John T. Soister - Of Gods and Monsters: A Critical Guide to Universal Studios Science Fiction, Horror and Mystery Films 1929-1939

Also by John T. Soister

Up from the Vault: Rare Thrillers of the 1920s and 1930s (McFarland, 2004; paperback 2010)

Conrad Veidt on Screen: A Comprehensive Illustrated Filmography (McFarland, 2002; paperback 2009)

Also by John T. Soister, and Henry Nicolella with Steve Joyce and Harry H Long; Researcher/Archivist Bill Chase

American Silent Horror, Science Fiction and Fantasy Feature Films, 19131929 (McFarland, 2012)

Also by John T. Soister with JoAnna Wioskowski

Claude Rains: A Comprehensive Illustrated Reference to His Work in Film, Stage, Radio, Television and Recordings (McFarland, 1999; paperback 2006)

To a new world of Gods and Monsters!
Ernest Thesiger, Bride of Frankenstein

McFarland & Company, Inc., Publishers
Jefferson, North Carolina

LIBRARY OF CONGRESS CATALOGUING DATA ARE AVAILABLE

BRITISH LIBRARY CATALOGUING DATA ARE AVAILABLE

e-ISBN: 978-1-4766-0499-2

1999 John T. Soister. All rights reserved

No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher.

Cover photograph 2005 PhotoSpin

McFarland & Company, Inc., Publishers
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This book is dedicated to my wonderful wife, Nancy, who may not understand why I care so much for these old films, but will never (I hope) wonder why I am so much in love with her;

and to my children, Katelyn, Jake, and Jeremy, who have learned from their Dad that Karloffs Monster was nothing more than an overgrown child, and vice versa.

I want to give credit here to those poor devils who encouraged me, aided and abetted me, loaned me stuff, gave me information or advice, and lifted me up when I was down. These are the people who made this book possible.

Many thanks and a tip of my Sunday hat to my buddy, John Duvoli, who started me writing again, and to the lovely LindaMrs. Duvoliwho has put up with both of us over the years. (To my sister, Cheryl; my brother, Bill; my Mom, my Dad, and my Grandmotherwho have put up with me since my birththere arent thanks enough.) Thanks to Greg Luce (of Sinister Cinema) and George Stover (of Baltimores Cinemacabre Video); without them, I couldnt have run tapes backwards and forwards in order to discover that Lester Matthews wore a rug or that Paul is dead. Thanks to Gary Don Rhodes for cheerfully sharing information on PostalInspector, and to Madeline F. Matz of the Library of Congress for facts on a half-dozen obscurities. A bow from the waist to Richard Koszarski of the American Museum of the Moving Image for furnishing some superlative graphics and for unearthing some reel treasures for me. To Kaye MacCrae, Lynanne Rollins, Chris Shannon, and Ed Stratmann of Rochester, New Yorks, George Eastman House, gracias for your help with this project. Danke schn to Justin Faber, Jim Coughlin, Randy Miller, and veteran film writer Dick Bojarski for sharing resources and enthusiasm.

No one is allowed to author a book on horror or science fiction films nowadays without consulting either or both of the masters, Greg Mank and Tom WeaverI think its a lawso grazie tanto to them and to John Brunas and to Michael Brunas (and thanks for the kind words, Mike). My appreciation, too, for David Skals devotion to Dracula and for James Curtis study of James Whale. Many important and sometimes obscure points on Universal Pictures were discovered in I.G. Edmonds Big U: Universal in the Silent Days, Clive Hirschhorns The Universal Story, and Michael Fitzgeralds Universal Pictures, splendid works all, which should be in every genre fans library; thank you, gentlemen. To Howard Mandelbaum of PhotoFest, Claire at Eddie Brandts, Buddy Barnett of Cinema Collectors, producer Radley Metzger, and Jerry Ohlinger, obrigado.

Merci bien aussi to Ron Borst and John Parnum; that this tome contains some real photographic gems is due to their lifelong devotion to the genre.

To film historian Kevin Charbeneau, who has allowed us all a deeper look into the Paul Leni canon, I owe you one. Im also in the debt of Conrad Veidts number one fan and biographer, J.C. Allen, whose Conrad Veidt: From Caligari to Casablanca ought to be sitting, well-thumbed, on everyones shelf.

A kowtow to Richard Finegan; his knowledge of the studio and the time frame is matched only by his willingness to share the wealth.

Producer Richard Gordon is as much a Curator-at-Large of Film History as he is a part of it, and the essay on The Cat Creeps is in every way far richer for his support material and his insights.

Filmmaker and film historian Robert G. Dickson has (among many other accomplishments) co-authored with Spaniard Juan B. Heinink an indispensable work on the Spanish versions of thirties Hollywood pictures, Cita en Hollywood. Bob responded both graciously and generously to the requests for help from a total strangerthe cosmically rare advert from La voluntad del muerto is here because of his effortsand I cannot express how moved I am by his acts of kindness.

Thanks to Calvin and Forry, who have made my childhood last a lifetime.

Dozo to my professional colleague Barry Palmer, without whose kindness and technical assistance I would have been the monkey at the typewriter, and this book might still be a mass of typo-ridden foolscap.

To Blackie Seymour, whom I have known a lot of years: many, many thanks. The lions share of the posters and ads in this volume are from Blackies Pentagram Library. The library is the Universal mother-lode and is available to anyone looking to record Uncle Carls little eccentricities, Juniors preoccupations, or the studios output. If the author now warming up in the on-deck circle, preparing to chronicle any of the Universal product, will take a word of advice: get to know His Blacknesshes unique, hes user-friendly, and hes a prince.

Many of these offbeat theories and hypotheses of mine stem from the innumerable conversations, BS sessions, arguments, and reminiscences Ive had with buddies and fellow buffs over the years. The monster movies which set us apart from other kids in our old neighborhoods have, through time, fostered a close-knit, ever-growing coterie of friends who recognize the gift of imagination that was needed to make films such as these and who possess the gift of imagination necessary to appreciate them.

When Universal Horrors hit the streets several years ago, the consensus was that the book on everyones favorite studio had finally been written. Michael Brunas, John Brunas, and Tom Weaver received zillions of well-earned plaudits, and deservedly so; they filled a long-standing need with a magnificent work. Snatching my childrens milk money, I quickly bought and devoured the book, from cover to cover, in a single sitting. The vox populi