However, the characters came together much too quickly, and their relationships felt underdeveloped and, at times, unbelievable. The Universal monsters components in the novel are stellar. Guffey depicts how Lugosi’s Dracula transformed horror from a genre of make-believe to one that spreads the notion that monsters lurk among us, and disbelief equates death - now a core trope of the genre. Hall (Lugosi confidant and author), and others.īela Lugosi’s Dead is a remarkably authentic, hypnotizing interpretation of all the glitz and pure talent behind Lugosi’s fame, as well as the hubris that steered his downfall. What readers and fans of classic horror movies will revel in is Mike and Lucy’s run-ins with Maila Nurmi (Vampira), Manly P. Shortly after, Mike finds backers for his magazine called Ramboona, dedicated to remembering “forgotten films,” and stumbles into a haunted maze of sorts - attempting to uncover the lost test reel of Lugosi as Frankenstein (eventually played instead by Boris Karloff). Mike meets a young actress, Lucy, at the grave of Sharon Tate, the actress notoriously known for her brutal murder at the hands of Charles Manson’s Family. Furthermore, it raises the stakes, pun intended, with a second storyline depicting a writer down on his luck (Mike) who dreams of writing a supernatural screenplay and publishing a magazine all about classic horror, and… you guessed it, Bela Lugosi. Robert Guffey’s Bela Lugosi’s Dead revives Universal monsters. Universal monsters Dracula, Frankenstein, Wolf Man and others, primarily produced between the 1930s and 1950s, still stand today as not only icons of horror but pop culture.Īnd yet, so many of the horrifically haunting films featuring these creatures, including Bela Lugosi’s infamous bloodthirsty Count Dracula, have been buried away and forgotten.
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