Ends: 14 June 2021
THREE Edgar Allan Poe ADAPTATIONS STARRING BELA LUGOSI, is out now and can be purchased here here.
A trio of classic 1930s horror films starring the iconic Bela Lugosi
Eureka Entertainment to re-issue MURDERS IN THE RUE MORGUE / THE BLACK CAT / THE RAVEN: THREE EDGAR ALLAN POE ADAPTATIONS STARRING BELA LUGOSI, in a 2-disc Blu-ray edition as part of The Masters of Cinema Series from 12 April 2021.
This trio of classic 1930s horror films Murders in the Rue Morgue, The Black Cat, and The Raven is also distinguished by a trio of factors regarding their production. Most notably, each film is based on a work by master of the macabre Edgar Allan Poe. Part of the legendary wave of horror films made by Universal Pictures in the 30s, all three feature dynamic performances from Dracula s Bela Lugosi, with two of them also enlivened by the appearance of Frankenstein s Boris Karloff. And finally, all three benefit from being rare examples of Pre-Code studio horror, their s
El escondite de John Wayne y Johnny Weissmüller en Acapulco
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The True Story Behind The Bride Of Frankenstein United Archives/Getty Images
In 1923, Universal Studios became Hollywood s reigning house of horror with
The Hunchback of Notre Dame, starring makeup effects legend Lon Chaney. The studio followed the success of Chaney s take on Victor Hugo s novel with another macabre masterpiece starring the man of a thousand faces.
The Phantom of the Opera, released in 1925, had audiences fainting in the aisles thanks to Chaney s performance as Erik, the disfigured madman of the Paris Opera. With Chaney s talents and the vision of production head Carl Laemmle, Jr., Universal was on its way to a 33-year horror dynasty.
Once the U.S. entered the Second World War, it become necessary for Hollywood to address certain aspects of grim reality which post-Depression era cinema had specialized in ignoring. After the war had ended, reality seemed to become even grimmer, and filmmakers responded by showing audiences a version of the world in which Hollywood’s conservative, romantic values were turned against themselves in the form of bleak, unremitting fatalism.
Many of these films, retrospectively identified by European critics as noir, were unsentimental tragedies, in which even the smallest errors of judgement can lead to earthly damnation. Much of the time, the world in these films, heavily swathed in shadow, is revealed by the end to be much brighter than it appears, but in more than a few cases, the stories are even darker than the shadows.
As he explains to another sympathetic psychiatrist, in a long line of sympathetic
TZ psychiatrists (John Larch), Maya dances, writhes, and cavorts, tantalizing Hall, a man whose heart should not be racing. In the world of the
Zone, she is a she-demon, a creature who will not rest until she sends Hall over the edge.
One of the many interesting things about
The Twilight Zone is that it allowed many dramatic performers to get their first taste of odd fantasy. Richard Conte was well-known throughout the 1940s and 50s as a go-to gangster, soldier, and mercenary. Boomers will later remember him as Don Barzini, a New York mafia chief who squares off against Marlon Brando s Vito Corleone in
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