A Short History of Grave Robbing

The arrest of a Pennsylvania man on charges of grave robbing this week has led to hundreds of news outlets reporting the horrific details of his collection of hundred of bones and several skulls. Much like Ed Gein before him, Jonathan Christ Gerlach (yes, that’s his middle name) raided, at the very least, Mount Moriah Cemetery on the border of southwest Philadelphia — for purposes, at this time, unknown. Like Gein, was Gerlach a necrophiliac? Was he on his way to becoming a serial killer? Or was he, as some have suggested (based upon his being tagged in Facebook group about the sale of human remains) more interested in the money that can be had from “the bone trade” as it is sometimes called (oh, and he stole jewelry, too).

raiders-at-tomb-of-ameneminet
Are these grave robbers at the tomb of Ameneminet?

The history of grave robbing is fascinating, albeit gruesome, stretching back into antiquity. Ancient Egyptians were known to rob the tombs of the wealthy. In fact, most tombs in Egypt’s Valley of the Kings were robbed within one hundred years of their sealing. But theft was not the only motivation for those who disturbed graves. In China, for example,  in 506 BC, military general Wu Zixu dug up the corpse of King Ping of Chu to abuse and whip his corpse. Desecration, and the fear and revulsion that came with it, gave the abuser a sense of power over the living AND the dead.

The first known case of what is otherwise called “body snatching” was committed in 1319 by four medical students in Bologna, Italy. For centuries following — most notably the nineteenth century with the infamous duo of Burke and Hare active in the 1820s — grave robbers illegally sold human remains to medical schools primarily for purposes of teaching anatomy. Many doctors believed it to be a necessary evil. These body snatchers came to be known as “ressurectionists,” and many were paid handsomely for their ability to supply cadavers (with no questions asked as to how they were obtained). They would send spies to funerals  to scout out the freshest bodies that would later be easily removed from the loose, newly disturbed ground. Some, like Burke and Hare, would even kill to get bodies, making the job all that much easier.

Mortsafes
Mortsafes at a church yard in Logierait, south of Pitlochry, Perthshire, Scotland. Photo by Judy Wilson. Taken from Wikipedia.

Iron coffins, grave alarms, and mortsafes (the iron cage around a grave) became common as a way to combat body snatchers. In the UK, the problem was so prevalent that the government issued the Anatomy Act in 1832, making grave robbing a criminal offense. Of course, the practice didn’t stop. And to this day, there’s a black market for bones, skulls, scalps, skin, teeth — you name it. Not for medical schools, but for private collections… even sexual gratification. Morbid obsession. Anti-social urges.

At “oddities” flea markets, conventions and the like, one can actually find and buy a human skull. They are often accompanied by a certification of some kind stating that the skull was obtained by legal means (e.g., a museum auction for deaccessioned pieces). But these are relatively few and far between, whereas availability on the black market / dark web / and even — as was apparently the case with Gerlach — social media groups, is prevalent.

"Resurrectionists” stealing dead bodies from a graveyard.
“Resurrectionists” stealing dead bodies from a graveyard. 1887 illustration by British artist Hablot Knight Browne.

Psychologists say the motivations for grave robbing vary. But at the root is a need for power and control. Thieves feel empowerment when they take from the dead, justifying their crimes as having no real victim, or seeing the theft as revenge for perceived injustice (“eat the rich”). Sociopaths find an outlet for anti-social behavior, whether its extreme vandalism, an inability to relate to the living, or an obsession with the dead and all things related to death. And psychopaths? They satisfy unspeakable urges. Some, like Ed Gein, go on to murder.

What were Gerlach’s motivations? The truth will come out in time. The details will be horrific. We will be further shocked by this man’s behavior. Perhaps what is most disturbing is that the reasons behind crimes like Gerlach’s are impossible to fully understand. But it gave him an identity in a subculture that exists at the fringes of polite society.

And that this subculture even exists is perhaps the most disturbing revelation of them all.

 

Better Off Undead: Uncle Was a Vampire

Following the success of 1958’s DRACULA [aka HORROR OF DRACULA] and his being recognized as the Count Dracula for audiences worldwide, Christopher Lee almost immediately followed up his second appearance in a Hammer Studios’ movie (and the first as Dracula) with a surprise turn in a comedic role. In 1959, he starred in the Italian-made TEMPI DURI PER I VAMPIRI (“Hard Times for A Vampire”). Also known as UNCLE WAS A VAMPIRE, the film — primarily a vehicle for comedic actor Renato Rascel — is one of the first (but not the last) of Lee’s having fun with the role he made famous. It is also the first of many Italian film productions with which he would be involved in his career. Is it silly? Yes. Does imposing 6′ 5″ Lee play the straight-man to Rascel’s 5′ 2″ diminuitive, loveable clown? Yes. Is it funny? Ocassionally. Is it a horror movie? No. Nor was it ever really meant to be.

NOT YOUR GRANDFATHER’S DRACULA
Christopher Lee and Renato Rascel
A 6′ 5″ Christopher Lee with his nephew, 5′ 2″ Renato Rascel in UNCLE WAS A VAMPIRE (1959).

Not wanting to taint the serious nature of Bram Stoker’s legendary creation by playing him for laughs,* Lee insisted that the vampire not be referred to as Dracula in UNCLE WAS A VAMPIRE. Instead, Lee plays Baron Roderico da Frankurten, uncle to Rascel’s Baron Osvaldo Lambertenghi. Seems Osvaldo was forced to sell his castle to pay debts, and now working at a bellhop at his former home — now a hotel — he receives a steamer trunk from a long-lost uncle and a letter that his uncle will arrive that night, at midnight. Inside the trunk? Baron Roderico da Frankfurten’s coffin. And inside that? The baron himself, a 400-year-old vampire that had his castle — believed abandoned — slated for demolition (to build a nuclear power plant!).

It isn’t long before Roderico is revealed to be a vampire (it seems he keeps a diary) and sinks his fangs into Osvaldo — hoping to pass along his curse.  We learn that a vampire’s bite can temporarily curse a human with a thirst for blood, as Osvaldo begins nocturnal activity that involves fangs of his own, a cape, and a marathon series of attacks on the hotel’s female guests (42!) [though surprisingly not including the character of Carla (Sylva Koscina), a girl in love with a teen idol — leading to the question: is a teen idol more hypnotic than a vampire?].

To their playboy boyfriends’ shock and consternation, two of the young women (played by Kai Fischer and Susanne Loret) behave differently, covering their throats, acting as if nothing strange has happened. Victims of a fumbling novice vampire, they are nonetheless mesmerized by him. And Osvaldo? His curse? His job? His unrequited love for a young gardener named Lillana (played by Antje Geerk)? His loyalty to his uncle? His wanting to reclaim his ancestral home? The slapstick? It becomes too much for the aristocrat turned bellhop.

UNCLE WAS A VAMPIRE lobby card
UNCLE WAS A VAMPIRE lobby card.

Becoming human again at daylight, Osvaldo eventually agrees to join the hotel owners and guests who are determined to save their women by finding and then staking the vampire. Only problem: unbeknownest to them, the vampire they are hunting is Osvaldo.

Christopher Lee shows Fangs in UNCLE WAS A VAMPIRE (1959)
Get the point? Christopher Lee shows his fangs in UNCLE WAS A VAMPIRE (1959)

Comedy ensues. And Christopher Lee plays it straight. Though his own English is dubbed** (with a disconcerting echo), he is arguably the only reason for any modern audience to watch the movie. Deadpan delivery. No hamming it up for the camera. No smiles. Of course, there’s some levity: first, when Roderico shows off his fangs. Then, when he confronts the townsfolk about their superstitions, telling them that Osvaldo is “no more a vampire than I am!” Lee’s timing is spot-on, and though his very presence can be menacing, one gets the impression that Lee was actually enjoying himself.

LESS-THAN SOPHISTICATED SATIRE

UNCLE WAS A VAMPIRE is not a genre parody or spoof like the first well-recognized monster comedy ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948). Instead, UNCLE is more of a satire — not so much satirizing the horror genre as a whole, but taking its tropes and then, intentionally or not, exploring themes of male/female relationships and a crumbling aristocracy vs. the middle class. Man and woman. Old and young. Rich and poor. Undead and alive.

Osvaldo, groomed to take the place of Roderico, just can’t get the knack of being a vampire, despite puckish enthusiasm. And being hunted is no fun. He learns from Roderico’s book that a woman’s kiss will free him from the curse. So it’s a good thing that Osvaldo loves the gardener; as their relationship grows, so do the chances of him being freed from the curse. He ultimately is cured, and the conclusion of the movie finds Osvaldo wrapping everything up (in Italian, oddly enough, and not dubbed English like the rest of the film). He stands above the steamer trunk, presumablty occupied by his uncle, when Christoper Lee walks past, arm and arm with the playboys’ girlfriends.

LEE GETS THE GIRL(S)

For once, Christopher Lee’s vampire truly gets the girl(s)! No need to bury one outside of the castle (DRACULA) or get revenge on an enemy by trying to turn his daughter into a vampire (1968’s DRACULA HAS RISEN FROM THE GRAVE). No need to be the boogeyman. Instead, Lee’s Roderico closes out the film by curiously walking away from his nephew without a word, each of the playboys’ girlfriends at his side.

The movie ends wth Osvaldo noting comedically that some people are “better off undead.”

It seems Roderico certainly is. And the charismatic Christopher Lee — barely in the film except for a few memorable moments — makes it look cool. He’s a ladies’ man. And a new life awaits him with a young woman on each arm.

 

*Lee did his best to differentiate Roderico from Dracula, but a curious carryover from the movie is his red-lined cape — worn for the first time here — showing up in future Dracula films for Hammer. Lee played Dracula for Hammer a total of seven times, often in capes with the red lining. In UNCLE WAS A VAMPIRE, Rascel, too, wears the red-lined cape, albeit a smaller size.

**The dubbed version is what’s currently available streaming on Tubi.