variety of dot or crosshatch patterns, was widely used by artists in newspapers and comic books.

Murray’s elegant brushwork and judicious use of screentone shading combine to make a truly outstanding piece. Note, also, Murray's signature and his strip's little teddy bear-like mascot.


Coming up: Feg Murray's Sunday features in full color!

The Art of Frankenstein : Feg Murray (Part 4)

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It’s “Not Karloff This Time!” as Lon Chaney, Jr. takes over The Monster’s part in THE GHOST OF FRANKENSTEIN, in general release when Feg Murray illustrated this full four-color Sunday feature, published April 19, 1942.

Chaney Jr. would rate several appearances in Murray’s Seein’ Stars, usually documenting his appearances as The Wolf Man, but an earlier feature, dated November 1941, showed Lon Jr. in costume as the electrically charged MAN MADE MONSTER — a Frankensteinian concept — along with his legendary father in makeup as THE HUNCHBACK OF NOTRE DAME (1923). “Like Father — Like Son”!

Click the thumbnails to fully appreciate the dynamic layout — and the corny but fun “facts” — of these pieces.

From the collection of George Chastain.


Meet Feg Murray (Part 5)

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Cartoonist, Olympic athlete, radio host, our featured artist enjoyed a charmed life and an eclectic career. I also nominate Feg Murray as a Monster Kid.

As admittedly circumstantial evidence, I submit the frequent, lovingly illustrated monster movie references in his Seein’ Stars newspaper feature of the Thirties and Forties, especially considering how little coverage the movie magazines and the celebrity gossips ever gave the classic era horror stars and their films, unless for cracking wise and looking down at them.

As another piece of evidence, it is worth noting that Murray’s very first Seein’ Stars cartoon spread in 1933 featured Boris’ Monster sharing equal space with Greta Garbo!
When Murray parlayed his newspaper fame into a radio host gig, he presided over the extraordinary on-air appearance of Boris Karloff and Bela Lugosi performing a now legendary duet, signing, “We’re Horrible, Horrible Men”! Listen to the clip here. And as another small hint, we note that the inventory listing of the Feg Murray Papers, archived at Stanford University in California, includes a photograph of Feg posing with makeup man Jack Pierce. That’s one still I’d love to see!

Digging up info on Murray, trying to find pictures of the artist and more samples of his work, I came upon film footage of Feg. This is from THAT'S RIGHT, YOU'RE WRONG, a 1939 RKO musical that introduced radio bandleader Kay Kyser to the movies. As a novelty — and a guarantee of lots of free publicity — the film features cameos by all the big-name movie reporters and Hollywood gossip columnists of the time. These included Sheila Graham, Jimmy Starr, Harrison Carroll, Erskine Johnson and, sharing the screen with the formidable Hedda Hopper, our friend Feg!

Here’s the brief clip where Adolphe Menjou is introducing starlet “Sandra Sand” to celebrities at a poolside party. Sand is played by a very young Lucille Ball… Enjoy!



More full-color Sunday strips coming up!

The Art of Frankenstein : Feg Murray (Part 6)

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On February 7, 1943 — a full month before FRANKENSTEIN MEETS THE WOLF MAN hit screens across America — cartoonist Feg Murray introduced his readers to the first Movie Monster Meet-Up with a splendid rendering of Bela Lugosi’s Frankenstein Monster and Junior Chaney’s Wolf Man locked in combat.

I’ve isolated the art (at the top) to better focus on Murray’s wonderful drawing and the outstanding coloring job. Click the thumbnail to see the whole strip and note, also, the always excellent layout, here with Bela and Lon’s pose echoed by dancer Dona Drake’s position.



Lon Chaney Jr.’s signature part as Larry Talbot, cursed with lycanthropy, was first featured by Murray in February 1942, and again in 1948, when Chaney was shooting ABBOTT AND COSTELLO MEET FRANKENSTEIN. In all cases, the Wolf Man was beautifully rendered. See the thumbnails, below.

Chaney’s turn as Kharis, the slo-mo mummy, lugging Virginia Christine in THE MUMMY’S CURSE appeared in a December 1944 Sunday page. Note, yet again, the layout, perfectly bookended by Van Johnson and Betty Grable, with Fred Astaire as the central figure whose leaping pose is echoed by the flying child, and his wide, legs-apart stance mirrored by Chaney’s Mummy.


























With thanks to George Chastain.


The Art of Frankenstein : Feg Murray (Part 7)

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Boris Karloff made a number of appearances, in and out of Frankenstein Monster makeup, in cartoonist Feg Murray’s celebrated Seein’ Stars strip. This late entry, on 16 April 1944, for 1939’s SON OF FRANKENSTEIN, was nothing more than an excuse for a fun anecdote — that is also pure hype, no doubt.

On 25 May 1947, Karloff put in a non-horror appearance decked in feathers and longhair wig as Guyasuta of the Senecas from Cecil B. DeMille’s UNCONQUERED. Boris also shared space in November 1940 with Bela Lugosi and Peter Lorre as the triple-threat menaces in the horror-comedy-musical YOU’LL FIND OUT, a Kay Kyser vehicle.

Click the thumbnails below to see the complete features.  


Color features from the collection of George Chastain. Black and White feature from The Fabuleous Fifties.





The Art of Frankenstein : Feg Murray (Part 8)

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Cartoonist Feg Murray kept track and featured all the actors who played the Frankenstein Monster as they came aboard. We’ve seen Karloff, Chaney Jr. and Bela Lugosi pictured, and here’s a teaser, published on 2 July 1944, announcing Boris’ return to the Frankenstein franchise, with a caveat: The role of The Monster went to “someone else”. That would be Glenn Strange, of course — Coming up in our next post!

THE DEVIL’S BROOD was a working title for the first “Monster Rally”, released as HOUSE OF FRANKENSTEIN (1944), a gathering spot for The Monster, Dracula, The Wolf Man, a Hunchback and a Mad Scientist. Karloff was the Mad Doc, though not “Dr. Frankenstein” as stated by Murray. Karloff played Gustav Neiman, a lunatic asylum escapee and Frankenstein wannabe.

We are celebrating Boris Karloff this weekend, on the occasion of a birth date — November 23 — he shares with his daughter Sara. We send fond best wishes to Sara Karloff who generously keeps her father’s memory alive for his countless fans. 

Happy Birthday, Boris and Sara!        

With thanks to George Chastain.

The Art of Frankenstein : Feg Murray (Part 9)

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Cartoonist Feg Murray captured all of the Universal Frankenstein Monsters over the run of his Seein’ Stars newspaper feature. After Boris Karloff, Lon Chaney Jr. and Bela Lugosi, the part fell to character actor Glenn Strange whose craggy Mount Rushmore face and six-foot-five frame made him a Monster to reckon with. In short but memorable appearances in HOUSE OF FRANKENSTEIN (1944) and HOUSE OF DRACULA (1945), the underused Monster would roll off the slab for a quick, last reel walkabout before meeting his inevitable doom. Murray notes how the apparently destroyed Monster would always “show up for the next horror film”.

Unexpectedly, Strange would get a chance to show his Monster chops front and center in the final film of the original series, the wildly funny and surprisingly influential ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948). Both illustrations here are contemporary to the Abbott and Costello comedy.


The full face-on image announcing the film is a direct precursor, and a worthy companion piece to the famous James Bama painting of the Sixties that used the same photo reference. 

Click the thumbnails below to see the full cartoon panels. I have included a third Glenn Strange image, found on eBay, although the quality is poor.

Check back this weekend as we wrap up the Feg Murray series!






With thanks to George Chastain!

Related:
The Monster: Glenn Strange

The Art of Frankenstein : Feg Murray (Part 10)

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It's hard, today, to fully appreciate just how popular Feg Murray’s Seein’ Starscartoon feature really was. In the Thirties and Forties, a golden age for newspapers as America’s primary source of information, a generous offering of comic strips and illustrated features provided entertainment. Murray’s celebrity-centric panel was neither first nor the only one of its kind, but an 18-year run attests to its enduring popularity. Seein’ Stars ran daily from 1933 to 1941, then as a weekly until 1951.

Along the way, Murray would bring Seein’ Stars to radio. We’ve seen Murray putting in a cameoin a Hollywood picture, and Seein’ Stars was name-checked among other important national sources — including Life magazine, Popular Science, New York Times and New York Daily News— in a trailer for DESTINATION MOON (1950).

Over the past month, we’ve looked at some of Feg Murray’s genre illustrations, mostly his Frankenstein images. Wrapping up the series, we have yet another Karloff Frankenstein, and a superb rendering of Raymond Massey channeling Karloff’s Monster in ARSENIC AND OLD LACE (1944). Be sure to click the thumbnails below and see the whole feature as it originally appeared. Note that Massey shares space with the curious Sea Monster from Republic’s HAUNTED HARBOR (1944).


Non-Frankenstein monster movie illustrations included Fredric March’s Oscar-winning Mr. Hyde, beautifully drawn and colored, appearing in the Murray panel (thumbnail below) with his John Barrymore and Spencer Tracy counterparts. Under the bandages is a young Vincent Price, from THE INVISIBLE MAN RETURNS (1940), portending a career to come as a horror film icon. Buster Crabbe aims a super-sized raygun in FLASH GORDON’S TRIP TO MARS (1938), a feature film version of a Universal serial.

Over a month’s worth of posts, we’ve still only scratched the surface. Evidence of Feg Murray’s love for horror, fantasy and science fiction keeps popping up on the ‘net. Check the thumbnails below for a (low quality) glimpse of THE CRIMSON GHOST (1946) and Acquanetta as CAPTIVE WILD WOMAN (1943). Murray would also cover KING KONG (1933), WEREWOLF OF LONDON (1935), as well as Charles Gemora and fellow gorilla-suited performers.

The low quality strips posted here are from eBay. The high quality scans we’ve seen all month are from the collection of the ever-generous George Chastain, without whom this Feg Murray series would have been simply impossible. Thanks very much, George!




























More of Feg Murray’s art:

The Feg Murray Papers at the Online Archive of California.
A 1930 painted calendar, some black and white Seein’ Stars panels and a Christmas card by Murray on Michael Sporn Animation.
A great collection of Seein’ Stars panels on The Fabulous Fiftieshere and here.
Feg Murray on Booksteve’s Library.
Art and information on Feg Murray at Comics Kingdom.
Terrific super-sized Feg Murray panels from the collection of comic strip artist Terry Beatty.

Loose Again in Brisbane

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Bolt your windows, lock your doors! This dire warning appeared in Brisbane’s Courier-Mail on Monday, April 3rd, 1939. The Monster was “loose again” and heading straight for the city’s storied Tivoli Theater.

We couldn’t let the 2014 run out without celebrating this year’s 75th Anniversary of SON OF FRANKENSTEIN, and these great newspaper ads from Australia make for very original Ballyhoo.

On April 5, this next ad ran, proclaiming The Monster as “the screen’s most sensational character” and SON as “easily the best of the ‘Frankenstein’ films”.

Back in 1932, when the first Universal FRANKENSTEIN came to Brisbane and the same Tivoli Theater, the PR went into overdrive with handsomely illustrated ads, “we dare you”hype, nurses in attendance, and a Lloyds of London insurance policy covering the first person who might croak during a showing. The festivities included a live event — a “Frankenstein Night” — at the Carlton Cabaret, with The Monster putting in a personal appearance!

In 1939, the PR was toned down but, still, the ad copy was wildly enthusiastic, patrons were urged to book seats in advance against the expected crowds, and another live event was scheduled. Note, at bottom left of the ad, on that Wednesday, a “Frankenstein Thrill Night Dance” was to be held at the vast Trocadero dance hall. The venue was known to roll out elaborate displays on theme nights — various charity events or the annual Police Ball — and one wonders how the hall was decorated in celebration of a Frankenstein Thrill Night. There is no record of a Monster stalking the dance floor this time. 

Coming up: Another beautifully illustrated SON OF FRANKENSTEIN ad from the Brisbane papers of April 1939.



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