Series Saturday: Frank Schildiner's Frankenstein novels

This is a blog series about … well, series. I love stories that continue across volumes, in whatever form: linked short stories, novels, novellas, television, movies, comics.

The Frankenstein novels (3 volumes)

Written by Frank Schildiner

published by Black Coat Press (2015 – 2019)

Titles:

·       The Quest of Frankenstein (2015)

·       The Triumph of Frankenstein (2017)

·       The Spells of Frankenstein (2019)

Mary Shelley’s classic creation Frankenstein has spawned more sequels and reinterpretations than I have the energy to count at the moment. Back in 1957-58, French screenwriter Jean-Claude Carrière wrote a series of novels featuring Frankenstein’s Monster, now named Gouroull and traveling the world following an agenda of his own making. Gouroull has utter disdain for humanity as a whole and is as likely to murder temporary allies as he is enemies. I’ve never read the Carrière novels (English translations appear to be out of print and highly priced on the secondary market), but I have read Frank Schildiner’s three sequels published by Black Coat Press, which are the subject of today’s post.

Frank Schildiner is a wonderful “new pulp” author whose work runs from pulp adventure (The New Adventures of Thunder Jim Wade) to sword-and-sorcery (The Warrior’s Pilgrimage) to espionage (The Klaus Protocol) to westerns, science fiction, and horror. Much of his work mixes genres, and the Frankenstein novels are no exception. Primarily horror, the books also include elements of classic pulp adventure (scientific or occult investigator type characters) and espionage thrillers (the political machinations of the fictional South American country in which The Triumph of Frankenstein takes place).

Gouroull himself is a far cry from the sympathetic Monster of Shelley’s original novel (who simply wanted to understand his place in the world and have a mate to love) and the childlike force of nature of the early Universal Studios films. If any connection/comparison is to be made, I’d say the Monster as played by Bela Lugosi (when evil hunchback Ygor’s brain had been transplanted into the Monster’s body) comes closest tonally to Carrière/Schildiner’s Gouroull. But where Lugosi’s Monster simply had the potential to be a Force of Evil, Gouroull IS that force. We are meant to be afraid of a creature made by Man but unaffected by human emotions of love and want. Gouroull’s search for someone capable of creating him a Mate is powered by the biological imperative to propagate the species as much as by his disdain for weaker/lesser humanity – there’s not a speck of sentiment or loneliness to be seen. This makes Gouroull a hard character to sympathize with – which is not the same as making him a hard character to root for.

On the contrary, throughout the three books I found myself mostly wanting Gouroull to succeed, mostly because the other characters he encounters and does battle with are even less friendly/sympathetic. (I say “mostly” only because Gouroull’s quest in The Spells of Frankenstein involves bringing the Elder Gods of the Lovecraft Mythos back to Earth, and I mean really, who wants that mission to succeed?) Gouroull does battle with vampires (including but not limited to several “soul clones” of Dracula), sorcerers, necromancers, ghosts, mad scientists (paging Doctors Herbert West and Elizabeth Frankenstein) and other supernatural menaces, but even the theoretically heroic characters he meets (monster hunters named Hezekiah Whately and Martin Mars) are reprehensible, highlighting the worst in human greed and hubris. It’s a pleasure to see characters like these get their come-uppance against a force of nature they cannot overcome.

Even though Gouroull is the focus of each book, these are very much ensemble cast novels. Chapters switch between various characters’ points of view as they are drawn into contact with the Monster, and we get insight into who they are before they encounter in (and why they’re searching for him, when they are) as well as how their encounter changes them (when they survive, that is). It’s an effective way to build tension in each book, but is particularly effective in The Spells of Frankenstein, where we meet a pair of heroic human characters of Schildiner’s creation who I would love to see more of in their own books/stories: the Muslim adventurers Faisal and Fatimah. (To a lesser extent, I was also intrigued by  Moraika, the tribal wise woman/shamaness Schildiner created for a sub-plot in Triumph and would like to see her plotline continued as well.)

As is the wont of many “new pulp” writers, Schildiner tosses “easter eggs” liberally throughout these books – nods at classic horror and adventure literary and movie characters. And he does it in ways that don’t distract from the on-going narrative. If you know who is being referenced, great. If not, you can always check the author’s notes at the end of each book. I found those notes inspiring interest in a long list of books I’ve not yet read and movies I’ve not yet seen, especially where the nods were in the form of pastiche or homage rather than outright use of a character.

It’s rare these days for an author to write a series in which the books can be read in any order. Like Seanan McGuire’s Wayward Children series, Frank Schildiner’s Frankenstein books each stand alone, complete unto themselves while still having an obvious place in the overall structure of the series. Read the series in publication order (as I did) or in character chronology order (or, I guess, if you’re one of the lucky folks who have the Carrière novels, read Schildiner’s books where they take place within that chronology), whichever fits your fancy.

There may or may not be further Gouroull novels by Schildiner and Black Coat Press. If there are, I look forward to which gaps in the character’s history Schildiner fills in next. If there aren’t, these books together still tell a trio of tales about a version of Frankenstein’s Monster that is not sympathetic but is compelling.

Series Saturday: Universal's Frankenstein movies

This is a series about … well, series. I do so love stories that continue across volumes, in whatever form: linked short stories, novels, novellas, television, movies. I’ve already got a list of series I’ve recently read, re-read, watched, or re-watched that I plan to blog about. I might even, down the line, open myself up to letting other people suggest titles I should read/watch and then comment on.

I’ve been a fan of the original Universal Studios Monsters franchise for as long as I can remember, but it’s been quite a while since I’ve done any kind of intentional rewatch of most of them. This year I thought, being in the midst of a pandemic and all, that maybe I’d have time to revisit most of the rest, via the Legacy Collection DVDs I’ve had for ages. For various reasons, I only got through the Frankenstein movies.

There are eight movies in the original Universal Frankenstein series (or seven, if you’re one of those folks who discounts Abbott and Costello Meet Frankenstein):

·         Frankenstein (1931)

·         The Bride of Frankenstein (1935)

·         Son of Frankenstein (1939)

·         Ghost of Frankenstein (1942)

·         Frankenstein Meets the Wolf Man (1943)

·         House of Frankenstein (1944)

·         House of Dracula (1945)

·         Abbott and Costello Meet Frankenstein (1948)

The Universal Monsters “universe” was perhaps the earliest cinematic universe in terms of characters overlapping, but the attention to continuity wasn’t like it is today with the Marvel Cinematic Universe and such fare. The Frankenstein movies as a whole hold together better than some of the other sub-franchises in the UMU (I’m looking at you, sequels to Dracula!). Still, there are lots of discrepancies: in Frankenstein, Henry Frankenstein’s tower lab is some distance from Manor Frankenstein and the town it is a part of; in Bride, the tower is a lot closer, and in Son, the tower is right next door to what is now Castle Frankenstein, which overlooks the village. The interior sets of the Manor change quite a bit between Frankenstein and Bride, as well. Sometimes the same character is played by different actors across the franchise, and sometimes the same actors show up as multiple characters. I doubt many audience members at the time cared, as long as they got a good story, but I don’t think it would fly today.

For the most part, we do get solid stories with compelling characters. Although not very similar to the novel on which it is based, Frankenstein gives us Colin Clive’s brilliant performance as the obsessed and conflicted Henry Frankenstein and Boris Karloff’s poignant confused and lost Monster, supported by the always-eerie Dwight Frye as the hunchbacked assistant Fritz and the understated Edward Van Sloan as Doctor Waldman. The only weak point in the main cast, to me, is Mae Clarke as Elizabeth; her performance is a bit too “stagey” as compared to the rest of the cast (and perhaps is the reason the role was recast for Bride?). As unlike the source material as it may be, it’s still a tightly-told and well-acted tale directed by James Whale with great mood and tension throughout.

Karloff and Clive return as the Monster and his creator in The Bride of Frankenstein under Whale’s continued direction, with Elsa Lancaster as both Mary Shelley and the Bride. Valerie Hobson replaces Mae Clarke as Elizabeth. I love this movie almost as much as the original and Son, but man is the tone just all over the place. Whale can’t seem to decide if he’s making a pathos-filled character piece or a slapstick comedy. Una O’Connor’s Minnie (maid to Elizabeth? Housekeeper? I’m still unsure after multiple viewings exactly what her job is) takes up way more screen-time than comic relief should in a film like this, and O’Connor’s shrill over-the-top delivery makes almost every scene she’s in hard to watch. The scene where Doctor Pretorius (Ernest Thesiger) produces his Homunculi also feels out of place, between the bawdy comedy between the Homunculi and the fact that Homunculi are never seen or mentioned again. Karloff is at his best as the Monster here, learning to talk and feel, and Clive matches him turn-for-turn as Henry grows desperate to just be done with creating life and return to his wife. If not for the Una O’Connor scenes and the Homunculi bit, Bride would be pretty perfect and perhaps even better than the original.

Son of Frankenstein, directed by Rowland V. Lee, was Karloff’s last turn as the Monster. Karloff does more acting here with his eyes than most actors do with their whole bodies, but he feels wasted. The Monster’s ability to talk is inexplicably gone. He’s not given much to do other than rampaging. Basil Rathbone takes over the lead spot as Henry’s son Wolf and does a great job as a man conflicted between forging his own path and following in his father’s footsteps. Bela Lugosi is brilliant, and almost unrecognizable, as the hunchback Ygor, stealing every scene he’s in.  Lionel Atwill makes his first appearance in the franchise as the one-armed Col. Krogh (in a scene that gets sent-up expertly by Mel Brooks in Young Frankenstein). There are still some awkward humorous moments, mostly involving Wolf and Elsa (Josephine Hutchinson)’s toddler son Peter (Donnie Dunagan), but they’re not as prevalent or as distracting as the Minnie scenes in Bride. Had the franchise ended as a trilogy, it might rank as one of the best horror trilogies ever.

Ghost of Frankenstein moves the action from the town of Frankenstein to the town of Vasaria (where it will remain for pretty much the rest of the franchise). Lugosi returns as Ygor, Lon Chaney Jr. takes over as the Monster (not much more than a weapon of destruction, although in the early scenes there’s an attempt at emotion as the Monster once again bonds with a little girl and the crowd reacts out of fear for her safety), Sir Cedric Hardwicke plays both Ludwig Frankenstein (younger son of Henry) and Henry’s ghost, Evelyn Ankers appears as Ludwig’s daughter Elsa (not to be confused with Wolf’s wife), and Lionel Atwill plays his second character in the franchise, the not-so-nice Doctor Boehmer. It’s a solid movie, building tension as the various non-Monster leads jockey for whose brain they’re going to transplant into the Monster. There’s even a bit of a return to the Monster as he was in Bride, able to speak towards the end of the movie. But it almost feels like director Erle C. Kenton and the writers are trying too hard to be surprising and sneaky. I still love it, just not as much as the previous three.

Frankenstein Meets the Wolf Man puts Lon Chaney Jr. back where he’s best (in hair and fangs), and puts Bela Lugosi in the Monster’s make-up. A sensible move given Ygor’s brain ends up in the Monster at the end of Ghost, except that behind-the-scenes machinations removed any scene where the Monster actually speaks, so Lugosi is as wasted as Karloff felt in Son (perhaps even more so). Elsa Frankenstein is now played by Ilona Massey (with an accent the previous Elsa didn’t have), and dialogue lets us know this is Ludwig’s daughter and not Wolf’s wife. She’s the first Frankenstein featured in the franchise who isn’t a scientist and really has nothing to do with the Monster. Lionel Atwill is back as his third character in the franchise, the Mayor of Vasaria. This is far more of a Wolf Man movie than it is a Frankenstein. Sans dialogue, the Monster is a weapon of mass destruction to be unleashed and defeated.

House of Frankenstein and House of Dracula are “everything and the kitchen sink” approaches to combining several of the Universal Monsters. To this day, I’m not sure why the Mummy and the Invisible Man weren’t invited to the parties. Both movies are pretty disjointed, especially in integrating Dracula into the rest of the action. Concentrating on just the Frankenstein elements: In House of Frankenstein, Glenn Strange takes over as The Monster; Lionel Atwill plays yet another character, Inspector Arnz; there’s a new hunchback played by J. Carrol Naish; and Boris Karloff returns to the franchise as a very different mad scientist, Doctor Neimann. Karloff is brilliant and Naish is excellent, but the Monster himself just lumbers and kills and is “killed.” In House of Dracula, Strange continues as the Monster; Lionel Atwill plays character #5 in the franchise, Police Inspector Holtz; the hunchbacked assistant is a woman (Jane Adams); and the mad scientist is now Doctor Edelmann, played by Onslow Stevens (the closest the Universal Monsters franchise ever really gets to incorporated a version of Doctor Jekyll and Mister Hyde, at least until the Abbott and Costello movies). House of Dracula is again far more of a Wolf Man (and perhaps a Jekyll/Hyde or even Dracula) movie than it is a Frankenstein movie. The Monster is mostly there for mayhem, but at least the Wolf Man gets a happy ending.

There are a lot of people who don’t consider Abbott and Costello Meet Frankenstein as a valid part of the Frankenstein (or larger Universal Monsters) franchise. I am most emphatically not one of them. While I’m not sure where it should fit in the overall sequence (since I like to think that Larry Talbot gets to keep his Happy Ending from House of Dracula), I think it treats the monsters who appear (Bela Lugosi back as Dracula, Glenn Strange as the Monster, Lon Chaney Jr. as the Wolf Man, Lenore Aubert as the requisite “mad scientist,” and a cameo by Vincent Price as The Invisible Man) with great respect. They’re played as the serious monsters they are, not for laughs. The comedy that comes from Abbott and Costello’s reactions to the Monsters fits much better than that provided by Minnie in Bride or Peter Frankenstein in Son. And Glenn Strange actually gets to speak as the Monster! The only thing that would have made this movie more perfect would have been if Lionel Atwill had still been alive to play one more random police officer or mad scientist. Unfortunately, he’d passed away in 1946. Still, it’s a fitting end-cap to the franchise.

Except…

For my own part, I also include Mel Brooks’ Young Frankenstein as a coda or grace note to the franchise. I included it in this rewatch, even though it’s not in the Legacy DVDs because it was released by a different studio. Brooks and Wilder’s love for the original movies is so evident in every frame of their film. They poke fun at the original movies’ inconsistencies and quirks, while still keeping the tone and using some of the original set pieces. There’s even a theory (espoused by my good friend Chuck Loridans among others) that “Froederick” Frankenstein is actually … Peter Frederick Frankenstein, Wolf’s son! (Who would have be a bit amnesiac to not remember meeting the original Monster and a one-armed policeman as a boy, but the blond hair, the expressive eyes, the sense of wonder… it fits!)