The Unexpected Iconic Monster Hunter from Universal Studios

The Big Picture

Edward Van Sloan played a variety of learned monster hunters in Universal horror films, but his roles are often overlooked and flattened by fans and critics.

Van Sloan's portrayal of Van Helsing in Dracula established a new standard for how Universal monster hunters would be depicted.

Through his roles in Frankenstein and The Mummy, Van Sloan showcased his versatility, demonstrating the diverse characteristics of Universal's monster hunters.

A Brief History of Edward Van Sloan's Career

The first cycle in the Universal horror canon is haunted by several notable figures. It comes as no surprise to find Bela Lugosi and Boris Karloff, who portrayed the monsters in most of those early films. Dwight Frye makes frequent appearances as a series of deranged individuals and henchmen. Valerie Hobson takes on the role of a few heroines, while poor David Manners portrays numerous helpless young heroes. However, if Manners' poorly written and ineffective characters could only fret, another actor came to the rescue as a formidable monster slayer for Universal: Edward Van Sloan. Van Sloan confronts Count Dracula, Frankenstein's creation, and Imhotep the mummy in four different horror films, providing the studio with a reliable force to combat these formidable creatures.

When Van Sloan joined Universal alongside Lugosi and Frye for Dracula in 1931, he, like them, witnessed his extensive and diverse stage career getting pigeonholed by the studio and the genre. Despite his American origins and being in his fifties, Hollywood cast him repeatedly as aging, skeptical European professors who were wary of supernatural beings and scientific oddities. These professor roles granted him a cherished status among aficionados of classic horror. However, both fans and critics occasionally overlook the depth of this legacy.

Van Sloan’s Heroes Are Often Lumped Together

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Edward Van Sloan's learned heroes have not always been given the recognition they deserve. Often seen as mere foils for the captivating performances of Boris Karloff and Bela Lugosi, a closer examination reveals that these characters are far more diverse than initially perceived. This is a testament to the skillful storytelling and direction of the Universal horror films, as well as Van Sloan's own talents as an actor.

While it is true that both fans and critics have not always thoroughly analyzed Van Sloan's contributions to the horror genre, it is worth acknowledging that the actor himself did not necessarily have a strong affinity for this type of work. Van Sloan's impressive stage career dates back to the early 1900s, and he had appeared in nearly 90 films before retiring to a peaceful and content life. Although his career may not have thrust him into the limelight or subjected him to intense media scrutiny, it remained a respectable and fulfilling journey.

Van Sloan Wasn't a Fan of 'Dracula' (1931)

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In his later years, Van Sloan left behind only a handful of memories from his time at Universal, cherished by fans and loved ones. Van Sloan emerges as one of the rare sources regarding Lugosi's ill-fated makeup test for the 1931 Frankenstein, a test that didn't impress him much. However, he spoke more favorably about Lugosi's work when they both starred in the original Broadway production of Dracula. Privately, though, Van Sloan expressed his belief that movies tend to age poorly, which led one of his relatives to dodge a TV screening of Dracula that Van Sloan himself considered awful from the start. While many aficionados of classic films would argue against this notion, they might find themselves in agreement with Van Sloan when it comes to Dracula in particular. It is one of those peculiar classics that often faces harsh criticism. Fortunately, Van Sloan's own performance in the film is usually exempt from such negativity; both contemporary and retrospective reviews frequently highlight his portrayal of Dr. Van Helsing as a standout in comparison to Lugosi's performance. However, his subsequent roles in horror films have not received much acclaim.

Van Sloan’s Van Helsing Set a Trend for Universal Monster Hunters

- Critiques and admirers don't particularly dislike Van Sloan in Frankenstein or The Mummy. However, these films are often seen as lacking substance. Film historian David J. Skal compared Professor Waldman, Van Sloan's character in Frankenstein, to a figure of "moral authority." Meanwhile, Rudy Behlmer viewed the role as a "variation" of Van Helsing. Writer-director Bill Condon was more critical, finding Professor Waldman "boring" compared to the more captivating character of Dr. Pretorius in the sequel Bride of Frankenstein. Furthermore, The Mummy has been described as heavily derived from Dracula, where Van Sloan's Dr. Muller serves as just another element conforming to the plot and characters.

Image via Universal Pictures

The Universal horror films and Van Sloan's role in them undeniably contained a certain formula. After the success of Dracula, the studio sought to replicate it. They believed that having a stern, older mortal to confront the unnatural monsters was a crucial element of this formula. However, the notion that Van Sloan's professors were all essentially Van Helsing under different names is more of an assumption than something explicitly demonstrated in the films. Let's take a look at Dr. Van Helsing in Dracula, the character that serves as the foundation for Van Sloan's string of horror heroes. Van Sloan's portrayal does not adopt the heavily accented and broken English of Stoker's original character, nor does he have a tendency to use unnecessary words. Nevertheless, Van Helsing is a respected doctor and metaphysician who initially enters the story to investigate a seemingly obscure blood issue, as perceived by the other characters. It is Van Helsing's openness to the possibility of vampires that allows him to identify that one is lurking in London. Furthermore, it is his acceptance of the supernatural and knowledge of its remedies that enables him to mount an effective defense against Dracula.

Van Helsing assumes a paternal role when he enters the story, acting as both protector and mentor to the other characters. However, his attitude towards them can sometimes come across as condescending. He particularly seems to treat Jonathan Harker and Mina as helpless children in need of guidance. While this portrayal is partially based on the novel, Van Sloan emphasizes it even more in the film, aligning with his interpretation of the character. Interestingly, his paternalism is a stark contrast to his interactions with Dracula. When facing his nemesis, Van Helsing displays a range of emotions. He can be respectful and cautious at times, but he also shows a sly and almost mocking demeanor when he gains an advantage over the Count. There is a particular moment where Van Helsing threatens to stake Dracula, and his eyes widen with excitement while a grin appears on his lips. This scene is heightened by his triumphant presentation of a crucifix at the end of their intense confrontation.

This personal dynamic between the monster and the monster hunter, which was not originally present in Stoker's novel but introduced in the Broadway stage play, has been incorporated into subsequent adaptations of Dracula. However, few interpretations of Van Helsing have embraced Van Sloan's approach. Actors like Peter Cushing and Lawrence Olivier portrayed the character differently, without the private, perverse pleasure in battling a vampire. On the other hand, Francis Ford Coppola and Anthony Hopkins amplified this element in Bram Stoker's Dracula. Ultimately, Van Helsing's subtle enjoyment of fighting Dracula is far more impactful when it is a subtle, understated aspect amidst his genteel and supportive role. These nuanced details in Van Sloan's performance, though often overlooked, greatly enhance his portrayal of Van Helsing and the overall portrayal of Dracula. It is worth noting that these elements were not carried over into other Universal horror films, by the choice of Van Sloan and his writers and directors.

Universal’s Monster Hunters Were a Varied Bunch

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After his role in Dracula, Van Sloan's next horror assignment was Frankenstein, which was released in the same year. While his casting as Dr. Waldman was likely influenced by his portrayal of Van Helsing, the two characters are quite distinct and have different roles in their respective stories. Unlike Van Helsing, Waldman is not an outsider brought in to assess a problem. He is actually Henry Frankenstein's friend and former teacher, with a role within the village community. Waldman is not an expert in the occult or obscure diseases, but rather a teacher at the university that Frankenstein has left behind, presumably teaching anatomy or biology. Another notable difference is that Waldman is not there to understand the macabre and unnatural events unfolding around him, but rather passionately condemns them. He does not take any secret pleasure in Frankenstein's experiments to create life. In fact, Waldman's staunch opposition to such experiments pushes Frankenstein to work alone. Waldman refuses to consider that Frankenstein's creation could be anything other than a monster and repeatedly calls for its destruction even before anything goes wrong.

In the 1931 film adaptation of Frankenstein, a criminal brain is introduced into the creature's makeup, justifying some of Waldman's protests. However, the character is portrayed as much colder and less endearing compared to Van Sloan's Van Helsing. Physical changes to the actor's appearance, such as slicked hair instead of a crew cut and the absence of friendly round glasses, subtly present Waldman as a harsher individual than Van Helsing. It becomes difficult not to view his inflexibility as an unintentionally evil force driving a wedge between the creator and his creation. Consequently, it becomes challenging to sympathize with Waldman when he meets his demise at the hands of the creature, unlike Van Sloan's other scientist characters.

The Mummy, despite its slight resemblance to Dracula, presents Van Sloan's character, Dr. Muller, as a key ingredient in the plot. Unlike in Dracula or Frankenstein, Muller provides exposition, advice, and limited protection against Karloff's Imhotep in a more perfunctory manner. However, the script and actor differentiate Muller from other characters. Unlike Van Helsing, Muller is stoic and sometimes stern with the victims he needs to safeguard. Additionally, Muller is not an expert pulled into an encounter by circumstance, but a doctor specializing in the occult. In his interactions with Imhotep, Van Sloan portrays Muller as confident but grim, devoid of any enjoyment in his work.

These differences, as Behlmer suggests, offer variations on a theme, emphasizing the importance of variety. For well-known films like Dracula, Frankenstein, and The Mummy, delving into the finer details reveals the subtle performances of actors like Edward Van Sloan, bringing their characters to life and distinguishing them from one another. It also offers a fresh perspective on both the movies and Van Sloan, showcasing the greater variety he provided, which may have been overlooked by many, possibly even himself.