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He also revisited the roles of the Wolf Man and the Mummy for television series Route 66, before his death in 1972. Apparently under the impression that the live broadcast was just a rehearsal, he would pick up furniture that he was supposed to violently smash, and instead carefully place it back down while muttering, “I saved it for you”. In a 1952 live television version of Frankenstein on the anthology series Tales of Tomorrow for which he allegedly showed up drunk, Chaney played the Monster. Chaney Jr stayed busy in supporting roles, and branched out into television. Universal’s stars went their separate ways in the following decades. But audiences disagreed with Costello, flocking to a film where the humour and the horror both had room to breathe. There was trepidation about bringing back Lugosi as Dracula and Chaney Jr as the Wolf Man in this comedy.
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When they made Abbott and Costello Meet Frankenstein (1948), Lou Costello hated the script, and allegedly said his five year old daughter could write better jokes. The comedy duo Abbott and Costello had been working in films since 1940, and became a guaranteed box office draw over the course of the decade. Eventually, producers turned to another genre altogether: comedy. Crossovers like Frankenstein Meets the Wolf Man (1943), Son of Dracula (1943) and House of Frankenstein (1945) combined the studio’s star monsters in increasingly contrived plots to try and recapture the public’s attention. Sequels had a tendency to forget developments, or resurrect characters from the previous film. Laemmle also used his contacts in the House of Representatives to ensure and facilitate immigration to the United States for those fleeing the Holocaust.Ī decline in Universal’s horror output after the Laemmles’s departure led to undeniably gimmicky films like Son of Frankenstein (1939), which united Karloff and Lugosi and made the Monster mute again. He sponsored hundreds of Jews from his home town of Laupheim and Württemberg, paying both emigration and immigration fees to ensure they escaped Nazi Germany. Although the Laemmles were ousted from Universal a year after Bride of Frankenstein, the success the studio had experienced in the 1930s allowed Uncle Carl to take on a heroic cause.