The Art of Universal #3

Frames from one of the very best of all Universal Horror films, James Whale's brilliantly realised 1933 version of 'The Invisible Man'.

This was Claude Rains' first American film role, and he was cast because he had an intelligent, cultured, distinctive voice, important in a role where the main character cannot be seen for most of the film. It was a real triumph for Claude, especially as he had to work strenuously in his early career to eliminate a very strong Cockney accent.

The Art of Universal #2

From the bonkers 'vampire on the bayou' 'Son Of Dracula' (1943). Lon Chaney is 'Count Alucard' - they don't ever really ever explain how he is the son of Dracula, and I don't really care - it's ridiculously enjoyable.

The Art of Universal #1

It's not all British film and TV around here, you know, although it is mainly. I recently took advantage of a period of bad health to re-watch a load of Universal Horror films from the 1930s and 40s and it was like rediscovering an old flame, but without the resulting clandestine meetings and eventual marital break up.

I like everything about the Universal films, from their clunky plots to their increasing predilection for cramming every monster they can think of into a plot and hoping for the best. What I like best, however, is the craft that goes into these exploitation classics, where virtually every frame of every reel of every film is a visual treat, a mini masterpiece of framing: industrial Hollywood at its artistic best.

These frames are from 'The Ghost Of Frankenstein' (1942). Lon Chaney, Jr. plays the monster for the first time, Bela Lugosi returns as Ygor, and the super supercillious Lionel Atwill plays the villain, Dr. Theodore Bohmer.

This new occasional series will give me the excuse I need to post loads of snapshots from some of the most entertaining films ever made.