By Bruce G. Hallenbeck
Enjoyable and fright have lengthy been companions within the cinema, relationship again to the silent movie period and progressing to the Scary Movie franchise and different contemporary releases. This consultant takes a complete examine the comedy-horror motion picture style, from the earliest stabs at melding horror and hilarity throughout the nascent days of silent movie, to its full-fledged improvement with The Bat in 1926, to the Abbott and Costello motion pictures pitting the comedy duo opposed to Frankenstein’s Monster, the mother and different common Studio monsters, carrying on with to such contemporary cult hits as Shaun of the Dead and Black Sheep. chosen brief movies comparable to Tim Burton’s Frankenweenie also are coated. images and promotional posters, interviews with actors and a filmography are integrated.
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Extra resources for Comedy-Horror Films: A Chronological History, 1914-2008
Ultimately, The Old Dark House did dismal box ofﬁce outside of New York City. Interestingly enough, the only country where it really turned a proﬁt was in England. It may be said that it’s one of the most “British” American ﬁlms ever made, for its gallows humor and straight-faced underplaying is distinctly British. It’s set rather convincingly in the Welsh countryside, and the average viewer today might assume it to be a British-made movie. Some of the ﬁlm’s dialogue was taken directly from the book.
James Whale had exploited the comic possibilities of invisibility in his 3. The Forties 31 adaptation of the Wells story in 1933, although for the most part The Invisible Man had been a rather serious study of the tragedy the abuse of such awesome power could bring to the scientist that Claude Rains portrayed. In the sequel, Price, in his ﬁrst starring role in a horror ﬁlm, played a character more sinned against than sinning. John P. Fulton’s invisibility effects were just as good the second time around, and so Universal employed his expertise once again on The Invisible Woman, released on December 27, 1940.
Replacing Karloff in the ﬁlm version was his co-star from The Old Dark House, Raymond Massey. Aside from that change, the ﬁlm version is very faithful to the stage play. A few “hells,” “damns” and other mild curse words had to be changed to appease the Production Code people, but other than that, Kesselring’s macabre black comedy made it to the screen intact. The story is fast and crazy. A drama critic named Mortimer Brewster (Cary Grant) is forced to deal with the fact that his two maiden aunts (Jean Adair and Josephine Hull) have taken to murdering lonely old men—thirteen, at last count—by poisoning them with homemade wine seasoned with arsenic, strychnine and “just a pinch” of cyanide.