Chapter 4 – Queers and Dykes in the Dark: Classic, Noir & Horror Cinema’s Coded Gay Characters:

CODED CLASSIC HORROR THEORY “The Uncanny & The Other”

“Scenes of excessive brutality and gruesomeness must be cut to an absolute minimum.”

“As a cultural index, the pre-Code horror film gave a freer rein to psychic turmoil and social disorientation because it possessed a unique freedom from censorship… the Hays Office admits that under the Code it is powerless to take a stand on the subject of ‘gruesomeness.‘(Thomas Doherty)

Horror films in particular have made for a fascinating case study in the evolving perceptions of queer presence; queer-horror filmmakers and actors were often forced to lean into the trope of the “predatory queer” or the “monstrous queer” to claim some sense of power through visibility and blatant expressions of sexuality.- Essential Queer Horror Films by Jordan Crucciola-2018

Though Hollywood execs refused to show explicit queerness, they were willing to pay for scripts that dealt with characters that were social outcasts and sexually non-normative. The horror genre is perhaps the most iconic coded queer playground, which seems to have an affinity with homosexuality because of its apparatus of ‘otherizing’ and the inherent representation of difference. The horror genre crosses over boundaries that include transgressions between heterosexuality and queerness. The villain, fiend, or monster plays around with a variety of elements that, while usually separate, might merge male and female gender traits.

The horror film, in particular, found its place asserting a queer presence on screen. The narratives often embraced tropes of the “˜predatory queer’ or the “˜monstrous queer’ in order to declare themselves visible while cinematic queers were elbowed out of the way. Filmmakers had to maneuver their vision in imaginative ways to subvert the structure laid out for them by the Code.

As Harry M. Benshoff explains in his book Monsters in the Closet: Homosexuality in the Horror Film, “Immediately before and during the years of World War II, Universal Studio’s horror films began to employ a more humanistic depiction of their monsters,” and the films of Val Lewton, like Cat People, reflected “a growing awareness of homosexuality, homosexual communities, and the dynamics of homosexual oppression as it was played out in society and the military.” So even though Hollywood execs refused to show explicit queerness, during the first true horror boom in American cinema, they were willing to pay for stories about social outcasts and sexually nonnormative figures. Horror fans thus found themselves awash in some of the genre’s most iconic queer-coded characters of all time.

On a Greek Island, Boris Karloff plays Gen. Nikolas Pherides in Val Lewton/Mark Robsin’s Isle of the Dead 1945. Driven insane by the belief that Thea (Ellen Drew), who suffers from catalepsy, is the embodiment of an evil vampiric force, is a demon called a vorvolaka. Lewton drew on collective fears, and all his work had an undercurrent of queer panic and a decipherable sign of homophobia.

The Vorvolaka has beset the island with plague. Thea- “Laws can be wrong, and laws can be cruel, and the people who live only by the law are both wrong and cruel.”

The Pre-Code era was exploding with American horror films, that reflected the angst, social unrest, and emotional distress that audiences were feeling. Personified in films that used graphic metaphors to act as catharsis, the images were often filled with rage, as Thomas Doherty calls it ‘the quality of gruesomeness, cruelty and vengefulness’. Think of the angry mobs with their flaming torches who hunt down Frankenstein’s monster, eventually crucifying him like a sacrificial embodiment of their fury. James Whale’s adaptation of Mary Shelley’s Frankenstein 1931 was a smash hit for Universal. Other studios were trying to ride the wave of the awakening genre of the horror picture. Paramount released director Rouben Mamoulian’s adaption of the novella The Strange Case of Dr. Jekyll and Mr. Hyde, by Scottish writer Robert Louis Stevenson, published in 1886. The film Dr. Jekyll and Mr. Hyde, which was released in 1931, stars Fredric March and Miriam Hopkins. During the Pre-Code period, many horror films proposed grisly subject matter that would shock and mesmerize the audience. For example, actor/director Irving Pichel’s The Most Dangerous Game (1932) starring Joel McCrea, Leslie Banks, and Fay Wray.

In 1932 Michael Curtiz directed Doctor X starring Lionel Atwill who would become one of the leading mad scientists of the genre.

Michael Curtiz’s macabre horror/fantasy experiment of homosocial ‘men doing science’, crossing over into profane territories and embracing dreadful taboos!

All scenes below from Dr. X (1932).

Fay Wray is Atwill’s daughter who is the only woman surrounded by a group of scientific nonconformists.

The adaptation of Bram Stoker’s story of the Eastern European incubus was interpreted by Tod Browning in Dracula 1931, immortalized by Hungarian stage actor Bela Lugosi with his iconic cape and mesmerizing stare. While his nightly visitations were blood-driven and cinematically sexual in nature, there is a very homoerotic element to his influence over Renfield (Dwight Frye) and his gaze of gorgeous David Manners as John Harker.

Bela Lugosi looks down upon David Manners in a scene from the film ‘Dracula’, 1931. (Photo by Universal/Getty Images)

Robert Florey directed the macabre Murders in the Rue Morgue (1932) based on a story by Edgar Allan Poe. And a film that has no connection to Poe’s story but in the name is one of the most transgressive, disturbing horror films rampant with vile taboos, such as necrophilia, incest, sadism, satanism, and flaying a man alive, is the unorthodox The Black Cat (1934). The film stars Boris Karloff and Bela Lugosi, one of four pictures they would do together. A pair of enemies who have a score to settle, ghosts of a past war, and stolen love all take place with the backdrop of a stylish Bauhaus set design and high-contrast lighting.

Paramount released Murders in the Zoo (1933) with Lionel Atwill, a sadistic owner of a zoo who uses wild animals to ravage and kill off any of his wife’s (Kathleen Burke) suitors. Kathleen Burke is well known as the panther girl in Erle C. Kenton’s horrifically disturbing Island of Lost Souls 1932, an adaptation of master fantasy writer H.G. Wells’ The Island of Dr. Moreau. Incidentally, Welles, Laughton, and wife Elsa Lanchester had been good friends earlier on, before the filming of Lost Souls. The film stars Charles Laughton as the unorthodox, depraved scientist who meddles with genetics and nature. He creates gruesome human/animals, torturing them with vivisection in his ‘house of pain.’ The film also stars Richard Arlen, Leila Hyams, and Bela Lugosi as The Sayer of the Law.

In 1933, King Kong showed a giant ape grasping the half-naked object of his affection, with unmentionable connotations of bestiality between the ape and Fay Wray. With scenes of Wray writhing in his gigantic paws, he lusts after her until his desire kills him. It’s almost like fantasy noir: the object of your desire will ultimately kill you!

The 1930s and 1940s Fear the Queer Monsters:

Re-assessing the Hitchcock Touch; by Wieland Schwanebeck -As Rhona Berenstein asserts, the horror genre “provides a primary arena for sexualities and practices that fall outside the purview of patriarchal culture, and the subgeneric tropes of the unseen, the host and the haunted house.”

By the same token, Kendra Bean concludes that Mrs. Danvers is portrayed as “a wraith; a sexual predator who is out to make Mrs. de Winter her next victim.”

Queer characters in horror films during the early period, reveal similarities between Mrs. Danvers and the staging of earlier sapphic characters, such as Gloria Holdens’s well-known portrayal of Countess Marya Zaleska in Dracula’s Daughter 1936. Yet, similar to the self-discipline of Mrs. Danvers, Dracula’s Daughter remains a figure of primacy and pity Ellis Hanson argues Dracula’s Daughter presents “the possibilities of a queer Gothic” early on in Hollywood history, “rich in all the paradox and sexual indeterminacy the word queer and the word Gothic imply.

There was a revival of the horror craze during the period of WWII. The Hollywood studios, both major and ‘Poverty Row” like Monogram and Republic, realized that horror movies were a lucrative business. The studios began to revisit the genre, looking for not only fresh formulas but they resurrected the classic monsters, dropping them into new plots. They also envisioned uniting gangster films with horror films, and this homogenizing led to a ‘queering’ of the two styles that demonstrated phallocentric ( guns, scientific penetration) and homoerotic themes and images into a sub-genre.

Public awareness of homosexuality reached a new height during these years, primarily due to the new set of social conditions wrought by war. Slowly , the love that dare not speak its name was being spoken, albeit in ways almost always obscurantist, punitive and homophobic. The linkage of homosexuality with violence and disease remained strong. Monsters in the Closet -Harry Benshoff

Rhona Berenstein, in her insightful book Attack of the Leading Ladies points out that films featuring the mad scientist trope operate with the homosocial principle, which speaks of the homoeroticism of males working together in consort subverting science together as a group of men who hide behind their objectification -the female object of their gaze, are in fact, figures of objectification themselves. They are simultaneously homosocial, homoerotic, and homophobic in aspect; … potentially possessing an extra-normative commitment between the two men.

Mad Doctor movies are homosocial in nature. The Mad Doctor movie is a subgenre that, below the surface, glorifies intimate male camaraderie and male homosexuality, and by the close of the picture, society, the prevailing culture, must, in turn, annihilate that which is repressed. However, it is not exclusively a vehicle to express homosexuality through homosocial interactions. There is a component not only of male bonding, a world without women; the thrust is a synthesis of misogyny and patriarchal tyranny and oppression of women. Homosocial relationships between men in these science horrors show the man’s desire for connection to other men, even one created by his own hand.

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According to (Twitchell) in his Dreadful Pleasures, and Attack of the Leading Ladies (Rona Berenstein) Colin Clive as Dr. Frankenstein in all three Universal pictures, was at least performing bisexuality. Whale’s 1933 Frankenstein might give way to the homosocial realm of the mad scientist trope of ‘homoerotic indulgence’ as these men exclude women from the pursuit of their fulfillment. Twitchell views the scientist’s fluid sexuality in order to examine the concept of a man controlling women’s primacy of giving birth. This might explain Dr. Frankenstein’s venture into unnatural reproduction. A process he wants to divert to himself without women’s exclusive right to motherhood. In the scene where he is as close to giving birth to a full-grown man, he seems to display sexual arousal when his creation comes to life. Henry Frankenstein provokes nature and defies his heterosexuality. As Whale was an openly gay director in Hollywood, it can be pondered whether he knew exactly what he was suggesting. Thesiger’s sexually ambiguous, or okay, not so ambiguous Dr. Pretorius, the mad scientist who pressures Henry Frankenstein to revitalize his experiments and create a mate for the monster. Pretorius is the scientist who insists Henry continue his creative efforts in Bride of Frankenstein. Vitto Russo called Thesiger, a “man who played the effete sissy”¦ with much verve and wit.”

George Zucco, like Lionel Atwill, often portrayed the unorthodox scientist who flirted with taboos. He plays mad scientist Dr. Alfred Morris in The Mad Ghoul (1943) As a university chemistry professor, he exploits medical student Ted Allison (David Bruce) with his experimental gas that transforms Ted into a malleable, yielding macabre ghoul, whom Morris directs to kill and remove the victim’s hearts using the serum to temporarily bring Ted back from his trance like death state. David Bruce’s character is represented as a ‘queer’ sort of young man. He is not quite masculine and is unable to get his girlfriend, Evelyn Ankers, to fall in love with him. As the Mad Ghoul, he becomes a monstrous queer.

In 1932, director Tod Browning’s Dracula based on Bram Stoker’s story of a fiendish vampire who in a sexually implicit way, violates his victims by penetrating them with his fangs. The story pushed the boundaries of storytelling, and there was an inherent subtext of ‘queer’ ravishment when he sucks the blood of Dwight Frye to make him his loyal servant.

In Jonathan Harker’s Journal, the protagonist recounts his impressions of his interaction with the vampire, Dracula “As the Count leaned over me and his hands touched me I could not repress a shudder. It may have been that his breath was rank, but a horrible feeling of nausea came over me, which do what I would, I could not conceal.” For (Noël Carroll) the entry in his diary conveys revulsion by the Count’s closeness and offensive presence, which causes him to become sickened.

But it also could be read that Harker’s ‘shudder’ is not about his revulsion, but rather, an uncontrolled sexual response to the vampire’s looming over him, which could be interpreted not just as hunger for his ‘blood’ but an expression of repressed sexual desire and the fear it causes.

Horror movies have always pushed the boundaries of normalcy, by virtue of the fact that these films are inhabited by ‘monsters’, something ‘queerly’ different. And it is natural to observe two diverging responses to the impact of the horror genre and often, its persecution of what is ‘different’ and the source of what causes our anxiety.

Dracula may appear as the image of a man, but the count is far from human. While monsters in classical horror films are based on systems of maleness, they are split from being actual men. Although there are physical interactions and suggestive contact with the heroine, there isn’t the foundation of heterosexuality, but something quite deviant within their aggressively erotic encounters and/or assaults. The understanding of sexuality and the most narrow identifications that are assigned to varying orientations in a large sense is not translatable for the deeper layers of the monster and their relationship to their victims. In Hollywood, horror films can be seen as heterosexuality being invaded by an abhorrent outside force; inherent in the underlying message could be racism, classism, sexism, and gay panic. Though it can be interpreted as a landscape of heterosexuality that is in the full power of its universal presence, horror films are perfect platforms that can illustrate the collapse of heterosexuality and the subversion of sexuality.

The horror genre is a breeding ground for portrayals of the shattering of heterosexual power. This can be seen in Lambert Hillyer’s Dracula’s Daughter (1936) starring Gloria Holden as the sapphic vampire who lives in a New Village-type artist’s den, it signals her outsider status from domesticity and normalcy.

In White Zombie (1932), Bela Lugosi plays the eerily menacing Legendre. He turns men into lifeless workers who run the sugar mill. Legendre also begins to turn the plantation owner, Charles Beaumont (Robert Frazer), into one of his zombies. His motivation for his control over people is ambiguous, though there seems to be sexual reasoning for both the beautiful Madeline (Madge Bellamy) and Beaumont. In the scene where Beaumont is nearly paralyzed, Legendre’s control over his male victim parallels the sexual entrapment of the movie’s heroine.

MAD LOVE (1935) I have conquered science! Why can’t I conquer love?

Karl Freund’s Grand Guignol Mad Love (1935) shifts from gazing at the female to gazing at the male. Here the focus is on Peter Lorre in his American screen debut as Dr. Gogol, who has an obsession with Frances Drake as Yvonne Orlac an actress who works at Grand Guignol Theatre. To Gogol, she is the typified defenseless heroine whom he tries to lure away from her husband, Stephen (Colin Clive), using his knowledge of scientific alchemy.

Though Gogol tries to become Yvonne’s master, his Galatea, there are critics who read the struggle between the two men as not just a rivalry for Yvonne’s love but Gogol’s desire for Stephen as well. Gogol is responsible for grafting new hands onto Stephen’s mangled body after a train crash. Mad Love could fit the criteria for the subgenre of science/horror films where the male gaze is diverted from the female object toward other men, in this case, what connected the two was the preservation of Stephen’s hands. Why, then, is it not possible that the focus could shift from Gogol’s attraction to Yvonne to the homosocial dynamics between Gogol as a doctor and his subject, Stephen?

Mad Love possesses some of the horror genre’s most tenacious performances of gender play. (Carol Clover) asks us to take a closer look at Freund’s film. It is less about the “suffering experienced by women, but at a deeper, more sustained level, it is dedicated to the unspeakable terrors endured by men.”

In a similar fashion to Waldo Lydecker’s (Laura) and Hardy Cathcart’s (The Dark Corner) pathology of objectifying Laura and Mari, Gogol worships Yvonne – his Galatea, with a measure of scopophilia that lies within his gaze upon the perfection of female beauty. To control and possess it. The pleasure is aroused by the mere indulgence of looking at her.

Gogol pays 75 francs to purchase the wax statue of Galatea. The seller remarks, “There’s queer people on the streets of Montmartre tonight.”

Gogol’s maid Francoise talks to the statue, “Whatever made him bring you here. There’s never been any woman in this house except maybe me… “I prefer live ones to dead ones.”

A Time Magazine review of Mad Love in 1933 notes this queer appeal directly, even comparing Lorre’s acting skills to those of another homosexual coded actor: I find the comment about their faces rude and insulting to both Lorre and Laughton, both of whom I am a tremendous fan.

Mad Love’s insane doctor is feminized throughout the film… In fact, the same reporter who noted Gogol’s sadism argues for his feminine demeanor: “Lorre, perfectly cast, uses the technique popularized by Charles Laughton of suggesting the most unspeakable obsessions by the roll of a protuberant eyeball, an almost feminine mildness of tone, an occasional quiver of thick lips set flat in his cretinous ellipsoidal face. This reviewer came closer than any other to articulate the subtext of mad doctor movies. He seems on the verge of noting that Lorre, Like Laughton is an effeminate madman obsessed by unspeakable homosocial desire. Attack of the Leading Ladies: Gender Sexuality and Spectatorship in Classic Horror Cinema by Rhona Berenstein

Frances Drake’s heroine masquerades as a wife who deludes herself into believing that her husband is more masculine than he really is. Gogol has a curious empathy with Stephen, whom he touches frequently and prolonged. Although Gogol pursues the heroine, Yvonne, at the theater, forcing a kiss on her, his focus is primarily manipulating Stephen’s body, rejoining his hands and massaging them to stimulate life back into them. When he realizes that Stephen’s hands cannot be grafted back successfully to his wrists, he turns to another man, the hands of a knife thrower who was executed as a notorious murderer. Once Stephen recovers from the surgery, he can no longer continue as a concert pianist but does develop the desire to throw sharp knives.

On the surface the plot of Mad Love appears to be a heterosexual obsession, the most unspoken context is the connection between Gogol and Stephen. As is true of Frankenstein’s labor of love in Whale’s first film, Gogol sews men’s body parts together and the result is a monster of sorts. (Berenstein)

In the film’s climax, Yvonne hides in Gogol’s bedroom and pretends to be the wax statue of Galatea. When Gogol touches the statue, she lets out a scream. In a euphoric daze (as in the original story), he believes that he has the power to bring Galatea’s statue to life. Yvonne begs him to let her go as he tries to strangle her.

Stephen then rushes to his wife and holds her in his arms. With his eyes fixed on the offscreen space in which Gogol’s body lies, he croons: “My darling.” The homosocial desire is destroyed when Stephen murders Gogol who intones, “Each man kills the thing he loves”“” echoing on the soundtrack.

In the film’s closing moments, the secret desire is finally spoken out loud…Has Stephen killed the man he loves? Given that the phrase that Gogol mutters was written originally by Oscar Wilde, whose homosexuality scandalized the British social and legal system in 1895, reading the homosocial desire into Mad Love within the very last moments, we are left to decipher the suspended cues. We are left with Stephen’s gazing at Gogol’s face and his knifed body as he lay dying, he speaks the words, “˜My darling” while the camera frames the two men sharing that moment in the closing scene.

The mad doctor narrative is particularly predisposed to homosocial impulses. “intense male homosocial desire as at once the most compulsory and the most prohibited of social bonds” – Epistemology of the Closet (Sedgwick)

Sedgwick investigated early fantasy/horror novels, Shelley’s Frankenstein 1818, Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde 1886, and Wells’ The Island of Dr. Moreau 1895. At the beginning of the 1930s, these stories centered around mad doctors who delved into unorthodox, profane explorations and were all adapted to the screen. All of these nefarious or scientific, inquisitive men cultivated secret experiments, challenging the laws of nature. What Sedgwick found was that the Gothic literary representations of men performing homosocial collaborations were ‘not socially sanctioned and shunned.’

It was considered a necessary narrative element as well as a monstrous possibility that threatened to subvert the status quo. The combination of these two attitudes is expressed in homosocial narratives- male bonding is both horrifying and guaranteed, entailing the simultaneous introjection and expulsion of femininity. (Sedgwick)

“My darling”…

James Whale was a gay auteur who often imbued his work intentionally or with the ‘intentional fallacy’ of a ‘queer’ sense of dark humor. This comical, campy absurdity was always on the edge of his vision of horror and subtle profanity. His picture The Invisible Man (1933), adapted from H.G. Wells’s story and starring Claude Rains, was classified as a horror film by the Code.

Dr. Jack Griffin (Rains), the antihero, is a frenzied scientist addicted to his formula as he seeks the ability to make himself invisible. His sanity begins to ‘vanish’ as his hunger for power, delusions of grandeur, and bursts of megalomania grow out of control. He plans on assassinating government officials, and he becomes more belligerent the longer he turns invisible. The idea that he displays radical ideas and runs around in the nude didn’t seem to arouse the censors; in 1933, a letter from James Wingate to Hays states, “highly fantastic and exotic [sic] vein, and presents no particular censorship difficulties.”

What’s interesting about the presentation of the story is that the coded gay leitmotifs were paraded out, right under the Code’s noses, and didn’t stir any indignation for its ‘queer’ humor.

Gloria Stuart and Claude Rains in James Whale’s The Invisible Man 1933

The Invisible Man perpetrates campy assaults on all the ‘normal’ people in his way, with intervals of sardonic cackles and golden wit and, at the same time, a menacing reflection of light and shadow. Claude Rains is a concealed jester who makes folly of his victims.

“An invisible man can rule the world. Nobody will see him come, nobody will see him go. He can hear every secret. He can rob, and wreck, and kill.” –Dr. Jack Griffin (The Invisible Man)

Claude Rains plays Dr. Jack Griffin, an outsider (a favorite of James Whale’s characters) who discovers the secret of invisibility, which changes him from a mild yet arrogant scientist into a maniacal killer. The film bears much of Whale’s campy sense of humor, with Griffin’s comic shenanigans abound until things turn dark and he becomes uncontrollably violent. “We’ll begin with a reign of terror, a few murders here and there, Murders of great men, Murders of little men, just to show we make no distinction. I might even wreck a train or two… just these fingers around a signalman’s throat, that’s all.”

According to Gary Morris (Bright Lights Film Journal), ‘The film demands crypto-faggot reading in poignant scenes such as the one where he reassures his ex-girlfriend, who begs him to hide from the authorities: “the whole worlds my hiding place. I can stand out there amongst them in the day or night and laugh at them.”

Though Griffin’s (Claude Rains) character is unseen at times, there are potent moments, when he is animated as he skips to the tune, “Here we go gathering nuts in May” flitting around like a fairy.

It is suggested that The Invisible Man is a metaphor for the way homosexuals are seen/not seen by society – as “effeminate, dangerous when naked, seeking a male partner in “crime,” tending to idolize his fiance rather than love her, and becoming ‘visible’ only when shot by the police…monitored by doctors, and heard regretting his sin against God (i.e., made into a statistic by the three primary forces oppressing queers: the law, the medical establishment, and religious orthodoxy” (Sedgwick)

The Invisble Man [undressing] “They’ve asked for it, the country bumpkins. This will give them a bit of a shock, something to write home about. A nice bedtime story for the kids, too, if they want it”

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Continue reading “Chapter 4 – Queers and Dykes in the Dark: Classic, Noir & Horror Cinema’s Coded Gay Characters:”

Sunday Nite Surreal: Island of Lost Souls (1932) “Are we not men!?”

It begins where DR. JEKYLL & MR HYDE left off! A weird, fantastic adventure with a mad doctor who discovers how to turn animals into humans-but not how to control them! On a lonely tropical island he practices his black art! Changes wild beasts into creatures whose strangely human appearance and action hide raging animal passions! Something brand new in picture plots, with a specially selected cast, that will bring thrills to audiences and joy to exhibitors. Showmanship Plus!

HE DEFIED NATURE … creating men and women from animals … only to find that he could not control them!

Island of Lost Souls (1932)

Adapted from H.G.Wells 1895 novel The Island of Doctor Moreau, Island of Lost Souls was directed by Erle C. Kenton (The Ghost of Frankenstein 1942, House of Dracula 1945, The Cat Creeps 1946) Wells was not content with the film version of his story, though it’s a stunning adaptation of his novel. Karl Struss’ (Murnau’s Sunrise 1921,Dr. Jekyll and Mr. Hyde 1931, The Sign of the Cross 1932, The Great Dictator 1940, Journey into Fear 1943, Rocketship X-M 1950, Limelight 1952, Kronos 1957 and yeah no laughing please… The Alligator People 1959) extraordinary cinematography constructs a perfectly smothering atmosphere though the story’s milieu is the openness of a savage jungle. With fantastical make-up effects by Wally Westmore (Sunset Boulevard 1950, The War of the Worlds 1953, Rear Window 1954, Lady in a Cage 1964, Village of the Giants 1965)

The first adaption of Well’s novel was filmed in France in 1913 called L’Ile d’Epouvante, then it was revisited in 1959 as Terror Is a Man starring Francis Lederer, and finally remade once again in 1977 starring Burt Lancaster as Dr. Moreau in The Island of Dr. Moreau, also starring Barbara Carrera as Lota and Richard Basehart as the Sayer of the Law. The 1977 version lacks the stifling ambiance that Erle C. Kenton’s film possessed.

Charles Laughton with his devilishly cherubic smile is perhaps at his most deliciously wicked as an evil scientist with a god complex the cruel, fiendish and merciless Dr. Moreau, who brandishes his bullwhip like Ilsa the Wicked Warden or me– eating chocolates when I go on a classic horror movie bender!

Dr. Moreau: Mr. Parker, do you know what it means to feel like God?

Moreau performs profane experiments, learning how to accelerate evolution by experimenting on animals turning them into hairy men-beasts by surgically grafting the organs, flesh and genes together. In order to keep his creations under his thumb, he cracks his aforesaid whip while gathering them together like a bestial congregation where they all chant the ‘laws’ set down by the Mephistophelean Moreau.

Dr. Moreau: What is the law? Sayer of the Law: Not to eat meat, that is the law. Are we not men? Beasts (in unison): Are we not men? Dr. Moreau: What is the law? Sayer of the Law: Not to go on all fours, that is the law. Are we not men? Beasts (in unison): Are we not men? Dr. Moreau: What is the law? Sayer of the Law: Not to spill blood, that is the law. Are we not men? Beasts (in unison): Are we not men?

Moreau has been banished to his faraway Island by the scientific community for his bizarre experimentation with plants. Island of Lost Souls is a Darwinian nightmarish journey -from The Monster Show by David J. Skal-“There is an evocative social metaphor here as well: the animals have been given the promise of progress and social elevation. They have dutifully played by their master’s incantatory ‘laws.’ And yet it has all been an ugly trick; their elevation is simultaneously a degradation, and a bloody revolt ensues.”

Also Skal’s book points out a really interesting fact about Laughton’s casting of Dr. Moreau-“already acclaimed for his 1928 stage portrayal of another mad vivisectionist in the Grand Guignolesque A Man with Red Hair at London’s Little Theatre. It was in that production that he learned to crack a bullwhip, a skill also required for Island of Lost Souls…)… Laughton hated the part, though it remains one of his most memorable, an epicene gentleman-monster in a white tropical suit.”

Laughton’s portrayal of Dr. Moreau as an effeminate mad scientist is also noted by David J. Hogan in his terrific book Dark Fromance-Sexuality in the Horror Film- “As filmed, the story is a particularly unpleasant Frankenstein variant, remarkable for it’s oppressive ambience and unrelieved sadism. Charles Laughton played Moreau, a plump, primly bearded genius whose fussy manner and ice cream suit suggest a eunuch, or a malevolent child.”

Bela Lugosi is wonderful as the ‘Sayer of the Law’“Are we not men?” through his hairy make-up he conveys a pathos and ambivalence that must be credited to his fine acting skills, beyond wearing a cape, hovering over nubile maidens and climbing cobwebbed stone steps.

Dr. Moreau: Have you forgotten the house of pain? Sayer of the Law: You! You made us in the house of pain! You made us… things! Not men! Not beasts! Part man… part beast! Things!

Drop dead gorgeous Richard Arlen plays Edward Parker who one his way to meet up with his fiancé Ruth Thomas (Leila Hyams) becomes shipwrecked on a remote Island when he interferes with the ships brutal Captain Davies (Stanley Fields) abusing one of the crew who is a hybrid man-dog M’ling (Tetsu Komai). Davies throws Parker overboard and Parker becomes Moreau’s unwelcome guest. Also on the island is Moreau’s reluctant assistant Dr. Montgomery played by Arthur Hohl who drinks himself numb on the road to redemption. Parker is surrounded by Moreau’s strange ‘Manimals’ servants and laborers who resemble monkey’s, bears, pigs and dogs.

Paramount conducted a nationwide search for the beauty who would play Lota The Panther Woman, which garnered a lot of publicity for the prerelease of the film. They chose a winner from each state, the prize being crowned the Panther Woman of America and the extra benefit of Charles Laughton getting to turn her into a beast!

Paramount’s objectification of Kathleen Burk and Dr. Moreau’s objectification of Lota The Panther Woman… either way she was transformed into a desirable piece of meat!

Island of Lost Souls possesses a perverse eroticism as Moreau’ cold scientific intellectualism seeing neither the animals nor men nor beast-men as anything more than ‘subjects’ of his experimentation into genetic freakery, in particular his most gratifying creation of The Panther Woman Lota, played by Kathleen Burke. Parker is drawn to Lota “You’re a strange child” but he is repulsed when he discovers her panther like claws.

 

Unfortunately not not only does Lota begin to revert back into her feral origins- Moreau exclaims- “It’s the stubborn beast flesh, creeping back! I may as well quit. Day by day it creeps back!” –But she is as smitten as a kitten with Edward Parker. And while Moreau’s curiosity pushes him to see what would happen if he mates the lusting Lota with pure speciman of an exquisite man, Edward, his jealousy can not be subverted by his systematic spirit of inquiry. Laughton conveys even through his enigmatic silences, this ambivalence as he sweats and broods about the compound watching like a voyeur their every move. Dr. Moreau: “Did you see that, Montgomery? She was tender like a woman. Oh, how that little scene spurs the scientific imagination onward.” and watching while Lota and Parker sit close together her raw sexuality spilling over into the shadows, Moreau whispers, ” I wonder how nearly perfect a woman Lota is. It is possible that I may find out with Parker.”

Ruth (Leila Hyams) and Captain Donahue (Paul Hurst) track Edward down on the island and also become prisoners of Dr. Moreau’s tropical nightmare. Eventually she is chased around the island by Ouran, the man-ape played by Hans Steinke.

Not only is Island of Lost Souls inflammatory with its deviance put forward by the idea of bestiality and the sexual attraction between Parker and Lota as The Panther Woman, one of the most provocative aspects of Island of Lost Souls is it’s dealings with the vicious desecration of the body when Moreau explores his scientific delights in “The House of Pain” the operating theatre where he performs vivisectionist orgies on these poor beasts, their screams remain in my head as something I cannot un-hear or un-see. When the ‘natives’ realize that Moreau has himself broken these laws by killing Donahue (Paul Hurst) who tries to rescue Edward Parker–their prime rule not to kill or spill blood, in the epic fatalistic climax they drag him off to his own ‘House of Pain’.

from The Overlook Film Encyclopedia-Horror: edited by Phil Hardy-“Interestingly, though, Island of Lost Souls anticipates King Kong (1933) in its embodiment of the underground spirit of revolt, a spirit extremely timely in its appeal to victims of the Depression years, who not only resented their material deprivations but were all too willing to blame a system which appeared to thrive on an arbitrary suspension of the individuals’s inalienable right to the pursuit of happiness. The delirious final revolt here, with the master dragged away to the ‘house of pain’ in which he created his subservient brutes, echoes the wilder excesses of the French Revolution…)…Presumably because of its vivisectionist aspects, the film was banned in Britain until 1958. Lost somewhere among the beast-men are Randolph Scott and Alan Ladd. Also appearing as one of the ensemble of beast-men-billed as a furry Manimal is Schlitze from Tod Browning’s Freaks 1932.

From David J. Hogan-“The atmosphere of the island is heavy and foreboding. Vegetation is obscene in its lushness and fertility. Humidity hangs like a curtain. It is in this unforgiving milieu that Moreau, the loveless father, passes his undesirable traits on to his children, and ultimately suffers for it. The manimals are merely extensions of Moreau’s own unchecked cruelty.”

Your EverLovin’ MonsterGirl saying “they’re restless tonight” and so am I-hope I won’t see any of ya in the house of pain- Yikes…!!! Are we not film lovers!

MonsterGirl’s Halloween – 2015 special feature! the Heroines, Scream Queens & Sirens of 30s Horror Cinema!

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Horror cinema was at it’s spooky peak in the 1930s~ the era gave birth to some of the most iconic figures of the genre as well as highlighted some of the most beautiful & beloved heroines to ever light up the scream, oops I mean screen!!!!

We all love the corrupted, diabolical, fiendish and menacing men of the 30s who dominated the horror screen- the spectres of evil, the anti-heroes who put those heroines in harms way, women in peril, –Boris, & Bela, Chaney and March… From Frankenstein, to Dracula, from The Black Cat (1934), or wicked Wax Museums to that fella who kept changing his mind…Jekyll or was it Hyde? From the Mummy to that guy you could see right through, thank you Mr. Rains!

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Gloria Stuart The Invisible Man

Last year I featured Scream Queens of 40s Classic Horror! This Halloween – – I felt like paying homage to the lovely ladies of 30s Classic Horror, who squealed up a storm on those stormy dreadful nights, shadowed by sinister figures, besieged by beasts, and taunted with terror in those fabulous frisson-filled fright flicks… but lest not forget that after the screaming stops, those gals show some grand gumption! And… In an era when censorship & conservative framework tried to set the stage for these dark tales, quite often what smoldered underneath the finely veiled surface was a boiling pot of sensuality and provocative suggestion that I find more appealing than most contemporary forays into Modern horror- the lost art of the classical horror genre will always remain Queen… !

Let’s drink a toast to that notion!

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The Scream Queens, Sirens & Heroines of 1930s Classic Horror are here for you to run your eyes over! Let’s give ’em a really big hand, just not a hairy one okay? From A-Z

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Phantom in the Rue Morgue 1954.

ELIZABETH ALLAN

Elizabeth Allan

A British beauty with red hair who according to Gregory Mank in his Women in Horror Films, the 1930s, left England for Hollywood and an MGM contract. She is the consummate gutsy heroine, the anti-damsel Irena Borotyn In Tod Browning’s campy Mark of the Vampire (1935) co-starring with Bela Lugosi as Count Mora (His birthday is coming up on October 20th!) Lionel Atwill and the always cheeky Lionel Barrymore… Later in 1958, she would co-star with Boris Karloff in the ever-atmospheric The Haunted Strangler.

Mark of the Vampire is a moody graveyard chiller scripted by Bernard Schubert & Guy Endore (The Raven, Mad Love (1935) & The Devil Doll (1936) and the terrific noir thriller Tomorrow is Another Day (1951) with sexy Steve Cochran & one of my favs Ruth Roman!)

The film is Tod Browning’s retake of his silent Lon Chaney Sr. classic London After Midnight (1927).

The story goes like this: Sir Karell Borotin (Holmes Herbert) is murdered, left drained of his blood, and Professor Zelin (Lionel Barrymore) believes it’s the work of vampires. Lionel Atwill once again plays well as the inquiring but skeptical police Inspector Neumann.

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Irena (Elizabeth Allan) and Professor Zelen (Lionel Barrymore) hatch an intricate plot to trap the murderers!

Once Sir Karell’s daughter Irena ( our heroine Elizabeth Allan) is assailed, left with strange bite marks on her neck, the case becomes active again. Neumann consults Professor Zelin the leading expert on Vampires. This horror whodunit includes frightened locals who believe that Count Mora (Bela in iconic cape and saturnine mannerism) and his creepy daughter Luna  (Carroll Borland) who trails after him through crypt and foggy woods, are behind the strange going’s on. But is all that it seems?

Mark of the Vampire (1935)

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Elizabeth Allan (below center) and Carroll Borland as Luna in Tod Browning’s Mark of the Vampire (1935).
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Elizabeth Allan and Carroll Borland in Mark of the Vampire (1935).

The Phantom Fiend (1932)

Directed by the ever-interesting director Maurice Elvey (Mr. Wu 1919, The Sign of Four, 1923, The Clairvoyant 1935, The Man in the Mirror 1936, The Obsessed 1952) Elizabeth Allan stars as Daisy Bunting the beautiful but mesmerized by the strange yet sensual and seemingly tragic brooding figure- boarder Ivor Novello as Michel Angeloff in The Phantom Fiend! A remake of Alfred Hitchcock’s first film about Jack the Ripper… The Lodger (1927) starring Novello once again.

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Ivor Novello is the strange & disturbing Michel Angeloff. Elizabeth Allan is the daughter of the landlords who rent a room to this mysterious fellow who might just be a serial killer. Daisy Bunyon falls captivated by this tormented and intense young man…
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A.W. Baskcomb plays Daisy’s (Elizabeth Allan)father George Bunting and Jack Hawkins is Joe Martin the regular guy in love with Daisy.
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Michel Angeloff (Ivor Novello) to Daisy Bunting (Elizabeth Allan) “Stay away from me… don’t ever be alone with me…{…} -You trust me, no matter whatever I’ve done?”

The Mystery of Mr. X (1934)

There is a murderer loose in London who writes the police before he strikes with a sword cane, he signs his name X. It happens that his latest crime occurs on the same night that the Drayton Diamond is stolen. Robert Montgomery as charming as ever, is Nick Revel the jewel thief responsible for the diamond heist, but he’s not a crazed murderer. The co-incidence of the two crimes has put him in a fix as he’s now unable to unload the gem until the police solve the murders.

Elizabeth Allan is the lovely Jane Frensham, Sir Christopher Marche’s (Ralph Forbes) fiancé and Police Commissioner Sir Herbert Frensham’s daughter. Sir Christopher is arrested for the X murders, and Nick and Jane band together, fall madly in love, and try to figure out a way to help the police find the real killer!

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HEATHER ANGEL

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Heather Angel is a British actress who started out on stage at the Old Vic theatre but left for Hollywood and became known for the Bulldog Drummond series. While not appearing in lead roles, she did land parts in successful films such as Kitty Foyle, Pride and Prejudice (1940), Cry ‘Havoc’ (1943), and Lifeboat (1944). IMDb notes -Angel tested for the part of Melanie in Gone with the Wind (1939), the role was given to Olivia de Havilland.

Heather Angel possessed a sublime beauty and truly deserved to be a leading lady rather than relegated to supporting roles and guilty but pleasurable B movie status.

The L.A Times noted about her death in 1986 at age 77 “Fox and Universal ignored her classic training and used her in such low-budget features as “Charlie Chans Greatest Case and “Springtime for Henry.”

Her performances in Berkeley Square and The Mystery of Edwin Drood were critically acclaimed… More gruesome than the story-lines involving her roles in Edwin Drood, Hound of the Baskervilles or Lifeboat put together is the fact that she witnessed her husband, stage and film directer Robert B. Sinclair’s vicious stabbing murder by an intruder in their California home in 1970.

Heather Grace Angel was born in Oxford, England, on February 9, 1909.
Heather Angel in Berkeley Square (1933) Image courtesy Dr. Macro

The Hound of the Baskervilles (1932)

Heather Angel is Beryl Stapleton in this lost (found negatives and soundtracks were found and donated to the British Film Institute archives) adaptation of Sir Arthur Conan Doyle’s Sherlock Holmes thriller Originally serialized in The Strand magazine between 1901 and 1902.

In this first filmed talkie of Doyle’s more horror-oriented story, it calls for the great detective to investigate the death of Sir Charles Baskerville and solve the strange killing that takes place on the moors, feared that there is a supernatural force, a monstrous dog like a fiend that is menacing the Baskerville family ripping the throats from its victims. The remaining heir Sir Henry is now threatened by the curse.

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Mystery of Edwin Drood (1935).

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Douglass Montgomery as Neville Landless and Heather Angel as Rosa Bud in the intensely superior rare gem The Mystery of Edwin Drood (1935)

Mystery of Edwin Drood (played by David Manners) is a dark and nightmarish Gothic tale of mad obsession, drug addiction, and heartless murder! Heather Angel plays the beautiful and kindly young student at a Victorian finishing school, Rosa Bud engaged to John Jasper’s nephew Edwin Drood. The opium-chasing, choir master John Jasper (Claude Rains) becomes driven to mad fixation over Rosa, who is quite aware of his intense gaze, she becomes frightened and repulsed by him.

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The brooding & malevolent Rains frequents a bizarre opium den run by a menacing crone (Zeffie Tilbury), a creepy & outre moody whisper in the melody of this Gothic horror/suspense tale!

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Valerie Hobson plays twin sister Helena Landless, the hapless Neville’s sister. (We’ll get to one of my favorites, the exquisite Valerie Hobson in just a bit…) When Neville and Helena arrive at the school, both Edwin and he vies for Rosa’s affection. When Edwin vanishes, naturally Neville is the one suspected in his mysterious disappearance.

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Olga Baclanova

Though I’ll always be distracted by Baclanova’s icy performance as the vicious Cleopatra in Tod Browning’s masterpiece Freaks which blew the doors off social morays and became a cultural profane cult film, Baclanova started out as a singer with the Moscow Art Theater. Appearing in several silent films, she eventually co-starred as Duchess Josiana with Conrad Veidt as the tragic Gwynplaine, in another off-beat artistic masterpiece based on the Victor Hugo story The Man Who Laughs (1928)

Freaks (1932)

Tod Browning produced & directed this eternally disturbing & joyful portrait of behind-the-scenes melodrama and at times the Gothic violence of carnival life… based on the story ‘Spurs’ by Tod Robbins. It’s also been known as Nature’s Mistress and The Monster Show.

It was essential for Browning to attain realism. He hired actual circus freaks to bring to life this quirky Grand Guignol, a beautifully grotesque & macabre tale of greed, betrayal, and loyalty.

Cleopatra (Baclanova) and Hercules (Henry Victor) plan to swindle the owner of the circus Hans, (Harry Earles starring with wife Frieda as Daisy) out of his ‘small’ fortune by poisoning him on their wedding night. The close family of side show performers exact poetic yet monstrous revenge! The film also features many memorable circus folks. Siamese conjoined twins Daisy & Violet Hilton, also saluted in American Horror Story (Sarah Paulson another incredible actress, doing a dual role) Schlitze the pinhead, and more!

Freaks

Anyone riveted to the television screen to watch Jessica Lange’s mind-blowing performance as Elsa Mars in American Horror Story’s: Freak Show (2014) will not only recognize her superb nod to Marlene Dietrich, but also much reverence paid toward Tod Browning’s classic and Baclanova’s cunning coldness.

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( BTW as much as I adore Frances McDormand, Lange should have walked away with the Emmy this year! I’ve rarely seen a performance that balances like a tightrope walker, the subtle choreography between gut-wrenching pathos & ruthless sinister vitriol. Her rendition of Bowie’s song Life on Mars…will be a Film Score Freak feature this Halloween season! No, I can’t wait… here’s a peak! it fits the mood of this post…)

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Baclanova and Earles

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“You Freaks!!!!”
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Gooba Gabba… I guess she isn’t one of us after all!

here she is as the evil Countess/duchess luring poor Gwynplain into her clutches The Man Who Laughs (1928).

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Flicker Alley and Universal Pictures Present Paul Leni’s The Man Who Laughs (1928) The Tortured Smile “Hear how they laugh at me. Nothing but a clown!”

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