143-451: Danger List (also known as Dangerous Drugs ) is a 1957 British second feature ('B') short film directed by Leslie Arliss for Hammer Film Productions . It stars Philip Friend , Honor Blackman and Mervyn Johns . It was photographed by Arthur Grant , and has a score by Edwin Astley . The running time is 22 minutes. A nurse in the dispensary of an English hospital is suffering with
286-549: A Hungarian–American actor. He was best remembered for portraying Count Dracula in the horror film classic Dracula (1931), Ygor in Son of Frankenstein (1939) and his roles in many other horror films from 1931 through 1956. Lugosi began acting on the Hungarian stage in 1902. After playing in 172 productions in his native Hungary, Lugosi moved on to appear in Hungarian silent films in 1917. He had to suddenly emigrate to Germany after
429-463: A newsreel , a short and/or serial , and a cartoon , followed by a double feature. The second feature, which actually screened before the main event, cost the exhibitor less per minute than the equivalent running time in shorts. The majors' "clearance" rules favoring their affiliated theaters prevented timely access to top-quality films for independent theaters; the second feature allowed them to promote quantity instead. The additional movie also gave
572-433: A "balanced" or entirely youth-oriented double feature as a matinee and then a single film for a more mature audience at night. In the words of one industry report, afternoon moviegoers, "composed largely of housewives and children, want quantity for their money while the evening crowds want 'something good and not too much of it. ' " Series films are often unquestioningly consigned to the B movie category, but even here there
715-406: A "programmer capable of occupying either half of a neighbourhood theatre's double-bill, [it was] budgeted at approximately $ 400,000. [Its] distributor, United Artists, released around twenty-five programmers with production budgets between $ 100,000 and $ 400,000 in 1955." The film's length, 106 minutes, is A level, but its star, Ralph Meeker , had previously appeared in only one major film. Its source
858-532: A $ 1,000 check. Sinatra would recall Lugosi's amazement at his visit, since the two men had never met before. During an impromptu interview upon his release from the treatment center in 1955, Lugosi stated that he was about to begin work on a new Ed Wood film called The Ghoul Goes West . This was one of several projects proposed by Wood, including The Phantom Ghoul and Dr. Acula . With Lugosi in his Dracula cape, Wood shot impromptu test footage, with no particular storyline in mind, in front of Tor Johnson 's home, at
1001-418: A $ 125,000 purchase price, Levine then spent $ 1.5 million on advertising and publicity, a virtually unprecedented amount. The New York Times was not impressed, claiming that the movie would have drawn "little more than yawns in the film market ... had it not been [launched] throughout the country with a deafening barrage of publicity". Levine counted on first-weekend box office for his profits, booking
1144-399: A 'warning bell' so the sensitive can 'close their eyes. ' " That year, Roger Corman took AIP down a new road: "When they asked me to make two ten-day black-and-white horror films to play as a double feature, I convinced them instead to finance one horror film in color." The resulting House of Usher typifies the continuing ambiguities of B picture classification. It was clearly an A film by
1287-407: A 1953 RKO release, is the only film noir from the genre's classic period directed by a woman. That year, RKO released Split Second , which concludes in a nuclear test range, and is perhaps the first "atomic noir". The most famous such movie, the independently produced Kiss Me Deadly (1955), typifies the persistently murky middle ground between the A and B picture, as Richard Maltby describes:
1430-443: A Ride . Ten B noirs that year came from Poverty Row's big three: Republic, Monogram, and PRC/Eagle-Lion, and one came from tiny Screen Guild. Three majors beside RKO contributed a total of five more. Along with these eighteen unambiguous B noirs, an additional dozen or so noir programmers came out of Hollywood. Still, most of the majors' low-budget production remained the sort now largely ignored. RKO's representative output included
1573-505: A Zombie (1943), and The Body Snatcher (1945), directed by Jacques Tourneur , Robert Wise , and others who became renowned only later in their careers or entirely in retrospect. The movie now widely described as the first classic film noir, Stranger on the Third Floor (1940), a 64-minute B, was produced at RKO, which released many additional melodramatic thrillers in a similarly stylish vein. The other major studios also turned out
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#17328523725121716-534: A brief appearance in Wood's Plan 9 from Outer Space (released posthumously in 1957). Lugosi married five times and had one son, Bela G. Lugosi (with his fourth wife, Lillian). Lugosi, the youngest of four children, was born Béla Ferenc Dezső Blaskó in 1882 in Lugos, Kingdom of Hungary (now Lugoj , Romania) to Hungarian father István Blaskó, a baker who later became a banker, and Serbian-born mother Paula de Vojnich. He
1859-477: A child, Bela G. Lugosi , in 1938. (Bela eventually had four grandchildren (Greg, Jeff, Tim, and Lynne) and seven great-grandchildren, although he did not live long enough to meet any of them.) Lillian and Bela vacationed on their lakeshore property in Lake Elsinore, California (then called Elsinore), on several lots between 1944 and 1953. Lillian's parents lived on one of their properties, and Lugosi frequented
2002-463: A clown in the first film produced by Metro-Goldwyn-Mayer , He Who Gets Slapped (1924) starring Lon Chaney , but this has been heavily disputed. The rumor originated from the discovery of a publicity still from this film found posthumously in Lugosi's scrapbook, which showed an unidentified clown in heavy makeup standing near Lon Chaney in one scene. It was thought to be evidence that Lugosi appeared in
2145-576: A considerable number of movies now identified as noir during the 1940s. Though many of the best-known film noirs were A-level productions, most 1940s pictures in the mode were either of the ambiguous programmer type or destined straight for the bottom of the bill. In the decades since, these cheap entertainments, generally dismissed at the time, have become some of the most treasured products of Hollywood's Golden Age. In one sample year, 1947, RKO produced along with several noir programmers and A pictures, two straight B noirs: Desperate and The Devil Thumbs
2288-515: A crewman aboard a merchant ship , then made his way north to New York City, where he again took up acting in (and sometimes directing) stage plays in 1921–1922, then worked in the New York silent film industry from 1923 to 1926. In 1921, he met and married his second wife, Ilona von Montagh, a young Hungarian emigree and stage actress whom he had worked with years before in Europe. They only lived together for
2431-545: A desire to play more comedy, as he had in the Mother Riley farce . Independent producer Jack Broder took Lugosi at his word, casting him in a jungle-themed comedy, Bela Lugosi Meets a Brooklyn Gorilla (1952), starring nightclub comedians Duke Mitchell and Jerry Lewis look-alike Sammy Petrillo , whose act closely resembled that of Dean Martin and Jerry Lewis ( Martin and Lewis ). Hal B. Wallis , Martin and Lewis's producer, unsuccessfully sued Broder. Lugosi enjoyed
2574-537: A female friend were both arrested for shoplifting in New York City, which was the last he heard of her.). Lugosi took his place in Hollywood society and scandal when he married wealthy San Francisco resident Beatrice Woodruff Weeks (1897–1931), widow of architect Charles Peter Weeks , on July 27, 1929. Weeks subsequently filed for divorce on November 4, 1929, accusing Lugosi of infidelity, citing actress Clara Bow as
2717-402: A few filmmakers began making nudies with greater attention to plot. Best known was Russ Meyer , who released his first successful narrative nudie, the comic Immoral Mr. Teas , in 1959. Five years later, Meyer came out with his breakthrough film, Lorna , which combined sex, violence, and a dramatic storyline. Faster, Pussycat! Kill! Kill! (1965), made for about $ 45,000, ultimately became
2860-454: A few more years, but Republic Pictures, long associated with cheap sagebrush sagas, was out of the filmmaking business by decade's end. In other genres, Universal kept its Ma and Pa Kettle series going through 1957, while Allied Artists stuck with the Bowery Boys until 1958. RKO, weakened by years of mismanagement, exited the movie industry in 1957. Hollywood's A product was getting longer,
3003-509: A few weeks, but their divorce took until October 1925 to be finalized. He later moved to California in 1928 to tour in the Dracula stage play, and his Hollywood film career took off. Lugosi claimed he performed the Dracula play around 1,000 times during his lifetime. He eventually became a U.S. citizen in 1931, soon after the release of his film version of Dracula . Lugosi's first film appearance
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#17328523725123146-399: A flat rate, they were rented out on a percentage basis, like A films. The success of I Was a Teenage Werewolf (1957) thus brought AIP a large return, made for about $ 100,000, it grossed more than $ 2 million . As the film's title suggests, the studio relied on both fantastic genre subjects and new, teen-oriented angles. When Hot Rod Gang (1958) turned a profit, hot rod horror was given
3289-399: A fully bared, unpainted breast, but flirts with nudity throughout. The Meyer and Corman lines were drawing closer. Bela Lugosi Béla Ferenc Dezső Blaskó ( Hungarian: [ˈbeːlɒ ˈfɛrɛnt͡s ˈdɛʒøː ˈblɒʃkoː] ; October 20, 1882 – August 16, 1956), known professionally as Bela Lugosi ( / l ə ˈ ɡ oʊ s i / lə- GOH -see ; Hungarian: [ˈluɡoʃi] ), was
3432-640: A lively career on stage, with plenty of personal appearances. As film offers declined, he became more and more dependent on live venues to support his family. Lugosi took over the role of Jonathan Brewster from Boris Karloff for Arsenic and Old Lace . Lugosi had also expressed interest in playing Elwood P. Dowd in Harvey to help himself professionally. He also made plenty of personal live appearances to promote his horror image or an accompanying film. The Vincent Price film, House of Wax premiered in Los Angeles at
3575-423: A man costumed as a gorilla on a leash. He later allowed himself to be photographed drinking a glass of milk at a Red Cross booth there. When Lugosi playfully attempted to bite the "nurse" in attendance, she overreacted and spilled a glass of milk all over his shirt and cape. Afterward, Lugosi was interviewed by a reporter who botched the interview by asking the prearranged questions out of order, thoroughly confusing
3718-400: A matter of course: for an A picture, along with the trailers , or screen previews, that presaged its arrival, "[t]he new film's title on the marquee and the listings for it in the local newspaper constituted all the advertising most movies got", writes Epstein. Aside from at the theater itself, B films might not be advertised at all. The introduction of sound had driven costs higher: by 1930,
3861-436: A migraine, and accidentally dispenses the wrong medicines to three patients. The police and doctors have little time to locate the patients before the consequences are fatal. All three patients are located. However, the husband of the third uses the pills to kill his wife, who is already suffering from a terminal illness, and takes one himself to join her in death. The Monthly Film Bulletin wrote: "This peculiar short story
4004-485: A new Monogram production house. Into the 1950s, most Republic and Monogram product was roughly on par with the low end of the majors' output. Less sturdy Poverty Row concerns, with a penchant for grand sobriquets like Conquest, Empire, Imperial, and Peerless, continued to churn out dirt-cheap quickies. Joel Finler has analyzed the average length of feature releases in 1938, indicating the studios' relative emphasis on B production ( United Artists produced little, focusing on
4147-764: A number of films with Boris Karloff , who was able to demand top billing. To his frustration, Lugosi, a charter member of the American Screen Actors Guild , was increasingly restricted to mad scientist roles because of his inability to speak English more clearly. He was kept employed by the studios principally so that they could put his name on the posters. Among his teamings with Karloff, he performed major roles only in The Black Cat (1934), The Raven (1935), and Son of Frankenstein (1939); even in The Raven , Karloff received top billing despite Lugosi performing
4290-533: A penny from her fortune.) On June 26, 1931, Lugosi became a naturalized United States citizen. In 1933, the 51-year-old Lugosi married 22-year-old Lillian Arch (1911–1981), the daughter of Hungarian immigrants living in Hollywood. Lillian's father was against her marriage to Lugosi at first as the actor was experiencing financial difficulties at the time, so Bela talked her into eloping with him to Las Vegas in January 1933. They remained married for 20 years and they had
4433-462: A profit through whatever bookings they could pick up in the gaps left by the larger concerns. With the widespread arrival of sound film in American theaters in 1929, many independent exhibitors began dropping the then-dominant presentation model, which involved live acts and a broad variety of shorts before a single featured film. A new programming scheme developed that soon became standard practice:
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4576-514: A six-month tour of Dracula , Lugosi co-starred in a lowbrow film comedy, Mother Riley Meets the Vampire (also known as Vampire Over London and My Son, the Vampire ), released the following year. Following his return to the United States, he was interviewed for television, and reflected wistfully on his typecasting in horror parts: "Now I am the boogie man ". In the same interview, he expressed
4719-465: A special double feature. The combination was so successful that Umann scheduled extra shows to accommodate the capacity crowds, and invited Lugosi to appear in person, which thrilled new audiences that had never seen Lugosi's classic performance. "I owe it all to that little man at the Regina Theatre," said Lugosi of exhibitor Umann. "I was dead, and he brought me back to life." Universal took notice of
4862-563: A studio's more important productions, while also breaking in new personnel. Studios in the minor leagues of the industry, such as Columbia Pictures and Film Booking Offices of America (FBO), focused on exactly those sorts of cheap productions. Their movies, with relatively short running times, targeted theaters that had to economize on rental and operating costs, particularly small-town and urban neighborhood venues, or "nabes". Even smaller production houses, known as Poverty Row studios, made films whose costs might run as low as $ 3,000, seeking
5005-407: A subsequent-run A film had largely disappeared from American theaters. The AIP-style dual genre package was the new model. In July 1960, the latest Joseph E. Levine sword-and-sandals import, Hercules Unchained , opened at neighborhood theaters in New York. A suspense film, Terror Is a Man , ran as a "co-feature" with a now familiar sort of exploitation gimmick: "The dénouement helpfully includes
5148-666: A suburban graveyard, and in front of Lugosi's apartment building on Carlton Way. This footage ended up posthumously in Wood's Plan 9 from Outer Space (1957 ), which was filmed in 1956 soon after Lugosi died. Wood hired Tom Mason , his wife's chiropractor , to double for Lugosi in additional shots. Mason was noticeably taller and thinner than Lugosi, and had the lower half of his face covered with his cape in every shot, as Lugosi sometimes did in Abbott and Costello Meet Frankenstein . Following his treatment, Lugosi made one final film, in late 1955, The Black Sleep , for Bel-Air Pictures, which
5291-526: A try: Ghost of Dragstrip Hollow (1959). David Cook credits AIP with leading the way "in demographic exploitation , target marketing , and saturation booking, all of which became standard procedure for the majors in planning and releasing their mass-market 'event' films" by the late 1970s. In terms of content, the majors were already there, with films about juvenile delinquency such as Warner Bros.' Untamed Youth (1957) and MGM's High School Confidential (1958), both starring Mamie Van Doren . In 1954,
5434-449: A turning point for the actor, but within the year he was back on Hollywood's Poverty Row, playing leads for Sam Katzman ; the producer was then releasing through Monogram Pictures . At Universal, Bela Lugosi was usually cast for his name value; he often received star billing for what amounted to a supporting part. Lugosi went to 20th Century-Fox for The Gorilla (1939), which had him playing straight man (a butler) to Patsy Kelly and
5577-470: A young filmmaker named Roger Corman received his first screen credits as writer and associate producer of Allied Artists' Highway Dragnet . Corman soon independently produced his first movie, Monster from the Ocean Floor , on a $ 12,000 budget and a six-day shooting schedule. Among the six films he worked on in 1955, Corman produced and directed the first official ARC release, Apache Woman , and Day
5720-927: Is also now used loosely to refer to some higher-budget, mainstream films with exploitation-style content, usually in genres traditionally associated with the B movie. From their beginnings to the present day, B movies have provided opportunities both for those coming up in the profession and others whose careers are waning. Celebrated filmmakers such as Anthony Mann and Jonathan Demme learned their craft in B movies. They are where actors such as John Wayne and Jack Nicholson first became established, and they have provided work for former A movie actors and actresses, such as Vincent Price and Karen Black . Some actors and actresses, such as Bela Lugosi , Eddie Constantine , Bruce Campbell , and Pam Grier , worked in B movies for most of their careers. The terms "B actor and actress" are sometimes used to refer to performers who find work primarily or exclusively in B pictures. In 1927–28, at
5863-581: Is ambiguity: at MGM, for example, popular series like the Andy Hardy and the Dr. Kildare – Dr. Gillespie chronicles had leading stars and budgets that would have been A-level at most of the lesser studios. For many series, even a lesser major's standard B budget was far out of reach: Poverty Row's Consolidated Pictures featured Tarzan, the Police Dog in a series with the proud name of Melodramatic Dog Features. By 1940,
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6006-463: Is an uneasy mixture of suspense, comedy and tragedy (the final mercy-killing and suicide). Since the whole thing is rather pointless, with nothing to say on the subject of mercy-killing, it seems an unnecessary reflection on hospital authorities and discouragement to their patients to dwell on the possibility of such a serious error." B movie A B movie , or B film , is a type of cheap, poorly made commercial motion picture . Originally, during
6149-441: Is noteworthy as being Bela Lugosi's only color film. Lugosi played Dracula for a second and final time on film in Abbott and Costello Meet Frankenstein (1948), which was his last "A" movie. For the remainder of his life, he appeared – less and less frequently – in obscure, forgettable, low-budget B features. From 1947 to 1950, he performed in summer stock , often in productions of Dracula or Arsenic and Old Lace , and during
6292-524: Is pure pulp , one of Mickey Spillane 's Mike Hammer novels, but Robert Aldrich 's direction is self-consciously aestheticized. The result is a brutal genre picture that also evokes contemporary anxieties about what was often spoken of simply as the Bomb. The fear of nuclear war with the Soviet Union, along with less expressible qualms about radioactive fallout from America's own atomic tests, energized many of
6435-623: The Academy of Motion Picture Arts and Sciences , in which he (or his agent) calls the idea that he is only fit for horror films "an error." Lugosi developed severe, chronic sciatica , ostensibly aggravated by injuries received during his military service. Though at first he was treated with benign pain remedies such as asparagus juice, doctors increased the medication to opiates . The growth of his dependence on opiates, particularly morphine and (after 1947, when it became available in America) methadone ,
6578-614: The Golden Age of Hollywood , this term specifically referred to films meant to be shown as the lesser-known second half of a double feature , somewhat similar to B-sides in recorded music. However, the production of such films as "second features" in the United States largely declined by the end of the 1950s. This shift was due to the rise of commercial television, which prompted film studio B movie production departments to transition into television film production divisions. These divisions continued to create content similar to B movies, albeit in
6721-627: The Mexican Spitfire and Lum and Abner comedy series, thrillers featuring the Saint and the Falcon , Westerns starring Tim Holt , and Tarzan movies with Johnny Weissmuller . Jean Hersholt played Dr. Christian in six films between 1939 and 1941. The Courageous Dr. Christian (1940) was a standard entry: "In the course of an hour or so of screen time, the saintly physician managed to cure an epidemic of spinal meningitis, demonstrate benevolence towards
6864-732: The Ritz Brothers . When Lugosi's Black Friday premiered in 1940 on a double bill with the Vincent Price film The House of the Seven Gables , Lugosi and Price both appeared in person at the Chicago Theatre where it opened on Feb. 29, 1940 and remained for four performances. He was finally cast in the role of Frankenstein's monster for Universal's Frankenstein Meets the Wolf Man (1943). (At
7007-561: The "Premiere" rubric. In 1947 as well, PRC was subsumed by Eagle-Lion , a British company seeking entry to the American market. Warners' former "Keeper of the Bs", Brian Foy, was installed as production chief. In the 1940s, RKO stood out among the industry's Big Five for its focus on B pictures. From a latter-day perspective, the most famous of the major studios' Golden Age B units is Val Lewton 's horror unit at RKO. Lewton produced such moody, mysterious films as Cat People (1942), I Walked with
7150-516: The "other woman", and claimed Lugosi tried to take her checkbook and the key to her safe deposit box away from her. She even claimed he slapped her in the face one night because she ate a pork chop he had hidden in their refrigerator. Lugosi complained of her excessive drinking and dancing with other men at social gatherings. The divorce became official on December 9, 1929. (Weeks died 17 months later (at age 34) from alcoholism in Panama, Lugosi never receiving
7293-542: The 1930s, the average U.S. feature production cost had essentially doubled over the 1940s, reaching $ 1 million by the turn of the decade—a 93% rise after adjusting for inflation. The first prominent victim of the changing market was Eagle-Lion, which released its last films in 1951. By 1953, the old Monogram brand had disappeared, the company having adopted the identity of its higher-end subsidiary, Allied Artists. The following year, Allied released Hollywood's last B series Westerns. Non-series B Westerns continued to appear for
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#17328523725127436-405: The 1940s as a screen menace. In addition to his nine Monogram features, he worked in three features for RKO and one for Columbia ( The Return of the Vampire , 1943). He also accepted the lead in an experimental, economical feature, shot in the semi-professional 16mm film format and blown up to 35mm for theatrical release, Scared to Death (completed April 1946, released June 1947). The feature
7579-467: The 1950s. Early B movies were often part of series in which the star repeatedly played the same character. Almost always shorter than the top-billed feature films, many had running times of 70 minutes or less. The term connoted a general perception that B movies were inferior to the more lavishly budgeted headliners; individual B films were often ignored by critics. Latter-day B movies still sometimes inspire multiple sequels , but series are less common. As
7722-482: The 1959 British film, which would finally explain the mystery. Lugosi repeatedly married. In June 1917, Lugosi married 19-year-old Ilona Szmik (1898–1991) in Hungary. The couple divorced after Lugosi was forced to flee his homeland for political reasons (risking execution if he stayed) and Ilona did not wish to leave her parents. The divorce became final on July 17, 1920, and was uncontested as Lugosi could not show up for
7865-418: The 1960s saw a major expansion in the commercial viability of a variety of B movie subgenres that became known collectively as exploitation films . The combination of intensive and gimmick-laden publicity with movies featuring vulgar subject matter and often outrageous imagery dated back decades. The term had originally defined truly fringe productions, made at the lowest depths of Poverty Row or entirely outside
8008-581: The Big Five over to A-film production, making the smaller studios even more important as B movie suppliers. Genre pictures made at very low cost remained the backbone of Poverty Row, with even Republic's and Monogram's budgets rarely climbing over $ 200,000. Many smaller Poverty Row firms folded as the eight majors, with their proprietary distribution exchanges, now commanded about 95% of U.S. and Canadian box office receipts. In 1946, independent producer David O. Selznick brought his bloated-budget spectacle Duel in
8151-528: The Body Snatchers (1956), released by Allied Artists, treats conformist pressures and the evil of banality in haunting, allegorical fashion. The Amazing Colossal Man (1957), directed by Bert I. Gordon , is both a monster movie that happens to depict the horrific effects of radiation exposure and "a ferocious cold-war fable [that] spins Korea , the army's obsessive secrecy, and America's post-war growth into one fantastic whole". The Amazing Colossal Man
8294-688: The Cheese . In 1925, he played an Arab Sheik in Arabesque which premiered in Buffalo, New York at the Teck Theatre before moving to Broadway. His first American film role was in the silent melodrama The Silent Command (1923) which was filmed in New York. Four other silent roles followed, villains and continental types, all in productions made in the New York area. A rumor has circulated for decades among film historians that Lugosi played an uncredited bit part as
8437-554: The Hollywood system. Many graphically depicted the wages of sin in the context of promoting prudent lifestyle choices, particularly " sexual hygiene ". Audiences might see explicit footage of anything from a live birth to a ritual circumcision. Such films were not generally booked as part of movie theaters' regular schedules but rather presented as special events by traveling roadshow promoters (they might also appear as fodder for " grindhouses ", which typically had no regular schedule at all). The most famous of those promoters, Kroger Babb ,
8580-450: The Monster (1955). During post-production of the latter, Lugosi decided to seek treatment for his drug addiction , and the film's premiere was arranged to raise money for Lugosi's hospital expenses (resulting in a paltry amount of money). According to Kitty Kelley 's biography of Frank Sinatra , when the entertainer heard of Lugosi's problems, he visited Lugosi at the hospital and gave him
8723-557: The National Theatre of Hungary between 1913 and 1919. Although Lugosi would later claim that he "became the leading actor of Hungary's Royal National Theatre", many of his roles there were small or supporting parts, which led him to enter the Hungarian film industry. During World War I , he served as an infantry officer in the Austro-Hungarian Army Imperial and Royal 43rd Infantry Regiment from 1914 to 1916, with
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#17328523725128866-476: The Paramount Theatre on April 16, 1953. The film played at midnight with a number of celebrities in the audience that night ( Judy Garland , Ginger Rogers , Rock Hudson , Broderick Crawford , Gracie Allen , Eddie Cantor , Shelley Winters and others). Producer Alex Gordon , knowing Lugosi was in dire need of cash, arranged for the actor to stand outside the theater wearing a cape and dark glasses, holding
9009-745: The Republic Westerns with John Wayne and the Three Mesquiteers achieved a uniquely American perfection of the well-made story." At the far end of the industry, Poverty Row's Ajax put out oaters starring Harry Carey , then in his fifties. The Weiss outfit had the Range Rider series, the American Rough Rider series, and the Morton of the Mounted "northwest action thrillers". One low-budget oater of
9152-454: The Sun to market with heavy nationwide promotion and wide release. The distribution strategy was a major success, despite what was widely perceived as the movie's poor quality. The Duel release anticipated practices that fueled the B movie industry in the late 1950s; when the top Hollywood studios made them standard two decades after that, the B movie was hard hit. Considerations beside cost made
9295-624: The World Ended , half of Arkoff and Nicholson's first twin-bill package. Corman directed over fifty feature films through 1990. As of 2007, he remained active as a producer, with more than 350 movies to his credit. Often referred to as the "King of the Bs", Corman has said that "to my way of thinking, I never made a 'B' movie in my life", as the traditional B movie was dying out when he began making pictures. He prefers to describe his metier as "low-budget exploitation films". In later years Corman, both with AIP and as head of his own companies, helped launch
9438-503: The aging star. Embarrassed, Lugosi left abruptly, without attending the screening. Late in his life, Bela Lugosi again received star billing in films when the ambitious but financially limited filmmaker Ed Wood , a fan of Lugosi, found him living in obscurity and near-poverty and offered him roles in his films, such as an anonymous narrator in Glen or Glenda (1953) and a mad scientist in Bride of
9581-406: The average U.S. feature film cost $ 375,000 to produce. A broad range of motion pictures occupied the B category. The leading studios made not only clear-cut A and B films, but also movies classifiable as "programmers" (also known as "in-betweeners" or "intermediates"). As Taves describes, "Depending on the prestige of the theater and the other material on the double bill, a programmer could show up at
9724-459: The average production cost of an American feature was $ 400,000, a negligible increase over ten years. A number of small Hollywood companies had folded around the turn of the decade, including the ambitious Grand National , but a new firm, Producers Releasing Corporation (PRC), emerged as third in the Poverty Row hierarchy behind Republic and Monogram. The double feature, never universal, was still
9867-442: The average running time of top-of-the-line films increased, so did that of B pictures. In its current usage, the term has somewhat contradictory connotations: it may signal an opinion that a certain movie is (a) a "genre film" with minimal artistic ambitions or (b) a lively, energetic film uninhibited by the constraints imposed on more expensive projects and unburdened by the conventions of putatively serious independent film . The term
10010-511: The bottom line. Poverty Row studios, from modest outfits like Mascot Pictures , Tiffany Pictures , and Sono Art-World Wide Pictures , down to shoestring operations, made exclusively B movies, serials, and other shorts, and also distributed totally independent productions and imported films. In no position to directly block book, they mostly sold regional distribution exclusivity to " states rights " firms, which in turn peddled blocks of movies to exhibitors, typically six or more pictures featuring
10153-482: The careers of Francis Ford Coppola , Jonathan Demme , Robert Towne , and Robert De Niro , among many others. In the late 1950s, William Castle became known as the great innovator of the B movie publicity gimmick. Audiences of Macabre (1958), an $ 86,000 production distributed by Allied Artists, were invited to take out insurance policies to cover potential death from fright. The 1959 creature feature The Tingler featured Castle's most famous gimmick, Percepto: at
10296-420: The classic double feature vanished from many American theaters during the 1950s. The major studios promoted the benefits of recycling, offering former headlining movies as second features in the place of traditional B films. With television airing many classic Westerns as well as producing its own original Western series, the cinematic market for B oaters in particular was drying up. After barely inching forward in
10439-552: The country at New Orleans in December 1920. He made his way to New York and was inspected by immigration officers at Ellis Island in March 1921. He only declared his intention to become a US citizen in 1928; on June 26, 1931, he was naturalized . On his arrival in America, the 6-foot-1-inch (1.85 m), 180-pound (82 kg) Lugosi worked for some time as a laborer, and then entered
10582-580: The decade, more than four thousand pictures, are classifiable as Bs. The Western was by far the predominant B genre in both the 1930s and, to a lesser degree, the 1940s. Film historian Jon Tuska has argued that "the 'B' product of the Thirties—the Universal films with [Tom] Mix , [Ken] Maynard , and [Buck] Jones , the Columbia features with Buck Jones and Tim McCoy , the RKO George O'Brien series,
10725-446: The disenfranchised, set an example for wayward youth, and calm the passions of an amorous old maid." Down in Poverty Row, low budgets led to less palliative fare. Republic aspired to major-league respectability while making many cheap and modestly budgeted Westerns, but there was not much from the bigger studios that compared with Monogram " exploitation pictures " like juvenile delinquency exposé Where Are Your Children? (1943) and
10868-416: The distribution of prestigious films from independent outfits; Grand National , active 1936–40, occupied an analogous niche on Poverty Row, releasing mostly independent productions ): Taves estimates that half of the films produced by the eight majors in the 1930s were B movies. Calculating in the three hundred or so films made annually by the many Poverty Row firms, approximately 75% of Hollywood movies from
11011-512: The double feature prevailed. At the larger local venues controlled by the majors, movies might turn over on a weekly basis. At the thousands of smaller, independent theaters, programs often changed two or three times a week. To meet the constant demand for new B product, the low end of Poverty Row turned out a stream of micro-budget movies rarely much more than sixty minutes long; these were known as "quickies" for their tight production schedules—as short as four days. As Azam Patel describes, "Many of
11154-414: The double feature remained a popular exhibition mode. It was standard policy at 25% of theaters and used part-time at an additional 36%. The leading Poverty Row firms began to broaden their scope; in 1947, Monogram established a subsidiary, Allied Artists , to develop and distribute relatively expensive films, mostly from independent producers. Around the same time, Republic launched a similar effort under
11297-435: The drive-in movie became one of the defining symbols of American popular culture in the 1950s. At the same time, many local television stations began showing B genre films in late-night slots, popularizing the notion of the midnight movie . Increasingly, American-made genre films were joined by foreign movies acquired at low cost and, where necessary, dubbed for the U.S. market. In 1956, distributor Joseph E. Levine financed
11440-594: The elegant, somewhat hot-tempered General Nicholas Strenovsky-Petronovich in International House (1933). Regardless of controversy, five films at Universal – The Black Cat (1934), The Raven (1935), The Invisible Ray (1936), Son of Frankenstein (1939), Black Friday (1940), plus minor cameo performances in Gift of Gab (1934) and two at RKO Pictures , You'll Find Out (1940) and The Body Snatcher (1945) – paired Lugosi with Boris Karloff . Despite
11583-432: The end of the silent era , the production cost of an average feature from a major Hollywood studio ranged from $ 190,000 at Fox to $ 275,000 at Metro-Goldwyn-Mayer . That average reflected both "specials" that might cost as much as $ 1 million and films made quickly for around $ 50,000. These cheaper films (not yet called B movies ) allowed the studios to derive maximum value from facilities and contracted staff in between
11726-494: The end of the previous film in the series, The Ghost of Frankenstein (1942), Lugosi's voice had been dubbed over that of Lon Chaney Jr. since Ygor's brain was now in the Monster's skull. ) But at the last minute, Lugosi's heavily accented dialogue was edited out after the film was completed, along with the idea of the Monster being blind, leaving his performance featuring groping, outstretched arms and moving lips seeming enigmatic (and funny) to audiences. Lugosi kept busy during
11869-417: The end of the year, Ulmer had also made the teen-themed musical Jive Junction as well as Isle of Forgotten Sins , a South Seas adventure set around a brothel. In 1948, a Supreme Court ruling in a federal antitrust suit against the majors outlawed block booking and led to the Big Five divesting their theater chains. With audiences draining away to television and studios scaling back production schedules,
12012-767: The era's genre films. Science fiction, horror, and various hybrids of the two were now of central economic importance to the low-budget end of the business. Most down-market films of the type—like many of those produced by William Alland at Universal (such as Creature from the Black Lagoon (1954)) and Sam Katzman at Columbia (including It Came from Beneath the Sea (1955))—provided little more than thrills, though their special effects could be impressive. But these were genres whose fantastic nature could also be used as cover for mordant cultural observations often difficult to make in mainstream movies. Director Don Siegel 's Invasion of
12155-411: The era, made totally outside the studio system, profited from an outrageous concept: a Western with a cast consisting of only little people , The Terror of Tiny Town (1938) was such a success in its independent bookings that Columbia picked it up for distribution. Series of various genres, featuring recurrent, title-worthy characters or name actors in familiar roles, were particularly popular during
12298-435: The expanding second-feature market. Block booking became standard practice: to get access to a studio's attractive A pictures, many theaters were obliged to rent the company's entire output for a season. With the B films rented at a flat fee (rather than the box office percentage basis of A films), rates could be set virtually guaranteeing the profitability of every B movie. The parallel practice of blind bidding largely freed
12441-554: The failed Hungarian Communist Revolution of 1919 because of his former socialist activities (organizing a stage actors' union), leaving his first wife in the process. He acted in several films in Weimar Germany , before arriving in New Orleans as a seaman on a merchant ship, then making his way north to New York City and Ellis Island. In 1927, he starred as Count Dracula in a Broadway adaptation of Bram Stoker 's novel , moving with
12584-501: The film Prisoners (also 1929), believed lost , which was released in both a silent and partial talkie version. In 1929, with no other film roles in sight, he returned to the stage as Dracula for a short West Coast tour of the play. Lugosi remained in California where he resumed his film work under contract with Fox, appearing in early talkies often as a heavy or an "exotic sheik ". He also continued to lobby for his prized role in
12727-502: The film "into as many cinemas as he could for a week's run, then withdrawing it before poor word-of-mouth withdrew it for him". Hercules opened at a remarkable 600 theaters, and the strategy was a smashing success: the film earned $ 4.7 million in domestic rentals. Just as valuable to the bottom line, it was even more successful overseas. Within a few decades, Hollywood was dominated by both movies and an exploitation philosophy very much like Levine's. Also playing rounds during this time
12870-523: The film version of Dracula . Despite his critically acclaimed performance on stage, Lugosi was not Universal Pictures ' first choice for the role of Dracula when the company optioned the rights to the Deane play and began production in 1930. Different prominent actors, such as Paul Muni , Chester Morris , Ian Keith , John Wray , Joseph Schildkraut , Arthur Edmund Carewe , William Courtenay , John Carradine , and Conrad Veidt were considered. Lew Ayres
13013-423: The film's climax, buzzers attached to select theater seats unexpectedly rattled a few audience members, prompting either appropriate screams or even more appropriate laughter. With such films, Castle "combine[d] the saturation advertising campaign perfected by Columbia and Universal in their Sam Katzman and William Alland packages with centralized and standardized publicity stunts and gimmicks that had previously been
13156-447: The film, but historians all agree that is very unlikely, since Lugosi was in both Chicago (appearing in a play called The Werewolf ) and New York at the time that film was in production in Hollywood. Lugosi was approached in the summer of 1927 to star in a Broadway theatre production of Dracula , which had been adapted by Hamilton Deane and John L. Balderston from Bram Stoker 's 1897 novel . The Horace Liveright production
13299-483: The finished film. Tor Johnson said in interviews that Lugosi kept screaming that he wanted to die the night they shared a hotel room together. In 1959, a British film called Lock Up Your Daughters was theatrically released (in the U.K.), composed of clips from Bela Lugosi's Monogram pictures from the 1940s. The film is lost today, but a March 16, 1959, critical review in the Kinematograph Weekly mentioned that
13442-432: The first decade of sound film. Fox's many B series, for instance, included Charlie Chan mysteries, Ritz Brothers comedies, and musicals with child star Jane Withers . These series films are not to be confused with the short, cliffhanger -structured serials that sometimes appeared on the same program. As with serials, however, many series were intended to attract young people—a theater that twin-billed part-time might run
13585-497: The form of low-budget films and series. Today, the term "B movie" is used in a broader sense. In post-Golden Age usage, B movies can encompass a wide spectrum of films, ranging from sensationalistic exploitation films to independent arthouse productions. In either usage, most B movies represent a particular genre : the Western was a Golden Age B movie staple, while low-budget science-fiction and horror films became more popular in
13728-677: The health spa there. Bela Lugosi Jr. was boarded at the Elsinore Naval and Military School in Lake Elsinore, and also lived with Lillian's parents while she and Bela were touring. After almost breaking up their marriage in 1944, Lillian and Bela finally divorced on July 17, 1953, at least partially because of Bela's excessive drinking and his jealousy over Lillian taking a full-time job as an assistant to actor Brian Donlevy on Donlevy's radio and television series Dangerous Assignment . Lillian obtained custody of their son Bela Jr. Lugosi called
13871-419: The industry's top product, the A films, premiered at a small number of select first-run houses in major cities. Double features were not the rule at these prestigious venues. As described by Edward Jay Epstein , "During these first runs, films got their reviews, garnered publicity, and generated the word of mouth that served as the principal form of advertising." Then it was off to the subsequent-run market where
14014-431: The lead role. By this time, Lugosi had been receiving regular medication for sciatic neuritis , and he became addicted to doctor-prescribed morphine and methadone . This drug dependence (and his gradually worsening alcoholism) was becoming apparent to producers, and after 1948's Abbott and Costello Meet Frankenstein , the offers dwindled to parts in low-budget films; some of these were directed by Ed Wood , including
14157-593: The line between A and B movies ambiguous. Films shot on B-level budgets were occasionally marketed as A pictures or emerged as sleeper hits : one of 1943's biggest films was Hitler's Children , an RKO thriller made for a fraction over $ 200,000. It earned more than $ 3 million in rentals, industry language for a distributor's share of gross box office receipts. Particularly in the realm of film noir , A pictures sometimes echoed visual styles generally associated with cheaper films. Programmers, with their flexible exhibition role, were ambiguous by definition. As late as 1948,
14300-484: The lower end of the industry, "exploitation" became a way to refer to the entire field of low-budget genre films. The 1960s saw exploitation-style themes and imagery become increasingly central to the realm of the B. Exploitation movies in the original sense continued to appear: 1961's Damaged Goods , a cautionary tale about a young lady whose boyfriend's promiscuity leads to venereal disease , comes complete with enormous, grotesque closeups of VD's physical effects. At
14443-409: The majors from worrying about their Bs' quality; even when booking in less than seasonal blocks, exhibitors had to buy most pictures sight unseen. The five largest studios: Metro-Goldwyn-Mayer , Paramount Pictures , Fox Film Corporation ( 20th Century Fox as of 1935), Warner Bros. , and RKO Radio Pictures (descendant of FBO), also belonged to companies with sizable theater chains, further securing
14586-624: The medical examiner at the age of 73. The rumor that Lugosi was clutching the script for The Final Curtain , a planned Ed Wood project, at the time of his death is not true. Lugosi was buried wearing one of the "Dracula" capes and his full costume as well as his Dracula ring in the Holy Cross Cemetery in Culver City, California . Contrary to popular belief, Lugosi never requested to be buried in his cloak; Bela G. Lugosi confirmed on numerous occasions that he and his mother, Lillian, made
14729-411: The more colorful role of the villain, The Invisible Ray , and a romantic role in producer Sol Lesser 's adventure serial The Return of Chandu (1934), but his typecasting problem appears to have been too entrenched to be alleviated by those films. Lugosi addressed his plea to be cast in non-horror roles directly to casting directors through his listing in the 1937 Players Directory , published by
14872-479: The most famous of Meyer's sexploitation pictures. Crafted for constant titillation but containing no nudity, it was aimed at the same "passion pit" drive-in circuit that screened AIP teen movies with wink-wink titles like Beach Blanket Bingo (1965) and How to Stuff a Wild Bikini (1966), starring Annette Funicello and Frankie Avalon . Roger Corman's The Trip (1967) for American International, written by veteran AIP/Corman actor Jack Nicholson , never shows
15015-447: The movie contained new Lugosi footage (intriguing since Lugosi had died in 1956). Back in 1950 however, Lugosi had appeared on a one-hour TV program called Murder and Bela Lugosi (which WPIX-TV broadcast on Sept. 18, 1950) in which Lugosi was interviewed and provided commentary about a number of his old horror films while clips from the films were being shown; historian Gary Rhodes thinks some of this Lugosi TV production found its way into
15158-486: The play to the West Coast in 1928 and settling down in Hollywood. He later starred in the 1931 film version of Dracula directed by Tod Browning and produced by Universal Pictures . Through the 1930s, he occupied an important niche in horror films, but his notoriety as Dracula and thick Hungarian accent greatly limited the roles offered to him, and he unsuccessfully tried for years to avoid typecasting . He co-starred in
15301-413: The police one night after Lillian left him and threatened to commit suicide, but when the police showed up at his apartment, he denied making the call. (Lillian eventually did marry Brian Donlevy in 1966, by which time he had also become an alcoholic, and she died in 1981.) Lugosi married Hope Lininger, his fifth wife, in 1955; she was 37 years his junior. She had been a fan, writing letters to him when he
15444-445: The poorest theaters, such as the 'grind houses' in the larger cities, screened a continuous program emphasizing action with no specific schedule, sometimes offering six quickies for a nickel in an all-night show that changed daily." Many small theaters never saw a big-studio A film, getting their movies from the states rights concerns that handled almost exclusively Poverty Row product. Millions of Americans went to their local theaters as
15587-426: The prevailing exhibition model: in 1941, fifty percent of theaters were double-billing exclusively, and others employed the policy part-time. In the early 1940s, legal pressure forced the studios to replace seasonal block booking with packages generally limited to five pictures. Restrictions were also placed on the majors' ability to enforce blind bidding. These were crucial factors in the progressive shift by most of
15730-611: The prison film Women in Bondage (1943). In 1947, PRC's The Devil on Wheels brought together teenagers, hot rods , and death. The little studio had its own house auteur : with his own crew and relatively free rein, director Edgar G. Ulmer was known as "the Capra of PRC". Ulmer made films of every generic stripe: his Girls in Chains was released in May 1943, six months before Women in Bondage ; by
15873-829: The proceedings. (Szmik then married wealthy Hungarian architect Imre Francsek in December 1920, moved with him to Iran in 1930, had two children, and died in 1991.) After living briefly in Germany, Lugosi left Europe by ship and arrived in New Orleans on October 27, 1920, and, after making his way north, underwent his primary alien inspection at Ellis Island, N.Y. on March 23, 1921. In September 1921, he married Hungarian actress Ilona von Montagh in New York City, and she filed for divorce on November 11, 1924, charging him with adultery and complaining that he wanted her to abandon her acting career to keep house for him. The divorce became final in October, 1925. (Lugosi learned in 1935 that von Montagh and
16016-438: The program "balance", the practice of pairing different sorts of features suggested to potential customers that they could count on something of interest no matter what specifically was on the bill. The low-budget picture of the 1920s thus evolved into the second feature, the B movie, of Hollywood's Golden Age. The major studios , at first resistant to the double feature, soon adapted; all established B units to provide films for
16159-422: The purview of the local exhibitor". The postwar drive-in theater boom was vital to the expanding independent B movie industry. In January 1945, there were 96 drive-ins in the United States; a decade later, there were more than 3,700. Unpretentious pictures with simple, familiar plots and reliable shock effects were ideally suited for auto-based film viewing, with all its attendant distractions. The phenomenon of
16302-586: The rank of lieutenant . He was awarded the Wound Medal for wounds he sustained while serving on the Russian front . Returning to civilian life, Lugosi became an actor in Hungarian silent films, appearing in many of them under the stage name "Arisztid Olt". Due to his activism in the actors' union in Hungary during the revolution of 1919 and his active participation in the Hungarian Soviet Republic , he
16445-420: The relative size of their roles, Lugosi inevitably received second billing, below Karloff. There are contradictory reports of Lugosi's attitude toward Karloff, some claiming that he was openly resentful of Karloff's long-term success and ability to gain good roles beyond the horror arena, while others suggested the two actors were – for a time, at least – amicable. Karloff himself in interviews suggested that Lugosi
16588-550: The rest of the year, made personal appearances in a touring "spook show", and on early commercial television. In September 1949, Milton Berle invited Lugosi to appear in a sketch on Texaco Star Theatre . Lugosi memorized the script for the skit, but became confused on the air when Berle began to ad lib. He also appeared on the anthology series Suspense on October 11, 1949, in a live adaptation of Edgar Allan Poe 's " The Cask of Amontillado ". In 1951, while in England to play
16731-458: The role. Through his association with Dracula (in which he appeared with minimal makeup, using his natural, heavily accented voice), Lugosi found himself typecast as a horror villain in films such as Murders in the Rue Morgue (1932), The Black Cat (1934) and The Raven (1935) for Universal, and the independent White Zombie (1932). His accent, while a part of his image, limited
16874-409: The same star (a relative status on Poverty Row). Two "major-minors", Universal Studios and rising Columbia Pictures had production lines roughly similar to, though somewhat better endowed than, the top Poverty Row studios. In contrast to the Big Five majors, Universal and Columbia had few or no theaters, though they did have top-rank film distribution exchanges. In the standard Golden Age model,
17017-547: The same time, the concept of fringe exploitation was merging with a related, similarly venerable tradition: " nudie " films featuring nudist-camp footage or striptease artists like Bettie Page had simply been the softcore pornography of previous decades. As far back as 1933, This Nude World was "Guaranteed the Most Educational Film Ever Produced!" In the late 1950s, as more of the old grindhouse theaters devoted themselves specifically to "adult" product,
17160-484: The same time, the realm of the B movie was becoming increasingly fertile territory for experimentation, both serious and outlandish. Ida Lupino , a leading actress, established herself as Hollywood's sole female director of the era. In short, low-budget pictures made for her production company, The Filmakers, Lupino explored taboo subjects such as rape in 1950's Outrage and 1953's self-explanatory The Bigamist . Her best known directorial effort, The Hitch-Hiker ,
17303-518: The shooting of new footage with American actor Raymond Burr that was edited into the Japanese sci-fi horror film Godzilla . The British Hammer Film Productions made the successful The Curse of Frankenstein (1957) and Dracula (1958), major influences on future horror film style. In 1959, Levine's Embassy Pictures bought the worldwide rights to Hercules , a cheaply made Italian movie starring American-born bodybuilder Steve Reeves . On top of
17446-543: The show. Karloff's monster was weak by comparison." The same year saw Lugosi making a rare appearance in an A-list motion picture: he was a stern Soviet commissar in the Metro-Goldwyn-Mayer romantic comedy Ninotchka , starring Greta Garbo and directed by Ernst Lubitsch . Lugosi was quite effective in this small but prestigious character part and even received top billing among the film's supporting cast, all of whom had significantly larger roles. It might have been
17589-490: The standards of both director and studio, with the longest shooting schedule and biggest budget Corman had ever enjoyed. But it is generally seen as a B movie: the schedule was still a mere fifteen days, the budget just $ 200,000 (one tenth the industry average), and its 85-minute running time close to an old thumbnail definition of the B: "Any movie that runs less than 80 minutes." With the loosening of industry censorship constraints ,
17732-419: The theater in New York City's Hungarian immigrant colony. With fellow expatriate Hungarian actors he formed a small stock company that toured Eastern cities, playing for immigrant audiences. Lugosi acted in several Hungarian language plays before starring in his first English Broadway play, The Red Poppy in 1922. Three more parts came in 1925–26, including a five-month run in the comedy-fantasy The Devil in
17875-409: The title alongside Basil Rathbone as Dr. Frankenstein's son and Boris Karloff reprising his role as Frankenstein's monster . Regarding Son of Frankenstein , the film's director Rowland V. Lee said his crew let Lugosi "work on the characterization; the interpretation he gave us was imaginative and totally unexpected ... when we finished shooting, there was no doubt in anyone's mind that he stole
18018-413: The top or bottom of the marquee." On Poverty Row, many Bs were made on budgets that would have barely covered petty cash on a major's A film, with costs at the bottom of the industry running as low as $ 5,000. By the mid-1930s, the double feature was the dominant U.S. exhibition model, and the majors responded. In 1935, B movie production at Warner Bros. was raised from 12 to 50% of studio output. The unit
18161-673: The top ten box-office releases of 1940 had averaged 112.5 minutes; the average length of 1955's top ten was 123.4. In their modest way, the Bs were following suit. The age of the hour-long feature film was past; 70 minutes was now roughly the minimum. While the Golden Age-style second feature was dying, B movie was still used to refer to any low-budget genre film featuring relatively unheralded performers (sometimes referred to as B actors ). The term retained its earlier suggestion that such movies relied on formulaic plots, "stock" character types, and simplistic action or unsophisticated comedy. At
18304-426: The tremendous business and launched its own national re-release of the same two horror favorites. The studio then rehired Lugosi to star in new films, fortunately just as Lugosi's fourth wife had given birth to a son. Universal cast Lugosi in Son of Frankenstein (1939), appearing in the character role of Ygor, a mad blacksmith with a broken neck, in heavy makeup and beard. Lugosi was third-billed with his name above
18447-689: The type of role he could play. Lugosi did attempt to break type by auditioning for other roles. He lost out to Lionel Barrymore for the role of Grigori Rasputin in Rasputin and the Empress (also 1932); C. Henry Gordon for the role of Surat Khan in Charge of the Light Brigade (1936), and Basil Rathbone for the role of Commissar Dimitri Gorotchenko in Tovarich (1937), a role Lugosi had played on stage. He played
18590-410: Was K. Gordon Murray , known for distributing international matinee fare like the 1959 Mexican kids' movie Santa Claus . Despite all the transformations in the industry, by 1961 the average production cost of an American feature film was still only $ 2 million —after adjusting for inflation, less than 10% more than it had been in 1950. The traditional twin bill of B film preceding and balancing
18733-537: Was directly proportional to the dwindling of Lugosi's screen offers. The problem first manifested itself in 1937, when Lugosi was forced to withdraw from a leading role in a serial production, The Secret of Treasure Island , due to constant back pain. Historian John McElwee reports, in his 2013 book Showmen, Sell It Hot! , that Bela Lugosi's popularity received a much-needed boost in August 1938, when California theater owner Emil Umann revived Dracula and Frankenstein as
18876-424: Was eventually hired to play Jonathan Harker, only to be replaced by Robert Ames after being cast in a different role in a different Universal Pictures film. Ames was in turn replaced with David Manners. Lugosi had played the role on Broadway, and was considered before director Tod Browning cast him in the role. The film was a major hit, but Lugosi was paid a salary of only $ 3,500, since he had too eagerly accepted
19019-649: Was forced to flee his homeland when the government changed hands, initially accompanied by his first wife Ilona Szmik. They escaped to Vienna before settling in Berlin (in the Langestrasse), where he began acting in German silent films. During these moves, Ilona lost her unborn child, after which she left Lugosi and returned home to her parents where she filed for divorce, and soon after remarried. Lugosi eventually travelled to New Orleans, Louisiana , in December 1920 working as
19162-541: Was headed by Bryan Foy , known as the "Keeper of the Bs". At Fox, which also shifted half of its production line into B territory, Sol M. Wurtzel was similarly in charge of more than twenty movies a year during the late 1930s. A number of the top Poverty Row firms consolidated: Sono Art joined another company to create Monogram Pictures early in the decade. In 1935, Monogram, Mascot, and several smaller studios merged to establish Republic Pictures . The former heads of Monogram soon sold off their Republic shares and set up
19305-466: Was in the 1917 Hungarian silent film Leoni Leo . When appearing in Hungarian silent films, he mostly used the stage name Arisztid Olt . Lugosi made at least 10 films in Hungary between 1917 and 1918 before leaving for Germany. Following the collapse of Béla Kun 's Hungarian Soviet Republic in 1919, leftists and trade unionists became vulnerable, some being imprisoned or executed in public. Lugosi
19448-508: Was in the hospital recovering from his drug addiction. She would sign her letters "A dash of Hope". They remained married until his death in 1956. However Bela and Hope were actually discussing getting divorced before he died. Lugosi died of a heart attack on August 16, 1956, in the bedroom of his Los Angeles apartment while taking a nap. His wife, Hope, discovered him when she came home from work that evening, his apparently having died peacefully in his sleep around 6:45 p.m. according to
19591-420: Was in the vanguard of marketing low-budget, sensationalistic films with a "100% saturation campaign", inundating the target audience with ads in almost any imaginable medium. In the era of the traditional double feature, no one would have characterized these graphic exploitation films as "B movies". With the majors having exited traditional B production and exploitation-style promotion becoming standard practice at
19734-636: Was initially mistrustful of him when they acted together, believing that the Englishman would attempt to upstage him. When this proved not to be the case, according to Karloff, Lugosi settled down and they worked together amicably (though some have further commented that the English Karloff's on-set demand to break from filming for mid-afternoon tea annoyed Lugosi). Lugosi did get a few heroic leads, as in Universal's The Black Cat after Karloff had been accorded
19877-523: Was proscribed from acting due to his participation in the formation of an actors' union . Exiled in Weimar -era Germany, he co-starred in at least 14 German silent films in 1920, among them Hypnose: Sklaven fremden Willens (1920), Der Januskopf (1920) and an adaptation of the Karl May novel Caravan of Death (1920). Lugosi left Germany in October 1920, emigrating by ship to the United States, and entered
20020-600: Was raised in a Catholic family. At the age of 12, Lugosi dropped out of school and left home to work at a succession of manual labor jobs. His father died during his absence. He began his stage acting career in 1902. His earliest known performances are from provincial theatres in the 1903–04 season, playing small roles in several plays and operettas . He took the last name "Lugosi" in 1903 to honor his birthplace, and went on to perform in Shakespearean plays. After moving to Budapest in 1911, he played dozens of roles with
20163-479: Was released by a new company whose name was much bigger than its budgets. American International Pictures (AIP), founded in 1956 by James H. Nicholson and Samuel Z. Arkoff in a reorganization of their American Releasing Corporation (ARC), soon became the leading U.S. studio devoted entirely to B-cost productions. American International helped keep the original-release double bill alive through paired packages of its films: these movies were low-budget, but instead of
20306-461: Was released in the summer of 1956 through United Artists with a promotional campaign that included several personal appearances by Lugosi and his co-stars, as well as Maila Nurmi (TV's horror host "Vampira"). To Lugosi's disappointment, however, his role in this film was that of a mute butler with no dialogue. Lugosi was intoxicated and very ill during the film's promotional campaign and had to return to L.A. earlier than planned. He never got to see
20449-407: Was successful, running in New York City for 261 performances before touring the United States to much fanfare and critical acclaim throughout 1928 and 1929. In 1928, Lugosi decided to stay in California when the play ended its first West Coast run. His performance had piqued the interest of Fox Film , and he was cast in the Hollywood studio's silent film The Veiled Woman (1929). He also appeared in
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