After the budgetary extravagances of Son of Frankenstein (1939), the new brooms at Universal were determined to play it safe henceforth, despite that film having played a major role in the studio’s financial upturn. The Ghost of Frankenstein, therefore, although a polished and highly presentable feature, was constrained by a formulaic approach that would set the new precedent for the franchise going forward. Much was made in the trade press, even by Universal, of the impact on proceedings of Karloff’s absence in the key role of the Monster. The pretence of a “search” for his replacement was short-lived and the natural conclusion that it would be Lon Chaney was soon revealed. The studio had presented the masquerade of not wanting to wait until Karloff’s theatrical obligations to Arsenic and Old Lace, his massive Broadway stage hit of the 40s, were fulfilled. However, in reality, Karloff was no longer under contract to Universal and hadn’t made a picture for them for a couple of years. Furthermore, and cruci
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