What Happened to the AURORA MODEL KITS?

What Happened to the AURORA MODEL KITS? video by Dan Monroe / Movies, Music & Monsters.

Summary:

Dan Monroe explores the history of the Aurora Plastics Corporation, tracing its origins from a simple injection molding shop to a pop culture icon. The discussion covers the evolution of their legendary monster and sci-fi model kits, their massive commercial impact on youth culture during the 1960s, and the factors leading to the brand's eventual closure.

I bought my first Aurora monster model kit at the 1961 Los Angeles County Fair which was Frankenstein sculpted to look like Boris Karloff. I still have it. I had most of the Universal monsters but they broke over the years. I did buy the Polar Lights Dracula re-issue model kit a few years ago. It is sculpted to look like Bela Lugosi.

I bought further monster model kits at Boys Market in Los Angeles.

The Reason Why Karloff Stopped Playing The Monster

Son of Frankenstein (1939) was Boris Karloff's swan song as the Frankenstein monster. 

Antonia Carlotta of the Laemmle family posted a video the reasons why.

Summary: 

Boris Karloff played Frankenstein's Monster in three Universal films: Frankenstein, Bride of Frankenstein, and Son of Frankenstein, becoming one of cinema's most iconic figures. His performance gave the creature soul - part horror, part heartbreak. But after Son of Frankenstein, Karloff never played the Monster again. Why?

Let's go behind the scenes with Karloff, producers Carl Laemmle and Junior Laemmle, make up artist Jack Pierce, directors James Whale and Rowland Lee, and all the other major players that contributed to Karloff's decision to walk away.

I'm Antonia Carlotta and this is Universally Me, the channel for all things Universal and classic horror. My family started Universal Studios, and they made the Universal Monsters, including Frankenstein and the Bride of Frankenstein.

Old Movie Monster Mags

Last evening, I was digging around my night stand's drawers for some old class photos and found some old movie monster magazines.

I rarely ever look through the drawers, but took a look though a couple of the magazines. Both had covers partially chewed by paper-eating bugs. But, strangely, they didn't touch the newsprint interior pages.

Above, Monsters of the Movies no. 3.

The first one was Monsters of the Movies No. 3, it was a "special issue" on vampires. Inside, was an article on "Variations On A Vampire Theme" penned by none other than Don Glut. Another article was on the Dark Shadows the daytime soap opera, or spook opera, also penned by Glut. The issue was from 1974. 

Above, Monsters of the Movies No. 2.

Another issue of Monster of the Movies (no. 2) contained articles on the Frankenstein monster. One article, also penned by Don Glut was "Dracula's Last Stand". The magazine was also from 1974. 

Above, yours truly with Don Glut at the Art of King Kong exhibit in 2017,

The magazines, bug chews and all, were scanned as-is.

It is interesting seeing some of Don Glut's work decades before we even met. I wonder if he remembers these issues? 

"Bride of Frankenstein" Christian Imagery

Above, the Monster (Boris Karloff) pelted by rocks in a scene suggesting crucifixion.

For Easter Sunday, I though I would post a little something from a movie we all cherish.

A few weeks ago, I watched Bride of Frankenstein (1935). While doing so I paid more attention to the Christian imagery that the film contained.

Until recent years, Henry Frankenstein's creation scene declaration, "In the name of God, now I know what it's like to be God!" in Frankenstein (1931) was censored out. It was finally restored. That was basically the only objectionable religious item in the movie. The drowning of Maria was also censored until recent years, but now restored as well. But Bride of Frankenstein went much further.

Joseph Breen, administrator of the Production Code objected to some images in the movie and had Whale re-shoot scenes or just had some eliminated. Director James Whale, however, was a clever man and was able to sneak some images in. 

Above, the censored graveyard crucifix scene that was changed to toppling a statue of a bishop.

In an article by Jan A. Henderson and George E. Turner, the images (and references in the dialog) were discussed as follows:

Whale retained most of the religious imagery that had worried Breen. The captured Monster, raised aloft on a pole and pelted by rocks, obviously symbolizes crucifixion. Additionally, a crucifix in the hermit's cabin is heavily emphasized; the Monster angrily topples a statue of a bishop; and Pretorius impiously quotes Biblical phrases ("Male and female created He them. Be fruitful and multiply."). Elizabeth tells Henry that his thoughts are "blasphemous and wicked." While these touches are much commented upon by historians, no one has explained why Pretorius dons a yarmulke before unveiling his miniature creatures.

Above, the Hermit's crucifix (at left) starts glowing as the scene fades to black.

There was very little humor in the original 1931 Frankenstein, but there was plenty of dark humor in Bride of Frankenstein. Whale initially did not want to direct a sequel, but was persuaded to direct it as he was given free reign. The result was a rare sequel that many consider to be superior to the original.

David J. Skal, R.I.P.

Above, David J. Skal.

Nothing like waking up to shocking news.

Horror film historian David J. Skal was killed on New Years Day in an automobile accident in Glendale. He was 71.

It was a head-on collision caused by an alleged drunk driver. ABC 7 News has a surveillance video of the accident.

Although we were Facebook friends, I mainly knew him through his featurettes in Universal Pictures' horror movies DVDs. 

It was this post from Don Glut of a few hours ago that gave me the news:

By now most of you who knew David J. Skal -- a scholar, historian and a friend -- was killed tragically in an auto collision. I directed David once in a cameo scene in a short film THE VAMPIRE HUNTERS CLUB. But I'll always remember a magical moment I had with him. We were in a recording studio up at Universal. At the time he was working on a restoration of FRANKENSTEIN and knew that I had an audio tape made from the original sound discs that included Colin Clive's later-censored line, "In the name of God, now I know what it feels like to be God."  He wanted to restore that line into the film, a place that had been a jump cut since it was removed decades ago by the censors.  The tape, which I had since the late 1960s, had to be played from the beginning;  we couldn't skip ahead to that line. David and I were sitting on a couch. I watched him as the tape played from the beginning ... and the growing look of anticipation on his face as the soundtrack progressed ... and the final look of near-ecstasy as he finally heard, for the first time in his life, those legendary lines. I'll never forget that moment!  Ironically, the accident occurred on January 1st -- the anniversary of the first publication of Mary Shelley's classic novel FRANKENSTEIN. To see and hear the scene as restored by David, click ... https://www.youtube.com/watch?v=BqF28KiD-Hc

This is a big loss to the horror movie fan family. 

UPDATE (2/14.24):

David Skal’s partner, Robert Postawko, who was in the car with Mr. Skal when Mr. Skal was killed in a traffic accident, died on Feb. 6 from the injuries he had sustained. He had been expected to survive despite the seriousness of his injuries.

Monster Centennials 8 Years From Now

Above, Boris Karloff as the Monster in a publicity still. Photo by Universal Pictures.

For tonight's New Year's Eve dinner movie, I watched the 1931 Frankenstein starring Boris Karloff, Colin Clive, Mae Clarke, John Boles, Dwight Frye and Edward Van Sloan.  It had been a while since I last viewed it.

Since tomorrow will be 2023, it occurred to me that the movie will be 92 years old as well as Dracula with Bela Lugosi, Helen Chandler, Edward Van Sloan, David Manners and Dwight Frye. 

Above, Edward Van Sloan and Bela Lugosi in a publicity still. Photo by Universal Pictures.

Eight years from next year, both films will be celebrating their centennials. Will Universal Pictures have any whoop-de-doos to celebrate? I'd imagine they will (well, there's money to be made). 

I guess I'll have to hang on for eight more years to find out.

"The Invisible Woman" (1940)

I've had The Invisble Man Legacy Collection DVD box set (Universal Pictures) for about a year, but I had not viewed all of the movies in it.

Last evening, we watched The Invisible Woman (1940) for the first time.

From IMDb:

Eccentric Professor Gibbs, brilliant but impractical, invents an invisibility machine and advertises for a guinea pig. What he gets is Kitty Carroll, an attractive, adventurous model, who thinks being invisible would help her settle a few scores. Complications arise when three comic gangsters steal the machine to use on their boss. But they fail to reckon with the Revenge of the Invisible Woman!

I didn't expect a comedic take on invisibility (given the serious H. G. Wells-based The Invisible Man and its sequel The Invisible Man Returns), but we enjoyed it.

The movie starred Virginia Bruce in the title role and John Barrymore as Professor Gibbs. Shemp Howard appears as a comedic gangster. 

Some machinery in Prof. Gibbs's laboratory were very familiar as they were used in Universal's Frankenstein series.

My grade: A.

"Frankenstein" Released 90 Years Ago Today

Above, Boris Karloff in his star-making role as the Monster. Universal Pictures.

It is interesting that a movie, a horror movie at that, is still thrilling audiences 90 years after its release, thanks to today's video technology.

Such is James Whale's Frankenstein (1931) starring Boris Karloff, Colin Clive, Mae Clarke, John Boles, Dwight Frye and Edward Van Sloan. 

The movie, an adaptation of a stage play based on Mary Shelley's novel, was released on November 21, 1931 by Universal Pictures.

Happy 90th Anniversary, Frankie!

Happy Halloween!

 The classic creation scene from Frankenstein (1931).

"Depraved" (2019)

Above, about to head to the post office. Photo by Armand Vaquer.

Finally, after being shut in since Saturday, I finally left the house to pick up my mail down at the Flying J.

Good thing I did, my former roommate sent me a birthday present, a Bly-ray of the movie Depraved (2019), so I had something new to watch. It is a modern day Frankenstein story.

Rotten Tomatoes summary:

A disillusioned field surgeon who is suffering from post-traumatic stress disorder makes a man out of body parts and brings him to life in a Brooklyn loft.

It was an interesting movie. I give it a B+.

Frankenstein Movies

This past week, I watched two Frankenstein movies that my ex-roommate Jessica gave me last Christmas.

Both movies were entertaining and were different takes on the characters. I had never seen these movies before. Until now.

The first one I watched was Victor Frankenstein (2015).

Here's the Rotten Tomatoes summary:

While searching for animal body parts at a London circus, radical scientist Victor Frankenstein (James McAvoy) meets gifted surgeon Igor Strausman (Daniel Radcliffe). Not only does the brilliant doctor offer Strausman his friendship, but also a chance to work with him on groundbreaking research that could change the world forever. When Victor's experiments with life and death go too far, only Igor can bring him back from the brink of madness and save him from his monstrous creation.

The second movie I watched was I, Frankenstein (2014).

Here's the Rotten Tomatoes summary:

Two centuries after Dr. Frankenstein assembles and reanimates his creature, Adam (Aaron Eckhart) is still living. He becomes embroiled in a war between two immortal races: gargoyles, the traditional protectors of mankind, and evil demons. Since Adam is neither human nor demon, gargoyle Queen Leonore (Miranda Otto) and demon Prince Naberius (Bill Nighy) each want him for their own purposes. It is up to Adam to discover his inner humanity and the reason for his continued existence.

Of the two, I enjoyed I, Frankenstein more, but both are worth a viewing. 

National Frankenstein Day

Above, Boris Karloff in Bride of Frankenstein (1935). Universal Pictures.

According to International Business Times, today is National Frankenstein Day.

In an article they posted on October 25:

In a world where there's a national holiday for almost any and everything, it's only right that Frankenstein has one too. Friday marks the 22nd ever National Frankenstein Day.

What is National Frankenstein Day?

The special day was created in 1997 by Ron MacCloskey from Westfield, New Jersey, and is celebrated on the last Friday of October each year to celebrate the birth of one of the most iconic horror characters (Frankenstein's monster) and its creator Mary Shelley. 

The author began writing the story of Frankenstein when she was just 18-years-old. The novel tells the story of a young scientist, Dr. Victor von Frankenstein, who, traumatized by his mother's death, becomes obsessed with the idea of bringing the dead back to life. Eventually, he succeeds in bringing to life a creature made of body parts from various deceased people. Though Shelley never names him, many fans call the monster "Frankenstein."

To celebrate, people would do something Frankenstein related.

I chose to watch the original 1931 Frankenstein, starring Colin Clive, John Boles, Mae Clarke and Boris Karloff in his immortal first portrayal of the Monster. 

There is another "Frankenstein Day" that is celebrated on August 30, Mary Shelley's birthday.

To read more, go here.

The Monster and Maria

Ted Newsom posted this colorized (I am assuming he did it) shot of Boris Karloff and Marilyn Harris from Frankenstein (1931).

The photo was taken during production of the movie at Malibu Lake in Agoura, west of the San Fernando Valley.

Nice job, Ted!

"Flash Gordon" On Comet

Above, Buster Crabbe (center) and Charles Middleton (right) in Flash Gordon.

Not since the 1960s had I the pleasure of watching the old Buster Crabbe Flash Gordon serials of the 1930s. They are based on Alex Raymond's comic strip.

As I now am able to get the Comet TV network here in New Mexico, I am enjoying watching episodes of Flash Gordon (1936). Comet TV plays them on Sunday nights.

They were three serials in all and they were produced by Universal Pictures for Saturday matinees. It is said that these serials inspired George Lucas into creating Star Wars.



Along with Crabbe in the title role, the serial starred Jean Rogers as Dale Arden, Charles Middleton as Ming the Merciless, Priscilla Lawson as Princess Aura and Frank Shanno as Dr. Alexis Zarkov.

Although the effects are primitive and the budgets were on the low side, they are still fun to watch. Since Universal was producing these, stock footage from Frankenstein and other movies were incorporated. Also, music cues from Universal's library were also used. I recognized some from Bride of Frankenstein and The Black Cat.

Quite often, I find watching these old films more entertaining than today's high-tech productions. 

Pig Brains Kept Alive OUTSIDE Their Bodies

This is something that is right up Dr. Frankenstein's (or Dr. Niemann's) alley!

The Daily Mail (U.K.) reported:

Pig brains have been kept alive outside their bodies for the first time as part of a controversial new experiment. 

The brains of hundreds of pigs survived for up to 36 hours after the animals had been decapitated, researchers revealed. 

The radical experiments could pave the way for brain transplants and may one day allow humans to become immortal by hooking up our minds to artificial systems after our natural bodies have perished.

Well, if that should ever happen, the scientists or doctors conducting the transplants had better make sure the blood types match in order for the sensory nerves to be fed. Otherwise, the subject just may end up blind like Frankenstein's Monster (with Ygor's brain) in Ghost of Frankenstein.

"Vot goot iz a brain wit out eyes to see?" - Ygor.

To read more, go here.

Goodies At Creature Features

Above, Creature Features monster store in Burbank. Photo by Armand Vaquer.

Tonight, I was at Creature Features in Burbank for an exhibit reception of "The Art of King Kong, featuring William Stout".

Creature Features store carries many monster-related items such as magazines, model kits, toys, artwork, music, videos, books and other great goodies.

Here's a sampling on what they have available for monster fans:

Above, Karloff and Lugosi, together again. Photo by Armand Vaquer.

Above, The Wizard of Oz items. Photo by Armand Vaquer.

Above, flying monkeys! Oh, no! Photo by Brant Elliot.

Above, Hedorah and a gremlin. Photo by Armand Vaquer.

Above, King Kong merchandise. Photo by Armand Vaquer.

Above, a nice Moguera. Photo by Armand Vaquer.

Above, Godzilla merchandise. Photo by Armand Vaquer.

Above, Brant Elliot checks out magazine racks. Photo by Armand Vaquer.

Above, that's not my ex-fiancee. Photo by Armand Vaquer.

WSJ: Where Our Monsters Come From

Above, a Universal publicity photo for Son of Frankenstein featuring Bela Lugosi and Boris Karloff.

Halloween is only days away and it is the perfect time to see where our monsters came from.

The Wall Street Journal has an article that does just that.

They begin with:

The Halloween season is upon us again and, with it, all the lurid paraphernalia of
assorted ghosts, ghouls and goblins. It’s all in good fun, but our favorite seasonal terrors
also say something deeper about what scares us and why. Halloween itself we owe to the
ancient Celts, whose festival of Samhain marked the beginning of the dark part of the
year, when the souls of the dead revisited the earth, but many of our current monsters
reflect more recent anxieties. 

Most anthropologists date the beginning of civilization to the institution of funerary
rituals and designated cemeteries, and it is hardly surprising that our imaginations,
even now, dwell on the disquieting line that separates the living from the dead. In many
cultures, too, ghosts are often angry because they represent, in guilty consciences, those
who been murdered, forgotten or somehow improperly laid to rest 

Religion also played a part. When the Protestant Reformation did away with the concept
of purgatory as a transit point to paradise, it opened the doors still further for unsettled
ghosts to roam the earth. Disputes between Protestants and Catholics over who could
best invoke angels and keep demons at bay ensured that those emissaries from the
invisible world would continue to be vivid realities for many believers.

Can you believe that 15 years from now the Universal Pictures horror classics Dracula and Frankenstein will be 100 years old?

To read more, go here. 

Frankenstein's Bicentennial

Above, Boris Karloff in The Bride of Frankenstein. Universal Picttures.

Noted dino expert, director, producer, writer and Godzilla fan Donald F. Glut posted something interesting:

This year is the bicentennial of Mary W. Shelley (then Godwin) writing her classic novel FRANKENSTEIN; OR, THE MODERN PROMETHEUS. No surprise, there have been, are and will be a number of Frankenstein-related movie projects in the works. This includes my own in-progress TALES OF FRANKENSTEIN, an anthology based upon five short stories included in my book of the same title (included in the upcoming THE NEW ADVENTURES OF FRANKENSTEIN COLLECTION, VOLUME TWO, from Bill Cunningham’s Pulp 2.0 Press). The movie, a "traditional" Frankenstein film written, directed and executive-produced by me, is being made via my new company Pecosborn Productions, LLC. We have already filmed the first story, “My Creation, My Beloved,” plus a framing “wrap-around” (featuring the original Monster) that links all five stories together (photos). 

As I am financing Pecosborn’s movies myself (no longer looking for investors, while crowd-funding has never worked for me satisfactorily), the TALES OF FRANKENSTEIN film is, understandably, going rather slowly. I’d like to speed things up and get the entire movie “in the can” this year to capitalize on the novel-writing’s 200th anniversary. And so, I’ve devised a plan to raise additional capital – without investors or crowd-funding – but involving getting a CO-PRODUCER credit in a motion picture (important for some peoples’ résumés) or, if you bring someone to the table who becomes a co-producer, a standard FINDER’S FEE, personal-message me for more information. But please, ONLY if you are seriously interested. 

Thank you.

Glenn "Pee Wee" Strange At Valley Relics Museum

Above, Glenn Strange as Sam the bartender on Gunsmoke. Photo by Armand Vaquer.

Last month, I attended the Election Night party of Mark Reed, the Republican candidate for congress in the San Fernando Valley. It was held in the Valley Relics Museum.

The museum has loads of artifacts spanning years of history in the San Fernando Valley.

It also holds some memorabilia of different celebrities. One of them was actor Glenn Strange, best known as Sam the bartender on television's Gunsmoke and as the Frankenstein Monster in three of Universal's monster rallies of the 1940s. Strange was featured in many westerns during the course of his career.

Monster movie fans will want to visit the Valley Relics Museum just to see the Glenn Strange memorabilia. They have plenty of other items on display to satisfy history buffs.

Here's a few photos of them:

Above, a collection of Glenn Strange Frankenstein memorabilia. Photo by Armand Vaquer.

Above, a closer-in view of Glenn Strange Frankenstein memorabilia. Photo by Armand Vaquer.

Above, a collection of Glenn Strange's western memorabilia. Photo by Armand Vaquer.

Above, a photo of Strange singing with The Duke in Westward Ho. Photo by Armand Vaquer.

For more information on the Valley Relics Museum, go here.

"The Black Cat" (1934)

Above, before the mayhem, Lugosi, Karloff and Manners do some social drinking.

Universal Pictures's The Black Cat (1934) was the first pairing of their horror superstars Boris Karloff and Bela Lugosi and my personal favorite of the pairings.  Fortunately, The Black Cat was produced during the heyday of Universal horror movies.

Above, Boris Karloff (Poelzig) and Bela Lugosi (Werdegast).

The movie centers around a mad architect, Hjalmar Poelzig (Karloff) who lives in an art deco mansion built atop a fortress left over from the first World War.  Dr. Vitus Werdegast (Lugosi) is a driven man on a quest to find his wife and daughter (both played by Lucille Lund).

Lugosi is joined by a newlywed couple, Peter and Joan Alison (David Manners and Jacqueline Wells) after meeting them on the Orient Express.  They are later involved in an automobile accident and take refuge at Herr Poelzig's mansion.

Above, Werdegast is about to be led to the body of his wife by Poelzig.

 Unfortunately, Herr Poelzig is the high priest of a coven of Satan-worshippers who plans to make Joan the sacrifice in the group's next ceremony.

Above, Joan tells Werdegast that she saw his daughter Karen alive.

Werdegast finds out that his wife is dead and her embalmed corpse on display in the chart room of the old fortress below the Poelzig mansion in a glass case.  As he is about to shoot Poelzig, a black cat appears, causing Werdegast to recoil in fright.

Werdegast and his assistant take advantage of a diversion caused by a fainting woman at the Satanic ceremony to rescue Joan.  As they are escaping, Joan reveals to Werdegast that his daughter Karen (Lund) is alive, but finds that Poelzig had just murdered her.  After a fight, Werdegast shackles Poelzig on Poelzig's own embalming rack and proceeds to skin him alive.

Above, after being shackled onto his own embalming rack, Poelzig is told by Werdegast that he's about to be skinned.

The Black Cat was directed by Edgar G. Ulmer and was suggested by the Edgar Allan Poe story.

This was one of Lugosi's best acting roles and Karloff carried off the evil Poelzig role quite nicely.   This was David Manners's best roles as he wasn't stiff like he was in Dracula (1931) and The Mummy (1932).  The art deco sets added to the surreal atmosphere.

The Black Cat also contained some great script lines  (Lugosi's "Supernatural, perhaps.  Baloney, perhaps not."  And, Karloff's  "Did you hear that, Vitus?   Even the phone is dead!").

The Black Cat was produced while Universal was still controlled by Carl Laemmle and was followed by The Raven (1935) and The Invisible Ray (1936), each starring Karloff and Lugosi.