G
civen the incredible selection of toys and
ollectibles currently on the market, it’s
hard to believe that prior to the early 1960s there were hardly any horror- related toys available for monster-obsessed youngsters. Horror films were
still primarily considered adults-only fare, and it wasn’t until the late 1950s that televi- sion airings of classic Universal monster movies and the creation of influential genre magazines such as Famous Monsters of Filmland and Castle of Frankenstein allowed horror to become more kid-friendly and, therefore, ripe for merchandising. Spurred by this newfound interest in monsters, Aurora Plastics Corporation – a hobby
company known for its line of plastic model kits that included aircraft and knights in armour – gave budding Dr. Frankensteins a chance to build their own creation when they released a Frankenstein Monster kit in 1961. Providing further enticement was the spectacularly colourful package artwork by artist James Bama, which quickly made the kit an overwhelming success. Additional monster kits were promptly produced; Dracula and the Wolf Man were released the following year and other cinematic creeps such as The Mummy, The Creature (from the Black Lagoon), The Hunchback of Notre Dame, The Phantom of the Opera, Godzilla and King Kong followed. Now, a new documentary, The Aurora Monsters – The Model Craze That Gripped The
World (currently available on DVD) looks back at this revered line of hobby kits – one whose success not only led to the production of other horror-themed playthings, but also inspired many “monster kids” to work in the film, art and hobby industries when they grew up. Featuring original Shock Theatre host Zacherley, the Cool Ghoul, and a gargoyle puppet named Gorgo in fun and lively wraparound segments, the program also includes interviews with former Aurora personnel: Bama, sculptor Ray Meyers and project developer Andrew Yanchus. “I was so fortunate they were willing to do this because neither Andy Yanchus nor
Ray Meyers had ever appeared on camera before,” says the documentary’s co-director, Cortlandt Hull. “For that matter, this was the first time that James Bama had ever ap-
peared on camera talking about his Aurora paintings. In fact, before I went out to see him… he really had no idea of the impact his work had on people over the years.” Hull says he was able to interview the reclusive Bama because he had previously
spoken with legendary Famous Monsters of Filmland artist Basil Gogos for a documen- tary on Hull’s wax museum, The Witch’s Dungeon, and Bama had seen and enjoyed that doc, so he agreed to speak to Hull. “James Bama was the toughest one to get hold of,” says Hull. “He really doesn’t
enjoy doing interviews because he likes his privacy. I felt that it was a chance of a life- time because he won’t do conventions and he’s turned down numerous interviewers.” In addition to conversations with high-profile Aurora fans, including artist Daniel
Horne, Sideshow Collectibles sculptor Mat Falls and Moebius Models founder, Frank Winspur, viewers are treated to never-before-seen concept drawings and rare photo- graphs of prototypes for unproduced kits of This Island Earth’s Metaluna Mutant, For- bidden Planet’s Robbie the Robot and The Day The Earth Stood Still’s Gort. Controversial lines such as Madame Tussaud’s Chamber of Horrors (featuring diabolical devices such as The Rack and The Hanging Tree – complete with dangling cowboy!) and Monsters Scenes (The Animal Pit, The Dungeon) are also covered in detail. Of the project (the first in his new series of classic genre-themed docs), which Hull
calls “a labour of love,” he says he tried to imbue with it a sense of fun and nostalgia of the period – not only by featuring his childhood idol, Zacherley, but also by paying attention to detail, right down to the lighting and colour scheme of the sets. “The Aurora kits weren’t ordinary toys,” says Hull. “With an ordinary toy, you bought
it, then played with it. With a kit, you built it, painted it yourself. It didn’t mean you were the best painter or model builder in the world but it was something that you did yourself. And there was some gratification in that. You didn’t have to paint it like the box or like everyone else…and I think that’s what made them so unique.”
For more information on The Aurora Monsters – The Model Craze That Gripped The World, visit
preservehollywood.org.
Creature Craft: A re-enactment of monster kids with model kits.
RM88
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128