What do you think?
Rate this book
Of Gods and Monsters: A Critical Guide to Universal Studios' Science Fiction, Horror and Mystery Films, 1929-1939
While Universal's Dracula and Frankenstein (both 1931) have received the most coverage of any of the studio's genre releases, it is the lesser known films that have long fascinated fans and historians alike. Starting with The Last Warning , a 1929 movie released as both a silent and a talkie, Universal provided a decade of films that entertained audiences and sometimes frustrated critics. Each of Universal's horror, science fiction and "twisted mystery" films receives an in-depth essay for each film. The focus is first on the background to the making of the movie and its place in the Universal catalog. A detailed plot synopsis with critical commentary follows. Filmographic data for the film conclude the entry. Universal's The Shadow short film series is covered in an appendix. Many rare illustrations and movie posters are also included.
- GenresHorror
405 pages, Paperback
First published November 1, 1998
5 people are currently reading
31 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 of 1 review
August 18, 2015
This book may be the poster image for the term A Mixed Bag. It fell short of my hopes, yet there was much that was worthwhile.
First, the good points.
The writer's tone is that of a quarrelous, opinionated uncle...you know, the one who invites your opinion, but has a "look" reserved for you if he disagrees. Sometimes, that opinion is outrageous, and you wonder if it was put there as bait to snare you into an argument. The thing about this is that the tone put me off, but I very frequently agreed with his assertions. The best critics provide perspectives that challenge the reader's position, and the writer did that in spades.
I also enjoy learning about films that are new to me, especially those I may seek out for some fill-in-the-gaps viewing. That happened a few times, and they were rewarding. There is also an opportunity to learn about apparently lost films and gain an appreciation for treasures that I hope may be recovered.
Now, for the not so positive aspects.
Very early on, the writer speculates if another book covering this period is needed considering the exceptional efforts of Mr. Weaver, Mr. Mank and others. The problem is that he never provides the "Yes, and here's why" moment...leaving me to wonder if I made a sound purchase. That's not a great way to begin a love affair with a book.
There were some rare images, but the image quality wasn't great. That was a shame.
Sometimes a synopsis of the story is provided, but not always. I could understand why we were told the story of a rare or lost film...but, THE MUMMY with Boris Karloff (as an example)? Who among those reading the book hasn't seen that film? If the writer liked the film, the comments were insightful. If not, they could be snarky and sprinkled with puns.
Speaking of not liking something, be warned that if you are a fan of Tod Browning, Dwight Frye or Hammer Films in general, you will encounter a generous smattering of their ridicule. (Bela Lugosi comes in for some choice slams, also...in addition to some praise.) With the exception of Hammer Films, I often found myself in agreement with much of what he said.
Finally, there are some odd inclusions of films that do not fit the specification of being a Universal Studios science fiction, horror or mystery film from 1929 until 1939. For instance, one film is reviewed because it was part of Bela Lugosi's contract with the studio, and another because it was included in the original Shock Theater package to television. Even the writer admits that they don't belong here...and there are enough of them to be quite a distraction.
The bottom line is that I found enough to enjoy to make the reading worthwhile. The style held my interest and there were a few discoveries. However, there was not enough here for me to retain the book in my film reference library.
Oh, I was amused by the picture of Dwight Frye gracing the cover...an artist whose talents the writer brought into question.
First, the good points.
The writer's tone is that of a quarrelous, opinionated uncle...you know, the one who invites your opinion, but has a "look" reserved for you if he disagrees. Sometimes, that opinion is outrageous, and you wonder if it was put there as bait to snare you into an argument. The thing about this is that the tone put me off, but I very frequently agreed with his assertions. The best critics provide perspectives that challenge the reader's position, and the writer did that in spades.
I also enjoy learning about films that are new to me, especially those I may seek out for some fill-in-the-gaps viewing. That happened a few times, and they were rewarding. There is also an opportunity to learn about apparently lost films and gain an appreciation for treasures that I hope may be recovered.
Now, for the not so positive aspects.
Very early on, the writer speculates if another book covering this period is needed considering the exceptional efforts of Mr. Weaver, Mr. Mank and others. The problem is that he never provides the "Yes, and here's why" moment...leaving me to wonder if I made a sound purchase. That's not a great way to begin a love affair with a book.
There were some rare images, but the image quality wasn't great. That was a shame.
Sometimes a synopsis of the story is provided, but not always. I could understand why we were told the story of a rare or lost film...but, THE MUMMY with Boris Karloff (as an example)? Who among those reading the book hasn't seen that film? If the writer liked the film, the comments were insightful. If not, they could be snarky and sprinkled with puns.
Speaking of not liking something, be warned that if you are a fan of Tod Browning, Dwight Frye or Hammer Films in general, you will encounter a generous smattering of their ridicule. (Bela Lugosi comes in for some choice slams, also...in addition to some praise.) With the exception of Hammer Films, I often found myself in agreement with much of what he said.
Finally, there are some odd inclusions of films that do not fit the specification of being a Universal Studios science fiction, horror or mystery film from 1929 until 1939. For instance, one film is reviewed because it was part of Bela Lugosi's contract with the studio, and another because it was included in the original Shock Theater package to television. Even the writer admits that they don't belong here...and there are enough of them to be quite a distraction.
The bottom line is that I found enough to enjoy to make the reading worthwhile. The style held my interest and there were a few discoveries. However, there was not enough here for me to retain the book in my film reference library.
Oh, I was amused by the picture of Dwight Frye gracing the cover...an artist whose talents the writer brought into question.
Displaying 1 of 1 review