Yeats, lbsen, Shaw and Galsworthy. In 1913, she made her London debut at Court Theatre, and she acted in various London plays. In 1931, there was that great success Cavalcade, which featured Una as the cockney charwoman. When Fox planned to film the Noлl Coward play, they sent for Una, and Merle Tottenham, who had played the maid of Cavalcade, and reprises that role in this film. In 1933, James Whale, who had known Una from the London stage, invited her and Merle to act in his Invisible Man. For many years, she appeared in many memorable Hollywood films, including James Whale's sequel to Frankenstein, the 1935 Bride of Frankenstein. Some of her other supporting roles include The Barretts of Wimpole Street, David Copperfield, The Informer, The Adventures of Robin Hood, The Sea Hawk, How Green Was my Valley, Random Harvest, The Bells of St Mary's, and Adventures of Don Juan. There are many British players in this film, most from theatre, both in England and America, and some who arrived in Hollywood after the introduction of sound. Whale had worked with or knew them, and naturally felt comfortable when he personally cast them in the film. This gentleman is Forrester Harvey, who was born in County Cork, Ireland, in 1884. He moved to London at a very young age, and before coming to America in 1924 Harvey had been featured in English film comedies for ten years. He then appeared in New York plays. Returning to London, he accepted the role of Lieutenant Trotter in the Whale-directed hit play Journey's End, and then again came to America, this time to stay. His film roles include Tarzan the Ape Man, Red Dust, Tarzan and his Mate, Captain Blood, Rebecca, The Invisible Man Returns, the 1941 Dr Jekyll and Mr Hyde, The Wolf Man, Mrs Miniver and many others. We now see that the stranger is capable of a furious outburst, and we'll see extreme violence, a portent of his obviously unstable and dangerous state. Una O'Connor is capable of bursting forth with an incredible volley of high-decibel cackles, screams, shrieks that seem rather over the top, to say the least. There's another scene a little later where she reprises her full complement of these. Fair warning. Obviously, director James Whale didn't think it was too rich. In fact, two years later, he had her going through her screech repertoire again for Bride of Frankenstein. But interestingly, you don't hear her going anywhere near that level in her many other fine characterisations through the decades. HG Wells's novel The Invisible Man was first serialised in England in Pearson's Weekly, in 1897, and then published in book form that same year. Universal had a synopsis in the late 1920s, when Wells's agent was offering motion picture rights. MGM apparently turned it down in 1931 because of potential technical obstacles. But Universal, by late 1931, was seriously considering the title as one of the follow-ups to their Dracula and Frankenstein. The studio executives turned to John Fulton, the head of what was then referred to as the "trick department", to see if it was possible to create and execute acceptable effects for the subject. Fulton said yes, so Universal bought the story rights on September 22nd 1931 for $10,000, with author HG Wells granted script approval as part of the deal. The studio also bought, about that same time, a new 1931 novel by Philip Wylie called The Murderer Invisible. But more about that anon. John Fulton, nicknamed "The Doctor" around the lot, knew that the travelling-matte technique would be the way to approach the most dazzling of the effects. Before coming to work at Universal, Fulton worked for the Frank Williams Laboratory in Hollywood. Where the travelling-matte
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