Versus, crossovers and shared universes

With Marvel's impressive wave of success in theaters, it seems everyone wants to jump on the "shared universe" bandwagon, as if it was some kind of new thing. DC of course launched a Batman v Superman movie, followed by bigger crossover stories like Justice League. Universal announced a slate of monster movies set in the same universe, starting with a Tom Cruise-starring Mummy, and we even get a new King Kong movie as an introduction to an upcoming King Kong vs Godzilla. Hell, rumor has it that we will also see a Men in Black / 21 Jump Street crossover in the near future!

But none of this is really groundbreaking. At all. The original King Kong vs Godzilla was made in 1962, and was only the third episode in the Godzilla saga. Universal Monsters practically invented the concept of a shared cinematic universe in the 1940s, starting with the amazing crossover Frankenstein meets the Wolf Man. And even Marvel tried its hand at it as early as the 1980s, with the special episodes of the Incredible Hulk, co-starring Daredevil and Thor.

TV series have also been doing this for a long time: long before Flash and Arrow teamed up, viewers could watch The Pretender's Jarod visiting the Profiler squad, or Chuck Norris lending a hand to Sammo Hung in a Martial Law / Walker Texas Ranger crossover. And in the 60s, Batman and Robin crossed paths on-screen with the Green Hornet and Kato!

In fact, you don’t even have to be very old to remember a couple of relatively high-profile crossovers that hit the screens in the 2000s. Freddy vs Jason had been announced for a few years when it was finally released in 2003, and the clash of boogeymen was an entertaining revival for both franchises at once. Then in 2004, we got Alien vs Predator, followed three years later by its sequel Requiem. They kept the Aliens and Predator sagas alive during the long gaps between their respective official episodes.

But crossovers were invented way before film and TV entered our lives. Readers have seen Arsène Lupin meet Sherlock Holmes, or rather Herlock Sholmes (the name was slightly changed at Conan Doyle's request) in a couple of Maurice Leblanc’s novels. The encounter was brought to the screen in a German film serial as early as 1910, where the detective became Sherlock Holmes again.

Long before that, Ivanhoe joined forces with Robin Hood in Walter Scott’s novel Ivanhoe, and we can trace back the idea of crossovers to Homer’s tales of Gods and Heroes. Greek mythology was one of the first known cases of shared universes, with Zeus and Hera showing up in all kinds of stories – so it should come to no surprise that Italy would come up with a movie called Hercules, Samson and Ulysses in the 1960s!

Of course, Sherlock Holmes and Frankenstein have also had their share of cinematic crossovers: the detective met Jack the Ripper on screen twice, and Frankenstein was confronted to Dracula, Santos, Jesse James and numerous other characters. But Sherlock Holmes vs Frankenstein? Not yet. We're working on it, remember?

Screen versions of Frankenstein

With Daniel Radcliffe and James McAvoy teaming up on the big screen, Bernard Rose winning awards with his indie modern version, and The Frankenstein Chronicles unfolding on TV, it's fair to assume that audiences are still interested in the character of Frankenstein. Like Sherlock Holmes, it has been adapted on all types of media and with various tones, and there seems to be no limit to what can be done with the name and the concept behind it. Mary Shelley's original book, however, has rarely been directly adapted, and almost never faithfully. Whereas The Hound of the Baskervilles and The Sign of Four have been done many times on film and TV.

My favourite Frankenstein movies, by far, are the Hammer ones. I discovered the first, The Curse of Frankenstein (1957), when I was 13, and watched the others in no particular order, as it wasn't particularly easy to put your hands on these movies on VHS in the 90s. I would be hard pressed to say which one I prefer, so I would simply point out that Evil of Frankenstein, the third in the series, is my least favourite. The others are all gems, even the underappreciated comedy Horror of Frankenstein, the only one without Peter Cushing. Cushing is fascinating as the Baron in all six films in which he plays him, and one can only wonder what would have happened if Shane Briant had been allowed to take up his mantle after the last outing, Frankenstein and the Monster From Hell. Well, at least he is given a new opportunity to shine in the world of Frankenstein, with his role of Burgermeister Simon Helder in Sherlock Holmes vs Frankenstein.

This is not to say that I don't enjoy the Universal Frankensteins. James Whale's movies are the first versions I saw, at age 9 or 10, and there's no argument that they're both classics. But unlike Hammer, where the quality has been constant and the storylines creative, the Universal saga has an almost systematic decrease in quality (both in production values and script), to the point where the last movie is a pathetic farce with Abott and Costello, the poor man's Laurel and Hardy. I know this last
film is often considered a good comedy, but I've never understood why, and I'd rather rewatch the cheesy but straightforward previous mashups House of Dracula and House of Frankenstein. One of the most interesting thing about watching the whole saga is to see how they reflect the careers of certain actors: Boris Karloff plays the monster in the first three movies, then leaves the role, and shows up later as a scientist in House of Frankenstein. Bela Lugosi however, who turned down the part of the monster in the first film, plays Igor in Son of Frankenstein and Ghost of Frankenstein, then gets "downgraded" to the part of the monster, and finally comes back as Count Dracula in the Abbott and Costello movie. Finally, Lon Chaney Jr. was the first to reprise the part of the monster after Karloff, and then gets stuck as the Wolfman Larry Talbot in all subsequent outings.

Son of Frankenstein

1973 was not only the year Hammer released its final Frankenstein (Monster From Hell), but also the year of two major Frankenstein films: Mel Brooks' Young Frankenstein and Andy Warhol's (or rather Paul Morrissey's) Flesh for Frankenstein. Both refreshing, but both were simply paying a homage to one of the established traditions: Young Frankenstein was a comedic remake of 1931 Frankenstein combined with Son of Frankenstein, and Flesh was little more than a trashy Hammer film, with the Baron being portrayed by Udo Kier as an immoral nobleman who likes to stack body parts in his lab. It was also in 1973 that the overlong TV movie Frankenstein: the True Story tried to adapt Mary Shelley's novel for the first time.

But it wasn't until the 1990s that such attempts occured again. Of course there was the 1994 blockbuster with Robert de Niro and Kenneth Branagh (and John Cleese!), but it came off as a bit pretentious, and not all that faithful to the book. I much preferred the TV movie produced two years earlier by David Wickes, with Patrick Bergin as Baron Frankenstein. Still not the most faithful version, as this honour goes to the 2004 mini-series directed by Kevin Connor (who happens to support our film!)

Connor's version came out the same year as Van Helsing, which was a fun throwback at the old Universal mashups with Dracula, a werewolf and Frankenstein's monster going at each other's throats.

And in recent years, the most enjoyable Frankenstein movie I've seen was... Tim Burton's Frankenweenie! You just can't beat a black and white stop-motion gothic extravaganza.

Shane Briant's Hammer films

Shane Briant, who was recently seen in the series Serangoon Road and in Roland Joffé's The Lovers, will play the Burgermeister of Darmstadt in our movie Sherlock Holmes vs Frankenstein. Fourty years ago, he starred in several Hammer films before the company sadly went out of business.

Shane started his screen career at the age of 25. After a bit part in Von Richthofen and Brown, directed by Roger Corman, he landed a key role in Hammer's Demons of the Mind (1972), which can be considered as his true screen debut. Oddly enough, his face is proeminently featured on the original poster, even though his name does not among the main actors. Directed by Peter Sykes, who would later direct Christopher Lee in the famous To the Devil A Daughter, Demons of the Mind is not one of the most successful films produced by Hammer. Still, Shane's performance was so remarkable that the studio offered him the lead in their next production.

Straight on Till Morning is a dark thriller directed by Peter Collinson (The Italian Job with Michael Caine). Shane Briant co-stars with Rita Tushingham, who becomes his victim when he reveals himself to be a vicious serial killer. Cruel but handsome, cold but elegant, the young actor came across as a perfect fit for one of Hammer's most famous franchises...

Logically, in 1973, Shane is cast as Peter Cushing's co-star in the new installment in Frankenstein's saga. Playing the immoral young Simon Helder, he becomes the doctor's assistant in Frankenstein and the Monster From Hell, directed by the legendary Terence Fisher.

The infamous baron and his new assistant team up to create a new monster, played by David Prowse (Cushing and Prowse would eventually meet again in Star Wars, where the former plays Grand Moff Tarkin and the latter Darth Vader!). Madeline Smith, Bernard Lee and ex-Doctor Who Patrick Troughton complete the wonderful cast of this incredibly atmospheric entry. Unfortunately, Monster From Hell would end up being both Hammer's last Frankenstein and Fisher's last film, which prevented Helder from ever returning.

The next and last Hammer film for Shane Briant would be Captain Kronos Vampire Hunter, a pre-Buffy vampire caper written and directed by Brian Clemens, showrunner of the BBC Avengers. Shane plays the decadent Paul Durward, and shares the screen with Horst Janson, scream queen Caroline Munro and ex-Avenger Ian Hendry. Captain Kronos could have been a great TV series or movie franchise, but Hammer's reign was about to end, along with an era of gothic horror that had started with Curse of Frankenstein in 1957.

Now, Shane Briant is set to return to the world of Frankenstein, where he will also meet Holmes and Watson. You can be a part of this adventure by joining the ongoing crowdfunding campaign on Indiegogo, which is now collecting funds for the January shoot with Shane. If you want his costume and the set to be gorgeous, contribute now: http://igg.me/at/holmes-vs-frank

The game is afoot

It is now official: Sherlock Holmes vs Frankenstein has finally started filming. A gravedigger and a monster in a cemetery! Mrs Hudson in her kitchen! The mad scientist in his lab! Everyone is in place, waiting for Sherlock Holmes and Dr Watson to be cast...

Our actors John Lebar, Stephanie Campion, Stéphane Roquet and Adèle Cazenave brought to life the film's first characters, with the help of a wonderful and dedicated crew. Director of photography Jérôme Alméras has been involved in the project from the start, and production designer Pascal

Chatton joined us last month, with his experience and passion. Costume designer Charlotte Courboules will eventually team up with Pierre-Jean Larroque, and hyperactive special effects artist David Scherer jumped at the opportunity of working on a Hammer-like film. I also had the pleasure of working with my wife Lucie, who made the storyboard for the scenes.

Photos and videos will be unveiled during the next two months, as we work on post-production and on phase 2 of the crowdfunding campaign. When January comes, we will be filming scenes with none other than Shane Briant, Burgermeister Simon Helder himself. So we need the Indiegogo page to become active again, in order to give Shane the best costume and the most lavishly furnished office.

Stéphane Roquet - photo: facebook.com/pixellephoto

Most of the original perks are still available: from the film's poster to a full producer package, you can get unique collectible items or the film's script itself. In a very near future, we should be able to add signed copies of the film's novelization, written by David Whitehead (known to many by his other pen name Ben Bridges). Those who can't wait are welcome to purchase it from Amazon – which also helps production indirectly!

Joining the crowdfunding campaign for Sherlock Holmes vs Frankenstein will help us complete an ensemble of scenes that will define the movie's tone, and give the project the energy it needs to reach completion. In the meantime, you can feast your eyes on the images taken from the set by our set photographer AlexPixelle!

Lost the link to Indiegogo? Here it is: http://igg.me/at/holmes-vs-frank 

May 2d: St. Boris's Day

Today, we celebrate people with the name Boris. But isn't it ironic that the most famous Boris of all is actually called... William?! Boris Karloff, whom we all know for his portrayal of Frankenstein's monster in the first three Universal movies, was born William Henry Pratt in 1887, and there was nothing russian about him. A bit indian on his paternal grandmother's side, but no reason for him to choose Boris Karloff as his stage name.

Before he became an icon of horror, he was an intimidating supporting actor in stage plays and a truckload of silent films. He was already 32 when he first appeared on screen. Finding these early performances can be a bit tricky, but you should be able to find a copy of Tarzan and the Golden Lion (1927) somewhere.

In 1931, James Whale directed a lavish screen version of Frankenstein, which was not adapted from the book but from a successful stage play. The scientist was played by Colin Clive, but the creature was embodied by an mysterious uncredited actor, whose name was only revealed in the closing credits. Boris Karloff became a star overnight, and returned of course in The Bride of Frankenstein (1935), Son of Frankenstein with Basil Rathbone and Bela Lugosi (1939), House of Frankenstein (1944, where Karloff didn't play the monster but a Dr Gustav Niemann), but also played Fu Manchu, Mr Wong (a Fu Manchu ripoff), the Mummy Imhotep, various mad scientists and a bunch of villains who antagonize Dick Tracy and Charlie Chan.

In 1953, the golden age of black & white horror was almost over, and Karloff only played Dr Jekyll and Mr Hyde for laughs, opposite Abbott & Costello. In 1958, at a time where Hammer Films was taking over gothic horror, he played Baron Frankenstein himself in a weak movie called Frankenstein 1970, where he used body parts from a film crew to create his monster.

In the 60s, he became mostly a guest star in TV shows like I Spy and The Wild Wild West, but he also returned to Frankenstein in a weird little movie called Mad Monster Party, where he provided the voice of Baron Boris von Frankenstein (!)

Boris Karloff died in 1971, but he's very fondly remembered by classic horror fans, along with Bela Lugosi and Lon Chaney Jr. However, it seems that these three never shared the same bond as their successors Peter Cushing, Christopher Lee and Vincent Price.

Boris is the name of the dog in Sherlock Holmes vs Frankenstein, and I admit to it being a not-so-subtle wink to Karloff!

The early years

Sherlock Holmes. Frankenstein. Sherlock Holmes VERSUS Frankenstein. The film project has been floating around for some time now, and there have been questions lately about whether it's still alive. The answer is: it's been around for much longer than one might think, and yes, it's ALIVE... ALIIIIVE. But assembling a budget for a film is very comparable to piecing together a body from the right elements: you need to dig up coffins at night, with the risks that go with it. Risk of not having the strength or the tools to dig. Risk of being stopped in your endeavour. Risk of not finding the right body parts in the coffin you spent hours unearthing. Risk of having one part rot while you unearth the next. Finally, risk of not succeeding in breathing life in the body you manage to assemble in your secret lab.

But before you even start digging, you need a plan. And even before that, you need to be seized by the urge to devise this plan. Let me tell you the whole story, the path that led from watching films as a kid to trying to make them as an adult. It's a long and bumpy road, and it's still under construction.

1986-1989

It all begun in kindergarten. I had been watching Miyazake's cartoon Sherlock Hound on TV for some time, and I enjoyed it more than most other cartoons of that time (except Thundercats!), but nothing had prepared me for The Great Mouse Detective. I saw it in a theater when it first came out, which might have been for my 5th birthday – since the film was released in France in late November 1986, and my birthday is in early December. The setting (Victorian England!), the exciting music and the unforgettable characters (the evil Ratigan had an amazing song that ended with one of his henchmen being fed to a huge cat) stuck with me, to the point where I wanted to set up a show at school, where we would have recreated the streets of London in the hall, and disguised the children as mice and rats. It didn't go farther than a few talks with my parents because, let's face it, I didn't have the chops to stage a theater play at the age of 5.

Fast forward: this time I know it was a birthday, my 8th. I must have been a Sherlock Holmes geek by then, because my presents were a deerstalker hat and a VHS tape of The Sign of Four (the one with Ian Richardson). I was able to compare it to Granada's version of the story, which I had already watched countless times. I loved the Holmes series with Jeremy Brett,

8-year-old me

even though I found it extremely scary and disturbing at time (I remember The Greek Interpreter as being a source of nightmares). I probably didn't understand everything, but the character of Sherlock Holmes as played by Brett was one I could relate to – distant and centered on his own vision, yet keen on doing the right thing and on helping his fellow men, even when it meant ignoring the law. He also went into disguise on numerous occasions, which was one of my favourite hobbies at that time.

Less than three weeks after that birthday, Christmas came along. I must have had a number of presents, but there's only one I can remember to this day: a pocket edition of Mary Shelley's Frankenstein (a French translation of course, and one that might have been simplified a bit). The story was compelling, and much more complex than I thought it would be: the name Frankenstein was known to me from its presence in everyday's culture, as a generic speechless monster with a flat head, and I was surprised to learn that Frankenstein was actually the creator's name – and the creature was more of a man than a monster. The questions of identity and loneliness resonated in me at that time, and I remember being partial to the Creature, who had a revenge to take on a world who didn't understand him. Victor Frankenstein, in my eyes, was an irresponsible asshole who should have thought twice before giving life to a being he wasn't ready to care for. Growing up, I became more interested in Victor's character, who goes through a tough journey: driven by passion, he makes a mistake as a young man, practically a teenager, and then realizes that he will never be free from his mistake. Not until he dies. There are so many ways to interpret Frankenstein, as a story of fatherhood, creation, life, love and death, that you could read it every year and see a new side to it each time.

1991-1994

It was not until I was 10 that I saw my first Frankenstein film. It was of course the 1931 classic with Boris Karloff, and I finally met the flat-headed monster that I had been aware of before even reading the novel. I enjoyed the movie for what it was – a dry, expressionist version of the story that focused on a few aspects while discarding a lot of the book's elements for entertainment's sake. At that time, I felt it was oversimplifying the monster's story by making him speechless. Then a week later, I saw Bride of Frankenstein and although I loved that they introduced the blind violin player, I revised my idea that the Monster had to speak – Karloff chatting with Ernest Thesiger in a vault was too comedic for my serious 10-year-old self. Now I enjoy all of Universal's Frankenstein movies, and I get the humor and greatness in Bride – but the first entry still holds a special place in my heart.

In November 1994, my father took me to a theater play called La Nuit du Crime, where the audience had to sort out who the murderer was. It was sponsored by the newly created 'Société Sherlock Holmes de France', and my solving the case earned me a diploma that made me a “honorary member”. Maybe this is when it all started!..