Brave New World, Tentative Version, Part 8: "Monsters on the Marquee: Hollywood's Golden Age of Horror"

Intrigued by how AI can impact my writing, I'm presenting side-by-side comparisons of past articles and their revisions made with Google's Gemini Artificial Intelligence. Brace yourselves!

AI Version of an article that appeared here

"Monsters on the Marquee: Hollywood's Golden Age of Horror" 

The 1930s were a dark time for America. The Great Depression gripped the nation, leaving millions jobless and homeless. People sought escape from their harsh realities in the flickering lights of movie theaters. Hollywood studios obliged, churning out films that offered thrills and chills in place of daily struggles.

For a mere dime, audiences could lose themselves in a world of fantastical creatures and the brave heroes who battled them. This era, spearheaded by Universal Studios,  birthed the classic movie monsters that continue to haunt our collective nightmares – even nine decades later.

The Classic Movie Monsters of Universal Pictures

Dracula (1931): The Birth of a Legend

In 1931, Tod Browning brought Bram Stoker's iconic 1897 novel Dracula to life on the big screen. This wasn't just any adaptation; it set the template for countless vampire movies to come. Bela Lugosi's portrayal of the count was a revelation: suave, seductive, and utterly terrifying. We learned of the vampire's aversion to religious symbols and sunlight, and the chilling method of dispatching them – a stake through the heart. The film became a box office smash, reviving the struggling Universal Studios and catapulting Lugosi to superstardom.

Frankenstein (1931): Reanimating a Classic

Fueled by the success of Dracula, Universal Studios head Carl Laemmle Jr. searched for more chills to deliver to horror-hungry audiences. Their next target: Mary Shelley's 1818 novel, Frankenstein; or, The Modern Prometheus. Director James Whale, with the help of makeup maestro Jack Pierce and special effects whiz Kenneth Strickfaden, brought Shelley's vision to life. Colin Clive donned the iconic lab coat as the obsessed scientist, while Boris Karloff as his monstrous creation, stitched together from body parts, became an instant horror icon. Just like Dracula, Frankenstein became a critical and commercial darling, thanks in part to Karloff's surprisingly sympathetic portrayal of the misunderstood creature.

The Mummy (1932): Unveiling a New Terror

Universal kept their golden ghouls, Bela Lugosi and Boris Karloff, busy after their 1931 breakout roles. While Lugosi starred in Murders in the Rue Morgue (1932), Karloff pulled double duty in The Mummy (1932), directed by Karl Freund. Freund, a pioneer of the "unchained" camera, allowed the audience to virtually explore the ancient Egyptian tombs and temples, immersing them in a tale of love and immortality that transcended centuries.

Beyond Monsters: Exploring Societal Fears

Beyond the chills of the supernatural, Universal tapped into the growing anxieties of the time. People were wary of science's potential to unleash unforeseen horrors. Was science playing God? What divine retribution awaited such hubris? These questions simmered beneath the surface, and characters like Dr. Frankenstein, Dr. Jekyll, and Dr. Moreau became chilling embodiments of those fears on the silver screen.

The Invisible Man (1933): Terror Unseen

James Whale returned to the director's chair for this adaptation of H.G. Wells' novel. Claude Rains takes on the role of Jack Griffin, a scientist whose quest for invisibility takes a horrifying turn, driving him to madness. Griffin's unseen presence becomes a chilling embodiment of the growing societal distrust of science. The film was lauded for its groundbreaking special effects, particularly the scene where Griffin removes his bandages, revealing his invisibility in a way that sent shivers down audiences' spines.

Werewolf of London (1935): The Howl Begins

Director Stuart Walker unleashed the first mainstream Hollywood werewolf movie with Werewolf of London (1935). The story follows dueling scientists locked in a race to find a cure for lycanthropy, the ability to transform into a wolf or a wolf-human hybrid. This early take on the werewolf myth treated it as a communicable disease, a stark contrast to the supernatural origins explored in later films.

Interestingly, lycanthropy isn't just for cryptids (animals that cryptozoologists believe may exist somewhere in the wild, but whose present existence is disputed or unsubstantiated). It's also a recognized psychiatric syndrome where patients suffer from the delusion of turning into a wolf.

Pushing the Boundaries: Horror Before the Hays Code

The early 1930s were a wild west for horror films. While graphic violence wasn't yet on the table, studios reveled in exploring dark themes that could still shock audiences today.

Dr. Jekyll and Mr. Hyde (1931):

 Paramount Pictures' take on Robert Louis Stevenson's classic earned Fredric March an Academy Award for his chilling portrayal of both Jekyll and Hyde. Director Rouben Mamoulian delves into Jekyll's tragic attempt to purge his dark desires, only to unleash a monstrous alter ego, Mr. Hyde. Even today, the scenes of Hyde's cruelty towards Ivy (Miriam Hopkins) are disturbing to watch.

The Island of Lost Souls (1932) 

This Paramount Pictures adaptation of H. G. Wells' novel caused an uproar. Charles Laughton's portrayal of the mad scientist Dr. Moreau cranks the "mad scientist" trope to eleven, culminating in a shocking and blasphemous finale. The film reimagines the fall of man, with Dr. Moreau creating monstrous beings and facing a horrifying fate at their hands.  Several states banned the film for its religious references, and the depiction of cruelty led to a 20-year ban in England (it was finally released with an X rating in 1958). Bela Lugosi is unrecognizable under heavy makeup as one of Dr. Moreau's beast-men creations, the Sayer of the Law. (Fun fact: The Sayer of the Law's question, "Are we not men?" was the inspiration for the title of Devo's debut album,  "Q: Are We Not Men?")

Freaks (1932)

This twisted tale of revenge by director Tod Browning was deemed too shocking for audiences and banned in England for decades. When a beautiful trapeze artist Cleopatra (Olga Baclanova) discovers a  little person named Hans (Harry Earles) is wealthy, she plots with a strongman to kill him and steal his money. However, the other sideshow performers, many played by real-life performers with disabilities, discover the plan and enact a horrifying revenge on the "normal" couple. The image of the performers crawling through mud towards their trapped prey is unforgettable. Cleopatra meets a fittingly gruesome end, becoming one of the very "freaks" she despised. (The Ramones even borrowed the chant "We accept you, one of us" from Hans and Cleopatra's wedding for their song "Pinhead" Gabba Gabba Hey!")

The Black Cat (1934): A Forbidden Brew

The legend of Bela Lugosi and Boris Karloff sharing the screen begins with The Black Cat (1934). This Edgar Ulmer-directed thriller is a dark brew of revenge, laced with disturbing elements of Satanism, wartime atrocities, and hints of taboo desires. Set in a post-WWI Hungary still reeling from the horrors of war, the film pushes the boundaries of what was acceptable before the Hays Code enforcement began in earnest the following year.  This sole pre-Hayes collaboration between the horror icons Lugosi and Karloff remains a fascinating, albeit shocking, exploration of the dark side of human nature.

1935 and Beyond: Horror Evolves Under the Hays Code

In 1934, Hollywood adopted the Hays Code, a set of guidelines influenced by the Catholic Church. Designed to safeguard audiences from the corrupting influence of on-screen immorality, the code imposed strict limitations. Nudity, sex, drug use, and religious mockery were all forbidden. All criminal acts had to be punished. Many felt the code stifled creativity and watered down the impact of horror films.

However, the code also ushered in a new era of horror. Studios turned to sequels, remakes, and parodies to keep audiences thrilled within the confines of the regulations. This period saw the return of classic monsters like Frankenstein's monster and Dracula, creating new mayhem or encountering comedic foils.

The Legacy of the Monsters: Sequels, Remakes, and Laughter

With their classic monsters firmly established, Universal Studios looked to expand their chilling universe.

Bride of Frankenstein (1935)

Considered a landmark in horror sequels (some say even better than the original!), Bride reunited director James Whale with Boris Karloff's monster and Colin Clive's Dr. Frankenstein. This time, the mad scientist attempts to create a mate for his creation, with the help of Elsa Lanchester in a dual role as Mary Shelley and the imposing Bride.  Lanchester's chilling performance marked the last time Karloff donned the monster's cumbersome makeup, paving the way for Bela Lugosi and Lon Chaney Jr. to take on the role in later films. (Fun fact: Elsa Lanchester started her career in a most unusual way - as a professional "other woman" hired to grounds for divorcing couples!)

The Wolfman (1941) 

Universal brought the werewolf back to the big screen with a vengeance. This time, Jack Pierce's rejected werewolf makeup from Werewolf of London found its perfect home on Lon Chaney Jr.'s face.  Curt Siodmak's script delved deeper into the lore of lycanthropy, creating a more nuanced and frightening werewolf than audiences had seen before.

Abbot and Costello Meet Frankenstein (1948) 

Recognizing the comedic potential of their monster mash, Universal initiated a hilarious partnership with comedy duo Bud Abbott and Lou Costello.  This first installment pitted the bumbling comedians against Bela Lugosi's Dracula and Lon Chaney Jr.'s Frankenstein's monster - the last time Lugosi would portray the iconic vampire. The success spawned a series of films featuring the comedy duo encountering other classic Universal monsters, including the Invisible Man, Dr. Jekyll and Mr. Hyde, and the Mummy.

Last Word

So there you have it! A glimpse into the chilling world of Universal Studios' classic monsters. These creatures of the night continue to terrify and enthrall audiences even today, a testament to the enduring power of these films.

As for the experiment?  Using AI like Gemini to revisit these classics proved to be a fascinating exercise. It helped refine the  presentation, unearth interesting trivia, and ensure the content remains engaging for modern readers.  Whether you're a longtime monster fan or just discovering these films for the first time, I hope this AI-assisted exploration has sparked your interest in venturing into the dark world of Universal's horror icons.