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Women in Horror Films, 1930s
They had more in common than just a scream, whether they faced Dracula, Frankenstein's Monster, the Mummy, Dr. Jekyll, Mr. Hyde, King Kong, the Wolf Man, or any of the other legendary Hollywood monsters. Some were even monsters themselves, such as Elsa Lanchester as the Bride, and Gloria Holden as Dracula's Daughter. And while evading the Strangler of the Swamp , former Miss America Rosemary La Planche is allowed to rescue her leading man. This book provides details about the lives and careers of 21 of these cinematic leading ladies, femmes fatales, monsters, and misfits, putting into perspective their contributions to the films and folklore of Hollywood terror--and also the sexual harassment, exploitation, and genuine danger they faced on the job. In a previously unpublished account, Bride of Frankenstein 's Anne Darling remembers when, at age 17, she was humiliated on-set by director James Whale over the color of her underwear. Filled with anecdotes and recollections, many of the entries are based on original interviews, and there are numerous old photographs and movie stills.
415 pages, Paperback
First published December 1, 1998
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August 25, 2019
WOMEN IN HORROR FILMS, 1930s, delivers an exciting and informative glimpse into the lives of the delightful women who contributed to a most marvelous decade of classic horror films. The writer takes the Reader on a chronological journey beginning with Helen Chandler (“Dracula,” 1931) and ending with Josephine Hutchinson (“Son of Frankenstein,” 1939) ... 21-performers in all. Photographs highlight many important moments.
Unlike Tom Weaver who specializes in providing full interviews with his subjects, Gregory William Mank offers more of a performance life overview (including theater, movie and television references). He serves as the narrator, relating details he believes will both inform and entertain, and frequently supplements them with extracts from interviews that he conducted. His approach to the Reader and his subjects alike is that of an adoring film fan, so his biases occasionally show through. However, they never detract from the story he is telling.
The women provide an intriguing array of details ranging from having had the best job in the world to unsettling tales of emotional (and occasional physical) abuse that happened on the set. Everyone interviewed appeared to admire Boris Karloff while opinions were strongly split regarding Karl Freund. Actors “on the make” were contrasted with those exhibiting a stand-offish reserve. Best of all, there were many “behind the scenes” tales that may have you watching certain movie scenes more closely.
The book closes with the results of an opinion poll regarding “Best of” categories. The voters were all notable names associated with modern day appreciation of classic horror films. It is fun to see who placed first, second and third. However, the writer mentions that many of the votes were returned with supporting comments, and I wish that he had included those, too.
WOMEN IN HORROR FILMS, 1930’s, and its companion book, WOMEN IN HORROR FILMS, 1940’s, were two volumes I picked up years ago to provide me with quick biographical backstories. It was helpful after being so impressed with Frances Drake in “Mad Love” to quickly learn more about her, including a filmography. Reading the book from cover to cover showed me how much I had missed. The chronological order combined with different views from actresses who had worked together provided an enhanced insight that allowed me to track trends (and relish gossip).
Having grown up in the 1960’s when classic horror film packages were available on the television airwaves, WOMEN IN HORROR, 1930’s was a fond and nostalgic trip down Memory Lane of a time when when I fought to stay awake on Friday nights into the wee morning hours of Saturday to thrill to the amazing films that starred these wonderful performers. It is a treat I recommend.
Unlike Tom Weaver who specializes in providing full interviews with his subjects, Gregory William Mank offers more of a performance life overview (including theater, movie and television references). He serves as the narrator, relating details he believes will both inform and entertain, and frequently supplements them with extracts from interviews that he conducted. His approach to the Reader and his subjects alike is that of an adoring film fan, so his biases occasionally show through. However, they never detract from the story he is telling.
The women provide an intriguing array of details ranging from having had the best job in the world to unsettling tales of emotional (and occasional physical) abuse that happened on the set. Everyone interviewed appeared to admire Boris Karloff while opinions were strongly split regarding Karl Freund. Actors “on the make” were contrasted with those exhibiting a stand-offish reserve. Best of all, there were many “behind the scenes” tales that may have you watching certain movie scenes more closely.
The book closes with the results of an opinion poll regarding “Best of” categories. The voters were all notable names associated with modern day appreciation of classic horror films. It is fun to see who placed first, second and third. However, the writer mentions that many of the votes were returned with supporting comments, and I wish that he had included those, too.
WOMEN IN HORROR FILMS, 1930’s, and its companion book, WOMEN IN HORROR FILMS, 1940’s, were two volumes I picked up years ago to provide me with quick biographical backstories. It was helpful after being so impressed with Frances Drake in “Mad Love” to quickly learn more about her, including a filmography. Reading the book from cover to cover showed me how much I had missed. The chronological order combined with different views from actresses who had worked together provided an enhanced insight that allowed me to track trends (and relish gossip).
Having grown up in the 1960’s when classic horror film packages were available on the television airwaves, WOMEN IN HORROR, 1930’s was a fond and nostalgic trip down Memory Lane of a time when when I fought to stay awake on Friday nights into the wee morning hours of Saturday to thrill to the amazing films that starred these wonderful performers. It is a treat I recommend.
Displaying 1 of 1 review