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Count Alucard (read his name backwards) finds his way from Budapest to the swamps of the Deep South; his four nemeses are a medical doctor, a university professor, a jilted fiancé and the woman he loves.
Lon Chaney Jr.,
Larry Talbot finds himself in an asylum, recovering from an operation performed by the kindly Dr. Mannering. Inspector Owen finds him there, too, wanting to question him about a recent spate of murders. Talbot escapes and finds Maleva, the old gypsy woman who knows his secret: when the moon is full, he changes to a werewolf. She travels with him to locate the one man who can help him to die - Dr. Frankenstein. The brilliant doctor proves to be dead himself, but they do find Frankenstein's daughter. Talbot begs her for her father's papers containing the secrets of life and death. She doesn't have them, so he goes to the ruins of the Frankenstein castle to find them himself. There he finds the Monster, whom he chips out of a block of ice. Dr. Mannering catches up with him only to become tempted to monomania while using Frankenstein's old equipment. Written by
The dog (Bruno) in the film is a German Shepherd named Moose, whom Lon Chaney Jr. adopted from the Universal Lot just after Moose's earlier appearance as the wolf that attacks Lawrence in The Wolf Man (1941). See more »
Despite the early scenes being set in Cardiff and its environs not one character has a South Wales accent. See more »
"Frankenstein Meets the Wolf Man" (1943) is, in the opinion of this reviewer, the last of the really good Universal monster features. It is definitely not in the same league as the the early James Whale and Todd Browning classics (e.g., "Frankenstein," "The Bride of Frankenstein," "Dracula," "The Invisible Man," etc.). Nor is it quite as strong as "The Son of Frankenstein." But it easily rivals "The Ghost of Frankenstein" and far surpasses the two House Of films ("House of Frankenstein" and "House of Dracula"). Lon Chaney Jr. is even better in this film than he is in the original "Wolf Man" (1941). And Lugosi is an impressive Frankenstein's monster, despite the studio's decision to cut references from the film to his blindness (a condition suffered by the monster in "The Ghost of Frankenstein") and his dialogue (again, from acquiring the brain of Ygor in "Ghost"). The film is beautifully photographed, well acted and a unique departure from previous Universal monster fests in the way it teams up two legendary creatures. It's a splendid later entry in the Universal horror cycle. After this, the universal horror films left much to be desired, at least until the magnificent "Abbott and Costello Meet Frankenstein" (1948). I still put "Frankenstein meets the Wolf Man" in the DVD player if I'm feeling like watching what in my opinion is the studio's finest wartime horror film.
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