The Ballad of Ern Malley

New Episode of The FrankenPod

I’ve never felt more Like we need a prepared statement. We have seen the trailer for Mary Shelley! Thank you so much to everyone who emailed and a special thank you to Nick of Nick and Vince’s podcast on Twitter, I love that I’ve been fan girl enough about Frankenstein that people saw the movie come out and though, shit I wonder if The Frankenpod has seen this. I’ll be honest I’ve been nervous about the theatre release of this one since I heard about it being screened at the Toronto Film Festival last year.

I’ll be honest I saw some things included that made me happy, but a few that really made me concerned that I may not like this film. I’ve also seen some interviews that lead me to believe that there was a very passionate Mary Shelley enthusiast in Haifaa Al-Mansour and I looked up the pronunciation but I bet I’ve botched it anyway and that is entirely on me.

Early reviews do not seem to be favourable, and they do seem to have gone for a sensationalised approach, but at least it seems to be intended as a feminist reading of the events so even if it’s a bit outlandish, there might be some value to it. That being said there seem to be no definitive dates for an Australian release so if anyone gets to see it in late May in the U.S. and June in the U.K. you must tell me what it is like!

This actually ties in quite nicely with the story I’m going to tell you tonight actually, sort of…

This time we are going back to our origins, both the podcasts and my own with My Life as A Fake by Peter Carey an entry into the Australian gothic literary canon.

I was obsessed with a Bushranger, other countries read horse stealing, bank robbing outlaw type called Ned Kelly at about the age of 10 or twelve. During this time I read every book on the Kelly gang I could get my hands on, except one. There was one book that I was warned about, a book never to read, a book that crossed the line… IT EMBELLISHED THE FACTS. It is impossible to convey exactly how repulsive that book was to me as a result, creative nonfiction and historical fiction are two of my great genre loves, but back then I viewed the whole matter as a betrayal.

That book was Peter Carey’s True Story of the Kelly Gang. I still haven’t read it, I kind of still fear that I might turn to dust or explode if I tried.

A little more recently I was introduced to the novel discussed today, My Life as a fake. Still incensed by the horror of his Kelly gang book I assumed it was an autobiography. I am not joking.

I was glad he was admitting to his transgressions.

Then I found out it took inspiration from both Frankenstein and one of my favourite literary scandals, yes I have a favourite literary scandal (Welcome to The Frankenpod) the publishing of the posthumous works of Ern Malley

To explain the book in any real way you need to know about Ern Malley

And to tell the tale of Ern Malley you need to know about Angry Penguins

Angry Penguins was an artsy experimental Avante Garde literary publication started by Max Harris in 1940 in Adelaide Australia. He was just 18. The magazine flourished and took submissions, art, prose and poetry.  The publication had been going for 4 years when Ethel Malley contacted him via letter, offering up her brother Ernest’s Poetry as a submission to Angry Penguins.

Max Harris was very excited by the works and even commissioned artwork by Sidney Nolan for the front of a special edition featuring Ernest’s poetry.

cover
The Cover of the Ern Malley Edition of Angry Penguins http://jacketmagazine.com/17/ern-poems.html

Sadly Ernest had passed away in 1943, so he would never see his work published. Would you like to hear a little of one of his poems?

Opening of Perspective Lovesong

It was a night when the planets
Were wreathed in dying garlands.
It seemed we had substituted
The abattoirs for the guillotine.
I shall not forget how you invented
Then, the conventions of faithfulness.

It seemed that we were submerged
Under a reef of coral to tantalize
The wise-grinning shark. The waters flashed
With Blue Angels and Moorish Idols.
And if I mistook your dark hair for weed
Was it not floating upon my tides?

The poetry was fresh, new and exciting and the poet was completely oblivious of his own talent, coming from working-class roots. A real diamond in the rough, and Max Harris was determined to give this underdog poet his moment to shine. Ernest, known as Ern to his friends was born in Liverpool in 1918 and migrated to Sydney Australia with his mother and sister just after his father’s passing in 1920. They lived in Perth until his mother’s death in 1933, after which the Young Ern Malley dropped out of school to become an auto mechanic, then moved to Melbourne at the age of 17. In Melbourne, he held a series of jobs before being diagnosed with Graves disease. He moved back to Sydney to be with his sister and died at the very young age of 25, refusing to get treatment for his illness. It seems that unbeknownst to those closest to him the young man had been writing a compilation of poetry called the Darkening Ecliptic.  His sister had found his poetry in his belongings and sent it to the magazine.

Except she hadn’t.

Ern Malley wasn’t dead,

No one dies of graves disease

In fact he never existed

He was a hoax by two quite conservative modernist poets named Stewart and McAuley who met during military service, they thought that Angry Penguins and Harris published ridiculous rubbish and put together the most ludicrous submission they could come up with.

0108-mcauley-and-stewart

And the editor bought it, hook, line and sinker. would you like to hear part of one of the poems?

This is the opening verse of Culture as Exhibit

“Swamps, marshes, borrow-pits and other
Areas of stagnant water serve
As breeding-grounds …” Now
Have I found you, my Anopheles!
(There is a meaning for the circumspect)
Come, we will dance sedate quadrilles,
A pallid polka or a yelping shimmy
Over these sunken sodden breeding-grounds!
We will be wraiths and wreaths of tissue-paper
To clog the Town Council in their plans.
Culture forsooth! Albert, get my gun.

The opening lines are from an Army Directorate on mosquitoes, called Anopheles.

The scandal destroyed the magazine

The press had a field day and then the fuss died down and the incident became a bizarre part of Australian literary history.

Except not quite… in Peter Carey’s version of events, with names and details changed subtly. The hoaxer, by creating this tragic poet out of whole cloth creates an actual person, like Victor Frankenstein creating his creature Christopher Chubb has conjured up Bob McCorkle with words alone, and the man has been rendered flesh and blood by the publisher Jack Slater through the simple act of printing the works, and like any act of tremendous hubris in a gothic setting, disaster ensues.

This is another one of those books that I would loathe ruining the story.

However we do have unnatural creation, a crazed creator, the resurrectionists are name-checked, there is murder, kidnapping and aloof hyper-sexualized poets galore. Sound familiar?

Also, this clearly falls in with our theme the gothic city as the bulk of the early action takes place in Kuala Lumpur Malaysia which is depicted from a self consciously post-imperialist British viewpoint. Kuala Lumpur is depicted as a gritty monsoonal labyrinth that smells mainly of fish and tries to reject the visiting Brits, making them ill. There is racism within these pages, and the brutality of the 1969 race riots, is not long past when the books take place, as our narrator Sarah reflects on as she sees a resident using a machete during harvesting.

Sydney and Melbourne also get the Gothic treatment, the gravesites, bleak working-class residences and bohemian multistory abodes. Not quite as vibrant as Kuala Lumpur, or maybe I just don’t find the description of Melbourne that gothic and outlandish, bare in mind I spent about a third of my goth phase passing the time broke and stupid in the alleyways of Melbourne. The book is rife with depictions of the cultural cringe, from Australian ex-pats wanting to deny their heritage to an artist called Noisette actually being Mary Moriss from Wangaratta. We also get a British character saying that an Australia has a tiny antipodean brain.

There are lots of grim gothic allusions, webs, blood, the man upon the stair, a quote from Milton’s Paradise Lost and the stitching together of the visage of Ern Malley.

There are still those who see something remarkable about the poems. In fact, the work of Ern Malley inspired postmodern poetry overseas, particularly in America where the context of the hoax was easier to disassociate from the work itself. The conservative poets McAuley and Stewart accidentally wrote a pivotal piece of experimental poetry and helped inspire poets and painters for years to come.

Sidney Nolan cited the Ern Malley hoax as the inspiration for his Ned Kelly paintings… see what I did there. 

4267222-4x3-940x705.jpg
Sidney Nolan’s Kelly series can be found here: https://nga.gov.au/Nolan/Index.cfm

Here is a talk about why we shouldn’t let the story of Ern Malley die.

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White, Black and Boobs – Sin City 1993 vs 2004

Brent let me tell you a tale of Sin City, where the women are gorgeous and vulnerable and the men are muscly, obese or Kevin.
And everyone has a sinister past (except most of the women who don’t get pasts at all) and everyone owns a gun, except the stereotypical Asian character who has swords and ninja stars.
I read the Hard Good Night, the big fat kill and I started a dame to kill for before I realized it had zero to do with the first film. The only two story arcs I really missed were Nancy and Bruce Willis’s storylines and Josh Hartnett’s storyline as the Colonel or Salesman.
I’m not sure why I read the books because I can tell you with the two narratives I read they took the text verbatim from the novel when they adapted it to film.

The film in question is the 2004 film Sin City directed by Robert Rodrigez which Brent watched repeatedly and with gusto.

Listen to the episode:

 //html5-player.libsyn.com/embed/episode/id/6473531/height/360/width/640/theme/legacy/autonext/no/thumbnail/yes/autoplay/no/preload/no/no_addthis/no/direction/backward/

This falls within both urban gothic and the gothic graphic novel, two aspects of the gothic genre we had not tackled previously. In the urban gothic detective novel there tends to be a particularly two-dimensional view of women, tending to treat them as objects. Sin City definitely does nothing to buck this trend.
Every time a woman does something to forward the plot, or displays any kind of agency she gets slapped down. Often literally.
I am so over these this whole damn franchise.
But here are some sources we used

theguardian.com/culture/2011/nov/24/frank-miller-hollywood-fascism
http://brightlightsfilm.com/superwomen-bad-ass-babes-sin-city/#.WsL-dsmubqA

Frilled Neck Lucy – Dracula with Erin of SubverCity Transmit

This article accompanies Frilled Neck Lucy by The FrankenPod

For this episode, I talked to Erin who is the host of SubverCity Transmit and voice actor on No Sleep Podcast and Congeria Podcast. She also runs an awesome, spooky online store called Never Not Clever. So I’m incredibly grateful to Erin for making the time to talk to us.

The film we are chatting about is Bram Stoker’s Dracula (1992) also known as Francis Ford Coppola’s Dracula. Erin knows so much more about the movie than I could possibly hope to learn and among the many insights she has to give, she touches on the influence of Winona Ryder in the production, the Academy Award-winning costume design by Eiko Ishioka and the very deliberately rudimentary special effect that can be such an obstacle to new audiences discovering and engaging with the film.

Other subjects we touched upon include:

  • Lord Byron, because he always pops up
  • The Symbolist Movement
  • The League of Extraordinary Gentlemen
  • Ghost Hunting
  • Urban exploration
  • The 1991 movie Hook
  • and armadillos… because I just cannot get over this

Again apologies for my brevity!

Morgan

An Interview About Vampires

So this week’s episode of The FrankenPod, features an interview that I (Morgan) recorded with Alix Roberts who has written an amazing thesis on Vampiric women, which I had not read at the time of recording but that I have since read and it is goddamn amazing. Unfortunately, the audio is pretty shoddy. Totally my fault and I’m going to extend the invitation to Alix for her to come on the show again so you can hear how wonderful she is without the clicks and hisses of an angry National Broadband Network.

I have changed the way I do interviews now so hopefully, this will

NEVER HAPPEN AGAIN

Alix’s Podcasts: Chasing Tale and Bloody Ripper

Texts Discussed: 

She by H. Rider Haggard can be found on the book depository

Ligeia by Edgar Allan Poe can be found on Project Gutenberg in Volume 3 of the works of Poe

Carmilla by Joseph Sheridan Le Fanu can be found on Project Gutenberg

The Blood of The Vampire by Florence Marryat can be found on book depository

No big long blog posts for me at the moment because between my literature and communications courses uni is really kicking my butt right now. I will write more when I get the chance.

Thank you for listening or reading or how ever it is that you interact with us.

Image By No 1 Army Film & Photographic Unit, Chetwyn (Sgt) [Public domain], via Wikimedia Commons

 

The Dracula Connection Part 2 – Florence Balcombe

Born: 6th of August, 1876

Died: 25th of May, 1937, aged 78

Possibly named after Florence Nightingale as her father Lieutenant-Colonel James Balcombe was involved in the Crimean War. Florence is talked about frequently as being just gorgeous but it is pretty clear that there is much more to Florence than the flowery and elaborate praise of her appearance. she was said to be tall at 5 foot 8, which is a perfectly reasonable height these days but apparently tall for the Victorian Era

There was widespread admiration of Florence’s intellect and wit and it came to pass that she would cross paths with another person who was renowned for his intellect and wit; Oscar Wilde. In fact, they two dated for two years, Oscar even gave her a gold cross which could be interpreted as a sort of promissory gesture. Once Wilde left for England, they began a long distance relationship that didn’t really work out.

Florence ended up crossing paths with another witty and intelligent young man with theatrical aspirations, Bram Stoker. Oscar Wilde was devastated when he learned of their engagement. Florence and Oscar eventually got to the point where they were able to maintain a friendship.

But life isn’t that simple and Bram still felt the danger of Oscar’s perceived threat to his marriage or reputation or morality or some combination of the three and that threat was exacerbated when Wilde was arrested for gross indecency. That this was the time at which Bram sat down to pen a story about a pervasive threat to the morality of good Christian people has been a subject of much discussion. Many see the depiction of Jonathan at the Castle Dracula as a subconscious expression of his own homosexuality. There is an excellent article  “A Wilde Desire Took Me: The Homoerotic History of Dracula” by Talia Schaffer that I alluded to in my blog post about Oscar and Bram, which paints the picture of a man who was at once, very happy in his life with Florence and had very intense, almost entirely repressed, feelings for the actor Henry Irving who he worked closely with during his time as the Director of the Lyceum Theatre. There is also a much more complex and distant impassioned relationship with Wilde which abruptly ended when Bram proposed to Florence.

One of the articles I read for this included a segment from Bram Stoker’s relatively recently unearthed “Journal”. They assert that it seems to be an idea for an unwritten work:

Seaport. Two sailors love girl — one marries her, other swears revenge. Husbands goes out to sea soon after marriage & on return after some days sees in grey light of morning his young wife crucified on the great cross which stands at end of pier.

Bram certainly never quite got over his distrust of Wilde. The same article that I grabbed that quote from which was from the New Inquiry by Kaya Genc draws distinct parallels between Bram’s version of his courtship with Florence and his friendship with Oscar and the narrative of Dracula. The forces of corruption represented by Dracula attempt to seize Jonathan and then Mina, but they are defeated by Mina’s common sense and good judgement and Jonathan’s eventual courage and the help of some dudes. It’s not a perfect analogy but considering the timing of his writing, it seems to be a little more than coincidental.

Bram and Florence seemed to have had a pretty equal marriage by Victorian standards and they enjoyed a happy and successful partnership. Bram struggled with illness but felt bad for Florence who ran the household and looked after him in his infirmity. Which is quite sweet because you really didn’t see a lot of that level of awareness in the men of the time. Florence was quite a gifted businesswoman, a trait that would serve her well through Bram’s illness, (which I’ve read was syphilis, which opens a whole new avenue for questioning, how did that happen?) and would continue to assist her after his passing.

After Bram died Florence’s main income stream was through Dracula and she was determined to wrestle control of the Dracula narrative back from the film studios in Germany and America, where Dracula was very popular but the Stoker family received no remuneration for use of Bram’s intellectual property.  She fought against the production of Nosferatu which borrowed ideas whole cloth from Dracula. Florence with the help of the Society of Authors sued the makers of the unauthorized film and won £5,000 and an order went out that every copy of Nosferatu would have to be destroyed. Obviously, that did not quite happen…

Sha also fought the Universal Studios production of Dracula starring Bela Lugosi (previously mentioned on this podcast). They didn’t ask for permission, so they had to deal with the full force of Florence Stoker.

 

Bibliography

  • “A Wilde Desire Took Me”: The Homoerotic History of Dracula by Talia Schaffer

http://www.jstor.org.simsrad.net.ocs.mq.edu.au/stable/2873274

  • Coming Out of the Coffin by Kaya Genc

https://thenewinquiry.com/coming-out-of-the-coffin/

  • Profile of Florence Balcombe by Eleanor Fitzsimons writer ofWilde’s Women”

http://womensmuseumofireland.ie/articles/florence-balcombe

My Favourite Vampire with Sarah from Good Nightmare

This post accompanies The FrankenPod episode My Favourite Vampire

Dracula is one of those monsters who is so pervasive and terrifying, I’ve already explored how he has been contorted and manipulated to fit our social anxieties. Despite the very “of their time” nature of Dracula adaptations, the appeal of certain adaptations divisive, and not by the age of the reader or viewer and the contemporary adaptations of their time. The novel Dracula has a timeless appeal that may not be entirely the case with a movie. The 1931 movie has an enduring quality, but it has visibly aged and has lost its edge, the 1992 movie is still narratively compelling but the effects and augmentation of the original text place it firmly in the 90s. I asked a fellow Australian podcaster, Sarah, from Good Nightmare to tell me why the novel is such a favourite of hers.

In order to fully explore Dracula we would be remiss if we didn’t cover the 1931 movie

Fun fact the Spanish language Dracula was filmed on the same set, but at night, so they were able to perfect the shots that the American crew may have botched a little. Many many regard the Spanish version as the superior film. I have not watched the Spanish version but I instead watched the American Universal Studios Version of Dracula directed by Carl Laemmle jr. and starring Bela Lugosi as the titular Count.

 

The 1931 movie features a lot of close-ups of Dracula, with lights focused on his eyes. This way of depicting the hypnotic gaze is effective but more than a tiny bit ridiculous. Also, we never see a bite, we just see people leaning ominously in and the scene fades or the vampire moves slowly and ominously out of shot. The movie is as subtle as a brick, but let’s face it you don’t come to Universal Studios Monster canon for a nuanced story. They have very obviously styled Lucy as a “modern woman”, and carried out some serious 1930s slut-shaming, because she deserved to be bitten, unlike the pure and innocent Mina. Hey everyone, can we have an adaption of Dracula in which we don’t care about Lucy because she is less chaste or special than her friend Mina? Please. If there is one please let me know because I would love to see it.

I’ve said some nasty things about the film, but I do really appreciate some very special elements that the film brings to the Dracula narrative,

The movie gives us an origin story for Renfield (which means we get soooo much supernaturally crazed Dwight Frye which I am 100% here for)

Helen chandler’s performance is wonderful, over the top and just beautiful. Obviously, Bela Lugosi as Dracula and Eric Van Sloan as Van Helsing are the most iconic characters in the movie but Helen Chandler as Mina Harker almost mare me like the character of Mina more. The bushy moustaches of the Transylvanian villagers are something to behold, honestly, this movie’s moustache game may be the best I’ve seen. An honourable mention has to go to Jonathan’s Suits. They almost made him interesting.

Second Name Basis – The Vampyre by John Polidori

This is an accompanying text to The FrankenPod episodes related to vampires and Dracula.

The Vampyre is one of those novels that has no chance of living up to its legacy. The fraternal twin of that famous ghost story competition that birthed Frankenstein, The Vampyre had a lot to live up to purely based on its genesis. John Polidori published the tragic tale of the Aubrey family and the monster that plagues them in 1819. The much-maligned novel is not as awful as many Byron scholars would have you believe, but it is a just proto-vampire narrative to Bram Stoker’s Dracula and its ilk. There is certainly much to be said for this short story which I can’t help but feel would have had lower expectations to strive for if it did not have the origin story it did, and might have been critiqued more charitably. Or simply forgotten.

 

What’s in a Name?

We don’t really come to care all that much about the characters, save possibly Aubrey. Lord Ruthven is suitably inaccessible and mysterious which is an excellent choice for a vampire that would be much more effective if Polidori had taken the time to juxtapose the removed otherness of the Lord with more fleshed out mortal characters. Unfortunately, we only get a cursory insight into many of the characters, and all except the damsel figure Ianthe are not given a first name. It’s a small omission but it sure makes a difference

 

220px-A_Fragment_1819_Lord_ByronThe Fragment

The true origin of Polidori’s The Vampyre does not take place in Polidori’s room at the Villa Diodati but rather, Lord Byron as part of the ghost story challenge penned the discarded fragment that Polidori would then build on to create the predatory Lord Ruthven. When The Vampyre was mistakenly attributed to Byron, Byron published the fragment as a way to explain the confusion and distance himself from a story that he was embarrassed to have associated with his literary “genius”.

 

Byronharlow
Byron by Harlow

The Byronic Vampyre

The most interesting reading of Polidori’s narrative is the often alluded to in the reading of the text as a vengeful satire of Polidori’s cruel employer, notorious celebrity poet and letch, Lord Byron. Polidori watched Byron’s sexual exploits throughout his time as his consulting physician on his grand tour. For a less confident young man with substantially less social capital, it must have been at best annoying and frustrating. Polidori decided to render his vision of Byron as a kind of predatory parasite that drains the life from people, who seem oblivious to his evil machinations. The legacy of Polidori’s short story is the aristocratic, Byronic, vampire which would become standard in vampire fiction for many years to come.

So can I link The Vampyre to Frankenstein?

This was a tricky one. I didn’t want to go the route of the monster because I feel we’ve trod that territory so frequently that the land has become barren and infertile, so we will rest that particular section of land until it is capable of yielding a harvest.

This metaphor is OUT OF CONTROL.

Can we talk about the trope of the bride being killed by a monster on her wedding night instead? In the case of Frankenstein, Elizabeth is killed by the Creature her husband brings to life. In The Vampyre Miss Aubrey, who is presumably Lady Ruthven at this point, is killed by her husband. There is an uncomfortable lack of identity for Miss Aubrey, as she never truly exists outside of her relationships with first her brother, then Lord Ruthven. She has no name of her own. Elizabeth certainly had an identity even if her agency is crushed by the consequences of Victor’s hubris. But these dissimilar brides experience a similar fate. There is probably a whole rabbit hole we could go down about the fear of female sexuality and male commitment… but that is for another time I think.

Good talk

Morgan

The Universal Monsters

The Universal Studios Monsters and their entourage have had an indelible effect on our understanding of classic gothic texts like Frankenstein and Dracula. The differences between Frankenstein 1931 and the original text are too numerous to name… believe me, we tried. The essence of these stories can be completely changed and become a caricature of their former nuanced selves. We’re going to have a crack at examining most of these movies and the texts that they draw inspiration from (I should hesitate from calling most of these films adaptions because it is very often just the very bare monstrosity that is translated to screen)

Here are some of the characters of the Universal Monsters stable that we are planning to have a look at on The FrankenPod in the future, or maybe have already…..

 

Universal Monsters and Associated Characters

Frankensteins Creature in his Universal Studios form as Frankenstein’s Monster

Played By Boris Karloff in:

  • Frankenstein (1931)
  • Bride of Frankenstein (1935)
  • Son of Frankenstein (1939)

Played By Lon Chaney Jr. in The Ghost of Frankenstein (1942)

Played By Bela Lugosi in Frankenstein Vs. The Wolf Man (1943)

Played By Glenn Strange in:

  • House of Frankenstein (1944)
  • House of Dracula (1945)
  • Abbott and Costello Meet Frankenstein (1948)

 

The Bride of Frankenstein based on the unanimated second creature of Mary Shelley’s novel Frankenstein.

Played By Elsa Lancaster in Bride of Frankenstein (1935)

 

Dracula of Bram Stoker’s Dracula

Played by Bela Lugosi in:

  • Dracula (1931)
  • Abbott and Costello Meet Frankenstein (1948)

Played By Lon Chaney Jr. in Son of Dracula (1943)

Played By John Carradine in:

  • House of Frankenstein (1944)
  • House of Dracula (1945)

 

Dracula’s daughter, Countess Marya Zaleska, potentially based on the Vampiress in the Fragment Dracula’s Guest by Bram Stoker

Played by Gloria Holden in Dracula’s Daughter (1936)

 

Van Helsing of Bram Stoker’s Dracula

Played By Edward Van Sloan in:

  • Dracula (1931)
  • Dracula’s Daughter (1936)

 

Henry Frankenstein (eye twitch) based on Mary Shelley’s Frankenstein

Played By Colin Clive in:

  • Frankenstein (1931)
  • Bride of Frankenstein (1935)

Played By Cedric Hardwick in Ghost of Frankenstein (1942)

 

Elizabeth based on Elizabeth Lavenza in Mary Shelley’s Frankenstein

Played By Mae Clarke in Frankenstein (1931)

Played by Valerie Hobson in Bride of Frankenstein (1935)

 

Ygor based on Fritz from Peake’s play Presumption or Renfield from Bram Stoker’s Dracula

Played by Bela Lugosi in:

  • Son of Frankenstein (1939)
  • Ghost of Frankenstein (1942)

 

The Invisible Man of H.G. Wells novel The Invisible Man

Jack Griffin

Played By Claude Rains in:

  • The Invisible Man (1933)
  • The Invisible Man Returns (1940)
  • Abbott and Costello Meet the Invisible Man (1951)

Geoffery Radcliffe

Played By Vincent Price in:

  • The Invisible Man Returns (1940)
  • Abbott and Costello Meet Frankenstein

 

Larry Talbot aka the Wolf Man based on Werewolf Mythology

Played by Lon Chaney Jr. in:

  • The Wolf Man (1941)
  • Frankenstein Meets the Wolf Man (1943)
  • House of Frankenstein (1944)
  • House of Dracula (1945)
  • Abbott and Costello Meet Frankenstein (1948)

Dracula

WELCOME TO VAMPIRE MONTH!

All of our podcasts episodes are going to be vampire related, starting with the big one: DRACULA

By 1897 the vampire had already infiltrated the collective consciousness. Varney, Carmilla and Polidori’s Lord Ruthven had already prepped Victorian audiences in the UK for Count Dracula’s surprisingly bureaucratic invasion. Bram Stoker’s creation has mutated and evolved with popular culture, adapting to exploit our fears and vices. The sexuality and otherness of the original novel have been contorted and manipulated, spawning not only stand-alone vampire novels but also whole series of vampire fiction with a sustained, almost cult-like following.

 

Which Version?

Brent watched Francis Ford Coppola’s Dracula released in 1992.  Morgan read the original 1897 Dracula by Bram Stoker.


Dracula is an epistolary novel which uses letters and other documentation to piece together the narrative. The documents have been assembled primarily by Mina Harker because none of the other characters seems to be capable of organised thought. In fact, they tell her she has “a man’s brain”… ewww.

The book was written as a mystery because the 19th-century audience did not know what the count is. So as a modern reader you are like “noooo Jonathan! Run away! But he has no idea”. It’s like a slasher film in which you can see the killer but the characters can’t. .. except it goes on for chapters. Really until Van Helsing shows up. 

Last time we recorded one of our proper book movie comparison episodes like this one (which come out on the 13th of every month) you watched a movie with Colin Firth who I have a bit of a fangirl situation going on about… This time you’ve got Tom Waits as Renfield.  

Renfield attracts flies to his room, then feeds them to spiders, who he feeds to sparrows… then asks for a kitten… Dr Jack Seward does not let him have one, so, despairing, he eats the sparrows whole.

For more listen to the episode!

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