Universal Pictures recently announced that they’re taking the horror out of their monsters. Disfigured, awkward, aloof characters of the past will only be a memory, as the production company Marvel-izes itself in an attempt to draw more people to the theater. Despite any initial hostility, it’s understandable why the company would move in this direction. Superhero movies have seemingly taken over Hollywood, with comic book characters permeating every aspect of pop culture, from Halloween costumes to stocking stuffers. At the same time, a film that already approached from this angle, I Frankenstein, received a disappointing opening weekend profit of only $8, 610, 441 of its $65,000,000 budget. Dracula Untold also yielded small numbers at the box office, pulling in a little over $23,000,000, and received a harsh rating of 10% by top critics on Rotten Tomatoes. Both of these popular classic monster characters are examples of how not to approach a movie, and yet, Universal has decided not only to stick with this formula, but also use it for upcoming reboots. If only they’d realize that honing the attention of the masses doesn’t come from copying others and desperately trying to fit in, but rather, standing out. Getting back to basics, and looking at what made the monsters so memorable in the first place is what it will take to make a successful Universal monster movie in today’s ever-changing world.
In 1941, Lon Chaney Jr. sat frozen, petrified, and watched with worried eyes as his human feet grew fur, indicating his slow transition into the Wolf Man. Trapped inside a wild, warped body, he had no choice but to tip toe out the door and into the open, a prisoner to his insatiable new hunger for flesh and blood. To this day, when people talk about the classic monsters, Chaney’s transfiguration in The Wolf Man is inevitably glorified. Another scene that sparks interest is David’s transformation scene in An American Werewolf in London. As David hollers in agony, it’s hard not to squirm along with him, as his ribs visibly stretch and expand as he takes his new elongated stance. The reason for this nostalgia? Practical effects always make for a more memorable monster movie. CGI is a terrific tool, if used sparingly. However, the temptation to take the easier road and opt out of complicated, time-consuming specials effects seems one too great to avoid for many filmmakers, until they throw in so many computer-animated, cartoony effects that the entire world they’ve created no longer feels relatable. Some would argue that these older films are only looked back upon fondly because that’s what they are: old. However, even Hemlock Grove, a 2013 Netflix original show received some serious praise for its wickedly well-captured werewolf transformation scene. Clearly, warm feelings for our favorite films aren’t the only cause for such fond remembrance. Bring back the days when make up and prosthetics sparked a sense of wonder in its viewers, the days of Jack Pierce and and Lon Chaney, with someone new and capable, like sfx connoisseurs Wayne Toth, David LeRoy, Greg Nicotero, and Tom Savini.
It’s easy to get swept up in the bloodlust of Bela Lugosi, or the charged bolts of an undead man who extinguishes life with the ease of a child ripping a flower from its green roots. The truth is, the staying power of these films not only lies in the terror of its villains, but also in the beauty of its cinematography. Frankenstein is an astoundingly beautiful film. The director of photography, Arthur Edeson, worked on many iconic, award-winning pictures, such as The Maltese Falcon, All Quiet on the Western Front, Casablanca, and Mutiny on the Bounty. Cinematographer Joseph A. Valentine of The Wolf Man went on to win an Oscar for his efforts in 1949 for Joan of Arc, and worked on Alfred Hitchcock’s Rope and Shadow of a Doubt.
In truth, the importance of blood and entrails in a classic monster movie is about as useful as casting an attractive, hot new actor as the monster. The focus shouldn’t be on how sexy the person wearing the suit is, but on the suit itself. Milicent Patrick based the suit that the creature wears in Creature From the Black Lagoon on the sea-monk and the sea bishop, two mer-person beings that that supposedly lived in the seas during the Renaissance, exchanging the occasional word with fishermen before diving back into darkness. Director Jack Arnold was so worried about air bubbles bobbing up to the surface from an air tank when the filmed that he hired a professional diver, Ricou Browning, to hold his breath for minutes at a time, just to achieve the desired underwater shot. The point is, a lot of time and preparation went into the appearance alone, because the creature was the focus of the feature, not the six-pack hiding beneath it.
Frankenstein showed the world what happens when mortal men try to play God, and the possible dangers that come from such scientific advances. The Wolf Man used the beast as a metaphor for the inner turmoil that men inevitably face while trying to balance the good and evil in their own hearts. The Bride of Frankenstein explored the depths of reanimating corpses, and whether or not it is morally sound to to prolong life once the option is given. These themes of curiosity, pride, regret, and self-actualization are vital components that need to be included in newer monster movies. Just because you wish to show redemption doesn’t mean you have to convert completely to action-adventure. By turning these monsters into exaggerated, flawless heroes, the company is robbing these icons of what made them so sympathetic in the first place: they’re outsiders.
Ultimately, the industry needs to have more faith in its fans by trusting that it doesn’t have to turn its figures into action stars in order to make people interested in them again. I understand that the company will do whatever it can to stay afloat and gain desirable profits, but the truth is, we are the target audience, we are the ones putting dollar bills into producers’ pockets, so it is our wishes that should be fulfilled, our desires granted. Just look at the worldwide excitement J.J. Abrams’ teaser trailer for Star Wars Episode VII: The Force Awakens has conjured up! 88 seconds long, and it has had people talking for days. The reason millions of hard-to-please fans are interested is because the new trailer looks like the original trilogy from the ’70s, which is exactly what they wanted. There’s just something magical about embracing the style of our predecessors. Let’s go back to time-consuming practical effects, let’s not be afraid to make our monsters unattractive social anti-loners, let’s take time to hire a proper, fitting director who may not be the most popular, but the most worthy. Let’s approach every decision the way Carl Laemmle would have wanted us to: with dignity, perseverance, and roll-up-your-sleeves, old-school hard work. Let’s make classic monster movies again.
