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
Entertaining sequel to 'Ghost of Frankenstein' and 'The Wolf Man'...
From the very opening scene in a graveyard to the final battle between two of Universal's most famous monsters, 'Frankenstein Meets the Wolf Man' delivers the goods. The sets are impressive, lit in authentic film noir style from graveyard to castle, with a cheerfully lit celebration scene in the village square providing the only lighter moments.
Story has Chaney hunting down Frankenstein's diary to rid himself of the werewolf curse. Along the way the plot includes Maria Ouspenskaya, Lionel Atwill, Ilona Massey and Patric Knowles, all of whom contribute workmanlike performances. This time the creature found in the frozen ice is played by Bela Lugosi--and while certainly not up to Karloff's interpretation, despite previous comments from other viewers, he does all right in the role. It doesn't matter that much anyhow because the most important character in this film is Lon Chaney as The Wolfman and it is about him that the plot really revolves.
Chaney is at his best portraying the pathetic Wolfman character within the confines of a well-written script and surrounded with an excellent cast. He creates sympathy for his Lawrence Talbot character the moment he enlists the aid of Patric Knowles to find Dr. Frankenstein's diary.
In my article on LON CHANEY soon to be published in Classic Images, I quote Variety as saying that the film does "a good job of fantastic writing to weave the necessary thriller ingredients into the piece and finally brings the two legendary characters together for a battle climax."
The picture was such a hit that Chaney hoped the studio would use him their upcoming technicolor version of "The Phantom of the Opera" but such was not to be and Claude Rains got that plum role.
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