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While she was never awarded a Universal contract, vivacious and stunning Elena Verdugo displayed her unique talent in two of the studio’s classic horrors of the 1940’s. Her performance in one of these films was to be among the finest to come out of any Universal chiller.

Verdugo was born April 20, 1925, in Paso Robles, California. She began training as a dancer at age five, and made her film debut in the western “Cavalier of the West” with Harry Carey, Sr. in 1931. However, it was as a teenager that she first attained notice for her screen work. In 1940, she appeared briefly but successfully in the film that launched Betty Grable to stardom, “Down Argentine Way.” The 20th Century Fox production also featured Don Ameche, Carmen Miranda, J. Carrol Naish and Leonid Kinskey.

Her work in the 1942 film “The Moon and Sixpence” resulted in even greater critical acclaim. It featured George Sanders as artist Paul Gauguin, and was based on W. Somerset Maugham’s fictionalized account of the painter’s life. The United Artists release also co-starred Herbert Marshall and Eric Blore. Verdugo was cast as a native girl romantically involved with Sander’s character.

Her Universal debut, as well as her first venture into the realm of horror films, came in 1944. She was cast as Ilonka the gypsy girl in the all-star monster rally "House of Frankenstein." The film featured almost all of the monster icons so popular in the 1940's, as well as many of the most recognizable stars of the genre.

Boris Karloff, who had that year inked a two-picture deal with the studio worth a handsome $60,000, received top billing as the mad Dr. Niemann. The British born actor had just completed his work on the first film of the pact, the George Waggner production "The Climax." Two-thirds of his salary was earmarked for that film, with the remaining third set aside for this next installment of the Frankenstein series. Prior to signing on for this package, the actor last worked for Universal in 1940, appearing opposite Bela Lugosi in the classic "Black Friday."

The role of the Wolf Man was naturally given to its “creator,” Lon Chaney, Jr. John Carradine was signed to portray Baron Latos, better known as Count Dracula. Verdugo's co-star from the earlier Grable film, J. Carrol Naish, was cast as the homicidal hunchback, Daniel. Lovely Anne Gwynne was awarded the part of Dracula's intended victim, Rita Hussman.

Verdugo and Lon Chaney, Jr. in “House of Frankenstein” (1944)

Others in the cast included Lionel Atwill, Peter Coe, George Zucco, Frank Reicher, Sig Ruman and Glenn Strange. Veteran western heavy Strange inherited the role of the Frankenstein monster, and would assay the part twice more following this film. Strange donned the makeup the following year for “House of Dracula,” and once again in 1948 for the lampoon “Abbott and Costello Meet Frankenstein.”

Appearing opposite such players would seem a tall order for any artiste, much less one still in her teens. Yet, Verdugo, already a screen veteran, proved herself capable of the task. Her work in the film ranks as one of the best performances of any Universal horror film. From her first scene performing a gypsy dance, to the tenderness and sympathetic understanding she gives to both Daniel and the tragic Larry Talbot, to her final demise after firing the silver bullet that brings an end to the suffering of the latter, Verdugo is perfect in the role. She brought warmth, sensuality and vulnerability to the part, and adds much to the film.

It could be said that Verdugo’s 1944 arrival at Universal was a homecoming of sorts. The property on which the studio stood on was once a land grant by the Spanish Crown to Jose Maria Verdugo, one of the petite actress’ ancestors. Perhaps because of her heritage, Verdugo was often called upon to wear a dark wig over her naturally golden blonde locks to make her physical appearance more fitting with her lineage.

Later that year, Verdugo appeared with Chaney again in “The Frozen Ghost.” The fourth of the studio’s Inner Sanctum thrillers, it was also the final Universal credit for actress Evelyn Ankers. Verdugo was cast in the role of Nina Coudreau, and found herself menaced by a psychopathic Martin Kosleck until Chaney saved her from a fiery death in the climactic scene. Although filmed in mid 1944, “The Frozen Ghost” didn’t find its way into theaters until June 1945.

Martin Kosleck gives Verdugo a not very friendly embrace in “The Frozen Ghost” (1945).

 

In late 1945, she was cast in the Abbott and Costello comedy “Little Giant.” The film tried out a new formula for the boys, requiring them to work separately rather than as a team, temporarily abandoning their time-tested routines. Film historians and fans alike have argued for years about whether this change was the result of a feud or simply an attempt to increase the box-office grosses of their films, which had declined by the mid 1940’s. Regardless, in this picture and their next entry, “The Time of Their Lives,” the pair moved away from their previous material and tested a different approach. It has been well documented that Lou Costello wanted to be a tragic comedian in the fashion of Charlie Chaplin, and these two 1946 releases afforded him that opportunity. However, the following year saw them back to being a team once again in “Buck Privates Come Home,” a sequel to their 1941 smash hit “Buck Privates.”

For Verdugo, “Little Giant” was a chance to appear in a film sans her brunette wig for a change, portraying a small town girl from Cucamonga, California. She also met her first husband, Charles Marion, during production. Marion, a writer for the Abbott and Costello radio program, and Verdugo were wed in 1946 with actor Jack Oakie serving as best man.

The following year, Verdugo appeared in another Universal feature, “Song of Scheherazade” with Yvonne De Carlo. By this time, the studio had merged with International Pictures to become Universal – International, and concentrated on a more upscale product. The cast was to include Jean – Pierre Aumont, Brian Donlevy and Eve Arden. Walter Reisch produced and directed the film.

Surprisingly, in spite of her excellent work in several of their features, Universal would not reward the young actress with a studio contract. In an interview with Gregory William Mank for the House of Frankenstein volume of the Universal Filmscripts Series of books, she explained that the reason for this was because she refused to adhere to a studio request that she lose weight. There was no reason to grouse, however, as she was constantly in demand and had no shortage of available screen work.

Verdugo would appear in both “A” and “B” pictures throughout the 1940’s and 1950’s. In 1949, she was featured opposite Johnny Weissmuller in the Jungle Jim feature “The Lost Tribe.” She also co-starred with Roland Winters in the Charlie Chan mystery “Sky Dragon,” which also featured Keye Luke and Mantan Moreland.

She was cast in another major release in 1950, appearing opposite Jose Ferrer and Mala Powers in “Cyrano de Bergerac.” Also on hand were two other well-known Universal horror film alumni, Virginia Christine and Lloyd Corrigan. Ferrer garnered an Oscar for his performance in the 17th century tale.

During this period, Verdugo became a favorite leading lady in western films, appearing opposite some of the biggest names of the genre. She worked with the ever popular Gene Autry in “The Big Sombrero” in 1949, and “Gene Autry and the Mounties” in 1951. In the former title, she gave Autry his first screen kiss in a Columbia feature.

She appeared alongside Charles Starrett, the Durango Kid, in Columbia’s “El Dorado Pass” in 1949. The next year she worked with her friend Kirby Grant in one his popular Northwest Mountie titles for Monogram Pictures, “Snow Dog.” Grant had been in attendance at Verdugo’s wedding four years earlier. In 1952 she was back at Columbia, co-starring with George Montgomery in “The Pathfinder.”

Television was becoming more than a novelty in the early 1950’s, and many Hollywood stars were beginning to appear in the medium quite frequently. Verdugo did so as well, and was cast in the title role for the series “Meet Millie” by CBS in 1952. The program was a hit and continued on the airwaves until 1956. Other regulars on the program were Marvin Kaplan, Roland Winters, Ross Ford and Florence Halop. Verdugo and Kaplan have maintained a close friendship to this day.

The actress continued her film and television work into the 1960’s. In 1969, she returned to Universal again for yet another television series. The ABC network drama "Marcus Welby, M.D." debuted that year, following a successful TV movie, with Robert Young in the title role. It would run until 1976. So popular was the program that Young would become the nation's archetypical family practitioner. Verdugo and James Brolin headed the supporting cast, she as receptionist Consuelo Lopez and he as the brash young Dr. Steven Kiley.

Verdugo and Young were featured in a reunion show, “The Return of Marcus Welby, M.D.” in 1984. Young passed away of a respiratory ailment, at age 91, in July 1998.

With her film and television career having drawn to a close, Verdugo makes frequent appearances at nostalgia film conventions and is a favorite among attendees. Ironically enough, the actress who didn't attain a Universal contract in 1944 would ultimately spend more years on the studio's lot than any of her other contemporaries. That fact alone is a fitting tribute to Verdugo's talent, beauty and versatility.

Verdugo, here with Tala Birell in “The Frozen Ghost,” may not have been under contract at Universal, but she made her presence known there.

Elena Verdugo