Today’s scene that I love comes from 2014’s A Field In England. This film may (or may not) take place during a solar eclipse. I won’t try to explain everything that is happening in the scene, beyond stating that this particular field in England is home to some interesting mushrooms. I encourage you see to watch the film for yourself.
Today’s horror scene that I love comes from 1935’s Bride of Frankenstein!
In this scene, directed by James Whale, the Monster (Boris Karloff) meets his first friend, a blind hermit played by O.P. Heggie. It’s a scene that features Karloff at his best and it’s still touching, even if it is kind of hard to watch it without thinking about Peter Boyle accidentally burning down Gene Hackman’s shack in Young Frankenstein.
Dracula (1931, starring Bela Lugosi as the Count, Dir by Tod Browning, DP: Karl Freund)
On this day, 144 years ago, Bela Lugosi was born in what is now Romania. Lugosi began his career in his native country, appearing on stage. After serving as an infantryman in World War I, Lugosi moved into the movie industry and appeared in silent Hungarian films. The young Lugosi was an activist, involved in labor issues and trying to unionize the Hungarian film industry. When a new government came to power in Hungary in 1920, the politically-active Lugosi moved first to Germany and then eventually ended up in the United States. After a period of working as a merchant seaman, Lugosi returned to acting.
He first played Dracula on stage in New York City. In 1928, while touring in the role of Dracula, he moved out to California and quickly became a part of the Hollywood community. When Universal produced a film adaptation of Dracula in 1931, Lugosi was the obvious choice for the lead role. The film made Lugosi a star and it also typecast him. Lugosi never stopped acting, though the films varied widely in quality. By the end of his career, Lugosi was a member of the Ed Wood stock company. Even appearing in something like Bride of the Monster, Lugosi still made an impression.
In the scene below, from 1931’s Dracula, Lugosi suggests that Edward van Sloan’s Van Helsing should perhaps leave the country.
We honor the birthday of Tor Johnson with today’s scene of the day.
Even though Tor Johnson is playing a character named Lobo, today’s scene that I love isn’t from Ed Wood’s 1955 film, Bride of the Monster. Instead, it’s from 1957’s The Unearthly. In this film, Lobo is now John Carradine’s servant. (Lobo made quite a career out of working for mad scientists.) The Unearthly was directed by Boris Peftroff, a friend of Wood’s, so it’s not improbable that this film’s Lobo was meant to be the same Lobo as the one who appeared in Bride of the Monster and Night of the Ghouls.
Anyway, in this scene, Tor does his usual Lobo stuff while John Carradine plays the piano. “Time for go to bed,” Lobo says at one point, a much-mocked line but one that is delivered with a bit of gentleness by Tor Johnson. My point is that Tor did the best that he could and bless him for it.
From the 1960s until his death in the early 90s, German actor Klaus Kinski was known for being the enfant terrible of world cinema. Kinski was a volatile talent, an often angry and occasionally violent performer who specialized in playing extreme characters and who reportedly took pride in his ability to drive directors crazy. Kinski appeared in good films and bad films and, in every one of them, he gave the type of unique performance that only he was cable of giving.
Kinski is best-remembered for his work with his frenemy, Werner Herzog. When Herzog and Kinski weren’t making films together, they were often criticizing each other in the press and sending one another death threats. In the documentary My Best Fiend, Herzog documented his partnership with Kinski. Even while Herzog talked about the time that he went to Kinski’s home with the intent of killing him, Herzog’s affection for his frequent star was obvious. Klaus Kinski was one of an unhinged kind.
In Werner Herzog’s 1980 film, Nosferatu, Kinski played the role of Dracula. In this scene, he comes to visit Isabelle Adjani’s Lucy.
Today’s horror scene that I love comes from one of my favorite films, 1953’s Creature From The Black Lagoon. In this scene, Julie Adams goes for a swim. Little does she realize that, under the water, the Creature is following her every move. Wonderfully directed by Jack Arnold, this creepy yet oddly lovely scene is one of the best of the 50s.
(Today also would have been the 100th birthday of Julie Adams, one of the best — and in my mind, most underrated — actresses of Hollywood’s Golden Age.)
For today’s Horror Scene That I Love, let’s take a minute or two to show some respect to one of the world’s greatest (and longest-lived) film stars, Godzilla! Whether he’s attacking humanity as the literal representation of atomic age anxiety or if he’s saving Earth from a bunch of aliens, Godzilla has always been a superstar.
In this scene from 1973’s Godzilla vs. Megalon, Godzilla shows just how much of a star he is by taking a stand against bullying and saving his friend, Jet Jaguar. In this scene, Godzilla shows that he was an anti-bullying activist even before it was cool. Megalon and his friend thought they could just taunt poor old Jet Jaguar. Not as long as Godzilla’s around!
We have reached October 15th, the final day for individuals to file their income taxes in the United States of America and not be late. For a lot of you, this day means nothing. For a guy who makes his life in the tax business, and who has spent the last couple of months helping his clients get their taxes filed up to the very last minute, this day is a day of freedom! Happy October 15th, my friends. Let the holidays commence!
As proof that any movie — regardless of genre, storyline, or budget — has room for a dance number, check out this dance scene that I love from Friday the 13th: The Final Chapter!
Today would have been the 82nd birthday of the great German actor, Udo Kier.
Today’s scene that I love features Kier in the only version of Suspiria that matters, the original one directed by Dario Argento. In this scene, Kier discusses witchcraft with Jessica Harper.
