By Paul M. Jensen
For approximately forty years Boris Karloff was once the King Of Horror. even if there are a number of books on Karloff, writer Paul Jensen spent years studying this examine of this nice actor. Meticulously specific and illuminated with candor and affection. comprises many pictures no longer present in different books, rates from resources overlooked in different biographies and a entire filmography. a truly great tribute-- i might suggest it to his fans.
1. THE EARLY YEARS: judgements AND improvement (1887-1931) • 09
2. FRANKENSTEIN: the start (1931) • 23
three. THE REIGN OF TERROR (1931-1938) • 47
four. MONSTER INTO FATHER determine (1939-1968) • 115
Bibliography • 173
Filmography • 176
Index To Names • 191
Index To motion pictures • 193
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Extra resources for Boris Karloff and His Films
As she looks at herself in the mirror we see her distorted reflection, followed by shots of Rebecca repeating her speech, with cuts between each line from one view of her fragmented face THE REIGN OF TERROR 55 Also intercut here are close-ups of Morgan secretly watching Mrs. Waverton. The entire sequence is a visual and psychological she tour de force elaborated from a single reference in the novel (“. to another. sat in front of the little cracked mirror down . ”) . ”) to her Even though Karloff is not as important to this film as to Frankenstein, the studio realized that he had become a significant selling point .
49 Alias the Doctor was filmed during December-January 193 1— 32, and went into release that spring; the same is true of The Miracle Man a re-make of the 1919 feature about criminals who use a faith healer in their racket. The earlier version established Lon Chaney’s reputation, via his performance as a fake cripple who is “cured” anew in each town, but since Karloff was not yet associated with the monstrous and mutilated, it did not seem odd that someone else played lease that The Guilty Generation Chaney’s tavern role.
As a result, the actor could employ a natural stream of expressions, instead of being limited to a stiff robot’s mask. In this facial and physical pantomime, Karloff’s years spent gaining stage presence were put to good use. Frankenstein is a horror film that rises above its genre designation. Whale’s presentation is admirable, because all the elements work tofinished. thing th,at . . . BORIS KARLOFF 44 AND HIS FILMS gether smoothly and almost none are potentially laughable. The actors are controlled and talented.
Boris Karloff and His Films by Paul M. Jensen