Mark of the Vampire

Last updated

Mark of the Vampire
Mark of the Vampire poster.jpg
Theatrical release poster
Directed by Tod Browning
Written by
Produced by
Starring
Cinematography James Wong Howe
Edited by Ben Lewis
Distributed by Metro-Goldwyn-Mayer
Release date
  • April 26, 1935 (1935-04-26) [1]
Running time
60 minutes (allegedly originally released in a longer cut) [2]
CountryUnited States
LanguageEnglish

Mark of the Vampire is a 1935 American horror film directed by Tod Browning, and starring Lionel Barrymore, Elizabeth Allan, Bela Lugosi, Lionel Atwill, and Jean Hersholt, produced by Metro Goldwyn Mayer. Its plot follows a series of deaths and attacks by vampires that brings eminent expert Professor Zelen to the aid of Irena Borotyn, who is about to be married. Her father, Sir Karell, died from complete loss of blood, with bite wounds on his neck, and it appears he may be one of the undead now plaguing the area.

Contents

It has been described as a talkie remake of Browning's silent London After Midnight (1927), though it does not credit the older film or its writers. [1]

Plot

Sir Karell Borotyn is found murdered in his house, with two tiny pinpoint wounds on his neck. The attending doctor, Dr. Doskil, and Sir Karell's friend Baron Otto von Zinden are convinced that he was killed by a vampire. They suspect Count Mora and his daughter Luna, while the Prague Police Inspector Neumann refuses to believe them.

Sir Karell's daughter Irena is the Count's next target. Professor Zelen, an expert on vampires and the occult, arrives in order to prevent her death. After Irena is menaced by the vampires on several occasions, Zelen, Baron Otto, and Inspector Neumann descend into the ruined parts of the castle to hunt down the undead monsters and destroy them. When Zelen and Baron Otto find themselves alone, however, Zelen hypnotizes the Baron and asks him to relive the night of Sir Karell's murder. It is then revealed that the "vampires" are actually hired actors, and that the entire experience has been an elaborate charade concocted by Zelen in the hopes of tricking the real murderer —Baron Otto— into confessing to the crime. Acknowledging that the charade has failed to produce its intended results, Zelen, along with Irena and another actor who strongly resembles Sir Karell, compels the hypnotized Baron into re-enacting the murder, effectively proving his guilt. During the re-enactment, Baron Otto reveals his true motive: he wished to marry Irena, but her father would not allow it. He also reveals how he staged the murder to resemble a vampire attack.

With Baron Otto arrested, Irena explains the plot to her fiance, Fedor, who was not involved in the subterfuge and believed that the vampires were real. The film ends with the actors who played the vampires packing up their supplies, and "Count Mora" exclaiming, "This vampire business, it has given me a great idea for a new act! Luna, in the new act, I will be the vampire! Did you watch me? I gave all of me! I was greater than any real vampire!" His fellow thespians are not enthusiastic.

Cast

Colored publicity shot of Bela Lugosi with Elizabeth Allan and Henry Wadsworth MOTV004.png
Colored publicity shot of Bela Lugosi with Elizabeth Allan and Henry Wadsworth

Production

Development

File:Mark of the Vampire (1935).webmthumbtime=107
Theatrical trailer

The film's screenplay was co-written by Guy Endore, who had previously written the novels for The Werewolf of Paris (1933) and Babouk (1934). [3] The film had the working title Vampires of Prague. [4]

Filming

Principal photography began on January 12, 1935, and completed in mid-February 1935. [5] Co-star Carroll Borland had worked with Lugosi before, in a touring stage version of Dracula ; she answered the casting call for the younger vampire role without being aware Lugosi was associated with the film, and won the part after the producers were impressed with how closely her physical movements resembled Lugosi's. She did not mention that they had previously worked together. [6] [7] Makeup artist William J. Tuttle would later recollect to author Richard Bojarski,

The crew and I didn't like to work for director Tod Browning. We would try to escape being assigned to one of his productions because he would overwork us until we were ready to drop from exhaustion...  he was ruthless. He was determined to get everything he could on film. If the crew didn't do something right, Browning would grumble: 'Mr. Chaney would have done it better.' He was hard to please. I remember he gave the special effects men a hard time because they weren't working the mechanical bats properly. Though he didn't drive his actors as hard, he gave Lionel Barrymore a difficult time during a scene. Lugosi's performance, however, satisfied Browning. [6]

Richard Bojarski, The Films of Bela Lugosi (1980)

According to Borland, the ending of the film (which reveals the "vampires" to be actors hired to trick a murderer) was not revealed to the cast until the end of shooting; Browning felt that their performances would be negatively affected by knowing that they were not "real" vampires. She reports that an alternate ending – in which Professor Zelen receives a telegram from the hired actors revealing that they were unable to make their train (thus implying the vampires that the film depicts were real) – was considered but rejected by Browning. [1] [8] She further claims that both she and Lugosi were disappointed with the ending, and found the twist "absurd." [8]

Release

Metro-Goldwyn-Mayer released Mark of the Vampire theatrically on April 26, 1935. [5]

Alternate versions

Colorized publicity shot featuring Bela Lugosi and Carroll Borland MOTV005.png
Colorized publicity shot featuring Bela Lugosi and Carroll Borland

Early reviews of the film list running times of closer to 80 minutes, strongly suggesting that the film was cut back to 60 minutes by MGM after the early previews. This had led to much speculation about what the deleted footage contained. [1] [2]

Several sources, including critic Mark Viera [9] and Turner Classic Movies writer Jeff Stafford, [6] have claimed that MGM cut out suggestions of incest between Count Mora (played by Lugosi) and his daughter Luna. Viera further claims that the original screenplay explained that Count Mora was condemned to eternity as a vampire for this crime and shot himself out of guilt (which explains the otherwise unaccountable spot of blood which appears on Lugosi's right temple during the film). This was an unacceptable topic according to the standards of the Production Code, and consequently cut from the film. [10] While the subplot was cut, the blood spot on Count Mora's face remains in the finished film and is never explained. [10]

Writer Gregory William Mank (who had access to the shooting script for his book Hollywood Cauldron) disputes these claims, asserting that the original cut was only 75 minutes (the reports of an 80+ minute run time being the result of a misprint) and that most of the cuts were either exposition or comedy. He further asserts that the alleged incest subplot was never in the shooting script and never filmed, though he acknowledges that it was likely hinted at in the original scenario for the film written by Guy Endore. This claim is backed up by Borland, who points out that the studio would never have allowed such content to be filmed. [11]

Lugosi biographer Arthur Lennig asserts that Endore did originally intend an incest backstory, but that it was removed by the studio before the shooting script was written, though he goes on to claim that a cut line of dialogue indicates that Count Mora shot himself after strangling his daughter. [12]

In the commentary which accompanies the film on the Hollywood Legends of Horror boxed set released by Warner Home Video, genre historians Kim Newman and Steve Jones seem to concur with Mank, hypothesizing that primarily comedic material—possibly related to the maid character played by Leila Bennett—was cut. [13]

Home media

MGM/UA Home Video released Mark of the Vampire on VHS in October 1987. [14] The Warner Archive Collection released the film on Blu-ray on October 11, 2022. [15]

Reception

Box office

Mark of the Vampire was a moderate box-office success, earning Metro-Goldwyn-Mayer a profit of $54,000 [16] (equivalent to $1,200,058in 2023).

Critical response

Upon its initial release, reviews of the film were relatively positive; a New York Times review by Frank Nugent claimed the film would "catch the beholder's attention and hold it, through chills and thrills ..." The review finished, "Like most good ghost stories, it's a lot of fun, even though you don't believe a word of it." [17] It received similar praise from The Los Angeles Times , The Hollywood Reporter , and Motion Picture Daily . [18] The film did draw some distinct criticism as well, most notably from Dr. William J. Robinson, who claimed in a letter to the New York Times that,

... a dozen of the worst obscene pictures cannot equal the damage that is done by such films as The Mark of the Vampire[ sic ]. I do not refer to the senselessness of the picture. I do not even refer to the effect in spreading and fostering the most obnoxious superstitions. I refer to the terrible effect that it has on the mental and nervous systems of not only unstable, but even normal men, women and children. I am not speaking in the abstract; I am basing myself on facts. Several people have come to my notice who, after seeing that horrible picture, suffered nervous shock, were attacked with insomnia, and those who did fall asleep were tortured by the most horrible nightmares. In my opinion, it is a crime to produce and to present such films. We must guard not only our people's morals -- we must be as careful with their physical and mental health. [16]

William J. Robinson, Letter to the New York Times, 28 July 1935

Seymour Roman of the Brooklyn Times-Union praised the film as "a gloriously unrestrained example of the cinema [of the] supernatural, thrilling, chilling, and horrifying." [19]

Modern evaluations of the film are more mixed, largely due to the ending, which reveals that the vampires were actors hired to help trap a murderer (the twist is very similar to Browning's previous London After Midnight , where Lon Chaney's vampire character is ultimately revealed to be a detective in disguise). While it was not unusual for 1920s films such as The Cat and the Canary or The Gorilla to end with a revelation that the supernatural threat was a fraud, 1930s films such as Dracula and The Mummy presented the supernatural elements as real, making Mark of the Vampire something of an anachronism for its time (particularly since Browning and Lugosi were most known for Dracula just a few years earlier). [20] Some viewers thought that the ending compromised the film; [6] Bela Lugosi reportedly found the idea absurd. [8] Some critics, including genre critics Kim Newman and Steve Jones, have suggested the film may be a satire of the conventions of the horror film, pointing to the broad performances by Barrymore and some of the supporting characters, as well as the film's twist ending. [13]

See also

Related Research Articles

<span class="mw-page-title-main">Bela Lugosi</span> Hungarian-American actor (1882–1956)

Béla Ferenc Dezső Blaskó, better known by the stage name Bela Lugosi, was a Hungarian–American actor. He was best remembered for portraying Count Dracula in the horror film classic Dracula (1931), Ygor in Son of Frankenstein (1939) and his roles in many other horror films from 1931 through 1956.

<span class="mw-page-title-main">Tod Browning</span> American film director (1880–1962)

Tod Browning was an American film director, film actor, screenwriter, vaudeville performer, and carnival sideshow and circus entertainer. He directed a number of films of various genres between 1915 and 1939, but was primarily known for horror films. Browning was often cited in the trade press as "the Edgar Allan Poe of cinema."

<span class="mw-page-title-main">Boris Karloff</span> British actor (1887–1969)

William Henry Pratt, known professionally as Boris Karloff and occasionally billed as Karloff the Uncanny, was a British actor. His portrayal of Frankenstein's monster in the horror film Frankenstein (1931), his 82nd film, established him as a horror icon, and he reprised the role for the sequels Bride of Frankenstein (1935) and Son of Frankenstein (1939). He also appeared as Imhotep in The Mummy (1932), and voiced the Grinch in, as well as narrating, the animated television special of Dr. Seuss' How the Grinch Stole Christmas! (1966), which won him a Grammy Award.

<i>Dracula</i> (1931 English-language film) 1931 film

Dracula is a 1931 American pre-Code supernatural horror film directed and co-produced by Tod Browning from a screenplay written by Garrett Fort and starring Bela Lugosi in the title role. It is based on the 1924 stage play Dracula by Hamilton Deane and John L. Balderston, which in turn is adapted from the 1897 novel Dracula by Bram Stoker. Lugosi portrays Count Dracula, a vampire who emigrates from Transylvania to England and preys upon the blood of living victims, including a young man's fiancée.

<span class="mw-page-title-main">Dwight Frye</span> American actor (1899–1943)

Dwight Iliff Frye was an American character actor of stage and screen. He is best known for his portrayals of neurotic, murderous villains in several classic Universal horror films, such as Renfield in Dracula (1931) and Fritz in Frankenstein (1931).

<i>Draculas Daughter</i> 1936 film by Lambert Hillyer

Dracula's Daughter is a 1936 American vampire horror film produced by Universal Pictures as a sequel to the 1931 film Dracula. Directed by Lambert Hillyer from a screenplay by Garrett Fort, the film stars Otto Kruger, Gloria Holden in the title role, and Marguerite Churchill, and features, as the only cast member to return from the original, Edward Van Sloan – although his character's name was altered from "Van Helsing" to "Von Helsing".

<i>The Black Cat</i> (1934 film) 1934 American film

The Black Cat is a 1934 American pre-Code horror film directed by Edgar G. Ulmer and starring Boris Karloff and Béla Lugosi. It was Universal Pictures' biggest box office hit of the year, and was the first of eight films to feature both Karloff and Lugosi. In 1941, Lugosi appeared in a comedy horror mystery film with the same title, which was also named after and ostensibly "suggested by" Edgar Allan Poe's 1843 short story.

<span class="mw-page-title-main">Lionel Atwill</span> English and American actor (1885–1946)

Lionel Alfred William Atwill was an English and American stage and screen actor. He began his acting career at the Garrick Theatre. After coming to the United States, he appeared in Broadway plays and Hollywood films. Some of his more significant roles were in Captain Blood (1935), Son of Frankenstein (1939) and To Be or Not to Be (1942).

<i>Mad Love</i> (1935 film) 1935 film by Karl Freund

Mad Love is a 1935 American body horror film, an adaptation of Maurice Renard's novel The Hands of Orlac. It was directed by German-émigré film maker Karl Freund, and stars Peter Lorre as Dr. Gogol, Frances Drake as Yvonne Orlac and Colin Clive as Stephen Orlac. The plot revolves around Doctor Gogol's obsession with actress Yvonne Orlac. When Stephen Orlac's hands are destroyed in a train accident, Yvonne brings them to Gogol, who claims to be able to repair them. As Gogol becomes obsessed to the point that he will do anything to have Yvonne, Stephen finds that his new hands have made him into an expert knife thrower.

<i>The Body Snatcher</i> (1945 film) 1945 horror film directed by Robert Wise

The Body Snatcher is a 1945 American horror film directed by Robert Wise, based on the 1884 short story of the same name by Robert Louis Stevenson. Philip MacDonald adapted the story for the screen, and producer Val Lewton, credited as "Carlos Keith", modified MacDonald's screenplay. The film stars Boris Karloff as John Gray, a cab driver who moonlights as a grave robber, and later murderer, to illegally supply Dr. MacFarlane with cadavers for his classes, and makes mention of Burke, Hare, and Dr. Knox, in reference to the West Port murders of 1828. Alongside Karloff and Daniell, the film's cast includes Russell Wade, Edith Atwater, and Bela Lugosi. It was the last film in which both Karloff and Lugosi appeared.

<i>House of Dracula</i> 1945 film by Erle C. Kenton

House of Dracula is a 1945 American horror film released and distributed by Universal Pictures. Directed by Erle C. Kenton, the film features several Universal Horror properties meeting as they had done in the 1944 film House of Frankenstein. The film is set at the castle home of Dr. Franz Edelmann, who is visited first by Count Dracula and later by Larry Talbot, the Wolf Man, who are trying to cure their vampirism and lycanthropy, respectively. Talbot is eventually cured, which leads him to discover the body of Frankenstein's monster in a cave below the base of the castle. Edelemann takes the monster's body back to his laboratory but finds Count Dracula has awakened and by attacking his assistants, he captures Edelmann and forces a reverse blood transfusion, which gives Edelmann a split personality and makes him a killer.

<i>The Raven</i> (1935 film) 1935 film by Lew Landers

The Raven is a 1935 American horror film directed by Louis Friedlander and starring Boris Karloff and Béla Lugosi. Billed as having been "suggested by" Edgar Allan Poe's 1845 poem of the same title, excerpts of which are quoted at a few points in the film, it was adapted from an original screenplay by David Boehm. Lugosi stars as a neurosurgeon obsessed with Poe who has a torture chamber in his basement, and Karloff plays an escaped murderer on the run from the police who Lugosi manipulates into doing his dirty work.

<i>Murders in the Rue Morgue</i> (1932 film) 1932 film

Murders in the Rue Morgue is a 1932 American horror film directed by Robert Florey, based on Edgar Allan Poe's 1841 short story "The Murders in the Rue Morgue". The plot is about Doctor Mirakle, a carnival sideshow entertainer and scientist who kidnaps Parisian women to mix their blood with that of his gorilla, Erik. As his experiments fail because of the quality of his victims' blood, Mirakle meets with Camille L'Espanye, and has her kidnapped and her mother murdered, leading to suspicion falling on Camille's fiance, Pierre Dupin, a medical student who has already become interested in the earlier murders.

<span class="mw-page-title-main">Garrett Fort</span> American dramatist

Garrett Elsden Fort was an American short story writer, playwright, and Hollywood screenwriter. He is mostly known for his connections with 1930s horror films, with film historian Gary Don Rhodes describing him as "one of, if not the pre-eminent horror film screenwriters of the classic era." He was a close follower of Meher Baba, and travelled to India while developing a screenplay based on Baba's philosophy.

<span class="mw-page-title-main">Carroll Borland</span> American actress

Carroll Borland better known by the stage-spelling Carol Borland, was an American professor, writer, and actress. She is best known for having portrayed Luna, the daughter of Bela Lugosi's character, Count Mora, in Mark of the Vampire, and for creating the iconic look of the female vampire with her waist-length dark hair and Adrian-designed shroud in this film.

<i>The Silent Command</i> 1923 film

The Silent Command is a 1923 American silent drama film directed by J. Gordon Edwards featuring Bela Lugosi as a foreign saboteur in his American film debut. The film, written by Anthony Paul Kelly and Rufus King, also stars Edmund Lowe, Alma Tell, and Martha Mansfield. Shot in New York, The Silent Command began Lugosi's career in the American film industry. The film's focus on his eyes, at times in extreme close-up, helped to establish his image for later roles.

<i>The Dark Eyes of London</i> (film) 1939 British film by Walter Summers

The Dark Eyes of London is a 1939 British horror film produced by John Argyle and directed by Walter Summers, and starring Béla Lugosi, Hugh Williams, and Greta Gynt. The film is an adaptation of the 1924 novel of the same name by Edgar Wallace. The film is about a scientist named Dr. Orloff who commits a series of murders for insurance money, while periodically disguising himself as the blind manager of a charity to further his scheme.

<i>The Dark Eyes of London</i> (novel) 1924 novel by Edgar Wallace

The Dark Eyes Of London is a crime novel by the British writer Edgar Wallace which was first published in 1924. An unbalanced doctor and his brother murder a series of wealthy men to benefit from their life insurance policies, using a charity for the blind as a front for their activities. The persistent Inspector Holt of Scotland Yard is soon on their trail. It was based on an earlier short story The Croakers which Wallace had written.

<i>Frankenstein</i> (Universal film series) American horror film series

Frankenstein is a film series of horror films from Universal Pictures based on the play version by Peggy Webling and the 1818 novel Frankenstein; or, The Modern Prometheus by Mary Shelley. The series follow the story of a monster created by Henry Frankenstein who is made from body parts of corpses and brought back to life. The rest of the series generally follows the monster continuously being revived and eventually focuses on a series of cross overs with other Universal horror film characters such as The Wolf Man. The series consists of the following films: Frankenstein (1931), Bride of Frankenstein (1935), Son of Frankenstein (1939), The Ghost of Frankenstein (1942), Frankenstein Meets the Wolf Man (1943), House of Frankenstein (1944), House of Dracula (1945) and Abbott and Costello Meet Frankenstein (1948).

Dracula is a film series of horror films from Universal Pictures based on the 1897 novel Dracula by Bram Stoker and its 1927 play adaptation. Film historians have had various interpretations over which projects constitute being in the film series; academics and historians finding narrative continuation between Dracula (1931) and Dracula's Daughter (1936), while holding varying opinions on whether Son of Dracula (1943), House of Frankenstein (1944) and House of Dracula (1945) are part of the series. Author and academic Gary Don Rhodes stated the all the mentioned films would require an audience to be familiar with Count Dracula, portrayed by Bela Lugosi, and the various character traits the actor established in the original 1931 film.

References

  1. 1 2 3 4 "Mark of the Vampire". AFI Catalog of Feature Films . American Film Institute . Retrieved October 18, 2022.
  2. 1 2 "Mark of the Vampire (1935)". Turner Classic Movies . TCM Film Notes. Archived from the original on August 6, 2024.
  3. "'Mark of the Vampire' Thrilling, Chilling, and Shocking Murder Mystery". Havre Daily News . May 18, 1935. p. 2 via Newspapers.com.
  4. Wood, Bret (October 26, 2006). "Insider Info (Mark Of The Vampire) - Behind the Scenes". Turner Classic Movies . Archived from the original on July 16, 2020.
  5. 1 2 "Mark of the Vampire (1935) – Original Print Info". Turner Classic Movies . Archived from the original on October 28, 2018.
  6. 1 2 3 4 Stafford, Jeff (September 27, 2002). "Mark of the Vampire". Turner Classic Movies . Archived from the original on July 16, 2020. There is also that surprise ending which some horror fans feel negates the supernatural qualities of the film.
  7. Lennig 2010, p. 219.
  8. 1 2 3 Lennig 2010, pp. 217–218.
  9. Viera 2003, pp. 75–76.
  10. 1 2 Viera 2003, p. 76.
  11. Mank 1994, pp. 112–114.
  12. Lennig 2010, p. 220.
  13. 1 2 Kim Newman and Steve Jones (2006). Commentary: Mark of The Vampire (DVD Commentary). Warner Brothers.
  14. "'Mark of Vampire' still satisfying; casting helps 'Rock, Pretty Baby!'". Sun Sentinel . October 30, 1987. p. 45 via Newspapers.com.
  15. "Mark of the Vampire (1935) - Warner Archive Collection". High-Def Digest. Archived from the original on January 22, 2025.
  16. 1 2 Mank 2009, p. 226.
  17. Nugent, Frank S. (May 3, 1935). "MOVIE REVIEW: At the Rialto and the Mayfair". The New York Times . Archived from the original on January 22, 2025.
  18. Wood, Bret. "TCMDb Archive Materials - Mark of the Vampire". Turner Classic Movies . Archived from the original on August 6, 2024.
  19. Roman, Seymour (May 25, 1935). "'Mark of the Vampire'". Brooklyn Times-Union . p. 5A via Newspapers.com.
  20. Worland 2006, p. 56.

Sources

Worland, Rick (2006). The Horror Film: An Introduction (First ed.). Malden, Massachusetts: Wiley-Blackwell. ISBN   978-1-405-13902-1.