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Frankenstein Meets the Wolf Man, the 1943 Roy William Neill Universal monster horror thriller (the fifth Universal Frankenstein movie) starring Ilona Massey (as Baroness Elsa Frankenstein), Patric Knowles, Bela Lugosi (in the title role as the Frankenstein Monster), Lionel Atwill, Maria Ouspenskaya, Rex Evans, Dwight Frye, Lon Chaney Jr. (in the title role as the Wolf Man; "Lon Chaney in his most terrifying role"; "Lon Chaney as The Wolfman"), Dennis Hoey, Jeff Corey, Doris Lloyd, Adia Kuznetzoff, Martha Vickers (billed as "Martha MacVicar" in her first movie), Gil Perkins (who doubled for Bela Lugosi in some action scenes), and Eddie Parker (who doubled for Lon Chaney Jr. in some action scenes). Note that in this movie, Bela Lugosi took over the role of the Frankenstein monster which had been played by Lon Chaney Jr. in the previous movie, because Lon Chaney Jr. reprised his role of the Wolf Man, which he had created in the 1941 Universal classic!
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Important Added Info: Note that this window card was professionally paperbacked by a top restorer. Prior to paperbacking (see below for more about this process), the card was folded vertically, and there was a semi-circular area of paper loss at the bottom center of the card (affecting the "ROY WILLIAM NEILL" and "Produced by" in the bottom credits, but NOT the bottom of Massey's feet). There were creases, scuffs, and tears across the bottom 5" of the card and there was a 1 1/2" oval area of paper loss in the background to the right of the "KNOWLES" credit. These creases, scuffs, and tears mostly only affect the lower left credits and the background around them, but there are also ones in the right side that affect the image of Ouspenskaya and the bottom left part of Massey's face and hair. IT IS FORTUNATE THAT ALMOST ALL OF THE DAMAGE TO THE POSTER WAS IN THE EDGES OF THE IMAGE, IN THE BOTTOM CREDITS AREA, IN THE FIGURES OF THE TWO WOMEN, AND IN THE BLANK TOP, AND THAT THERE IS VERY LITTLE DAMAGE OR RESTORATION IN THE IMAGES OF THE TWO MONSTERS AND IN THE TITLE AREA. The card was well restored, but there was no intent to make it look "perfect", so you can see signs of the restoration from close up. The blank borders of the poster were creased and had tears and smudges, and there was new paper laid over all of the blank borders, and the top blank area. This is a common practice with restorers where a card has tattered blank borders, and most collectors do not consider it a major defect, since only blank paper was affected. Overall, the card displays well, and I would think most collectors would be quite happy to display this great window card on their wall!

What is "Paperbacking"? It is a process similar to linenbacking that is used to preserve some sizes of movie posters (the best restorers de-acidify the poster during the restoration process), the foldlines almost completely vanish, and the posters are far easier to display (it is much easier and less expensive to frame a paperbacked poster). When paperbacking is done correctly, it often adds to the value of the poster, and is NOT a defect! The difference between paperbacking and linenbacking is that when a poster is paperbacked it is solely mounted onto Japanese rice paper (or a thin stiff backing). Why paperback a poster instead of linenbacking it? Some collectors prefer paperbacking because the poster looks and feels more like an unbacked poster, but there is no right or wrong to this, as it is just a matter of personal choice! Generally, collectors usually paperback posters that were originally on a heavier stock of paper, and linenbacked posters that were on a thinner paper stock.

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