A belated DVD resurrection of a VHS-tastic documentary feature from 1984 (video transfer is quite clean, but audio tends to be uneven) also circulated as Lugosi: The Forgotten King of Horror. It honors the indelible Bela Lugosi (1882-1958), an aristocratic Hungarian-born actor who became an icon of old-school Hollywood. The "curse" part refers to the Dracula role he made into his own, creating a career-long typecasting trap.
Nostalgia value includes the reappearance of the late, great editor/fan Forrest J Ackerman (as host-narrator) and the venerable John Carradine and Ralph Bellamy, among other actors and associates from the golden age of the studio system—Sara Karloff, Carroll Borland, Janet Ann Gallow, Carla Laemmle, Bela Lugosi Jr. and Terry (daughter of William) Castle. Together, with vintage film clips and PR interviews, they tell of Lugosi's early years in the Hungarian state theatre and how his Dracula (1931) portrayal ushered in the talking-picture age of Universal Horror Gothics. One could argue that Lon Chaney Sr. actually started it with Universal's silent hits; following Chaney's early death, Lugosi was among the actors who later filled roles intended for Chaney.
Still, Lugosi was paid a relative pittance for incarnating the vampire king. Later, Boris Karloff and Basil Rathbone had to lobby for Lugosi's inclusion in Son of Frankenstein (wherein Lugosi evoked perhaps the screen's definitive Ygor). Still, Universal did not renew his contract. Lugosi —plaintively telling the carefully managed newsreel interviews of the era that he really wanted to play "nice guys" and a spectrum of character parts he had on stage—often resorted to paying bills with sinister roles in "poverty row" quickies and touring revivals of the Dracula stage play.
Meanwhile, opioid addiction (from overprescription of painkillers for his bad legs) also took its toll. As cult-movie fans know, Lugosi acted right up to his death, in the bizarre cheapies of cross-dressing filmmaker Ed Wood Jr. This retelling affirms that Lugosi and Wood were genuine friends; it is inconclusive whether Bela and Boris Karloff were pals, casual workmates who seldom saw each other off the set, or bitter rivals. Everyone here, however, praises Lugosi as a gentleman and hard-working professional, even in diminished circumstances.
Director Mark Gilman also compiled clip-laden showbiz retrospectives, cheaply built mostly from stock footage and public-domain material (shades of Ed Wood!). Though archival stuff and interview digressions occasionally pull the chronicle off-topic, this bio has a stronger narrative than expected. It is a serviceable companion to collections carrying more deep-dive books about Lugosi such as Arthur Lennig's The Immortal Count.
What public library shelves would this title be on?
The title "Lugosi: The Curse of Dracula" would likely be found on library shelves that house collections related to movie history. Specifically, libraries with a dedicated movie history section should prominently feature this title. Additionally, it is suggested that the book is equally appealing to general biography shelves, implying that it could be found in the biography section of the library.
What academic subjects would this film be suitable for?
Lugosi: The Curse of Dracula would be suitable for academic subjects related to American film history. It would align well with courses or studies that focus on the history of American cinema. Furthermore, it is mentioned that the film is suitable for popular culture topics, especially those related to horror. This suggests that it could be relevant to courses or academic discussions that delve into the broader realm of popular culture with a specific emphasis on horror genres.
What type of classroom would this documentary resource be suitable for?
The documentary resource is considered suitable for classrooms at the junior high level and above. However, there is a side mention of drug abuse in the resource that could potentially raise concerns among some parents. Despite this, the overall suitability is indicated for students at the junior-high level and beyond, suggesting that the content is appropriate for middle school and higher grades. It's important to note that the potential sensitivity around drug abuse is acknowledged, but the resource is not deemed unsuitable for the specified academic levels.