Elsa Lanchester Movies

In this drama, one of the earlier British films, a man attempts to be near the woman he loves. Unfortunately, she is married. To get closer to her, the fellow becomes her husband's valet. Soon he blackmails the husband into to promoting him to private secretary. Throughout it all, he makes continual passes at the loyal wife who refuses to cheat upon her beloved husband. ~ Sandra Brennan, All Movie Guide

A spiteful, young noblewoman, married to a prominent lord attempts to ruin the life of the highly-principled chauffeur who spurned her philandering advances. This is one of Sir Laurence Olivier's film appearances. ~ Sandra Brennan, All Movie Guide

Charles Laughton became an international star by chewing both mutton and scenes in his Oscar-winning turn as King Henry VIII. Alexander Korda's British super-production also put the British cinema on the map, which, until this film, received precious little respect in the international film community. The film, with tongue planted firmly in cheek, details the private life of the famous British monarch. His first wife, Catherine of Aragon, is barely mentioned -- explained away by a prologue which states that she was "too respectable to be included." Henry then marries Anne Boleyn (Merle Oberon) but she is soon beheaded. His next wife, Jane Seymour (Wendy Barrie), dies during childbirth. His next wife is Anne of Cleves (Elsa Lanchester, in a prelude to her Bride of Frankenstein role), whom Henry reluctantly beds with his famous sigh, "The things I've done for England." They divorce and Henry next marries Katherine Howard (Binnie Barnes), who also finds herself beheaded when she has an affair with Henry's friend, Thomas Culpepper (Robert Donat). Finally, Henry is brought down to size with his final wife, Catherine Parr (Everley Gregg). ~ Paul Brenner, All Movie Guide

This greatest of all Frankenstein movies begins during a raging thunderstorm. Warm and cozy inside their palatial villa, Lord Byron (Gavin Gordon), Percy Shelley (Douglas Walton), and Shelley's wife Mary (Elsa Lanchester) engage in morbidly sparkling conversation. The wicked Byron mockingly chastises Mary for frightening the literary world with her recent novel Frankenstein, but Mary insists that her horror tale preached a valuable moral, that man was not meant to dabble in the works of God. Moreover, Mary adds that her story did not end with the death of Frankenstein's monster, whereupon she tells the enthralled Byron and Shelley what happened next. Surviving the windmill fire that brought the original 1931 Frankenstein to a close, the Monster (Boris Karloff) quickly revives and goes on another rampage of death and destruction. Meanwhile, his ailing creator Henry Frankenstein (Colin Clive) discovers that his former mentor, the demented Doctor Praetorius (Ernst Thesiger), plans to create another life-sized monster -- this time a woman! After a wild and wooly "creation" sequence, the bandages are unwrapped, and the Bride of the Monster (Elsa Lanchester again) emerges. Alas, the Monster's tender efforts to connect with his new Mate are rewarded only by her revulsion and hoarse screams. "She hate me," he growls, "Just like others!" Wonderfully acted and directed, The Bride of Frankenstein is further enhanced by the vivid Franz Waxman musical score; even the film's occasional lapses in logic and continuity (it was trimmed from 90 to 75 minutes after the first preview) are oddly endearing. Director James Whale was memorably embodied by Ian McKellen in the Oscar-winning 1998 biopic Gods and Monsters. ~ Hal Erickson, All Movie Guide

David Copperfield was MGM's major Christmas release for its 1934-1935 season and also the first of producer David O. Selznick's major "literary" films for that studio. While a great deal of editing and streamlining was necessary to distill Charles Dickens' massive novel into 133 minutes of screen time, the end result was so successful that only the nittiest of nitpickers complained about the excised characters and events. Freddie Bartholomew plays the young Copperfield, who, after the death of his mother (Elizabeth Allan), is cruelly mistreated by his stepfather, Mr. Murdstone (Basil Rathbone). David's life brightens when he meets the ever-in-debt Mr. Micawber (W.C. Fields), and he is sheltered by Micawber's large and loving family until Micawber is carted off to debtor's prison. Forced once more to seek a home, David makes his way to the Dover estate of his Aunt Betsey (Edna May Oliver), where he meets another colorful cast of characters, none more so than the childlike Mr. Dick (Lennox Pawle). When Murdstone arrives, insisting that David be returned to him, Aunt Betsey and Mr. Dick form a united front to protect the boy. Flash-forward several years: the grown David (now played by Frank Lawton) is attending school, where he meets the lovely Agnes Wickfield (Madge Evans). David discovers that Agnes' businessman father (Lewis Stone) is under the thumb of the "'umble" prevaricator Uriah Heep (Roland Young) and the equally disreputable Steerforth (Hugh Williams). With the help of Mr. Micawber-who in a weak moment has taken a job working side-by-side with Heep-David proves Heep's treachery and rescues the Wickfields. By rights, he should marry Agnes, but David impulsively weds the empty-headed Dora (Maureen O'Sullivan). Only after Dora's death does David come to his senses, realizing that Agnes is the true love of his life. Originally, Charles Laughton was slated to play Micawber, but he pulled out of the production, worried that he wouldn't be funny enough. The casting of W.C. Fields was an inspired choice: although he injects his own established screen personality at every opportunity, Fields was born to play Micawber. Likewise, second-billed Lionel Barrymore fits his portrayal of crusty old Dan Peggoty like a glove. In fact, there isn't a false bit of casting in the whole production, and this, as much as Selznick's sumptuous production values, is the key to David Copperfield's enormous success. ~ Hal Erickson, All Movie Guide

Lightning steadfastly refused to strike twice for the director/actor team of Alexander Korda and Charles Laughton. Though the pair had scored an international success with the 1933 quasi-biopic The Private Life of Henry VIII, they couldn't make the magic happen again with 1936's Rembrandt. Laughton's performance is solid throughout, and Korda's recreation of Rembrandt's Holland is meticulous, but the film suffers from a lack of overall dramatic tension. Except for his artistic achievements and the deaths of his two wives, nothing really "happens" to Rembrandt--at least nothing as colorful as the escapades of Henry VIII. The best element of the film is the successful effort by cinematographer Georges Perinal to recreate the famous "Rembrandt lighting" effect in each scene. Laughton is given fine support by Elsa Lanchester (his real-life wife), and by legendary stage star Gertrude Lawrence in a rare film role. ~ Hal Erickson, All Movie Guide

In this taut, creepy melodrama, a housemaid works as the companion of an aging, retired British actress. One day the maid (Ida Lupino) is visited by her two looney half sisters. The actress finds the slightly mad sisters intolerable and demands that they leave. Unfortunately, the maid realizes that if the sisters are sent away they will end up involuntarily committed to an insane asylum and so the maid kills the actress and lets the sisters stay. Things go well until a suspicious relative shows up and starts to investigate. Nominated for Oscars for Best Interior Decoration and Best Score, Ladies in Retirement is based upon a stage play that was in turn based upon the true story from 1886. ~ Sandra Brennan, All Movie Guide

Tales of Manhattan is a sumptuous multipart film centered around a formal tailcoat. The coat is specially designed for stage actor Charles Boyer, who wears it during a rendezvous with his lady friend (Rita Hayworth). The lady's husband (Thomas Mitchell) shoots Boyer, thus the tailcoat is damaged merchandise and sold at a discount to a bridegroom (Cesar Romero). When the groom's peccadillos catch up to him, the bride (Ginger Rogers) chooses to marry the best man (Henry Fonda) instead, and the coat is shipped off to a second hand store. It is purchased by a would-be composer (Charles Laughton), who wears it the night that he is to conduct his first symphony; alas, the coat is too tight and tears apart, nearly ruining the conductor's debut. Stitched back together, the coat is donated to a skid row mission, wherein the kindly proprietor gives the coat to a down and out drunkard (Edward G. Robinson) so that the shabby gentleman can attend his 25th college reunion. Later on, the coat is stolen by a crook (J. Carroll Naish) in order to gain entrance to a fancy charity ball. The crook holds up the ball and stuffs the loot in the pockets of the coat, but while escaping in an airplane he loses the outer garment. The coat floats down to an impoverished African American shanty community; a farmer (Paul Robeson) decides to distribute the "money from heaven" amongst his needy neighbors. At the end, the tattered coat adorns the shoulders of a scarecrow. Tales of Manhattan is one of the best "portmanteau" dramas turned out by Hollywood; it was directed by French expatriate Julien Duvivier, a past master of the multi-story technique. ~ Hal Erickson, All Movie Guide

Female dogs tend to shed while in heat; this is why all the collies who've played doggy heroine Lassie in the movies have actually been well-disguised males. A magnificent animal named Pal was the screen's first Lassie in 1943's Lassie Come Home. Set in Yorkshire during the first World War, the film gets under way when the poverty-stricken parents (Donald Crisp, Elsa Lanchester) of young Joe Carraclough (Roddy McDowall) are forced to sell his beloved Lassie. While her new master, the duke of Rudling (Nigel Bruce), is pleasant enough, Lassie prefers the company of Joe and repeatedly escapes. Even when cared for by the duke's affectionate granddaughter, Priscilla (Elizabeth Taylor), Lassie insists upon heading back to her original home. This time, however, the trip is much longer, and Lassie must depend upon the kindness of strangers, notably farmers Dally (Dame May Whitty) and Dan'l Fadden (Ben Webster) and handyman Rowlie (Edmund Gwenn). Based on the novel by Eric Knight (originally serialized in The Saturday Evening Post), Lassie Come Home was released quite some time after Knight's death. Like all the Lassie sequels turned out by MGM between 1943 and 1951, Lassie Come Home was lensed in Technicolor. ~ Hal Erickson, All Movie Guide

The 80-star cast of Forever and a Day would certainly not have been feasible had not most of the actors and production people turned over their salaries to British war relief -- a point driven home during the lengthy opening credits by an unseen narrator. The true star of the film is a stately old manor house in London, built in 1804 by a British admiral (C. Aubrey Smith) and blitzed in 1940 by one Adolf Hitler. Through the portals of this house pass a vast array of Britons, from high-born to low. The earliest scenes involve gay blade Lt. William Trimble (Ray Milland), wronged country-girl Susan (Anna Neagle), and wicked landowner Ambrose Pomfret (Claude Rains). We move on to a comic interlude involving dotty Mr. Simpson (Reginald Owen), eternally drunken butler Bellamy (Charles Laughton), and cockney plumbers Mr. Dabb (Cedric Hardwicke) and Wilkins (Buster Keaton). Maidservant Jenny (Ida Lupino) takes over the plot during the Boer War era, while the World War I sequence finds the house converted into a way-station for soldiers (including Robert Cummings) and anxious families (including Roland Young and Gladys Cooper). Finally we arrive in 1940, with American Gates Pomfret (Kent Smith) and lady-of-the-house Lesley Trimble (Ruth Warrick) surveying the bombed-out manor, and exulting over the fact that the portrait of the home's founder, Adm. Eustace Trimble (Smith), has remained intact -- symbolic proof of England's durability in its darkest hours. The huge cast includes Dame May Whitty, Edward Everett Horton, Wendy Barrie, Merle Oberon, Nigel Bruce, Richard Haydn, Donald Crisp, and a host of others -- some appearing in sizeable roles, others (like Arthur Treacher and Patric Knowles) willingly accepting one-scene bits, simply to participate in the undertaking. Seven directors and 21 writers were also swept up in the project. Forever and a Day was supposed to have been withdrawn from circulation after the war and its prints destroyed so that no one could profit from what was supposed to have been an act of industry charity. Happily for future generations, prints have survived and are now safely preserved. ~ Hal Erickson, All Movie Guide

After several years' service with the Marines in World War II, Tyrone Power made his much anticipated return to the screen in The Razor's Edge. Power is appropriately cast as disillusioned World War I vet Larry Darrell, who returns from hostilities questioning his old values. To find himself, Larry joins several other members of the Lost Generation in Paris. He is disillusioned once more when the society deb whom he loves, Isabel Bradley (Gene Tierney), marries another for wealth and position. She returns to Larry's life to break up his romance with unstable, alcoholic Sophie MacDonald (Anne Baxter in a powerhouse Oscar-winning performance). After Sophie's death, Larry determines that the life offered him by Isabel is not to his liking, and continues seeking his true place in the scheme of things. Acting as a respite between the plot's various intrigues is Clifton Webb as a waspish social arbiter, who ends up a lonely, dying man, imperiously dictating arrangements for his own funeral. The Razor's Edge was based on the novel by W. Somerset Maugham, who appears onscreen in the form of Herbert Marshall. The film would be remade in 1984, with Bill Murray in the Tyrone Power role. This film re-teamed Tierney and Webb two years after their appearance together in Laura. ~ Hal Erickson, All Movie Guide

When Episcopalian bishop Henry Brougham (David Niven) prays for divine guidance in his efforts to raise the necessary funds for a new cathedral, his prayers are answered in the form of a handsome, personable guardian angel named Dudley (Cary Grant). Establishing himself as a Yuletide guest in the Brougham home, Dudley arouses the ire of Henry, who, unaware that his visitor is from Up Above, assumes that Dudley has designs on the bishop's wife Julia (Loretta Young). Eventually, the lives of both Henry and Julia are agreeably altered by the presence of the affable angel: He regains the "common touch" he'd almost lost, while she realizes anew how much she truly loves her husband. Adapted by Robert E. Sherwood and Robert Bercovicci from a novel by Robert Nathan, The Bishop's Wife was remade in 1996 as The Preacher's Wife, with Denzel Washington, Whitney Houston and Courtney B. Vance. ~ Hal Erickson, All Movie Guide