Customer Reviews

Karloff and Lugosi: The Story of a Haunting Collaboration, with a Complete Filmography of Their Films Together

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This book is well written and painstakingly researched. Mank has personally interviewed as many of the players in the Bela Lugosi and Boris Karloff story as was possible, and to his credit he includes plenty of conflicting stories. He has poured through studio records and includes information on star billing, salaries and even production updates. Mank even goes to the trouble of giving exact addresses of the stars homes! The end of the book features complete career information about each star (including theatre, film and television) and a detailed filmography of the films they made together.

The book takes a linear route, and Mank treats it like a slowly unraveling story beginning with Karloff's arrival on the Universal lot to play Frankenstein's monster and ending with his death. In between those events he devotes entire chapters to the eight films Lugosi and Karloff made together: The Black Cat (1934), Gift of Gab (1934), The Raven (1935), The Invisible Ray (1936), Son of Frankenstein (1939), Black Friday (1940), You'll Find Out (1940) and The Body Snatcher (1945). In addition a few chapters are provided in between to fill out the story between movies (including a chapter devoted to Bride of Frankenstein) and separate chapters at the end devoted to the end of each star's life. The chapter on the Black Cat is particularly detailed and informative and makes the book worth the price and the time in and of itself.

The 372 pages are packed with information. There are quotes from the stars themselves, their wives, friends, fellow actors and directors. As I said before many of these stories disagree especially when it comes to Lugosi. There are many mini-biographies of such luminaries as James Whale, Dwight Frye, Edgar Ulmer, David Manners, Colin Clive, Peter Lorre, Val Lewton, and just about every other major figure to come in contact with the two actors. There are many great full-page pictures (many that I haven't seen anywhere else).

Mank proceeds from the premise of contrasting "Dear Boris" as a gentle beloved distinguished and successful actor and "Poor Bela" as a doomed tragic figure who was misunderstood and a victim of circumstance and his own mismanaged affairs. This is a great hook to give the book some spice, but ultimately it is the weakness of the book. Mank is up front about the fact that he is biased towards Karloff, and I feel he misses the point at times about Lugosi's talent and his ultimate fate. For instance he praises Karloff for knowing when he was in a dog and phoning in his performance and condemns Lugosi for always playing his heart out no matter how bad the film. I disagree with this approach completely. However, despite the sometime distracting Karloff bias, this book is still the best and most informative book I have ever read on the subject. To his credit, Mank tries hard to be fair (who after all is truly unbiased and at least Mank recognizes his) to the point of printing opinions that don't agree with his.

I highly recommend this to any fan of Boris Karloff, Bela Lugosi, classic horror movies, old Hollywood and film in general. It is both fascinating and easy to read.

This is a truly excellent box covering the lives of two horror superstars. But wait before you pay the crooks on the Marketplace $50 or more dollars for a beat up copy. This book is getting a revision and will be back in print next year. Pick it up then, it is well worth the price. The author though a little Karloff biased, does some phenomenal research on both men and the movies they made. I couldn't stop reading this one.

Fans of the era of Universal Studios classic horror films should not hesitate to purchase this book. Few icons of cinema surpass Bela Lugosi or Boris Karloff in the minds of horror gourmets. Mank provides in this weighty volume a detailed background to the few films these two stars shared billing. Mank includes firsthand accoutns, gossip, production history, and some authorial analysis (that more often compliments the details than intrudes). This is a resource that demands repeated readings, especially after watching a Lugosi/Karloff film.