20. Plastic model kits for the Classic Monsters appeared in 1960
With Shock Theater and Famous Monsters of Filmland driving up interest in the Universal Monsters, the Aurora Plastics Company approached Universal with the idea of producing styrene plastic models of the most venerable of the monsters. Post-World War II the plastic model industry in American had focused on weapons of the war, as well as cars and trucks. Aurora believed that there was an untapped interest in the models, one in which the company could compete with companies such as Monogram and Revell. In 1961 they introduced Frankenstein, modeled after the image of Boris Karloff, which was a success.
The following year Lugosi as Dracula and Chaney as the Wolf Man appeared. Since the original films had been made in black and white, the first time the monsters appeared in color to many fans were on the boxes containing the kits. In 1970 the kits were released a second time, enhanced by the addition of glow in the dark details such as hands, bases, and accessories. Aurora eventually became part of Nabisco, and the molds and rights for the kits were sold to rival companies, including Revell and Monogram. They continue to appear from time to time, usually marketed by smaller boutique companies, but in 1965 they were easily found in the models’ section of any drugstore.
21. The Munsters spoofed the Universal Monsters in 1964
The American sitcom The Munsters debuted in September, 1964, unabashedly spoofing the Universal Monsters and other American television shows such as Leave it to Beaver, and other shows featuring wholesome families. The family head, Herman, was a Frankenstein’s monster in the Boris Karloff vein. His son Eddie was a young half-vampire and half-werewolf, his father-in-law a Dracula style vampire and mad scientist. His wife was a vampire, and they all worried about the future of their unfortunate niece, who was a normal American stereotypical girl next door. The show’s concept was based entirely on the normalcy of the monsters.
As with the majority of the Universal movies it spoofed, the show was broadcast in black and white, with most of the action set in the dingy, dusty, and gloomy classic “haunted house”. The Munsters, as with the Abbott and Costello movies, eliminate any sense of fear or horror from the characters, and presented them as comic foils. The Shock Theater presentations were in their heyday at the same time. The contrast between the by then considered classic horror movies and the comic display of the Munsters was stark, and the Universal monsters fell deeper into the morass of being quaint stereotypes of a bygone age.
22. The Universal monsters become cereal salesman during Saturday morning cartoons and other childrens’ programming
In 1971, cereal giant General Mills introduced two new cereal lines aimed at children, marketing them heavily towards the audience of the Saturday morning cartoons which were prevalent at the time. The first was a chocolate flavored breakfast cereal named Count Chocula. It was followed by a strawberry flavored concoction called Franken Berry. Advertising included animated characters Count Alfred Chocula, based on Bela Lugosi’s Dracula (complete with accent and cape) and Franken Berry, who spoke in tones reminiscent of Boris Karloff. The two characters argued over whose cereal tasted better until something frightened them to the point that the argument was discontinued.
They were not the first cartoon caricatures of the iconic monsters. In 1964 a Frankenstein monster appeared with Bugs Bunny and the Tasmanian Devil in the cartoon, The Devil and Mr. Hare. The Beatles sampled a Frankenstein monster in the film Yellow Submarine (though The Beatles had nothing to do with the production of the film’s animation or story) which morphed into an animated John Lennon after drinking an unknown beverage. Congenial versions of the Frankenstein monster, far removed from its initial Universal appearance in 1931, appeared throughout the 1970s, and continued to appear today.
23. Boris Karloff became a beloved children’s star for the Christmas season, creating another American icon
On December 18, 1966 an animated Christmas special based on a book by Dr. Seuss was aired for the first time. It featured Boris Karloff, who first portrayed the Frankenstein monster on film, as the narrator of the story and as the voice of its main character, the Grinch. How the Grinch Stole Christmas became a major part of the Christmas season ever since its first airing, and finally freed Karloff from his typecasting as a star of horror films and television programs. Karloff’s was the only voice to appear on the special, other than the Whos’ singing and the song “You’re a mean one, Mr. Grinch’, which was performed by Thurl Ravenscroft (they’rrrrrrrre great!).
Another performer who managed to escape the stereotype of being able to only perform in horror movies was Claude Rains, who by 1942 created the role of Inspector Renault in Casablanca, as well as many other notable roles. Rains eventually was nominated for Best Supporting Actor four times. He contributed his considerable skills to motion pictures including Lawrence of Arabia, Caesar and Cleopatra, Mrs. Skeffington, and Angel on My Shoulder. Most of the actors who performed as the Universal monsters, including Bela Lugosi and Lon Chaney, fought with little success against the typecasting for the rest of their careers.
Dracula, and scores of other low budget vampire movies which loosely covered the character created by Bram Stoker continued to appear in film every couple of years or so throughout the 1970s and 1980s. Other versions of the vampire tale appeared, and actors such as Christopher Lee and Vincent Price made horror movies which mimicked the interpretation of Bela Lugosi in the classic Universal film. In 1979, Dracula returned in a version which faithfully followed the Bram Stoker novel and the successful stage adaptation. It was performed over 900 times on Broadway between 1977 and 1980, with the film shot concurrently.
Frank Langella portrayed the title role to critical acclaim and public approbation, but in reviews the performance was compared – perhaps inevitably – to Lugosi’s decades earlier. Unsurprisingly at the same time a gothic Dracula returned to first run theaters, a comic version also appeared, a camp film called Love at First Bite, starring George Hamilton. Langella’s performance drew approving reviews, as did the sets and mood of the film, but it was evident that Dracula’s power to make members of the audience faint from fear was a thing of the past.
25. The Universal Monsters became and remain American icons, seen every Halloween
The Universal Classic Monsters were born in the early days of talking movies, out of black and white films set in gloomy tones, sprinkled with the myths of Eastern Europe. Their initial impact was one of awe at the filmmaker’s ability to frighten the audience. More jaded later audiences learned to regard them with a snicker. Their images are recalled throughout the year, but never more so than in the days and nights as Halloween approaches. At every Halloween party, someone is likely to appear as one of them, in serious homage or in campy spoof. Sexy vampires have become as common as scary.
But the monsters worked their way into American culture and American history and they retain their place, though their ability to shock and frighten has faded into the mists which were so much a part of their image. Today they are regarded with fond amusement, an annual entity like the Easter Bunny or green beer for Saint Patrick’s Day. Every decade or so they seem to reappear, resurging like a delayed tide. Perhaps its just a quirk of the common memory reminding us all, deep down in some primitive instinct, “Even a man who is pure in heart and who says his prayers by night, may become a wolf when the wolfbane blooms and the Autumn moon is bright”.
Where do we find this stuff? Here are our sources: