Considering my most popular post to date has concerned the women of Hammer Horror, I figured it was time to turn my attention to the classic Universal Studios monster movies of the thirties and forties, and the actresses that made them great. Brides. A daughter. An invisible woman. Even before the age of sound, with its successful Hunchback of Notre Dame (1923) and Phantom of the Opera (1925), Universal was known for creating memorable monsters. But with 1931’s DRACULA and FRANKENSTEIN, the studio truly mastered the art of monster-making. No one denies that Lugosi’s titular count, or Karloff’s monster are a part of pop culture like no other monsters of the twentieth-century. And, unsurprisingly, it is Lugosi and Karloff that are the actors most often discussed in regard to horror movie history. But Universal Studios’s horror films contain some equally memorable, frightening (and, at least on one occasion, funny) female characters.
A BEVY OF BRIDES
The brides in DRACULA, for example, are truly threatening women. Ethereal creatures. And deadly. It is only through the intervention of the Count that they give up their pursuit of Dwight Frye’s poor Renfield. While Garret Fort’s script takes its cue from Balderston and Deane’s play, the scene gets close to the eeriness of the novel. The appearance of the brides is essential to the film (and the novel), as it establishes Dracula as both a vampire that can create other vampires (an infection), and women as more than mere victims of the Count (by no means the weaker sex). Though their screen time is short, the effect of the brides of Dracula is lasting — one of menace and death.
Elsa Lanchester, however, as the titular BRIDE OF FRANKENSTEIN (1935) plays a more sympathetic character. Similarly on screen for mere minutes (at the very end of the film, unless you count her appearance as Mary Shelley in the opening to the film), Lanchester plays more of a creature to be pitied than feared — shocked more than shocking as she rejects the advances of the monster for whom she is made. Yet is is her character that is among those best remembered by the audience, with a scream that shreds the silver screen, She is there as men’s (and monster’s) plans literally crumble to dust.
A DANGEROUS DAUGHTER
It is with the character of Countess Marya Zaleska in 1936’s DAUGHTER OF DRACULA that Universal found its first true female monster, a fully fleshed out (and blood curdling) character that is both sympathetic and threatening. Played with sophistication and mystery by the talented Gloria Holden, Zaleska is perhaps the first truly conflicted vampire in cinema history (long before Hammer made it a theme, Anne Rice made a literary career of it, and Twilight a hallmark of its series of films). Though Zaleska feeds (most notably in a scene that many consider the first cinematic suggestion of a lesbian vampire), she yearns for a cure to her condition. Tragically, it is not meant to be.
TWO DUDS AND A DOCTOR
To the opposite extreme is the comedic INVISIBLE WOMAN (1940). Here, the horrible is played purely for laughs with the title character, played by Virginia Bruce, first getting revenge on a sadistic boss then playing foil to a group of thieving thugs. If there’s any doubt as to the silliness of the picture, know that Shemp Howard’s in it. Still, it’s not a terrible movie, unlike…
SHE-WOLF OF LONDON (1946). An outright misfire. Forgettable, despite a decent enough performance by June Lockhart (long before she was lost in space), the movie is by no means horror, and certainly not (intentional) comedy. Instead, it’s a dull mystery film where a woman believes herself to be a werewolf, responsible for a series of murders where victims had their throats ripped out. Spoiler alert: she isn’t.
Curiously, one of the most monstrous women in all of Universal Studios horror movies is Dr. Sandra Mornay (played by Lenore Aubert). A scientist in cahoots with Dracula to give the Frankenstein Monster a more obedient brain, Dr. Mornay is a serious threat to the bumbling Wilbur (Lou Costello) in 1948’s ABBOTT AND COSTELLO MEET FRANKENSTEIN. With its many monsters and truly memorable performances, the film is actually among the best examples of horror comedy movies. And it was definitely a highlight for Lugosi (only his second, and last time playing Dracula for Universal), whose career was well on the decline.
BEYOND THE MONSTERS
While some Pre-Code actresses got to play more complex characters, female characters of the late thirties, forties and fifties were too often relegated to roles of the good daughter, the imperiled girlfriend, or the dutiful wife. Women’s liberation was decades away, and Universal Studios, for the most part, played it safe.
Actresses like Evelyn Ankers served as beauties to Universal’s beasts. Ankers, most notable for THE WOLF-MAN (1941) was a Universal Studios staple, appearing also in The Ghost of Frankenstein (1942), Captive Wild Woman (1943), Son of Dracula (1943), The Mad Ghoul (1943), Jungle Woman (1944), Weird Woman (1944), The Invisible Man’s Revenge (1944), and The Frozen Ghost (1945).
Other talented women like Valerie Hobson and Gloria Stuart (both of whom also starred in multiple Universal Horror films) had long and varied careers. Just two among the many actresses that made those movies work as well as they did. Louise Allbritton, Helen Chandler, Mae Clarke. Julie Adams. Susanna Foster. Martha O-Driscoll. Jane Randolph. The list goes on and on.
Though their cult of followers is not as prominent as those for the women of Hammer Horror, the women of Universal’s monster movies are undeniably essential to the success and legacy of those films.