Ed Wood's Bride of the Monster, by Gary D. Rhodes, Tom Weaver, Edward D. Wood Jr.
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Ed Wood's Bride of the Monster, by Gary D. Rhodes, Tom Weaver, Edward D. Wood Jr.
Ebook PDF Ed Wood's Bride of the Monster, by Gary D. Rhodes, Tom Weaver, Edward D. Wood Jr.
Shovel in hand, the redoubtable Gary D. Rhodes returns to the Graveyard of Forgotten Facts, unearthing a treasure trove of terrific illustrations and a casket-full of new information and insights on Bela Lugosi, Ed Wood and Bride of the Monster (1956). Also exhumed are Bride’s shooting script and a vault full of decaying extras. Accompanying him in this 60th anniversary “Bela-bration” of the film’s release is partner-in-crime Tom Weaver, as well as contributors Sam Sherman, Robert J. Kiss and Michael Lee. “Brings back a lot of good memories... That's what I live for. This is history, and I'm living it all over again.” – Conrad Brooks, Ed Wood’s friend and actor in Bride of the Monster “Ed Wood’s Bride of the Monster isn’t the director’s most famous film, or the most beloved, either, but it is the best work the obsessive and resourceful Wood ever did. Loopy and retro even in its own day, Bride gets fabulous treatment in this engrossing volume, with Gary D. Rhodes’s carefully researched account of the picture’s development, shoot, and exhibition. I enjoyed exploring details of the film’s tangled chronology, Bela Lugosi’s casting and performance, and differences between script and finished film. Plus, images and extras I never imagined I’d see. I love Ed, I love Bela and I love Bride of the Monster.” —David J. Hogan, author of Dark Romance: Sexuality in the Horror Film and Film Noir FAQ. “When it comes to throwing the spotlight on American cinema’s dark corners that have been forgotten or ignored by critics, few people possess the breadth of knowledge, archival research expertise and ability to construct fascinating histories as Gary D. Rhodes. In this volume, and continuing his long-standing work on Bela Lugosi, Rhodes unearths and contextualizes with his usual, meticulous scholarship a wealth of material related to the final film in which Lugosi starred. A real treat not just for Lugosi fans, but also for those with an interest in the way American filmmaking was practiced in the periphery of Hollywood.” – Yannis Tzioumakis, Senior Lecturer at the University of Liverpool and author of Hollywood’s Indies: Classics Divisions, Specialty Labels, and the American Film Market
Ed Wood's Bride of the Monster, by Gary D. Rhodes, Tom Weaver, Edward D. Wood Jr.- Amazon Sales Rank: #1195617 in Books
- Published on: 2015-10-29
- Original language: English
- Number of items: 1
- Dimensions: 11.00" h x .65" w x 8.50" l, 1.49 pounds
- Binding: Paperback
- 288 pages
Where to Download Ed Wood's Bride of the Monster, by Gary D. Rhodes, Tom Weaver, Edward D. Wood Jr.
Most helpful customer reviews
10 of 11 people found the following review helpful. Another major Lugosi work has arrived. By Mark Martucci The book is an early Christmas present. The Scripts From the Crypt series scores another home run. There are so many stills and photos in this which I have never seen before. Where do the all come from??I can't begin to go on about how much fun this is to read and look at!One thing that I should say to those who are thinking: "I don't want to read some script. Why buy a book to do that when I can just watch the movie?"Well, this book is 288 pages of big 8 1/2 x 11 size pages of double columns. Less than 90 pages of it consist of the script repro. Even without the script this is a lot of great stuff to read.Also there are some very interesting differences in the script. The famous "I have no home" speech is even a bit different.There is SO much more here than just the script.Somehow the authors have even gotten Lugosi's actual divorce papers and death certificate copied in here.Too much information?Well, if you are a Lugosiphile (as I am), there's never enough info on the man.I love Karloff and he did get the best roles during their careers, but if 2015 alone is to be considered, history has put Lugosi way out in front of the horror icons race. He's actually been there for quite some time.There are at least 3 major works on the actor so far this year and they have all been stellar. I have even heard whispering s that there is even more yet to come to us in the future which is where I am going to be waiting and hoping that they will be as good as this one.NOW what I want is a bio of the Lobo character. Who is he? Where does he get his clothes? Why does his name mean wolf in Spanish when he looks more like a hippo? Is he the same Lobo in THE UNEARTHLY as he is in the Wood films?? What's the connection?????Come on guys, the world wants to know.
4 of 5 people found the following review helpful. ED WOOD'S BRIDE OF THE MONSTER IS A PERVERSELY FUN READ By Robert Guffey After writing a brilliant book entitled Tod Browning’s Dracula (Tomahawk Press, 2015), in which the 1931 cinematic adaptation of Bram Stoker’s classic novel Dracula is lovingly analyzed by film historian Gary D. Rhodes from every possible angle, it might at first seem perverse to follow up such an erudite tome with a nearly 300 page book entitled Ed Wood’s Bride of the Monster. Ever since Harry and Michael Medved spotlighted his films in their 1980 book The Golden Turkey Awards, Edward D. Wood, Jr. has attained the dubious honor of being widely recognized as the most incompetent filmmaker who ever existed. Among the worst (best?) of these notorious films is Wood’s 1956 Bela Lugosi horror flick Bride of the Monster. Leaving aside any critical assessments of either film for the time being, it’s undeniable that both Tod Browning’s Dracula and Ed Wood’s Bride of the Monster are watersheds in the career of Lugosi. Dracula, after all, was Lugosi’s first starring film role and Bride of the Monster his last. Rhodes has, therefore, written two volumes that represent the Alpha and Omega of Lugosi’s nearly three-decade-long career as a Hollywood icon.Whereas Tod Browning’s Dracula is scholarly and exhaustive in its scope, Ed Wood’s Bride of the Monster is breezy and informal, offering its readers little known facts about the behind-the-scenes production of the film as well as original interpretations of previously unchallenged assumptions regarding Wood’s oeuvre. Rhodes successfully reconfigures the mainstream view of Wood’s skills, pointing out that several key elements of Bride of the Monster are actually quite professional, focusing in particular on the cinematography of William C. Thompson, the musical score composed by Frank J. Worth, and (of course) the featured performance of Lugosi. Almost six decades after Bride of the Monster’s debut, it’s about time a respected film scholar acknowledged that Ed Wood was by no means the “worst director” who ever lived. I’ve seen plenty of bad movies in my lifetime, and the unmistakable mark of any truly inept film is that one never, ever wants to see it again. I’ve never met anyone who, after seeing Ed Wood’s 1959 film Plan 9 from Outer Space for the first time, didn’t wish to view it at least once more. I’ve seen Plan 9 a half dozen times or more, and each viewing inevitably uncovers some surprising new element that escaped me the first time around. The simple fact of the matter is that a truly bad film is dull, dull, dull and does not instill a desire for multiple viewings. Plan 9, despite all its profound imperfections, could never be accused of being boring. Unlike some recent multimillion dollar blockbusters, the pace in Wood’s film never once lags. One might suggest that this is due solely to Ed Wood’s emptyheaded naivety, akin to a “lucky” accident that occurs when a child haphazardly creates a hand painting that just so happens to resemble a Jackson Pollock canvas. But, of course, no film was ever made by accident.In 2016, almost four decades since the release of the Medveds’ book The Golden Turkey Awards, one must acknowledge that Ed Wood succeeded in creating genuinely iconic images in his films (e.g., the atmospheric scene in Plan 9 in which Vampira rises from her grave and staggers toward Wood’s camera) that have impressed themselves indelibly on several generations of film fans and American pop culture in general. I don’t believe this interest has accrued around Wood’s films due to a freakish accident. For example, Rhodes correctly points out that Wood’s first film, the transvestite epic Glen or Glenda (1953), is a consciously avant-garde experiment that went out of its way to challenge the social mores of the 1950s. Whether deemed good art or bad art, Glen or Glenda was without a doubt decades ahead of its time. It’s refreshing to see a scholar as respectable as Rhodes accepting Wood’s films on their own terms for a change, rather than as an opportunity to falsely revile Wood as a failed artist, a pastime intermittently indulged in by other established film critics. Keep in mind that failed artists aren’t remembered after their deaths. That Wood’s films continue to draw a substantial audience in the twenty-first century suggests there’s an ineffable (though admittedly perverse) magic at work in Wood’s films that transcends mere childish ineptitude.Beyond Rhodes’ entertaining breakdown of the film’s troubled production history, Ed Wood’s Bride of the Monster includes supplemental pieces such as Tom Weaver’s “Fun Facts” (which, true to Weaver’s title, are immensely fun to read), Michael Lee’s in-depth analysis of Frank J. Worth’s athematic musical score, Dr. Robert Kiss’ informative “Bride of the Monster Release History,” and a complete copy of Ed Wood and Alex Gordon’s shooting script.
4 of 5 people found the following review helpful. Fantastic! Wow! By MJB Gary D. Rhodes delivers the goods once again. Awesome!
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