Dominican-born American fashion designer Oscar de la Renta—whose work, blending European luxury with American ease, helped define standards of elegant dressing among socialites, U.S. first ladies, and red-carpet celebrities—died in Connecticut.
Bela Lugosi (born October 20, 1882, Lugos, Hungary [now Lugoj, Romania]—died August 16, 1956, Los Angeles, California, U.S.) was a Hungarian-born motion-picture actor who was most famous for his sinister portrayal of the elegantly mannered vampire Count Dracula.
At age 12 Lugosi ran away from home and began working odd jobs, including stage acting. He studied at the Budapest Academy of Theatrical Arts and made his stage debut in 1901. From 1913 to 1919 he was a member of the National Theatre. While in Budapest he also acted in several Hungarian films, often under the name Arisztid Olt. In addition, he served in the Austro-Hungarian armed forces during World War I.
He went to Germany in 1919 and acted in films there until he immigrated to the United States in 1921.
Lugosi made his Hollywood film debut in The Silent Command (1923) but worked sporadically in film and theatre throughout the remainder of the decade, largely because he had not yet mastered the English language and had difficulty communicating with coworkers. In 1927 he managed to land the title role in the Broadway production of Bram Stoker’s novel Dracula.
The production was a success, and Lugosi stayed with the show for the duration of its three-year run, including on tours. It was also during this time that Lugosi was the subject of a national scandal when his wife (his third of five) filed for divorce after only three days of marriage and named actress Clara Bow as corespondent.
Lugosi became a national celebrity when he reprised his stage success for the Universal Pictures film adaptation Dracula (1931). With his slow, thickly accented voice, he etched lines such as “I never drink…wine” into the national consciousness, and Lugosi’s name was thereafter associated with that of the bloodsucking count.
The success of Universal’s Frankenstein in the same year established the studio as the top producer of horror films and Lugosi and Boris Karloff (who starred in the role of Frankenstein’s Monster, a role Lugosi had turned down) as kings of the genre.
Lugosi’s subsequent shockers included Murders in the Rue Morgue (1932), an adaptation of Edgar Allan Poe’s short story; White Zombie (1932); Island of Lost Souls (1932); and Mark of the Vampire (1935). He costarred with Karloff in several films, including The Black Cat (1934), The Raven (1935), and The Invisible Ray (1936), and he appeared occasionally in non-horror films, such as the Paramount Pictures all-star comedy International House (1933) and Ernst Lubitsch’s Ninotchka (1939).
Although Lugosi is most associated with the role of Dracula, many regard his portrayal of the half-crazed, broken-necked Ygor in Son of Frankenstein (1939) to be his finest screen performance. He again played Ygor in The Ghost of Frankenstein (1942), but by that time Lugosi’s star had faded. Thereafter he appeared in numerous low-budget, forgettable films.
There were a few exceptions, such as his appearance as Frankenstein’s Monster—the role he had turned down in 1931—in Frankenstein Meets the Wolfman (1943). He teamed with Karloff again in the eerie The Body Snatcher (1945), and he returned to the role of Dracula in Abbott and Costello Meet Frankenstein (1948).
Their collaboration produced such staggeringly shoddy efforts as Glen or Glenda? (1953), Bride of the Monster (1956), and Plan 9 from Outer Space (filmed 1956, released 1959), all now unintentionally hilarious cult favourites. Lugosi was buried, as he wished, wearing the long black cape that he had worn in Dracula.
Lugosi’s decline into poverty and obscurity was accompanied by a growing dependence on narcotics. In 1955 he voluntarily committed himself to the state hospital in Norwalk, California, as a drug addict; he was released later that year. About the same time, Lugosi began an association with Ed Wood, Jr., the man regarded by many as the most comprehensively inept director in film history.