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Following Phantom of the Opera (1943), in the middle of the Silver age of Universal Studio's monster movies, a new sequel to Frankenstein Meets the Wolfman was considered for a Technicolor production: Wolfman vs Dracula! Lon Chaney Jr., who was the only actor to portray Universal's four classic monster roles; Dracula, frankenstein's monster, the mummy and the wolfman. At first Chaney was to play both roles, as his father Lon Chaney Sr. had done in several of his famous silent films. But Larry Talbot in his human phase would look exactly like Count Dracula so the role of Dracula was given to it's originator Bela Lugosi. A script was prepared by Bernard Shubert, who had written the screenplay for Tod Browning's London After Midnight(MGM 1927) remake Mark of the Vampire (MGM 1935). Shubert kept the settings very tight in its scenes, to keep the cost down to balance out for the extra expense of technicolor. But by 1944 Bela Lugosi was in his 60s and would have had to play part of his role as a giant bat much like in the Copolla Bram Stoker's Dracula in the 90s - and that would have been too much for him. And they couldn't have the Wolfman fighting an animated bat much like John Carradine's depiction of the Count or even Lugosi's portrayal in Abbott and Costello Meet Frankenstein. So they decided to make one of their Arabian Nights film on the Technicolor contract and all that remained of Wolfman vs Dracula are some color 8x10s of Chaney in both parts. This volume has a short biography of screenwriter/TV producer Bernard Shubert and comments from Shubert and special effects cinematographer David Stanley Horsley.
Endore's classic werewolf novel - now back in paperback for the first time in over forty years - helped define a genre and set a new standard in horror fiction The werewolf is one of the great iconic figures of horror in folklore, legend, film, and literature. And connoisseurs of horror fiction know that The Werewolf of Paris is a cornerstone work, a masterpiece of the genre that deservedly ranks with Mary Shelley's Frankenstein, Bram Stoker's Dracula, and Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde. Endore's classic novel has not only withstood the test of time since it was first published in 1933, but it boldly used and portrayed elements of sexual compulsion in ways that had never been seen before, at least not in horror literature. In this gripping work of historical fiction, Endore's werewolf, an outcast named Bertrand Caillet, travels across pre-Revolutionary France seeking to calm the beast within. Stunning in its sexual frankness and eerie, fog-enshrouded visions, this novel was decidedly influential for the generations of horror and science fiction authors who came afterward.
"An age-old terror returns to haunt your nights"--Cover.
Playhouse of the Damned is an anthology of short horror plays, hosted by Gus the Ghoul. As Gus says, Welcome to the Playhouse of the Damned. This is the playhouse. Guess what part you play. Heres a hint. In just a few minutes, youll find yourself agreeing with hundreds of theatergoers who have attended our playhouse and said, I'll be damned if I'm going to sit through any more of this!
When the Prince of Darkness rises, longtime enemies are ready for a fight - and so is one of his own descendants! Undead armies, time travel, deathbed voodoo, and more!
The papers collected in this volume were originally presented at a sym posium held at the University of Pennsylvania in December of 1968. Each of the papers has been revised in light of the discussions that took place during this symposium. None of the papers has appeared in print previously. The extensive bibliography that appears at the end of the volume was originally distributed during the symposium and was revised on the basis of many helpful suggestions made by those who participated. The symposium was made possible by a grant from The National Science Foundation and funds contributed by the Philosophy Depart ment of the University of Pennsylvania. On behalf of the contributors to this volume, I would like to express my thanks to these organizations for their generous support. In addition, I would like to express my gratitude to the members of the Graduate Philosophy Students Organization at the University of Penn sylvania for the considerable assistance they gave me during the sym posium. My thanks, also, to Judith Sofranko and Lynn Luckett for their very responsible efforts in the preparation of the manuscript. Finally, I would like to thank Professor James Cornman for his invaluable advice and encouragement.
Trap him in Hell or trap him in humanity, Dracula will fight to the finish, fang and claw! But after centuries of being haunted by his demonic daughter, the Transylvanian tyrant faces an even worse family skeleton: a son who's an absolute angel!
Late 1929. The Stock market crash. At MGM Studios Irving Thalberg was involved in a power struggle. Lon Chaney's contract was coming up for renewal. Tod Browning, MGM's famed director of the macbre genre for the studio, had left and signed a contract back at his home studio, Universal. Carl Laemmle Jr was made production head of Universal for his father and he wanted to do a film version of Dracula. Carl Sr. agreed, as long as they had Lon Chaney as the star. Early in August of 1930, Carl Junior, still attempting to sign Chaney for the role, ordered a treatment to be authored by Louis Bromfield. By Mid August he was teamed with screenwriter Dudley Murphy and they began work on the script. Then in the middle of the negotiations, Lon Chaney unexpected by everyone in the film industry, died on August 26th. This volume of the Atlernate History of Classic Monster Films we present the full first Bromfield treatment, the incomplete first draft screenplay by Bromfield and Murphy. In addition, when Dracula was finally produced, more in the fashion of the popular 1927 play than the Bram Stoker novel, as was intended by Laemmle for Chaney - A silent version of the Lugosi Dracula was prepared for theaters who had not yet converted to sound. We have also included a complete Title list from this version. Also included in this volume is a translated version of F.W. Murnau's shooting script for the first screen version of Dracula - filmed in Germany in 1922 and called NOSFERATU, a symphony of horror. Murnau's hand annotations are included in bold print throughout the script.
"Just when you thought you knew everything about our beloved classic monsters - Philip Riley pulls another bat out of the hat with this new remarkable book series." - Stan Winston "Philip J Riley continues to discover lost film lore - last was the amazing reconstruction of Lon Chaney's The Phantom of the Opera and now a treasure trove of scripts that no one knew existed." - Ray Bradbury WHAT IF... Boris Karloff portrayed the Wolfman and The Invisible Man and Cagliostro, King of the Dead? What if Lon Chaney portrayed Count Dracula, or Lon Chaney Jr. appeared in what was to be the first Technicolor Classic Monster film. What if Bela Lugosi starred in Frankenstein as the Doctor or the Monster or Wolfman vs. Dracula or in the script included in this first volume of the Alternate History of FilMonsters James Whale's DRACULA'S DAUGHTER? Now through the discovery of these legendary filmscripts you will have your answers! Contains the excised chapter from Dracula, entitled Dracula's Guest by Bram Stoker Plus the memories of Carl Laemmle Junior and R.C. Sherriff
When Nina, Joe, and Bob hear about a strange creature preying on residents of a small Florida town, they know it is up to them to track down the digitally realized wolf man before the next full moon. Original.