Universal Classic Monsters: Icons of Horror Collection Blu-ray review
Mathew Plale
January 15th, 2022
Portions of this review are taken from the 2018 review of UNIVERSAL CLASSIC MONSTERS: COMPLETE 30-FILM COLLECTION.
Warner Bros. had James Cagney and Edward G. Robinson. MGM had Gene Kelly and Fred Astaire. And Universal had Dracula and Frankenstein and The Invisible Man and The Wolf Man and…
Of course, the start of that lede shortchanges the accomplishments of some of the most important studios in cinema history. It, too, in a way, only scratches the surface of the legacy of Universal Studios and their unmatched lineup of horror essentials.
While the studio’s Monsters date back to the 1920s and offer many more (The Bride, The Gill-Man, etc.), this set “only” features DRACULA, FRANKENSTEIN, THE INVISIBLE MAN and THE WOLF MAN–four films compared to the massive 30-film Blu-ray collection released in 2018.
1931’s DRACULA (dir: Tod Browning) is a top-to-bottom treat, maybe the best photographed film in the collection. (Karl Freund’s work here ranks as some of the eeriest in all of horror.) Through clever practical visuals, silent era-esque values and a menacing lead performance, DRACULA stands as one of the more effective early horror films. Two months later came the Spanish version (dir: George Melford), with Carlos Villar as Conde Dracula. Strange yet familiar (the same sets were used), this take gives its American near-twin a run in the spooks department despite having 20% of its budget.
1931’s FRANKENSTEIN (dir.: James Whale) is a remarkable picture, the only one of the entire Universal Monsters franchise to spawn what many consider an equal or better sequel, 1935’s BRIDE OF FRANKENSTEIN (dir.: also Whale).
1933’s THE INVISIBLE MAN (dir: James Whale, also director of FRANKENSTEIN) was released just under three full years after DRACULA, marking perhaps the most important such stretch in all of horror movie history. Taking the title role, Claude Rains has the challenge of letting the special effects do a portion of the work; it is a patient performance, less showy than others from Universal, but no less skilled.
1941’s THE WOLF MAN (dir: George Waggner), it may go unrealized, was not the first of the wolf-themed Universal films. Rather, it was 1935’s WEREWOLF OF LONDON (dir: Stuart Walker), which has significance as being the first major Hollywood picture to feature a lycanthrope and does offer some sightly images.
The power and impact of the Universal Monsters franchise cannot go unsaid. It is perhaps the key collection of horror cinema. There would later be Jason and Freddy and Chucky and Pinhead and Leatherface and Ghostface and so, so many more, but there’s a certain magic missing there. (It should be noted here that this reviewer is a fan and follower in one way or another of all of these more modern franchises.) Consider Jack Pierce’s makeup work on FRANKENSTEIN, and THE WOLF MAN, which is some of the most detailed and fundamentally frightening in the genre. Or the special effects of films like THE INVISIBLE MAN (by John P. Fulton, John J. Mescall and Frank D. Williams), which manage to visually present something that isn’t there. Or the costume work on DRACULA, which somehow goes uncredited. Or any of the aforementioned feats that still astonish and captivate audiences.
These are marvelous works, truly representative of what there was to offer at the time. And while certainly not as thorough as previous sets, this collection (released in 4K; more details below) is a remarkable primer and sure to give any horror aficionado or newbie a genuine education in one of the genre’s most defining eras.
BLU-RAY REVIEW
Video: All films: 2160p UHD HDR10 Full Frame 1.33:1 on the 4K Ultra HD disc. 1080p High-Definition Full Frame 1.33:1 on the standard Blu-ray disc.
There is a careful balancing act when upgrading films of this age (ranging between 80-90 years old) to such a modern resolution–cleaning up the image too much can seriously harm the aesthetics, in addition to disrespecting the art of the filmmakers. One may be justifiably weary that such upgrades could expose the flaws (from age, not skill) of the sets and costumes (the oldest film in the collection, DRACULA, turns 90 this year). Fortunately, Universal has yet again delivered remarkable and commendable work on some of their most cherished and regarded films.
Overall, the images are sharp and healthy, offering stellar balance and strong contrast that don’t lose the distinguished character of 1930s and 1940s film. There are inky shadows, dark interiors (Dracula’s castle a standout) and nighttime scenes (FRANKENSTEIN’s finale; the most atmospheric of THE WOLF MAN) are by far the most impressive and demo-worthy. THE INVISIBLE MAN never had the visual flair of the other included titles, but this upgrade certainly does no harm.
Universal’s transfers of the four films allow the viewer to see each in an entirely new light (and darkness…).
Audio: All films: English DTS-HD Master Audio 2.0 Mono; Spanish, French, German, Italian (THE WOLF MAN adds Castilian and Latin American Spanish) DTS Digital Surround 2.0 Mono on the 4K Ultra HD disc. All films: English DTS-HD Master Audio 2.0 Mono and French DTS Digital Surround 2.0 Mono. All films have subtitles in English, Castilian Spanish, French, Complex Mandarin, Danish, Dutch, Finnish, German, Italian, Japanese, Latin American Spanish, Norwegian, and Swedish.
The audio transfers are the same ones available on the aforementioned COMPLETE 30-FILM COLLECTION. As such, our original review read: Audio is quite nice for the most part, with clean dialogue, sound effects and scores. Still, some scenes do come off a bit tinny and hollow, as technology of the time was far more limited.
DRACULA:
Feature commentary with film historian David J. Skal
The Road to Dracula (35:04): This featurette covers the evolution of the story and character, including how the novel’s most famous iteration came to be.
Lugosi: The Dark Prince (36:07) pays tribute to the great Bela Lugosi.
Dracula: The Restoration (8:46) covers the process of restoring DRACULA, done on the occasion of Universal’s 100th anniversary.
Dracula Archives (9:11) houses various promotional materials.
Alternate Score by Philip Glass – Performed by the Kronos Quartet
Monster Tracks is a trivia track.
FRANKENSTEIN:
Feature commentary with film historian Rudy Behlmer
Feature commentary with historian Sir Christopher Frayling
The Frankenstein Files: How Hollywood Made a Monster (44:53): This featurette goes over the making of FRANKENSTEIN, from the novel and makeup to James Whale’s approach and the film’s legacy.
Karloff: The Gentle Monster (37:58) covers the life and career of Boris Karloff.
Universal Horror (1:35:26): This feature-length documentary thoroughly covers the incredible content and legacy of Universal’s horror catalogue.
Frankenstein Archives (9:24) houses various promotional materials.
Boo! A Short Film (9:30): A comedy short directed by Albert DeMond.
100 Years of Universal: Restoring the Classics (9:13) covers the studio’s approach to film restoration.
Monster Tracks is a trivia track.
Trailer Gallery
THE INVISIBLE MAN:
Feature commentary with film historian Rudy Behlmer
Now You See Him: The Invisible Man Revealed (35:21):This featurette looks at the how the movie made it to the screen, its production and special effects.
Production Photographs (4:30)
100 Years of Universal: Unforgettable Characters (8:18) is also found on the ABBOTT AND COSTELLO MEET FRANKENSTEIN disc.
Trailer Gallery
THE WOLF MAN:
Feature commentary with film historian Tom Weaver
Monster by Moonlight (32:37): This featurette, hosted by John Landis, looks at the production of THE WOLF MAN (as well as its sequels).
The Wolf Man: From Ancient Curse to Modern Myth (10:02) covers the legacy and themes found in THE WOLF MAN.
Pure in Heart: The Life and Legacy of Lon Chaney, Jr. (36:53) pays homage to one of the studio’s most key figures.
He Who Made the Monsters: The Life and Art of Jack Pierce (24:56) is also found on THE MUMMY disc.
The Wolf Man Archives (6:46) houses various promotional materials.
100 Years of Universal: The Lot (9:25) is also found on the ABBOTT AND COSTELLO MEET FRANKENSTEIN disc.
Trailer Gallery
