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SCARE EM TO DEATHAND CASH INBy RICHARD G. HUBLER

The first of Ihe Frankenstein films g av e ils tiflcally spaced shudders at Ihe rate of one eveonds and pleatanlty goose-pimpled 15,000,

Hollywood has many a skeletoin the closet, but the most profable one never makes a gosscolum n. It's a horrible storybut the box office is monstrou

T HE year 1931 waa a crowded on e. Thementa of Panama, Peru, Chile, ParagSalvador were overthrown. A repuhproclaimed in Spain and King Alfonso flDiamond, long the clay pigeon of the undwaa plugged for keep s. Th e king and queensettled temporarily in Scarborough, N . Y.wave killed 1200 people in British Hon duradent Hoover announced a war-debts morGreat Britain, Denmark and Finland suthe gold standard.In 1931, too, th e mo vie version of FranwaB released to a horror-atruck world.The picture waa based on Mary WollstShelley's century-old Gothic tale of a m an ated a monster which destroyed h im. It win Universal Studios hy James Whale, a mminded English director now turnin g o ut Uncle Sam. The cost was more than $1,00took nearly a year to prepare the show aweeks to shoot it. Each reel was replghouls, hunchbacks, gloomy castles, blitz ader, and gruesome scenes from the operatiPlus, of course, the monster.During ita initial run of one year, mo15,000,000 people in theaters across theStates sat and shuddered at the horror-heatacle. More than one thea ter manager They were scared senseless.The audiences were getting their thicents' worth of chills at the rate of a chforty-five seconds, a scientific spotting woby Whale. With Frankenstein running sev

A terror tit-bit from DR. RX . The Ha yi oIhe chlller-dillar go iti tprne-freezing way, iwilh only luch simple reitrictiont a i Tha n

muit b* held to the minimum ne

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THE SATURDAY EVENING POST

A S P E C I A LP R E P A R A T I O NF O R S H A V I N GF O R T H E M A N I N 7W H O S H A V E S D A I L Y

I t N e e d s N o B r u s hN o t G r e a s y o r S t i c k y

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you want to try Glider right away,ge taregular tube from your dealer.But if you can waitafew days, we'llsendagenerous Guest-Size tube foronlyadime. It 'a enoughforthreeweeks, is handy for traveling.On this test we rest our case en-t i r e l y f o r w e a r e p o s i t i v e t h a tGlider will give you more shavingcomfort than anything you've used.Don't delaysend your name andaddress with ten cents today to TheJ.B.WilHamB Co., Dep t. DG-09,Glastonbury, Conn. Offer goodinI I . S. A. and Canada only.

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finiahedit he drank beer asif he hadsaid every word there wastoaay onthe subject."Now look here,"I said. "W hatwere they going to do in the canal?""Wreck it,"answered LindstromBimply."Wreck i t ?"Irepeated."Yea. Our Navy gotapretty goodidea of what they hadin mind whenthey went through the ship. They'dgo tapiece of the stern cut away justover the props,sotha titwould fallout when they were ready, and acouple of makeshift torpedo tubesmounted inside. And they'd got ex-plosive chargesinthe bottomofher,t o o , so th at the y could blow the bot-tom out of the ship . As far as our peoplecould make out, they were goingtowait until they were passing out of theupper lockatGatu n. Then they weregoing to blow the charges and sink theship witb the gate jammed open, andas they did that they were going to firetbe torpedoesatthe lower gate andblow that too. Itwould have beenacouple of months before they got any-thing along the canal after that."

"That would have been anaatybusiness,"Isaid."It would," agreed Collins.A further light was dawning on measIthought over the story th atIha djust heard."When did you tel lmethat thishappened?""December sixth," said the two ofthem simultaneously, grinning."The attack on Pearl Harbor camenext day. They were meant to co-incide?""I thinkitgoes deeper than tha t,"said Lindstrom."Ithinkitwas theGermans' capturing theDu n cans byHead thatsetoffthePearl Harborattack. When they captured her andrealized what they could do with her,it was an extra bribe to get the Japs tocome in. We hadalot of our ships inthe Atlantic then, you know, sir.""God blessmysoul " I said. Icould aay nothing m ore untilIthoughtI could seeaflaw in their atory. "Butwhy did they let that man go ashorewho was wearing thegunner's uni-form?"Lindstrom w agged his head with in-finite id

"Our men aren't so dumb," he ex-plained."Ifaship came into LimonBay and nobody went ashore on thetearinColon, we'd know somethingwas up. They were quite righttheGermans,Imean.""But his feet were too big," saidCollins; "he couldn't wear the regula-tion boots. That's what gavehimaway, and how we happen to be here,sir.""I still don't see how you are,"Isaid."Oh, they gave us leave," said Col-lins; "they brought us up before theAmerican admiral andheaskeduswhat we'd like."Well, whenI volunteered for thisaeagoing job,itwas becauseIwantedto see New York, andImade five voy-ages and never got there. And Lindyhere, he'd joined the Navy to see theworld, but they didn't include NewYork in the w orld either. So we askedfor a week's leave each and passage toNew York.""And what did he say?""H e laughed. He gave Lindy leavelike a shot. Bu t after he had got leavefor me, he told me he wouldn't doitagain for anybod y. Not for anyone inthe British service. It took five cablesto Londontoget the War Officetounderstand that an American admiralwas troubling himself to get leave foran English Tommy.""And that's not all," added Lind-strom. He said we had to bave moneyto spendif we hadaweekinNewYork. And after that experiencehewouldn't try to get us any extranoteven from Washington, and especiallynot from London."H e gave us a hundred dollars each,and that was Secret Service money.It's Secret Service money that we'redrinking now."Lindstrom raised his beer to his lipswithamassive gesture."I didn't thinkittasted like heer,"said Collins.Well, that is what they told me.Iknow you should not repeat rumors.Ifitistrue,I cannot see any reasonwhy the American Government shouldnot teil ua about it.Iknow you shouldnot repeat rumors,butI think youought to know this.

SCARE E M TO DEATH AND CASH IN ontinued from age2J

They must he believable in char-acterization. A scientific premise, auchas the building of a monster, may seemphony, but never the character or mo-tives of Doctor Frankenstein.3 . They must have unusual tech-nical effects. One of the best was theoperating table ascending intothelightning,asequence ao goodintheoriginal Frankenstein thatit was re-peated in the latest.4 . Besides the major monater, theremust be a secondary character of weirdappearance, such as Igor, the broken-necked mentor of Frankenstein.5 . They m ust confess right off th atthe show isahorror film.Inthe firstFrankenstein picturean interlocutorappearedto tell the audience to brace

itself6. They must includeapish-tushcharacter to express the normal skep-ticism of the aud ience. Th is sacrilegiousfellow muBthelater confounded,aswas stout fellow Ralph Bellamy in thelatest horror productions.

7 . They must bebased onsomepseudoscientific premise.

To this potpourri of rules, Waggnerclaimstohave added his own ingre-dien t, modern psycholog:>'. He tries tomake the hero not only horrible butlikable, to work up audience sym pathy."M y h orror films have to be tragicand inevitable," says Waggner. "JustlikeaGreek play."In The Wolf Man, Waggner hadascene which everyone thought superb.Chaney, d isintegrating, would b e watch-ing a tame bear at a gypsy camp, grad-ually grow more bestial and finallyrush in to wrestle with the bear. Thescene was to end with the bear runningaway and cowering underawagon.They spent two days trying to shootit because thebear wouldn'tco-operate. He was hibernating and thezoo had to wake him up for Universal.And the A.S.P.C.A. man waa on handto see that he gotanap every after-noon.Nevertheless, the bear felt grouchy.

Wires and ropes failed tomake himcower realistically. The scene finallyended with Chaney running and hidingunder the wagon.

W I N Y O U R O WG O L F C L U BThcic OPEN inadctwoofl afcdcaUDedLaw)on Litt le,e i-NatJona Otwnol(

LawtDD LIttIr lari thcH OPEN mcxlcl

Hcmbl} Iniurci aupcr-itrona head yourHtthit weekttnbvlow.

IN YOUK SET of La wson L idUWoo ds or I ro ns ihis easy way; FThre e W oo ds (Dr ive r , Bra ss e , Ssend us only four 2.year subscripdon alUTilay Evening Pou which j-ou sesons living ouiiide your homeat[he fpr ice of S5 each. Your ownoryour gif t subscriptions will not count,Se iofFive Iro ns (No.2, 5,7. 9. le r )stnd usfive Z-yta r Poils soldyour hom e ac the full pric e. This offerU. S. only, to July 15, 1942.Write subs cribers ' nam es and addrpla in paper and vncloie with checkoorde r and f illcd-in coupon below. Wdcrinic your clubs, be careful lo specifr igh i ha nd .

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THE S TURD Y EVENING POSTahorror picture, horror picture serves a pairof

it preventa complaints thathadof complaints from parents of a single horror sequence the witch. Dum bo's delirium-

hasnever been a singlecom-a modern horror pictureof the horrified children.ofhor- the owners of theatersafor robust promotion andad- C A N ' T K E E P A GOODDOWN and IT'LLSCARE TH E O Y OU are typical stream-have been used. One theat er

theauditorium onpianoAnotherput sound boxes under- tbeseats which emitted, frome doleful noise of chainsofblood.

aspecial offeroffifty dollarsto whowould seeamidnighta walk througha grave- it but theit. d as C haucer'sas

on thestageofgrue- of London have alwaysen- So did theGotbicoftheearly nineteenth centurych modern m astersror as Arthur Macben and A.E.

hor- which Btill remainsaclaasic, waaof Dr.Caligari.inGer-in1922. It dealt witb the story

murder performed in a maniac'sitwas not filmed w ith auch in mind. Nor wasitorigin- to be a horror film.It to be thepsychologicalf a murderer. Bu t the movie artoftheperiod were engrossedigari on two theoneordinary, theotherex-in the latter man-y pow- Tbeexplanation of its takingalunatic's mind was tacked on

The Goose Flesh Star

was an energetic perfectionist Hefirst became of TheMiracle Man. By bisvaudeville talents as a

horrifier. Inhis de-luxe versions ofthe Opera, Chaney

a re-in Dr. Jekyll and Mr. Hyde.id PVedric March. This perennially b y M etro-Goldwyn-Charlesashotat The Hunch-of Notre Dameafew yeara ago.

its and thedetermination of Uni-tokeepup the production rate.

Only once has U niversalhadhorribledoubts. That waswith TheBrideofFrankenstein.In itsfirstrun the original Frank-enstein did superlatively well, grossingabout $1,500,000. But thenextoneTbe Bride, did subnormal business.U niversal, its corporate head in itshands, discarded horror ahowa.Gold Plated Monsters

A fewyears later, bowever, theyneeded some picturestofillabookingschedule. Blowing thedustoffsomeold cans of film, tbey dug up TheBride. They decided to pair it withDraculaina borror twin bill. To theiramazement, these ancient picturesgrossed well over $'2,000,000. Pro mp tlyU niversal decided to exhume Frank en-stein's monster.TheSonof Franken-stein did a handsome grossofabout$1,700,000. Itwas decidedtokeepthefamily going right on, generation aftergeneration. Itis not altogether impos-sible thata future Frankenstein releasewill containthefollowing dialog ue:

MAN: Our family has made whiskyfor four generations.FRANKENSTEIN fpu/(/.-/i/J: Minehas made m onstersforsix generations.U niversal today believes th at horrorpictures turn in about 150percentgross profitas an average- not count-ing re-releases. SincetheWbalepro-ductionofthe first Frankenstein,thecost haa gone downto about $600,000a production.TheGhostofFranken-stein waa cannedinIes3 th anamonthfor $500,000. Though costa of labor andmaterials have risen 250 per cent since1931, tight direction and rigid produc-tion schedules have produced econo-mies.There 's something superna tura labout borror films that makes themnearly eternal. The first Frankenstein,after eleven years, gets tbt; same recep-

tion asitdidat its premii>re. So du theothers, including The Bride for whoselapsenooneisable toaccount.Thenormal lifeof a motion pictureis leaathan two years.The fellow wbo performs this miracleis tbe horror-film addic t. He goesagain andagainto see tbem. Addictsare very particular. They aneeratsucbfilms asThe MadDoctorof MarketStreet, a recent thriller based on thepremise tbatitia m oraltokillamanifyou tbinkyou canbringhimbacktolife, becausethemain character waaathorough villain. Alfred Hitchcock'smasterpieces of melodram a fail thembecause tbey haveno pseudoscientilicbackground.The most enthusiastic fans are high-

school-age kids. Some cities haveHorror Clubs which,on Friday night,tour tbe town looking for dou ble-featurehorrifies.The critics unanimously and invari-ably panallhorror picturea. Whentbegrosses comein theproducers say de-fiantly, W e make pictures that iiu-bodybutthe audience likea.Y et horrifies m erit some artisticcredit. They employ excellent actors.Basil Ratbbonehasdabbled inthem.So has Claude Rains. In the liratFrankenstein, John Boles and MaeClarkewho achieved more fame whenJames Cagney pusheda half grapefruitin her face were tbe st raig hts . ColinClive,a fine actor, was Doctor Frank-enstein. In thelatest Frankenstein,Sir Cedric Hardwicke, knighted forgood acting, appeared as Frankenstein.Elsa Lanchester, Anne Nagel and Eve-lyn Ankers have also appeared inthe

The Boy who's doingaM an'sJobof Home DefenseThe DutchBoyl i^sa man-sized )ob onhisl ianiJs [oJay proccccin^ notunly homesbuc tarm bui lJ in^s, mil i tary structures,lactuncs. againi^t theattuck ufthe de-ments.Hes ru l l t d upl i is skcvcs andnsbowing whut l ie's maJi.-ot.This is not tlic first wardur ing wbichwhite leadhas protccced American prop-erty.Iti.lcrfnJt.-d tlif hutntr (runt evenin Wi ish ingrun 's t ime, A iu l toJay DutchBuy White Lc-aJ Joes tins heritageptoud.I t l iulJs un with Dutcl i stubbornness ..never cracks and sca les.. . iinJ thus savestlie expenseufLiurniny andscrapingofttheolJpaint wlic-n repaint tim e hnallyt/utj come around.And here's a t imely poin t .ThcseJa yswhenm a ic ruUareLn.i/ ig coiisetvcd it'smoreimportant than ever touseapaint thatstanJs up.Andthere'snomore durableuint than onemade w i th Dutc hBoyhiteU-aJ,N ow D u t c h Boy,formerly solJ on lyinp ii/v form. IS also avuilable asa ready-to-spread pure white lead /i.iinr EspeciallyJesiyt iedfortwo-coat workit comesinExterior Primerand Outs ideWhire.Toyc- i l ie rthey give sparklmj; winte-

ness andcomplete coverai je withcoatseven on unpainte i i wooJcourse all whire lead pam t can becoDont l o rgB t - t he re ' s noc om b ina t i ogood paint and a goo d pa inter.whichever form ofD u t c h Boygoeyour home the famous pastenew paini you ' re money ahead you pamt with white lead .lf,,i, farFtt. iCpag.Clor-lllmnitJ Dovlrl.Tllit f-f l i-t >' tbI.inm.itau iufim.1faalU . Hr/i/rfiiDifl. JSJ*.la In nr.inil cifli.' IhltJttU

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N A T I O N A L L EA D CO M P A N Y P RO D U CT

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76 TH S TURD Y V NING POST

S H ADOW

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Wri la lubicr lbvrt ' namoi and addroi iolon plain paper and moil to addrait below,loBathar with your nomo and oddreii andchoek or Mon ey Order for 20. In return,wa'll (and you a giH certincalo entitling youlo o itonddrd MinsralKo Bow ling Ball, boredlo fl l your hand. Your Inil loU will be put onball wllhoul ehargo.Thii offar if good in U. S. only, until July

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series. Tbere seems to be a need for anEngligb accent somewbere in each bor-rific. Clipped tones put a culturedpatina on the melodrama and somehowmake it more believable. Inciden tally,England always has been the beat for-eign market for horror pictures. Thewar has increased the demand.Tbe release of The WoU Man mighthave won an Academy Award for itsphotographer, Joe Valentine, the acecameraman on the Universal lot, hadnot the production schedule jammedup tbe showing. Low-key effects withtheir minimum of light are stand-bysin horror pictures . Such shots areamong the ha rdest to get. Color filmcannot be used because it destroys tbemood of the horror. "We have triedcolors and tints," says Waggner, "butwben we use them, we find tbat be-cause of tbe intense lighting needed,the essential low-key mood is ruined."Erie C. Kenton, robust little direc-tor who bad the actual chore of trans-lating The Ghost to celluloid, waschosen specially (or the job by movielogic. Ken ton was famed for work inligbt comedies. T he bigwigs assembled.They decided that since Kenton knewhow to get laughs he shouldknow how to avoid them. Hor-ror pictures are ruined by badly ~

timed laughs. Ergo: Kentonfor Frankenstein.In make-up and effects thehorror picture is supreme. Anexample is the creation of tbemonster in the Frankensteinseries. It has been played hyKarloff and Chaney, almost ex-act physical opposites, exceptfor height. Yet their appearanceis identical on the screen.The monster is the creationof Jack Pierce, a Greek whoknows no peer at out-of-tbis-worldmake-up. PiercereadMrs.Shelley's book three times andcould not find a hint of themonster's appearance. So he

plunged into three and a halfmonths of research. This "mon -strous man," as Mrs. Shelley'stantalizing phrase had it, hadto have body and substance.Jack Pierce found a way.A steel rod provided the mon-ster's backbone. Steel clips onhis neck gave bim electric life.Fake cuts on the hands wherethey fitted to the body had tofollow anatomical possibilities.Pierce found that surgical books ad-mitted tbere were four different waysto open a bead.He took tbe simplest: cutting off thet o p . He made the top of the replacedskull overlap because Frankensteinnervously dropped the original top

and had to replace it with the top ofanother, larger skull.Nightmare Sculptor

Pierce kept in mind an inverted pyr-amid as the general form of Franken-stein's monster. Padded shoulders anda rebuilt chest got the effects hewanted. He cut the coat sleeves shortto give the illusion of gorilla arms. Tokeep the heavy monster upright, Pierceweighted hia boots.The monster did not look horribleenough. Pierce recalled a picture hehad seen of a Mexican buried alive.He remembered th at th e eyelids of thecorpse drooped half over hia eyea, giv-ing him a weird expression. He tri-umphantly produced the same eflecton the monster with celluloid, adding ahole in one cheek and a burn on the

The make-up of all tbe Franken-steins took five houra to put on and twohoura to take off. Karloff u sed to fallasleep while Pierce worked over him.The over-all color of the flesh was grayblue,a sprayed preparation wbich pho-t-ographed like the pallor of a corpse.Pierce built up tbe skull and foreheadwith cotton and rubber, held on withspirit gum. His only regret about themake-up is that, although Karloffnever suffered ill effects, a child we ntblind from trying to imitate it.The most horrendous make-up jobPierce ever did was also on Karloff fortbe production of Tbe Mummy, thestory of an ancient Egyptian who cameto life. Technical preparation involvedmonths of research by Pierce and hisstaff. The make-up took eight hours topu t on. Karloff w as bandaged fromhead to toe. He was taped along thelegs and under the arms, and the b and-ages were singed with a blowtorch.Hot glue, varnish and fuller's earthwere sprayed over him. He was dyeda dirty brown. The thing Pierce wasmost concerned ahout was getting thecrackling sound as Karloff broke outof his sarcophagus and bandages. The

FLAMINGO DANCEBy ARTHUR GUiTERMAN

A 5TAR peeps through where the hvilight fades,Tbe moonlight falls on the Everglades;Up on the grasslands' broad expanseThe proud flamingos donee their dance.Come in pairs and form quadrilles,Leave your nesMings, take your places,Arch your necks and click your bills,March with measured, stately pacesForword, backward, weave in ringsWhile the owl is calling, calling;Lift and wave your scarlet wingsWhere the flame-vine blooms are fallingWhen the ever-watchful moonHongs above the dark lagoan,Some may see by happy chanceThe proud flamingos dance their dance.

singe did the trick. Pierce receivedseveral letters from Egyptologists ask-ing for the source of his apparentlyboundless knowledge of the land of theNile.Making up Lon Chaney, Jr., as theWolf Man, Pierce feels, waa a master-piece of disguise. For that particula rj o b , he studied the hair on stuffedwolves and dogs, finally putting it onChaney hair by hair and burning ittight with a hot iron. The atmosphericeffects in horror pictures are also ex-ceptional. To produce the fog In theforest of Th e Wolf Ma n, the tech ni-cians laid pipes that sprayed a mineral-oil fog through grass clumps withpieces of dry ice in them. Even thesound effects are carefully blended.The yowl of the wolf was compoundedin the sound room of part wolf (genu-i n e , part coyote, part dog and partsqueak of a nail across glass. Onething that had no substitute was thescreamingof Evelyn Ankers. Even theflound-effects men admitted she was anatural shrieker superior to all manu-factured sound.

The Haya office doesn't interferewith the calculated horror of the mov-

ies very much. ere area fewadmonitions:"The number of killings mheld to the minimum necessary" This picture will get an H, rific, classification from the Board of Censors.""Jenny's body should be sugrather than shown."" Larry's remark ' G o d kno wsbe changed to 'Heaven knowsThey do n't mind such trshowing a close-up of a naked ba character holding etherizedwool over the lens of the cameragest an operation. The audiencticularly the younger element,

Heroes That Never Di"W hat'a cookin', d oc?" shouurchin aa the cotton wool apprUniversal feels th at such remacate nerves and qualms, and arfore to be applauded. The prodThe Wolf Man felt especially gwhen the youngsters came out,was over, howling their heads Waggn er, who calls himself the goon s qua d," was launchhorror career when he dseries of these effects younger Lon Chaney Man -Mad e M onster. Tof presenting a man whabsorb enough electricifatal to th e touch madner. His hero g ot a of voltage in the electrwalked around in a ruband finally bled to deathe suit was torn on a wire fence and the cu rreout. Waggner is a horrfrom way ba ck. He spend his spare time gowaxworks shows.

Siodmak, who, with Darling, a Canadian turns out m ost of the aries, feels that horror geon the people who manit. A Czech, he has bployed in virtually everin Europe and Americaeighteen novels to hiHe sees a definite kintween horror stories atales.

Tbe chief problem inrifics ia the resurrectioheroes. The formula that they must die thorrible death imaginable ahave a logical reincarn ation. stein, for example, has (1) fallburnin g inferno, (2) been blow(3) buried in a pit of molten l(4) crushed under falling timbhe's up and about again, haleWaggner tbinka next timdrown tbe monster in boilinLon Chaney, Jr., who bas livhis famous father's reputatioto him with a suggestion afterproduction."Say," he said enthusiasticabave "The Ghost end with themelting rig ht down before youtbe fire ""Fine," growled Waggner.And what do we start the nexenatein with? A grease spo t?Frankenstein remarked in production, "I shall live foreHe was n't kidding. If thkeep up, he hasn't a chance o"All I want to see," onwriter confided, "is the horro

to end all horror pictures. Ibe called Frankenstein MeetaRooney. And I don't care howout "

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