THE HUNCHBACK RETURNS

Unless you've been strapped to the whipping wheel, you know that this year marks the 100th anniversary of Lon Chaney's 1923 monster epic, THE HUNCHBACK OF NOTRE DAME, the first feature film adaptation of Victor Hugo's thinly-veiled indictment of the Catholic Church.

The next film version was in 1939. Produced by RKO, it starred Charles Laughton with a completely different visage than Chaney's but more true to many illustrations seen of the bellringer.

The two articles following are from HOLLYWOOD magazine (November 1939) and PHOTOPLAY STUDIES (December 1939).

By the way, you can read my in-depth, 15-page article on the Hunchback Centennial in the recently re-launched CASTLE OF FRANKENSTEIN (see end of post).

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MONDAY MORNING MACABRE NO. 84

 [Cartoon from HOLLYWOOD magazine, April 1941. In real life, Karloff was an avid gardener!]

LUNCH WITH LON JR.

Hollywood fan magazines were fond of sending their reporters to spend time with movie stars and write about their "real" life outside of acting.

For the July 1940 issue of HOLLYWOOD magazine, Kolma Flake was dispatched to the Hal Roach Studios lot for an interview of the man who played the critically-acclaimed Lenny in OF MICE AND MEN, Lon Chaney, Jr., and who had just completed his role as Akhoba in ONE MILLION B.C.

Miss Flake, it turns out, knows sign language as well, and much of the article (including the photos) focus and their mutual knowledge of signing and how they use it during the course of their luncheon at the studio commissary. Chaney reminisces about his grandfather and earlier life.

This interview takes place before Chaney's roles in MAN-MADE MONSTER and THE WOLF MAN in 1941, launching him into horror stardom.

EXTRA: Here is a photo of Chaney as the MAN-MADE MONSTER in HOLLYWOOD magazine April 1941.

ILONA MASSEY PLUGS MAX FACTOR

In this full page ad from the March 1943 issue of HOLLYWOOD, the beautiful Hungarian actress, Ilona Massey poses for a shot promoting Max Factor's line of makeup products. Factor was a major force behind the makeup and cosmetics industry during the 1930's and 1940's. Universal's head of makeup, Jack Pierce, worked closely with Max Factor over the years to develop special products that would be captured on film in a particular way. Miss Massey, of course, starred in FRANKENSTEIN MEETS THE WOLFMAN, and was, along with the monsters, the recipient of Pierce's makeup expertise.

THE PRIVATE LIFE OF BORIS KARLOFF

Accompanied by a photograph by Roman Freulich of Boris Karloff from his latest film, Hollywood magazine writer J. Eugene Chrisman provides readers with an insight into the private life of the horror film actor.

The article entitled, "Please Scare Us, Mr. Karloff!!" appeared in the July 1934 issue, just two months after the release of The Black Cat (7 May) which paired Karloff with Bela Lugosi for the first time at Universal.

Mr. Chrisman explains to fans that Karloff's offscreen persona is very different from the monsters he portrays. For instance, "He refuses to have a fly swatter in the house because he does not believe in taking life, even that of a fly". Chrisman also tells of Karloff's earlier years, as he struggled to make ends meet by "digging ditches, sleeping on park benches, hoisting heavy barrels of nails, and driving a truck". Using the name, Charles Edward Pratt, Chrisman states that the Karloff name comes from "a Russian ancestor somewhere on the feminine side of his family." He goes on to say that Karloff has a "distinctly Mongolian or Tartar complexion which increases his mystery and makes people wonder."

Embellishments aside, Chrisman paints a very respectable picture of Karloff in this early interview of an actor who would later become the venerable icon of classic screen horror.

BORIS KARLOFF REPLIES

"I think perhaps children are my best fans"       -Boris Karloff

Sure enough, Boris Karloff replied to his friend J. Eugene (Gene) Chrisman (they had met on at least one occasion) in the very next issue of Hollywood magazine (February 1935). He mentions his acting inactivity since starring in Universal's The Black Cat and his preparing to once more don the monster's makeup in a "sequel" to Frankenstein, which, as any Monsterologist would know, could only be The Bride of Frankenstein.

Of great interest is his correction of Chrisman's statement of how he met Lon Chaney, Sr., and goes into some detail of their acquaintance. Always the gentleman, Karloff corrects Chrisman in a couple of instances in the kindest of ways. Also of note are his comments about, along with his friends, helping to bring the English games of cricket and Rugby to America.

There is much here in a short span that Karloff reveals about his interests, his acting, and his being content with playing monster roles. In fact, in 1935, Boris Karloff seems quite content with life in general. "A trip to England to refresh memories now and then," he says. "My home, my work, my friends -- What more I ask you, could even a Monster want?"

Look for another vintage Karloff Klipping, J. Eugene Chrisman's "Please Scare Us, Mr. Karloff!" tomorrow, right here at MONSTER MAGAZINE WORLD!

AN OPEN LETTER TO BORIS KARLOFF

Eugene Chrisman's column in Fawcett's Hollywood magazine was in a clever "open letter' format, where he would ask a selected actor or actress questions that, should they care to answer, would reveal personal information about themselves. No doubt the letters were a set-up and the chosen individual received the questions in advance. No matter. It was a novel way to allow fans insight into their screen star favorites.

The January 1935 issue of Hollywood included a response to the previous month's questions posed to enormously popular child star, Shirley Temple. But the lead was "An Open Letter to Boris Karloff".

Chrisman lauds the work of Karloff, and in a kindly tongue-in-cheek manner, thanks him for ending his insomnia by giving him nightmares from his role as The Monster in Frankenstein. He goes on to compare his enduring makeups to that of the late Lon Chaney. While we know that Chaney applied his own makeup and Karloff's monstrous visages were the work of Jack Pierce, it does not diminish the fact that some of these makeups were quite uncomfortable and it would not be unreasonable to say that they suffered under them on more than one occasion.

More importantly, however, Chrisman acknowledges Karloff's early career struggles, rising from "the slime of ditches" to earn five dollars day. He astutely adds, "It had been a long, hard road, and now, at last you were there, because of a talent you never suspected, the flare [sic] for horror roles."

Would Karloff reply to Chrisman's request to tell fans more about himself? Find out in tomorrow's post right here at MONSTER MAGAZINE WORLD!