15 Facts About The Staircase, Netflix’s New True Crime Docuseries

Netflix
Netflix

At 2:40 a.m. on December 9, 2001, Durham, North Carolina-based novelist Michael Peterson made a frantic call to 911 to report an accident. His wife, Kathleen, had fallen down a flight of stairs and was unconscious, but still breathing, in a massive pool of her own blood. Michael, who claimed he had been sitting out by the pool, was not sure how it had happened—he just knew that he needed help. By the time the paramedics arrived, it was too late. But the police weren’t convinced that Kathleen had fallen, or that her death was an accident at all.

Within two weeks, Michael Peterson would be indicted for the murder of his wife, and the case—which stretched on through 2017—only got stranger from there.

There’s not a lot one can say about The Staircase without giving too much away. So if you’ve yet to watch all 13 episodes of the compelling docuseries, which is now streaming on Netflix, bookmark this page and come back once you have. For those of you who have powered through it all and are thirsting for more details on the case, read on.

1. IT’S NEW TO NETFLIX, BUT IT ORIGINALLY PREMIERED IN 2004.

If you had a sense of déjà vu while watching The Staircase, it could very well be because you’ve seen it before—at least most of it. A truncated, two-hour version of the miniseries, which is directed by French filmmaker Jean-Xavier de Lestrade, first premiered on Primetime Thursday in the summer of 2004. The completed docuseries made its television premiere one year later, first in England and then in America (on the Sundance Channel). In 2012, de Lestrade released a two-hour follow-up that continued the story. Netflix’s rendition includes all 10 of the original episodes, plus three brand-new ones, which follow some more recent developments in the case.

2. FILMING BEGAN SHORTLY AFTER MICHAEL PETERSON WAS INDICTED.

In 2001, de Lestrade directed the Oscar-winning Murder on a Sunday Morning, which highlighted the case of Brenton Butler, a black teenager who was wrongfully convicted of murder in Jacksonville, Florida. De Lestrade was on the lookout for his next project, and he had a very specific idea for his follow-up: another documentary that would dissect the American criminal justice system, but this time from the perspective of a white defendant who could afford a top-notch legal team. De Lestrade told The Ringer that he and his team spent five months reviewing about 300 cases, which is how they found Michael Peterson. (That both Peterson and his lawyer, David Rudolf, were willing to offer the filmmakers unfettered access to their preparations for the trial was obviously a bonus.)

But de Lestrade had a feeling that there was something unusual about Peterson’s case that would make for a compelling story. “When [Michael] was talking about his love with Kathleen, I really could feel that sincerity,” de Lestrade said. “But, at the same time, there was a kind of mystery about this man. It was a strange feeling.” Peterson was indicted for the murder of his wife on December 21, 2001; shooting on the series began shortly thereafter.

3. IT WAS ORIGINALLY SUPPOSED TO BE A TWO-HOUR DOCUMENTARY.

Though de Lestrade knew that there was something different about Peterson’s case, even he couldn’t imagine the number of turns it would take over the next 15-plus years. It didn’t take long for the director to realize that his original plan to make a two-hour documentary on the case would barely even scratch the surface.

“When we started shooting in February 2002 and when David Rudolf gave us access and the judge gave us access in the court room and we started to shoot and shoot and shoot then we realized how big it could be,” de Lestrade told Metro. “Because in the beginning it was supposed to be a two-hour film. It wasn’t supposed to be an eight-hour documentary series. But after six months of shooting, I knew we couldn’t tell the story in two hours.” Fortunately, the film’s distributors were receptive to the idea of a miniseries.

4. JEAN-XAVIER DE LESTRADE VOWED TO NEVER MAKE ANOTHER DOCUMENTARY AFTER COMPLETING THE FIRST SEGMENT.

Michael Peterson in 'The Staircase' (2018)
Netflix

Reflecting on The Staircase and Michael Peterson’s case for The Daily Beast in 2013, de Lestrade revealed that he never intended to come back to the story once the original series was in the can. “When I finally completed The Staircase in September 2004, I felt as emotionally drained as David Rudolf did at the end of the film,” he wrote. “I told myself that I would stop making documentary films—just as David had vowed that the Peterson trial would be his last criminal-defense case. It was wrenching to watch as Michael Peterson, bound at the wrists, was swept into the car that would take him to prison for the rest of his life. I couldn’t bear Martha and Margaret’s endless tears. It was harrowing to try to comfort a family shattered by a tragedy that seemed so senseless.”

5. DE LESTRADE HAS NEVER STEPPED AWAY FROM THE STORY.

Though de Lestrade has worked on a handful of other projects since The Staircase’s original release, he has never stopped working on the project since he first began filming in 2002. When asked by Metro what it felt like to “return” to the project, the director was quick to make it clear that, “I never quit The Staircase. I have been obsessed by the story and by the character. It has been my obsession to go through the legal process. And to end the series when the justice system gave an answer to the case.”

6. FOR DE LESTRADE, IT WASN’T ABOUT PROVING PETERSON’S GUILT OR INNOCENCE.

In April 2018, Netflix’s three new episodes of The Staircase premiered at the Tribeca Film Festival. Following the screening, de Lestrade held a Q&A in which he explained that determining Peterson’s innocence—or guilt—was never part of his grand plan for the film. “The purpose has never been to look for the truth,” he said. “Or to look for what happened that night. It was just to look at the way the justice system would treat the case, and it took 17 years.”

7. BUT FOR THE RECORD: DE LESTRADE DOESN’T BELIEVE THAT PETERSON IS GUILTY.

Though de Lestrade wasn’t looking to uncover the truth about Peterson's guilt or innocence, he did form an opinion: He does not believe that Michael Peterson killed his wife. “We weren’t there that night so we can’t pretend we know what happened,” de Lestrade told the Tribeca Film Festival audience. “We may have an opinion or a feeling, but to me, there is no strong evidence presented that Michael Peterson killed his wife. That’s where I stand.”

8. THE CASE HAS BEEN A FRUSTRATING ONE FOR THE DIRECTOR.

The Peterson family in 'The Staircase' (2018)
Netflix

Writing for The Daily Beast, de Lestrade admitted that the long road—and contradictory evidence—that has been presented throughout Peterson's seemingly endless legal battles has been difficult to reconcile at times:

“It has been immensely frustrating that the truth of this story has remained so obscure for so long. I never believed the prosecution’s murder theory. The evidence contradicted it. It’s impossible to kill someone by hitting them over the head without inflicting either skull fractures or cerebral contusions. On the other hand, the fall scenario put forth by the defense didn’t entirely satisfy me either. The lacerations on Kathleen's scalp are difficult to reconcile with an accidental fall down the stairs.”

9. AS BIZARRE AS THE “OWL THEORY” SEEMS, MANY PEOPLE BELIEVE IN ITS PLAUSIBILITY.

The Staircase puts forth a number of possible theories about what could have caused Kathleen Peterson’s death, the most bizarre one being that she was attacked by an owl. More specifically: that an owl got tangled in her hair and, in an attempt to extricate itself, ending up causing her death. It may sound strange, but the autopsy report did note that Kathleen had pine needles stuck to one of her hands, clumps of her own hair in both hands, and a few small feathers entangled in one of those clumps.

“When you look at her injuries, they do appear consistent with being made by an owl’s talons,” Mary Jude Darrow, Peterson’s attorney, told Audubon in 2016. “But I would hate to risk my client’s life or future on that argument.” Several animal experts agreed in the theory's plausibility, as did the film’s director … eventually.

“At face value, this theory seemed absurd, so I treated it with a great deal of caution,” de Lestrade wrote. “Yet, today, I have to admit that numerous facts favor this owl theory. Two years ago, I met with a well-known neurological surgeon. After a careful look—over several days—at Kathleen’s injuries, he told me, ‘These injuries are not consistent with any form of blunt instrument used as a weapon. These injuries could not be produced with a pipe, hammer, knife, tire iron, or even a hand claw such as would be used in the garden. These wounds, however, are most consistent with lacerations caused by a large raptor or bird of prey. Four punctures wounds converging to a point via jagged lacerations, without associated scalp contusions, must be considered to have been inflicted by a raptor talon until proven otherwise. Furthermore, these specific lacerations are of the dimensions of a barred owl’s talons.’”

The idea, according to that same surgeon, is that the owl attack happened outside the house, which led to Kathleen fainting, “most likely on the staircase, leading to a fall either down the stairs or at the foot of the stairs, suffering a fractured thyroid cartilage as she fell. This is followed by a period of unconsciousness, during which she either hemorrhages to death or asphyxiates to death.”

10. PETERSON CALLS ACCEPTING AN ALFORD PLEA “THE MOST DIFFICULT DECISION” HE HAS EVER MADE.

Given that the newest installments of The Staircase involve Peterson entering an Alford plea (a plea deal in which the defendant maintains his or her innocence, but acknowledges that the prosecution has enough evidence to convict them) to the charge of voluntary manslaughter, and walking free, it’s doubtful we’ll see new episodes of the series. But Peterson told Dateline’s Dennis Murphy that entering that plea was “the most difficult decision I ever made in my life … And I’m talking, you know, joining the Marines, anything I did in my life, this was the most difficult decision I made. And I did it because the second most difficult thing I ever did in my life was to live through that trial and listen to all of those lies and perjuries, the nonsense.”

11. THE DOCUMENTARY’S EDITOR BEGAN A RELATIONSHIP WITH MICHAEL PETERSON.

Though the documentary is full shocking moments and revelations, one of the most surprising events happened off-screen: During the course of production, The Staircase editor Sophie Brunet and Michael Peterson fell in love. “This is one of the incredible things that happened during those 15 years,” de Lestrade told L’Express. “Life is really full of surprises. They had a real story, which lasted until May 2017. But she never let her own feelings affect the course of editing.”

12. IT'S TAUGHT IN LAW SCHOOL CLASSROOMS.

Michael Peterson and David Rudolf in 'The Staircase (2018)
Netflix

Thomas B. Metzloff, a law professor at Duke University who was one of Michael and Kathleen’s neighbors at the time of her death, told The News & Observer that The Staircase is required viewing for his students—though he disagrees with the documentary’s suggestion that Peterson did not get a fair trial.

“I don't think the average person who followed the trial closely in real time comes away with a reaction of 'Oh, my gosh, here's an innocent man who is being victimized,'” he said. “Having been to the trial, it was a fair trial. It was a good jury. The evidence was presented and David Rudolf was able to point out the weaknesses. For example, his cross-examination of [SBI blood expert] Duane Deaver, which I attended, was very powerful. So there was evidence to support the verdict. Whether there should have been reasonable doubt is for people to judge based on the evidence.”

13. IT HAS A LINK TO MAKING A MURDERER.

The Staircase has a coincidental link to Netflix’s first big true crime docuseries hit: Rudolf was the UNC clinical law professor of Jerry Buting who, along with Dean Strang, defended Steven Avery in Making a Murderer.

14. A PSYCHIC PURCHASED THE PETERSON HOME FOR $1.3 MILLION IN 2008.

Michael Peterson no longer lives in the Durham home he shared with his late wife Kathleen; it has passed through two owners since first being sold for $640,000 in 2004. The second, and current, owner is a psychic named Biond Fury, who said he had no knowledge of Peterson’s trial or the home’s history. According to WRAL, “he was attracted to the house because of its architecture and layout.”

15. NBC'S TRIAL & ERROR IS A PARODY OF THE STAIRCASE.

Anyone who has watched NBC’s Trial & Error, starring John Lithgow, has likely noticed the many nods to The Staircase in the mockumentary sitcom (there was even a reference to the owl theory).

“The genesis of this was around five years ago in the writers’ rooms across Warner Bros … a documentary called The Staircase was going around,” Trial & Error co-creator Jeff Astrof said at the 2017 Television Critics Association. “And I remember I watched it with my wife—and at the time I wish I had said John Lithgow for this story to work—[but instead] I said, ‘If this guy was played by Steve Carell, this would be the funniest comedy I’ve ever seen.’ And my wife gave me as much encouragement as any time she ever has, and she said, ‘Yeah, maybe.’”

20 Things to Look for While Watching John Carpenter’s Halloween

Compass International Pictures
Compass International Pictures

Horror movies don’t come simpler or more effective than Halloween, director John Carpenter’s 1978 classic that helped revitalize the slasher genre and, of course, created one of the most popular costumes of all time. Halloween sends chills down your spine with nothing more than a few piano notes and long shots of the masked Michael Myers looming in the background, stalking his victims. (Today’s masters of horror could learn a thing or two from its less-is-more potency). To paraphrase Donald Pleasence’s Dr. Sam Loomis talking about Myers, this is a story about a man made up of pure evil.

After countless sequels and franchise reboots, including David Gordon Green's new Halloween sequel starring Jamie Lee Curtis (which, strangely enough, was co-written by comedian Danny McBride), it can sometimes feel like there’s no fresh ground in Myers. But it’s worth revisiting the movie that started it all to see how many deeper nuances were hiding just below the surface of Carpenter’s sublime terror. We rounded up the strange facts, goofs, and hints to catch next time Halloween inevitably pops up on a TV screen near you.

1. THE HALLOWEEN THEME SONG IS ITS OWN CHARACTER.


The opening credits set the mood with an image of a jack-o’-lantern and the movie’s theme song, which instantly communicate that Michael Myers is on his way and you should not underestimate him. The thing about that theme song: John Carpenter, who scored the movie himself as he did with many of his movies, clearly understood its power. It plays six different times throughout the film, along with variations on it (enough to make its own drinking game).

2. HALLOWEEN HAPPENED THANKS TO ONE RICH MAN IN THE CREDITS.


After seeing Carpenter’s Assault on Precinct 13, Syrian American financier Moustapha Al Akkad put up the $300,000 budget for the director to make a movie about a psychopath who stalks babysitters. Today, the Akkad family is still involved with production of movies in the franchise.

3. JAMIE LEE CURTIS WAS A NOBODY WHEN HALLOWEEN CAME OUT.


It seems hard to fathom now, but Halloween was Jamie Lee Curtis’s feature film debut. Curtis, of course, is the daughter of Janet Leigh, who had one of the most memorable roles in a scary movie ever with Alfred Hitchcock’s Psycho. If you look closely, Myers’s knife of choice even resembles the one from Psycho.

4. THE TOWNS IN HALLOWEEN DON’T EXIST, THOUGH THEY’RE (SORT OF) BASED ON REAL PLACES.


Halloween is mostly set in Haddonfield, Illinois, the sleepy Midwestern town where young Michael Myers begins his murderous mayhem. He later escapes from a hospital in Smith’s Grove, Illinois. Both places are fictional, but Smiths Grove, Kentucky, is close to where John Carpenter grew up in Bowling Green, Kentucky. Haddonfield is a reference to co-writer and producer Debra Hill’s hometown of Haddonfield, New Jersey. And the shooting location for the haunted Myers home was actually Pasadena, California.

5. MICHAEL MYERS HAD AN EARLY OBSESSION WITH MASKS.


We watch a six-year-old Myers put on a clown mask that’s been discarded on the floor in the earliest Halloween scene, before he tragically kills his own sister Judith. The masks help make Myers seem human-like, yet somehow beyond human thought and reason. “The idea was to make him almost humorless, faceless,” Hill said.

6. MYERS CLEARLY HAS A TORTURED RELATIONSHIP WITH SEX.


All of the murders we see happen in the original Halloween are tied to sexual activity: Myers stabs his sister to death after she’s been fooling around with a boy. Later Annie, Lynda, and Bob all suffer similar fates after they’ve disrobed or slept together.

7. LAURIE, HOWEVER, SEEMS DOWNRIGHT CONSERVATIVE FOR 1978.


According to common horror movie logic (which Halloween helped usher in), the more of a prude you are, the more likely you are to make it through the night. So it is here: Curtis’s Laurie, especially for her age in the late 1970s, stays covered up and doesn’t kiss a single person. She also expresses embarrassment when confronted about her feelings for a classmate.

8. DR. LOOMIS ISN’T VERY GOOD AT PARKING.


Loomis pursues Myers after the killer has escaped a hospital, using his deep knowledge of the patient to track him down. But Loomis does something un-doctorly in the process: He parks in a handicapped spot, despite not having any noticeable handicap.

9. LAURIE GETS A SCHOOLING IN FATE THAT’S AN IMPORTANT CLUE.


While she’s in a high school class and Myers is lurking outside, Laurie answers a teacher’s question about destiny. It might seem like filler dialogue, but it speaks to how Myers is constantly driven back—including in later movies—into the lives of the people in Haddonfield. She says, “Costaine wrote that fate was somehow related only to religion, where Samuels felt that fate was like a natural element, like earth, air, fire, and water."

10. A MATCHBOOK HOLDS CLUES TO MYERS’S PAST (AND FUTURE).


You can see Loomis looking at a matchbook in a car with his colleague Marion Chambers early in the movie. It says: The Rabbit in Red Lounge. Loomis later finds the same matchbook after Myers steals the car, which helps lead him to the killer. The Rabbit in Red Lounge nightclub makes an appearance in Rob Zombie’s 2007 reboot of Halloween, as the place where Myers’s mother works as a dancer.

11. THERE ARE TWO BRIEF GLIMPSES OF MYERS UNDERNEATH THE MASK IN HALLOWEEN.


We barely see Myers in profile as he jumps on top of a car outside the hospital where he’s being held early in the movie, but you get a much better look at his face when Laurie pulls off his mask near the end. That is the face of actor Tony Moran, who didn’t go on to do any of the sequels, though he still became a cult icon. The masked Myers is played by Nick Castle, who’s credited simply as “The Shape."

12. LAURIE SINGS A REALLY CREEPY SONG THAT MIGHT BE ABOUT HER AND MYERS.


While Laurie walks around town and Myers pursues her, she sings a couple lyrics that sound sweet but are haunting in context: “Wish I had you all alone / Just the two of us.” Internet digging reveals that it’s not a pop song, but rather it could be a reference to her repressed romantic feelings, or a nod to what will become her ongoing connection to Myers.

13. THE KID LAURIE BABYSITS LOOKS WEIRDLY LIKE YOUNG MYERS.


Myers as a six-year-old is played by Will Sandin, with blond longer hair. The actor playing Tommy, the boy Laurie is babysitting, bears a striking resemblance to Sandin.


It could be a coincidence, but somehow we think not.

14. MYERS’S GHOULISH MASK IS ACTUALLY JUST WILLIAM SHATNER.


As Halloween didn’t have a lot of money to go around, its art director Tommy Lee Wallace bought a cheap mask at a costume store, which happened to be of William Shatner’s Captain Kirk from Star Trek. Apparently the mask didn’t look much like Shatner, anyway, which worked for the best: The filmmakers painted it and adjusted the eyeholes to provide the unsettling visage for their maniac.

15. THE MYERS HOME MAGICALLY TRANSFORMS OVER TIME.


In the opening sequence of Halloween, we see Myers walk through his family’s home on his way to killing his sister, and there’s floral wallpaper.


In a later shot, we see Loomis and Sheriff Brackett walk through the very same area of the house, and it has a different floral wallpaper. But Brackett says no one has lived in the house since the incident in 1963. So did Myers redecorate on his trip back into town?

16. JOHN CARPENTER PREVIEWED ONE OF HIS NEXT MOVIES IN HALLOWEEN.


Halloween has two movie-within-a-movie moments: The teens and the kids they’re babysitting are seen watching The Thing from Another World (1951) and Forbidden Planet (1956), both of which undoubtedly influenced Carpenter. In fact, Carpenter went on to make The Thing (1982), an adaptation of Who Goes There, the same novella on which The Thing from Another World is based.

17. A NEIGHBOR DOESN’T HELP LAURIE WHEN SHE’S IN TROUBLE.


One of the more unnerving moments in Halloween is so brief that you could easily miss it: As Laurie is being chased by Myers later in the movie, she runs to a neighboring house and screams for help. You can see an outside light turn on and an arm of someone inside looking through a window. But the person quickly walks away, leaving Laurie in harm’s way.

18. MYERS IS HARD TO KILL—EVEN BY HORROR MOVIE STANDARDS.


It became a running joke in the Halloween franchise that Myers is impossible to kill. In fact, he seems to resurrect himself on the spot, a trope that was reused in many later slasher films. In the first movie, we watch Laurie stab him once, then again in a closet with his own knife. Then Loomis shoots him multiple times, leading him to fall off the second floor of a house. But when Loomis goes to check on the body, Myers is already gone. As little Tommy puts it best, “You can’t kill the bogeyman."

19. MYERS’S AGE DOESN’T QUITE ADD UP.


Myers is supposed to be age six when Halloween begins in 1963. In 1978, then, he should about 21 years old. Yet in the end credits, the older Myers is said to be 23, which is impossible. Except, of course, in a movie.

20. CARPENTER GAVE HIMSELF A CODE NAME.


In the end credits, the music is listed as being performed by The Bowling Green Philharmonic Orchestra. Well, there is no such orchestra. Carpenter is from Bowling Green, Kentucky, and decided to gussy up his music credit. (To be fair, he did get help on the songs from a few friends.)

All screenshots via Anchor Bay Entertainment.

12 Surprising Facts About Bela Lugosi

Mabel Livingstone/Hulton Archive/Getty Images
Mabel Livingstone/Hulton Archive/Getty Images

On October 20, 1882—136 years ago today—one of the world's most gifted performers was born. In his heyday, Bela Lugosi was hailed as the undisputed king of horror. Eighty-five years after he first donned a vampire’s cape, Lugosi's take on Count Dracula is still widely hailed as the definitive portrayal of the legendary fiend. But who was the man behind the monster?

1. HE WORKED WITH THE NATIONAL THEATER OF HUNGARY.

To the chagrin of his biographers, the details concerning Bela Lugosi’s youth have been clouded in mystery. (In a 1929 interview, he straight-up admitted “for purposes of simplification, I have always thought it better to tell [lies] about the early years of my life.”) That said, we do know that he was born as Béla Ferenc Dezső Blaskó on October 20, 1882 in Lugoj, Hungary (now part of Romania). We also know that his professional stage debut came at some point in either 1901 or 1902. By 1903, Lugosi had begun to find steady work with traveling theater companies, through which he took part in operas, operettas, and stage plays. In 1913, Lugosi caught a major break when the most prestigious performing arts venue in his native country—the Budapest-based National Theater of Hungary—cast him in no less than 34 shows. Most of the characters that he played there were small Shakespearean roles such as Rosencrantz in Hamlet and Sir Walter Herbert in Richard III.

2. HE FOUGHT IN WORLD WAR I.

The so-called war to end all wars put Lugosi’s dramatic aspirations on hold. Although being a member of the National Theater exempted him from military service, he voluntarily enlisted in the Austro-Hungarian Army in 1914. Over the next year and a half, he fought against Russian forces as a lieutenant with the 43rd Royal Hungarian Infantry. While serving in the Carpathian mountains, Lugosi was wounded on three separate occasions. Upon healing from his injuries, he left the armed forces in 1916 and gratefully resumed his work with the National Theater.

3. WHEN HE MADE HIS BROADWAY DEBUT, LUGOSI BARELY KNEW ANY ENGLISH.

In December 1920, Lugosi boarded a cargo boat and emigrated to the United States. Two years later, audiences on the Great White Way got their first look at this charismatic stage veteran. Lugosi was cast as Fernando—a suave, Latin lover—in the 1922 Broadway stage play The Red Poppy. At the time, his grasp of the English language was practically nonexistent. Undaunted, Lugosi went over all of his lines with a tutor. Although he couldn’t comprehend their meaning, the actor managed to memorize and phonetically reproduce every single syllable that he was supposed to deliver on stage.

4. UNIVERSAL DIDN’T WANT TO CAST HIM AS COUNT DRACULA.

The year 1927 saw Bela Lugosi sink his teeth into the role of a lifetime. A play based on the novel Dracula by Bram Stoker had opened in London in 1924. Sensing its potential, Horace Liveright, an American producer, decided to create an U.S. version of the show. Over the summer of 1927, Lugosi was cast as the blood-sucking Count Dracula. For him, the part represented a real challenge. In Lugosi’s own words, “It was a complete change from the usual romantic characters I was playing, but it was a success.” It certainly was. Enhanced by his presence, the American Dracula remained on Broadway for a full year, then spent two years touring the country.

Impressed by its box office prowess, Universal decided to adapt the show into a major motion picture in 1930. Horror fans might be surprised to learn that when the studio began the process of casting this movie’s vampiric villain, Lugosi was not their first choice. At the time, Lugosi was still a relative unknown, which made director Tod Browning more than a little hesitant to offer him the job. A number of established actors were all considered before the man who’d played Dracula on Broadway was tapped to immortalize his biting performance on film.

5. MOST OF HIS DRACULA-RELATED FAN MAIL CAME FROM WOMEN.

The recent Twilight phenomenon is not without historical precedent. Lugosi estimated that, while he was playing the Count on Broadway, more than 97 percent of the fan letters he received were penned by female admirers. A 1932 Universal press book quotes him as saying, “When I was on the stage in Dracula, my audiences were composed mostly of women.” Moreover, Lugosi contended that most of the men who’d attended his show had merely been dragged there by female companions.   

6. HE TURNED DOWN THE ROLE OF FRANKENSTEIN’S MONSTER.

Released in 1931, Dracula quickly became one of the year's biggest hits for Universal (some film historians even argue that the movie single-handedly rescued the ailing studio from bankruptcy). Furthermore, its astronomical success transformed Lugosi into a household name for the first time in his career. Regrettably for him, though, he’d soon miss the chance to star in another smash. Pleased by Dracula’s box office showing, Universal green-lit a new cinematic adaptation of Mary Shelley’s Frankenstein. Lugosi seemed like the natural choice to play the monster, but because the poor brute had few lines and would be caked in layers of thick makeup, the actor rejected the job offer. As far as Lugosi was concerned, the character was better suited for some “half-wit extra” than a serious actor. Once the superstar tossed Frankenstein aside, the part was given to a little-known actor named Boris Karloff.

Moviegoers eventually did get to see Lugosi play the bolt-necked corpse in the 1943 cult classic Frankenstein Meets the Wolf Man. According to some sources, he strongly detested the guttural scream that the script forced him to emit at regular intervals. “That yell is the worst thing about the part. You feel like a big jerk every time you do it!” Lugosi allegedly complained.

7. LUGOSI’S RELATIONSHIP WITH BORIS KARLOFF WAS MORE CORDIAL THAN IT’S USUALLY MADE OUT TO BE.

It’s often reported that the two horror icons were embittered rivals. In reality, however, Karloff and Lugosi seemed to have harbored some mutual respect—and perhaps even affection for one another. The dynamic duo co-starred in five films together, the first of which was 1934’s The Black Cat; Karloff claimed that, on set, Lugosi was “Suspicious of tricks, fearful of what he regarded as scene stealing. Later on, when he realized I didn’t go in for such nonsense, we became friends.” During one of their later collaborations, Lugosi told the press “we laughed over my sad mistake and his good fortune as Frankenstein is concerned.”

That being said, Lugosi probably didn’t appreciate the fact that in every single film which featured both actors, Karloff got top billing. Also, he once privately remarked, “If it hadn’t been for Boris Karloff, I could have had a corner on the horror market.”

8. HE LOVED SOCCER.

In 1935, Lugosi was named Honorary President of the Los Angeles Soccer League. An avid fan, he was regularly seen at Loyola Stadium, where he’d occasionally kick off the first ball during games held there. Also, on top of donating funds to certain Hungarian teams, Lugosi helped finance the Los Angeles Magyar soccer club. When the team won a state championship in 1935, one newspaper wrote that the players were “headed back to Dracula’s castle with the state cup.” [PDF]

9. HE WAS A HARDCORE STAMP COLLECTOR.

Lugosi's fourth wife, Lillian Arch, claimed that Lugosi maintained a collection of more than 150,000 stamps. Once, on a 1944 trip to Boston, he told the press that he intended to visit all 18 of the city's resident philately dealers. “Stamp collecting,” Lugosi declared, “is a hobby which may cost you as much as 10 percent of your investment. You can always sell your stamps with not more than a 10 percent loss. Sometimes, you can even make money.” Fittingly enough, the image of Lugosi’s iconic Dracula appeared on a commemorative stamp issued by the post office in 1997.

10. LUGOSI ALMOST DIDN’T APPEAR IN ABBOTT AND COSTELLO MEET FRANKENSTEIN—BECAUSE THE STUDIO THOUGHT HE WAS DEAD.

The role of Count Dracula in this 1948 blockbuster was nearly given to Ian Keith—who was considered for the same role in the 1931 Dracula movie. Being a good sport, Lugosi helped promote the horror-comedy by making a special guest appearance on The Abbott and Costello Show. While playing himself in one memorable sketch, the famed actor claimed to eat rattlesnake burgers for dinner and “shrouded wheat” for breakfast.

11. A CHIROPRACTOR FILLED IN FOR HIM IN PLAN 9 FROM OUTER SPACE.

Toward the end of his life, Lugosi worked on three ultra-low-budget science fiction pictures with Ed Wood, a man who’s been posthumously embraced as the worst director of all time. In the 1953 transvestite picture Glen or Glenda?, Lugosi plays a cryptic narrator who offers such random and unsolicited bits of advice as “Beware of the big, green dragon who sits on your doorstep.” Then came 1955’s Bride of the Monster, in which Lugosi played a mad scientist who ends up doing battle with a (suspiciously limp) giant octopus.

Before long, Wood had cooked up around half a dozen concepts for new films, all starring Lugosi. At some point in the spring of 1956, the director shot some quick footage of the actor wandering around a suburban neighborhood, clad in a baggy cloak. This proved to be the last time that the star would ever appear on film. Lugosi died of a heart attack on August 16, 1956;  he was 73 years old.

Three years after Lugosi's passing, this footage was spliced into a cult classic that Wood came to regard as his “pride and joy.” Plan 9 From Outer Space tells the twisted tale of extraterrestrial environmentalists who turn newly-deceased human beings into murderous zombies. Since Lugosi could obviously no longer play his character, Wood hired a stand-in for some additional scenes. Unfortunately, the man who was given this job—California chiropractor Tom Mason—was several inches taller than Lugosi. In an attempt to hide the height difference, Wood instructed Mason to constantly hunch over. Also, Mason always kept his face hidden behind a cloak.

12. HE WAS BURIED IN HIS DRACULA CAPE.

Although Lugosi resented the years of typecasting that followed his breakout performance in Dracula, he asked to be laid to rest wearing the Count’s signature garment. Lugosi was buried under a simple tombstone at California's Holy Cross Cemetery.

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