Produced by Universal Pictures, Universal Classic Horror is a collection ofhorrorfilms that range fromsilent moviesof the 1920s to early color features of the 40s and 50s. The franchise has garnered immense success and anchored the conventions of horror in classic cinema. Some of the tropes and themes included in the collection are gothic settings, atmospheric and bold lighting, and perhaps the most iconic depictions of culturally and historically infamous monsters.
The series is considered to be a pioneer ofmonster horrorwith its uniquely favorable representation of the grotesque, the evil, and the ugly. Instead of being too terrifying to sneak a glance at, the monsters were reintroduced on the screen as gothic culture deities. Currently, the legacy of theUniversal Monstersoften reminisces its most popular classics—fromDracula(1931) andFrankenstein(1931) toThe Wolf Man(1941)—and overlooks a few. Here is a reminder list of 10 Universal Monster films that go under-appreciated.
Related:Best Universal Classic Monsters, Ranked
10Werewolf of London (1935)
Being the first feature-lengthwerewolffilm,Werewolf of Londonwas directed by Stuart Walker and starred Henry Hull. The story follows Dr. Glendon’s, a botanist, journey to find a rare flower in Tibet, where he is attacked and bitten by an unidentifiable creature. Along with the full moon, it becomes apparent that a werewolf caused the infection he suffers from. While struggling with transformations, Glendon also starts seeking a permanent cure.
Werewolf of Londonwas admired for its iconic makeup, done by Boris Karloff, and its depiction of a monster who actually does not want to be one. Glendon’s resistance to the infection and his persistence in reversing everything contributed towards a more sympathetic portrayal of an otherwise terrifying monster.
9Dracula’s Daughter (1936)
Directed by Lambert Hillyer,Dracula’s Daughteris the sequel to the 1931 vampire horror filmDracula. Having a self-explanatory name, the film is a story about the titular Dracula’s daughter, Countess Marya Zaleska (played by Gloria Holden). After her father’s death, The Countess looks for ways to get rid of her father’s vampire curse and employs a psychiatrist for help. But her destructive vampire instincts trouble her road to recovery and instead force the idea of a new victim.
The film is loosely based on a 1914 short story (“Dracula’s Guest”) written by Bram Stoker, though some also see influences of Joseph Sheridan Le Fanu’s 1872 novellaCarmilla. Although it was not subjected to the same level of enthusiasm and appreciation as its predecessor, Dracula’s Daughter generally received a welcoming reaction to its exploration of morally confused monsters and addiction.
8Son of Frankenstein (1939)
Continuing from the inheritance trope,Son of Frankensteinis the third film in Universal’s Frankenstein series. Directed by Rowland V. Lee, the film follows Frankenstein’s son Baron Wolf von Frankenstein (played by Basil Rathbone), as he battles the moral struggles of attempting to continue his father’s legacy of reanimation. When the original monster is revived, the Frankenstein family name once again starts to get dragged into the mud.
Son of Frankensteinhad the awaited return of Boris Karloff’s monster and attracted positive recognition and appreciative reviews after its release. Studying the family legacy of the Frankenstein family issued a sentimental tone to the essentially gothic story. It provided a new perspective on the creation of monsters rather than their sole existence. It gives a new take on the responsibility that follows power and authority.
7The Mummy’s Hand (1940)
Universal Picture’smummy movies, also resulted in Christy Cabanne-directedThe Mummy’s Hand. The horrors of the film follow two archeologists who decide to take the mummified hand of the ancient Egyptian mummy of Kharis (played by Tom Tyler) as a souvenir from their search for the tomb of Ananka. As means of revenge, Kharis then begins a rampage to kill anyone who are a part of the expedition.
With the financial and commercial success of the sequels of other monster movies,The Mummy’s Handinitiated a series whereThe Mummy’s Tombclosely followed the first filmin 1942. Though on a fairly modest budget with multiple reused scenes fromThe Mummy, the film nonetheless managed to gather praise upon its release for incorporating elements of humor into its gothic atmosphere.
Directed by James Hogan,The Mad Ghoulstars Turhan Bey, Evelyn Ankers, and David Bruce. Featuring a scientist called Dr. Morris, who is infatuated with a nerve gas used in rituals by the Maya people, his assistant Ted, a medical student, and the coerced involvement of Ted’s girlfriend Isabel; the film is about Ted’s periodic transformations into a murderous ghoul. With unsolicited crushes and power abuse, the story essentially follows a search for a cure.
Despite having a relatively unknown cast and a low-cost budget for production,The Mad Ghoulis a must-see for classic horror fans. Much of its appreciation has come from more contemporary viewings, along with mixed reviews and inevitable comparisons. Still, it continues to be overshadowed by productions with higher production values and more mainstream casts.
Related:10 Classic Horror Movies That Could Use a Sequel
5The Jungle Captive (1945)
Harold Young’sThe Jungle Captiveis a sequel to the 1944 filmJungle Woman, directed by Reginald LeBorg, and is the series finale. The film tells the story of a woman called Paula, who lives in the jungle as an ape woman, being discovered and studied by a group of scientists. Soon enough, their examinations soon conclude that Paula was a woman who transformed into a gorilla as a result of the experiments done on her by a previous crazed scientist.
Vicky Lane’s portrayal of Paula as an ape woman replaced Acquanetta’s portrayal in the third movie and concluded the lesser-known miniseries. Continuing from lower-budget productions and somewhat cheesy special effects, the Ape Woman series has its own authentic approach to female monsters who are simultaneously the victims of others.
4Abbott and Costello Meet Frankenstein (1948)
Abbott and Costello Meet Frankensteinis ahorror comedydirected by Charles Barton, featuringBud Abbot and Lou Costello. Including characters and elements from both Dracula and Frankenstein, the film follows Chick Young (Abbot) and Wilbur Grey (Costello) as the duo gets manipulated by Dracula’s plan to acquire a suitable human brain for Frankenstein’s monster. Other Universal Monsters also come into play during their survival attempts, complicating their plans even further.
AlthoughAbbott and Costello Meet Frankensteinwas deemed a commercial success upon its first screenings, the film is one that can go unrecognized today by popular media. Culturally, the film is deemed extremely significant and marks the last appearances of Bela Lugosi and Lon Chaney, portraying their iconic monsters. It is a merging of horror with comedy that requires a pushback into the spotlight.
3Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953)
The second horror comedy film starring Bud Abbot and Lou Costello was titledAbbott and Costello Meet Dr. Jekyll and Mr. Hyde, and directed by Charles Lamont. Set in Victorian London, two detectives, Slim (Abbot) and Tubby (Costello), are hired by a young woman called Vicky, who is growing suspicious of her father’s abnormal behavior. The more they study Dr. Jekyll, Vicky’s father, they realize he is transforming himself into Mr. Hyde—a monster who can be responsible for the city’s ongoing murders.
The film’s premise is inspired by Robert Louis Stevenson’s 1886 novellaThe Strange Case of Dr. Jekyll and Mr. Hydeand co-stars Boris Karloff playing Dr. Henry Jekyll. After its Frankenstein counterpart, this film of the series received more mixed reviews than expected, while more contemporary audiences have positively acknowledged the film’s comedic horror quality.
2Cult of the Cobra (1955)
Francis D. Lyon’sCult of the Cobrafeatures Faith Domergue, Richard Long, and Kathleen Hughes as part of its cast and was released as a double feature alongside Jack Arnold’sRevenge of the Creature.TheCult of the Cobratells the story of a secret cult engaging in serpent goddess worship and the six American soldiers who accidentally stumble upon the ritual in Asia. With the High Lamian Priestess’ curse, each soldier who disrupts the ritual becomes emotionally haunted and physically threatened by cobras who mask themselves as alluring, beautiful women.
What setCult of the Cobraapart from other monster horror films was its inclusion of the exotic and mystical when it comes to unknown creatures and foreign practices. The film’s use of special effects has received questionable reviews but compensates for that with its inventive approach toward the culturally peculiar.
1Tarantula! (1955)
The science-fiction horror filmTarantula!was directed by Jack Arnold and written by Robert M. Fresco and Martin Berkeley. When a science experiment goes horribly wrong, Dr. Matt Hastings (played by John Agar) is left with a tarantula of gigantic size and disastrous consequences. To stop the tarantula’s killings and reverse its enormous size, Hastings teams up with other professors and scientists, including the creator of the growth serum.
The sociological context forTarantula!concerns the public fears of the 1950s, mostly regarding radiation and mutations. Common fears were fictionalized with science-fiction to create great commercial success in the year 1955. Unfortunately, it continues to be one of the Universal Monster films that often go by unmentioned.
