Download Boris Karloff and His Films by Paul M. Jensen PDF

By Paul M. Jensen

For approximately forty years Boris Karloff used to be the King Of Horror. even though there are a number of books on Karloff, writer Paul Jensen spent years learning this examine of this nice actor. Meticulously certain and illuminated with candor and affection. comprises many pictures now not present in different books, charges from assets overlooked in different biographies and a finished filmography. a truly great tribute-- i might suggest it to his fans.


Acknowledgements Page
1. THE EARLY YEARS: judgements AND improvement (1887-1931) • 09
2. FRANKENSTEIN: the start (1931) • 23
three. THE REIGN OF TERROR (1931-1938) • 47
four. MONSTER INTO FATHER determine (1939-1968) • 115
Bibliography • 173
Filmography • 176
Index To Names • 191
Index To motion pictures • 193

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Steiner, ‘'Has it ever occurred to you, Mr. Hart, that you can commit almost any crime, if you select the proper environment? For example, if I were to stick a knife into you in the street, it would attract attention, I m^ght have to answer embarrassing questions. But when I stick a knife into you here on the operating table, nothing will hapThe pain when I am going through the layers of pen— to me skin will not be unendurable. It is only when I begin to cut on the inside that you will realise that you are having an experience.

Sometimes Whale uses technique for humour, as in the opening scene with the Wavertons arguing while they struggle against the storm’s irritations. AsJPhilip complains about a “trickle of ice cold water pouring down my neck,” there is an unexpected, almost eccentric, cut to a close-up of the back of his hat brim— as water streams off it. Much later, the after-dinner truth game is filmed with a variety of close and medium shots, all taken through the blazing fireplace, with heat waves giving an odd texture to the scene.

Morgan it occurs near the climax, just after Saul it, Then and cries. he carries the corpse embraces goes to the body, upstairs— never to be seen or mentioned again, not even the next morning. (A similar incident would be seen later in Son of this stein. ) The script arbitrarily Penderel lets live after his confrontation with Saul, and eliminates many but it does retain an after-dinner conversation in which the characters of the book’s philosophical overtones, game. Thus the him includes more of the might be expected, though the novel’s semi-allegorical level remains distant.

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