1961's "The Brainiac" (El Baron del Terror), finds Mexico's "El Vampiro" producer Abel Salazar taking the lead with smaller roles for previous costars German Robles and Ariadne Welter, screenwriter Federico Curiel doubling as a comic sidekick on screen for director Chano Urueta. Salazar's Baron Vitelius D'Estera is the titular 'Baron of Terror,' executed for sorcery and necromancy by the high tribunal in 1661 Mexico, hitching a ride on a comet set to return in 300 years, a rather awkward landing which sees his modern appearance a sight to behold: a head doubled in size, sporting a pointed beak with a forked tongue used for extracting the brains of his victims for sustenance! Being that all his intended targets are members of high society, he assumes the role of genial host by inviting one and all to a social gathering before avenging himself upon them one by one. Were it not for the bizarre nature of its central monster the film would likely have been long forgotten due to its routine handling of dreary dialogue scenes where characters typically repeat themselves for the edification of those who arrived late for the screening. The nature of the Baron's crimes are necessarily glossed over (similar to Vincent Price's Joseph Curwen in Roger Corman's "The Haunted Palace"), his modern incarnation living it up while excusing himself to partake of a secret stash of hidden brains for medicinal purposes only. The repetitive nature of the predictable narrative forces director Chanu Urueta to vary the attack scenes, from the doomed motorist who discovers the comet to Ariadne Welter's sexy barmaid seemingly entranced by the enigmatic stranger until she's put off by his silent nature (a second 'loose woman' immediately proceeds to suck face before having her cranium sucked out). Salazar's periodic transformations are prefaced by illuminating lights, clearly relishing the mesmeric seduction of every comely female victim, one a wife, another a daughter, obviously no limitations for a creature who moonlights as a babe magnet! The perfunctory police investigation is often buttressed by hilarious lines from the Chief ("a maniac with a lot of knowledge is a threat") and his sidekick, complaining about the gruesome nature of the killings during dessert ("I was really enjoying this sweet roll!"). Imagine the creature landing in Washington D. C. in an attempt to survive, only to starve to death for lack of brains!
Reviews
3,235 Reviews
Crypt of the Vampire
(1964)
Le Fanu adaptation starring Euro favorite Christopher Lee
4 May 2024
1963's "Terror in the Crypt" (La Cripta e L'Incubo), better known today as "Crypt of the Vampire," proved another Italian-Spanish Euro horror for fan favorite Christopher Lee, that rare foreign import where he was thankfully allowed to dub his own voice. Location shooting at Avezzano's Castello di Balsorano assures authentic atmosphere, but the lackluster direction from comedy specialist Camillo Mastrocinque permits the picture to proceed at a snail's pace with very little actually happening. Ernesto Gastaldi, Italy's most prolific purveyor of Gothic terror, here adapts J. Sheridan Le Fanu's 1872 short story "Carmilla," Lee an imposing figure as Count Ludwig Karnstein, fearing that daughter Laura (Adriana Ambesi) may be the reincarnation of a feared ancestor from 200 years earlier, Sira placing a curse upon her executioners that has resulted in the nearby town of Karnstein falling into complete ruin, the ringing of the tower bell a persistently ominous sign (is it just the wind?). The Count calls upon a noted historian to establish Sira's countenance and hopefully prove that Laura is no lookalike destined for the same terrifying fate despite her being plagued by nightmares depicting the deaths of numerous family members. Into this gloomy tableau arrives Ljuba (Pier Ana Quaglia), a temporary guest who swiftly captivates Laura's attention to an increasingly disturbing degree, noted by the all knowing blonde maid Annette (Vera Valmont), with whom the Count is having a passionate affair. Those who have seen Hammer's 1970 "The Vampire Lovers" will easily determine where this is going, but the script's attempts at misdirection do succeed until the revealing climax, no on screen credit for Le Fanu's source material. Lee must have appreciated a more sympathetic role for a change, yet his social status dominates his sexual relationship with the frustrated Annette, dismissing marriage by declaring himself old enough to be her father, to which she implies that he should then adopt her! This grounds his performance in believable fashion, and though he often fades into the background to focus on the intense relationship between Laura and newcomer Ljuba, he takes center stage for the finale, actual vampirism afoot in the cobwebbed catacombs. Potent shock effects include the fate of a prophesying hunchback who knows all, and a mysterious splotch of blood in Laura's bed after a particularly harrowing nightmare. This doesn't hold a black and white candle to Hammer's opulent version starring Peter Cushing, but manages to be an improvement over Roger Vadim's listless "Blood and Roses" from 1960. The current restoration on Blu-Ray only differs from the original AIP-TV cut (never distributed theatrically in the US) by showing the credits at the beginning rather than the end, director Camillo Mastrocinque still billed under the pseudonym 'Thomas Miller' (his only other genre film the 1966 "An Angel for Satan," a vehicle for Barbara Steele).
First shown on Pittsburgh's Chiller Theater in 1967
1 May 2024
1964's "The Castle of the Living Dead" (Il Castello dei Morti Vivi) was an Italian-French coproduction kicked off by a pair of expatriate Americans, director/screenwriter Warren Kiefer and producer Paul M. Maslansky, location work done in Lazio at the Castello Orsini-Odescalchi, a 15th century abode on Lake Bracciano. A Gothic story set during the violent aftermath of the Napoleonic Wars (1803-1815), a troupe of theatrical performers hired to repeat their hangman's act for the edification of Lee's mysterious Count Drago, where they are doomed to become subjects in his experiments on embalming, aided by manservant Sandro (Mirko Valentin). By the time we reach the castle the group has already discovered evidence of the Count's obsession, traveling to the total absence of wildlife save for what they assume is a stuffed raven, the result of their host's secret elixir that preserves the body at the exact moment of death to serve as another creation in his elaborate 'Eternal Theatre.' Lee's eyes are accentuated by dark makeup to give them that hollow look, coupled with a goatee and, happily, the sound of his own dubbed voice (amusingly, the kind of host who makes apologies to his guests because he was busy in his laboratory!). There are of course no flesh eating ghouls to be found, but there is the welcome sight of 29 year old Canadian Donald Sutherland among the international cast, first seen as a police sergeant wondering how a hanging trick is successfully carried off every night without the participant winding up dead. More intriguing is seeing him made up as a wizened old crone prone to rhyming prophecy, soon revealed to be the unlucky recipient of a botched early experiment. Sutherland's investigator is not the sharpest blade in the drawer, eager to assist the Count until the witch climatically confirms Drago's guilt (only then does the sergeant change his tune: "my suspicions about the Count were confirmed!"). The best part of this sequence is seeing Sutherland's sergeant reach out to help up Sutherland's witch, a successful bit of dual casting that helps make this film stand out among Lee's often variable Euro horrors of the period (both would soon be reunited for the debut Amicus feature DR. TERROR'S HOUSE OF HORRORS, before Hammer beckoned Sutherland for DIE! DIE! MY DARLING!). Herbert Wise (the pseudonym for Luciano Ricci) may have been credited but the actual director was Warren Kiefer, whose career only encompassed three more (very obscure) assignments prior to his 1995 death: NEXT OF KIN, JULIETTE DE SADE, and SCACCO ALLA MAFIA (he made such an impression on Donald Sutherland that he named his newborn son Kiefer after him). Also working as assistant director was 19 year old Michael Reeves, handling second unit chores and additional material, likely the finale that saw the dynamic dwarf emerge the hero, to the chagrin of Lee's Count Drago (he may also have contributed to the script's brutality, one demise by scythe, another through the eye). The Gardens of Bomarzo, also known as the Park of the Monsters, provided the perfect backdrop for Reeves' contributions, symbolized by suitably grotesque images carved out during the 16th century, the one called Orcus identified by its ominous facial expression and wide open mouth (this was a time when restoration had begun after decades of neglect).
Horror Castle
(1963)
Modern Italian Gothic sadly a waste of Christopher Lee
27 April 2024
1963 was a busy year in Italian horror for Christopher Lee, kicking off in high style with Mario Bava's "The Whip and the Body," followed in rapid succession by the little seen "Katarsis," Antonio Margheriti's "Horror Castle," and finally the Le Fanu adaptation "Terror in the Crypt." Margheriti had made a name for himself on science fiction titles like "Assignment: Outer Space" and "Battle of the Worlds," but with "Horror Castle" entered the field of Gothic terror with a modern day storyline in splendid color that still reeks of 19th century atmosphere with the American bride of a German nobleman making inquiries on the elaborate torture chamber kept in pristine condition under the care of chauffeur Erich (Lee), a symbolic relic of a notorious 17th century ancestor known as 'The Punisher.' The picture opens with her discovery of a young woman's corpse inside the iron maiden, or "The Virgin of Nuremberg," the title bestowed upon most European prints, though her husband is eager to convince her she was only dreaming. Rosanna Podesta's wife is a stubborn young woman who refuses to abide by any rules and persists in exploring every avenue inside the foreboding castle, which later pays off when she rescues another innocent maiden whose face was gnawed by a hungry rat in the most grueling sequence. Lee's character is mostly a shadowy red herring figure granted less than 10 minutes screen time, but does feature prominently in the climactic conflagration (reuniting with Mirko Valentin in 1964's "The Castle of the Living Dead" to close out this period of Euro horror). As the suspicious behaving husband, Georges Riviere would soon follow with a second Margheriti Gothic, "Castle of Terror," a more traditional black and white entry opposite Barbara Steele.
Scream of the Wolf
(1974 TV Movie)
Weakest collaboration between Dan Curtis and Richard Matheson
20 April 2024
The 1972 ABC-TV movie "Moon of the Wolf" delivers a genuine werewolf, while its 1974 counterpart, "Scream of the Wolf" (telecast Jan. 16, 1974), fails in nearly every way despite its pedigree as another collaboration between director Dan Curtis and screenwriter Richard Matheson (previously responsible for "The Night Stalker," "The Night Strangler," and the Jack Palance "Dracula"). A series of gruesome murders appear to be the work of a wild beast that can obliterate its own tracks and leave no trace, the sheriff (Philip Carey) securing assistance from author and hunting expert John Wetherby (Peter Graves). Weatherby's more experienced associate Byron (Clint Walker) has a lifelong obsession with the thrill of the chase, believing that every animal is most alive at the moment of death, yet is curiously reluctant to join forces in confronting this new fiend. Curtis tries to build atmosphere by using point of view shots of the unseen creature as it chases down its terrified victims, but the final revelation simply makes little sense though the culprit is easy to spot. In a small role as Byron's servant is burly Don Megowan, remembered as the sheriff in Columbia's 1956 "The Werewolf," more effective in delivering chills than this soggy noodle. Peter Graves simply cannot deliver any emotional investment, unlike costar Clint Walker, who relishes every opportunity to taunt his old friend with the knowledge that the prey will always do the unexpected. Youngsters at the time must have been disappointed by the outcome, but the director's next ABC offering, "Trilogy of Terror," would prove to be unforgettable with its iconic Zuni doll.
Moon of the Wolf
(1972 TV Movie)
Less a werewolf film than a bland murder mystery
20 April 2024
"Moon of the Wolf" was an ABC-TV movie broadcast Sept 26, 1972, less an actual werewolf film than a common murder mystery with ubiquitous David Janssen heading up the investigation as Sheriff Aaron Whitaker. Actual Louisiana locations like Burnside and Clinton lend authenticity to the bayou atmosphere, as the mangled corpse of a pregnant girl is found in the swamp, her irate brother (Geoffrey Lewis) targeting the local coroner (John Beradino) as the culprit. Suspicion also falls upon the wealthy Rodanthe siblings, sister Louise (Barbara Rush) a former school crush of the sheriff, brother Andrew (Bradford Dillman) suffering occasional bouts of malaria. The promised thrills never truly materialize, apart from a nicely done stalking in a jail cell, the poor lawman always absent when things happen, even at the climax when he's off on a false trail while the monster makes his last stand. Despite the brief running time, the final reveal just isn't worth the wait, likely a quickie makeup job for William Tuttle, more paste than yak hair; one suspects that youngsters at the time might have proven susceptible to narcolepsy long before the end.
Running Wild
(I) (1927)
Wonderful surviving example of W.C. Fields at his silent best
29 March 2024
For W. C. Fields, only three silent features are available for home viewing (So's Your Old Man" exists but has remained stubbornly elusive), and 1927's "Running Wild" must be considered the best on an unfortunately short list. 1925's "Sally of the Sawdust" must be considered a curio, as director D. W. Griffith shifted the focus away from Fields toward current muse Carol Dempster, making the 1936 remake "Poppy" a far more faithful rendition. "It's the Old Army Game" is the one other silent that compares favorably with "Running Wild," but at 105 minutes runs on a tad long (Louise Brooks, still a luminous teenager, takes too much footage away from Fields). "Running Wild" co-stars Mary Brian as Fields' loving daughter, a role she would repeat in the 1935 classic "Man on the Flying Trapeze," sometimes identified as a remake but proving decidedly different. This probably represents Fields at his most downtrodden, henpecked by a shrewish wife still pining for her first husband, browbeaten by a loafing invalid stepson crying for his mother whenever he wants to get his father's goat (even the family dog doesn't like him). Employed by the same toy company for 20 years (too meek to ask for a raise), he ends up with the courage to fight back after being unwittingly hypnotized by a stage magician, convinced he is now 'a lion!' Even before the benefit of sound, this film proves that W. C. Fields was in total control of his own work, with most of the comic business unique to this one production.
Peter Cushing: Perspectives
(2021)
"We are pleased to serve and serve to please"
9 March 2024
This half hour PERSPECTIVES proves to be a breezy series of chats about the studious, exceedingly well prepared Peter Cushing, from a handful of costars and varied filmmakers who thoroughly enjoyed the opportunity to watch a master craftsman plying his trade for the benefit of his audience: "we are pleased to serve and serve to please." Derek Fowlds discusses his six weeks of filming "Frankenstein Created Woman," Madeline Smith shares her story on "Frankenstein and the Monster from Hell," Judy Matheson tells of the actor's transformation before the camera from avuncular friend to terrifying fiend on "Twins of Evil." Occasionally there are snatches of dialogue from the man himself, recorded in May 1986 to publicize his final feature "Biggles," the highlight being how he came to star in 1957's "The Curse of Frankenstein," knowing of Hammer's interest in him as a hugely popular television actor who just might bring audiences back into the cinema, and ringing his agent to offer his services on their new version of Mary Shelley's 19th century classic. From his meticulous way of handling props without missing a beat, to his gentle, supportive nature toward his fellow performers, the legend of Peter Cushing continues to delight and fascinate viewers of all ages today, we are all the sadder to never see his like on the screen again.
The Indian Fighter
(1955)
Kirk Douglas and Lon Chaney
4 March 2024
1955's "The Indian Fighter" was a star vehicle for Kirk Douglas made by his own Bryna production company, its first feature film since forming in 1949, with Andre de Toth as director and Italian newcomer Elsa Martinelli literally making a splash as female lead. Shooting took place on location in Bend, Oregon, a lavish Western in which Kirk's Johnny Hawks is the titular character, a free spirit and former Confederate roaming the wilderness following the Civil War, acting as guide for a wagon train destined for (where else?) Oregon, where Sioux Chief Red Cloud (Eduard Franz) has declared death as punishment for any member of his tribe who reveals the location of hidden gold. Hawks has greater reason to keep peace with his red brothers now that the chief's daughter Onahti (Elsa Martinelli) has grown into beautiful womanhood, catching his eye during a nude swim on his way back to the fort of Captain Trask (Walter Abel). Walter Matthau (in only his second screen role) and Lon Chaney instigate all the trouble as gold seekers using 'fire water' to entice weak willed Indians, leading to a thrilling attack on the fort where a massacre is certain without the timely intervention of Hawks, accused of deserting his post just to see Onahti. An early effort to depict sympathetic Indians with a code of ethics to match their white counterparts, one can see how easily both sides can be deceived in the pursuit of justice, a magnificent film all around with its CinemaScope photography and realistic characterizations. Lon Chaney hasn't much chance to outshine legendary scene stealer Matthau, but among his few moments in particular (a bit of Lennie-like contemplation) is his inept attempt to trail Johnny Hawks, who won't be denied the opportunity to slip away and see his new lady friend. While Matthau's Wes Todd is a slippery snake capable of talking his way out of trouble, Chaney's Chivington is like a bull in a china shop, unable to escape the penalty of his numerous lies, such as claiming that his captured partner was scalped and killed (Walter Abel's fort captain makes the fatal error of allowing the pair to leave with the wagon train, resulting in yet greater harm). Douglas would continue to prosper with Bryna over the years, later earning the rights to "One Flew Over the Cuckoo's Nest" as a vehicle for himself, ultimately winning a Best Picture Oscar for his son Michael as acting producer in 1975, Jack Nicholson replacing Kirk in the lead.
A cinematic valentine to Uncle Forry
14 February 2024
2007's "Famous Monster: Forrest J Ackerman" was a brief 48 minute celebration of 'Uncle Forry,' longtime editor of Famous Monsters of Filmland (lasting from 1958-1982), who became an avid horror fan from a very young age, thanks to his maternal grandparents taking him to see as many as 7 films a day. It was Lon Chaney's "The Phantom of the Opera" that truly started him on the road to the Ackermansion, where his vast collection of movie memorabilia was stored to allow easy access to fellow buffs eager to see them. From the early days befriending Ray Harryhausen and Ray Bradbury to the 1950s, when Forry coined the term 'Sci Fi,' to the 60s, when Christopher Lee's reprise of Dracula included Bela Lugosi's signature Dracula ring bestowed upon him by Ackerman. Those were the days when 'Horrorwood, Karloffornia' was the place to be, when the SHOCK! Television package proved so popular that publisher Jim Warren cashed in on the growing 'Monster Kid' craze by hiring the biggest kid of all to be his editor-in-chief. Future directors weaned on the magazine included John Landis, Fred Olen Ray, and Joe Dante, whose initial letter detailing the worst horror films he had seen wound up being published as an article (collectors would read each issue from back to front in search of every item they could afford). Among numerous Forry anecdotes is meeting a 4 year old girl who knew about Dracula and Frankenstein but not Abraham Lincoln. When he showed her his picture on the front of a penny, she recognized him straight away: "Vincent Price!" The best thing about this cinematic valentine to an unapologetic acolyte of screen terror is that it was released just before Ackerman's inevitable passing in 2008 at the ripe old age of 92.
Mediocre Bava but hardly his worst
11 February 2024
1970's "5 Dolls for an August Moon" ("5 Bambole per la Luna d'Agosto") was regarded by director Mario Bava as his worst film, for a number of valid reasons, chiefly a lackluster script with interchangeable characters that are doomed right from the start of this knockoff of Agatha Christie's "Ten Little Indians." Another is that he accepted the offer to begin shooting two days after signing on, with little time to work out its many inherent weaknesses, leaving the audience to decide on the merits of the events (or lack thereof) displayed on screen. We have three couples gathered together at the island retreat of industrialist George Stark (Teodoro Corra) and his wife Jill (Edith Meloni), not so much for a weekend getaway as to make a play for a new resin formula created by Professor Gerry Farrell (William Berger), accompanied by wife Trudy (Ira von Furstenberg). Nick Chaney (Maurice Poli) would like nothing better than for his young bride Marie (Edwige Fenech) to use her feminine wiles to achieve his goals, while Jack Davidson (Howard Ross) also covets the formula, each of the three men signing a check for a cool $1 million as incentive for an unwilling and secretive Professor. Also on the island is the young gamekeeper's daughter Isabel (Justine Gall), living away from the main house and often seen spying upon the filthy rich. Unlike previous Bava entries such as "Blood and Black Lace," there are no stalking sequences to build suspense, nearly all the victims found quite dead and no means of escape as they await the arrival of another launch, storing the corpses in a giant walk-in freezer. Perhaps the experience of making a silk purse out of this sow's ear inspired the director to do his own take on the same material, since 1971's "Twitch of the Death Nerve" served up multiple murderers and corpses in a ballet of blood that proved to be one of his very best.
Pretty Maids All in a Row
(1971)
Could only be made in the 70s...
27 January 2024
1971's "Pretty Maids All in a Row" is indeed a curious item from MGM, Gene Roddenberry's only feature film production apart from his six STAR TREK franchise entries, adapted by Roddenberry at the behest of former Desilu executive Herb Solow from Francis Pollini's forgotten 1968 novel about high school teachers seducing willing students with a serial killer on the loose. With his legendary glorification of the opposite sex, and William Ware Theiss back on board as costume designer, the producer also secured the sadly brief services of James Doohan and William Campbell as sidekicks to investigator Sam Surcher, played by Telly Savalas two years before his star making turn as television's KOJAK. Future POLICE WOMAN Angie Dickinson undoubtedly turned masculine heads as substitute teacher Miss Smith, the object of desire for frustrated student Ponce (John David Carson), understandably obsessed as he is by such close proximity to braless, nubile pubescence before, during, and after class (male viewers can only wonder at the camera's eagle eyed ogling of every comely female form in sight). Surcher's prime suspect is football coach and guidance counselor Tiger McDrew, with his accomplished background in psychology and a Purple Heart from the Korean War, a definite change of pace for top billed Rock Hudson, only 12 years removed from Doris Day and "Pillow Talk," and likely a surrogate for producer Roddenberry himself in his frequent seductions and pontifications, all with a beautiful wife and young daughter at home (he too would soon find a home on the small screen in McMILLAN AND WIFE). Roddy McDowall's frazzled principal Proffer is only concerned about the bad publicity, quick to overlook Tiger's randy ruminations so long as his team performs on the football field, and private 'testing' sessions behind locked doors with naked students a daily occurrence. Nothing seems quite right about this high school, remaining open for football and class despite the growing number of undressed corpses, and Keenan Wynn's comic relief sheriff eventually paying for his prying eyes with his life too. Everything looks perfect for low budget Roger Corman sexploitation, requiring perhaps a minor change from high school to college, yet somehow as a major studio release it failed miserably at the box office. In the director's chair was Frenchman Roger Vadim, making his Hollywood debut, clearly exulting in young, healthy pulchritude in the wake of his divorce from Jane Fonda, though no apparent Brigitte Bardots are among the selected 'Pretty Maids.' Angie Dickinson, at a stunning 38, makes her ample presence felt to a charming degree as she helps to cure Ponce of his shyness, the kind of hands on approach that adolescent males always yearned for but never got. The soundtrack features a theme song that appears in two different versions, Lalo Schifrin's "Chilly Winds" (lyrics by Mike Curb) rendered by The Osmonds as a soft ballad during the opening credits (issued as the B-side of "Double Lovin'" from their album HOMEMADE), a more rocking take with 13 year old Donny more prominent for the closing credits. What an eclectic collection of talent, and a genuine oddity that Quentin Tarantino continues to hold in high regard.
Dillinger
(1973)
Warren Oates a perfect match for John Dillinger
21 January 2024
1973's "Dillinger" wasn't the first biopic of the 30s most infamous bank robber (that would be Lawrence Tierney's 1945 Monogram feature sporting the same title), but as the directorial debut of acclaimed screenwriter John Milius, it carried forth the blood red stain of death exemplified by the 1967 "Bonnie and Clyde," without turning its gangsters into romanticized folk heroes. Apart from his tight staging of action packed shootouts, the best thing about this version is its exemplary cast, with Warren Oates such a dead ringer for the charismatic title character that he was seemingly born to play John Dillinger (Milius was always drawn to such strong performers anyway). Opposing him is Oscar winner Ben Johnson (for 1971's "The Last Picture Show") as FBI Agent Melvin Purvis, determined to smoke one prized Cuban cigar over the corpse of every criminal on his Most Wanted list. What a Rogue's Gallery of capable confederates: Harry Dean Stanton, Geoffrey Lewis, Richard Dreyfuss (as Baby Face Nelson), John Ryan, Steve Kanaly (as Pretty Boy Floyd), and Frank McRae, with Michelle Phillips playing Dillinger's love interest, and another Oscar winner (for the same 1971 film!), Cloris Leachman popping up at the very end as 'The Lady in Red.' Although it's about as factual as the 1939 "Jesse James," the pacing never flags and the filmmakers truly bring the Depression-era to vivid life, an unbeatable entertainment for those with strong stomachs.
Hollywood's long lasting independent maverick
20 January 2024
2021's "Roger Corman: The Pope of Pop Cinema" was a French documentary that examines the vast and still ongoing output of maverick producer/director Roger Corman, which began as a story editor and screenwriter at 20th Century-Fox before venturing out on his own as an independent (still going deep into his 90s). 1953's "Monster from the Ocean Floor" was touted as his first genuine production, and since he wasn't impressed with his director, decided to save money by tackling the job himself on a color Western, "Five Guns West." Talent before the camera like Dick Miller or Jonathan Haze are bypassed for those behind the camera, such acclaimed filmmakers as Peter Bogdanovich, Joe Dante, Allan Arkush, and Ron Howard, who was savvy enough to accept the sequel to "Eat My Dust!" at the same acting rate if he could double as director for free (this film would be "Grand Theft Auto"). At 54 minutes there just isn't time to cover much more than the basics that most informed buffs already know, and from the 70s his New World Pictures achieved new heights of glory with delightful entries like "Caged Heat," "Death Race 2000," and "Piranha." Ron Howard sums it up best by quoting his mentor: "Ron, you are doing a good job on this picture, and if you continue to do a good job you'll never have to work for me again!"
Quatermass 2
(1957)
First Hammer sequel never lets up
14 January 2024
1956's "Quatermass 2" was Hammer's sequel to "The Quatermass Xperiment," both adapted from popular BBC series scripted by Nigel Kneale, whose exclusive contract forbade him from writing the first feature but not its follow up. Unhappy with Hollywood import Brian Donlevy as a steely, determined Quatermass, plus the streamlining performed by director Val Guest, Kneale himself did the honors this time around, as instead of a single human astronaut slowly transformed into something completely alien, there is now a full blown conspiracy involving the British government being taken over by cosmic invaders inside tiny cylinders covering the ground near the desolate village of Winnerden Flats. After encountering a distressed couple on the road, Quatermass decides to inspect the area with assistant Marsh (Bryan Forbes), where an unbroken cylinder infects the latter, forcibly left behind once the scientist sees for himself the actual recreation of his lifelong dream of a moon based community under gigantic domes. A reunion with Inspector Lomax (John Longden) finds the project identified as a means to produce synthetic food, but it's already clear that the armed soldiers are truly out for blood, one unlucky government official meeting his doom in horrific fashion, while a courageous reporter is gunned down for his trouble. The terror is more wide open this time, and the eerie feeling that it's already too late keeps the intensity as high as its original counterpart. Much of the Hammer stock company came together for "X the Unknown" (made in between the Quatermass features), and it's a pleasure to see such familiar faces as Michael Ripper, William Franklyn, John Van Eyssen, and Percy Herbert on hand to lend it that studio touch, despite shooting on location at an Essex refinery (James Bernard again delivering a nerve jangling score that admirably punctuates the horror). Taking notice of the audience's preference for horror over black and white science fiction, Hammer made their next title a color feast of bloody mayhem with a homegrown television star ready for the big screen, Peter Cushing taking the lead in "The Curse of Frankenstein."
The best of Boris Karloff in a comprehensive documentary
11 January 2024
2021's "Boris Karloff: The Man Behind the Monster" is among the first truly comprehensive documentaries about the actor known for his indelible portrayal of The Monster in James Whale's 1931 "Frankenstein," yet one wonders why it took so long for such a film to be made, just over 50 years after his 1969 passing at age 81 (better this than a biopic!). Kicking things off with The Monster was clearly the right way to start, continuing with "The Old Dark House" and "The Mummy" before delving into his early life, the youngest son in a diplomatic family, whose dark complexion made him stand out in school as well as silent bit parts. A chance encounter with Lon Chaney was most encouraging, but it wasn't until his 1930 performance as convict Galloway in Howard Hawks' "The Criminal Code" that studios and audiences began to really take notice of him. Karloff always believed that any actor worth his salt could have played The Monster and reaped its rewards, proving himself again and again in worthy vehicles like "The Black Cat," "The Invisible Ray," and one for Columbia, "The Black Room" offering him dual roles as twins, one good, the other evil, plus a magical third performance as the bad one impersonating his murdered brother. The 40s were a bonanza for Broadway success in "Arsenic and Old Lace," then a three picture collaboration with RKO producer Val Lewton in "The Body Snatcher," "Isle of the Dead," and "Bedlam." His final decade brought television acclaim as host and occasional star on NBC's THRILLER, the Wurdulak in Mario Bava's "Black Sabbath" (the family that slays together, stays together!), his memorable narration of Dr. Seuss' "The Grich That Stole Christmas," and a final bow as an aging monster actor in Peter Bogdanovich's "Targets." A trip down memory lane for enthusiasts, or a wonderful introduction for the uninitiated, you can't go wrong either way.
Examining the most indelible Peter Lorre performances
14 December 2023
Unlike A&E's 1996 biography of Peter Lorre, this equally short 2016 documentary focuses more on the actor's most indelible screen portrayals, kicking off with 1931's "M," Fritz Lang's psychological thriller about a compulsive child murderer who must explain himself to the Berlin underworld or be subjected to vigilante justice. There would be two roles for Alfred Hitchcock ("The Man Who Knew Too Much" and "Secret Agent"), before Hollywood stardom as globetrotting Japanese detective Mr. Moto, moving on to his most prolific period during World War 2, a frequent costar with Humphrey Bogart in such classics as "The Maltese Falcon," "Casablanca," and "Passage to Marseilles." His comeback, spurred on by Bogart's "Beat the Devil," would feature smaller yet unforgettable performances in "20,000 Leagues Under the Sea" and "Around the World in Eighty Days," climaxed by Vincent Price vehicles "Tales of Terror" and "The Raven," grateful to be doing comedy again. No mention is made of his three marriages, and only a brief discussion of his morphine addiction following a botched appendectomy. Clearly an actor who deserves more in depth coverage than a 44 minute dissertation.
The first in depth coverage of actor Peter Lorre
14 December 2023
This Halloween 1996 edition of A&E's Biography pays tribute to Peter Lorre, the first in depth video biography of the actor since his 1964 death at age 59 from a fatal heart attack, abetted by Stephen D. Youngkin, coauthor of the 1982 publication "The Films of Peter Lorre." Aspiring to the stage from a young age, his disapproving martinet father soon relented once he saw how dedicated his eldest offspring was, relocating to 1920s Berlin for a bohemian lifestyle that earned plaudits from his debut. Playwright Bertolt Brecht made him a household name in Germany, while director Fritz Lang's 1931 feature "M" achieved international success that soon saw Lorre making the rounds in Hollywood, first under contract at Columbia ("Crime and Punishment") then 20th Century-Fox, where the Mr. Moto series established his versatility as a mysterious globetrotting figure who could take out enemies with his prowess at judo. His happiest years were spent at Warners opposite good friends Humphrey Bogart and Sidney Greenstreet, all gathered together under first time director John Huston for 1941's "The Maltese Falcon," but by decade's end personal and financial setbacks forced him to accept just about anything, his once lauded skills now reduced to self parody as simply 'making faces.' Lorre felt that the best actors had to be adept psychologists to achieve the utmost in characterization, and remained on good terms with his first two wives, Celia Lovsky best remembered as Vulcan matriarch T'Pau in STAR TREK's "Amok Time" (she died in 1979).
Terror in the Wax Museum
(1973)
John Carradine and Ray Milland
14 December 2023
1973's "Terror in the Wax Museum" was among the handful of horror films made through Bing Crosby Productions, best remembered for "Willard" and "Ben" (the crooner himself having left the fold years earlier), the first of two from the brothers Fenady, producer Andrew and director Georg also responsible for the darkly comic "Arnold." Both features betray their TV background with studio bound exteriors depicting turn of the century London, aided greatly by the casting of screen veterans in major roles, with John Carradine introducing this one as waxworks owner Claude Dupree, entertaining offers to sell out to New York businessman Amos Burns (Broderick Crawford), but remaining loyal to longtime collaborators Harry Flexner (Ray Milland) and disfigured deaf mute Karkov (Steven Marlo). Running the pub next door is building owner Tim Fowley (Louis Hayward), its chanteuse entertainer (Shani Wallis) belting out the same excruciating number night after night. The wax figures on display are some of history's most notorious murderers, including one for the never caught Jack the Ripper, who mysteriously comes to life to snuff out Dupree for his 'betrayal' of inanimate friends. Scotland Yard's perfunctory investigation proves a slow moving slog through intriguing possibilities, such as the real Ripper seeking revenge for his unflattering effigy, and as cast members die off the hidden culprit looks more and more like a sure bet. Carradine and Milland come off best, an improvement on Cameron Mitchell's "Nightmare in Wax" but hardly a patch on Vincent Price's "House of Wax" (lacking the humorous tone of the next Fenady film, "Arnold").
Inside Straight
(1951)
David Brian and Lon Chaney
1 December 2023
1951's "Inside Straight" is hardly a Western though set in 1870s San Francisco, where a run on the local bank has shareholders in a near violent panic. The bank owner is widow Ada Stritch (Mercedes McCambridge), forced to call upon longtime millionaire nemesis Rip McCool (David Brian) for the needed funds, coyly dealing his cards to determine the victor. Gathered around McCool are all his main associates, though only Shocker (Lon Chaney) has remained a trusted friend since their first meeting when Rip was a penniless teen earning enough wages as a miner to bury his beloved parents, dead from cholera during their westward journey. After relocating to Frisco, he proceeded to bilk Ada out of her hotel with worthless mine stocks, earning and losing a fortune in stealing them back. One loveless marriage to chanteuse Lily Douvane (Arlene Dahl) produced a son, McCool's second marriage to governess Zoe (Paula Raymond) ending with both mother and child dying in childbirth. The only truly likable character on display is Lon Chaney as the Serbian Shocker, given name Schockovitz Ninkovitch, using the same accent for his 1956 portrayal of "The Golden Junkman" on TV's TELEPHONE TIME. Gerald Mayer, nephew of MGM studio chief Louis B. Mayer, had only 8 other feature credits as director (soon relegated to television), this film a regrettable box office flop that failed to ignite stardom for stone faced David Brian, quickly descending to supporting ranks as in 1952's "Springfield Rifle," again opposite Lon Chaney. Such suave masters as Cesar Romero or George Sanders might have made something of this cad, but Brian is just a bore; his television work included a memorable cameo as John Gill in the 1968 STAR TREK episode "Patterns of Force." Look fast for future TV stars Hayden Rorke (I DREAM OF JEANNIE) and Barbara Billingsley (LEAVE IT TO BEAVER).
Behave Yourself!
(1951)
Farley Granger and Lon Chaney
1 December 2023
1951's "Behave Yourself!" is that rare comedy lacking in anything remotely humorous, spoofing the gangster genre with its huge array of guest stars essentially reduced to cameo roles, most of whom join the heavenly choir by picture's end. The cause of all the mayhem is an overly friendly Welsh terrier named Archie, liaison for a contraband smuggling ring, who latches on to small time accountant William Calhoun Denny (Farley Granger), using the pooch as a last minute substitution for a wedding anniversary gift that delights wife Kate (Shelley Winters), if not her typically suspicious mother (Margalo Gillmore). The crooks wait for their loot to change hands as every address listing a lost dog winds up with another batch of corpses to baffle the cops, until the last few that remain all gather at the Denny residence for a final shootout. The blame for this misfire lies squarely with author George Beck, supposedly written as a Damon Runyon knockoff in four days as his only feature film as director, less so for mismatched stars Granger (substituting for Cary Grant) and Winters, whose off screen friendship doesn't translate into on screen sparks. Easily lost among the numerous supporting villains is Lon Chaney as Pinky, the somewhat dimwitted racketeer responsible for most of the bodies lying about, and an easy target for Denny's false escape route (he would also be wasted in another alleged comedy, "Pardners," starring Dean Martin and Jerry Lewis).
Boris Karloff and Lon Chaney, one last time
1 December 2023
"Lizard's Leg and Owlet's Wing" served as the third season's Halloween broadcast on October 26, 1962, ushering in a screen revival for both Boris Karloff and Lon Chaney while providing one of Peter Lorre's last TV appearances (all three play themselves). We first see the 56 year old Chaney in his father's guise of the Hunchback, later wrapped up as The Mummy before going out in style as his own Wolf Man, just as Karloff dons his signature makeup one final time as Frankenstein's Monster (at age 74!). Martin Milner as Tod and George Maharis as Buz now find themselves working at the O'Hare Inn outside Chicago, where Buz is in his element ogling the pretty girls (among them Jeannine Riley and Betsy Jones-Moreland), while Tod is assigned as liaison for the trio of Hollywood stars and their attempt to prove that they still have the ability to scare the new generation. Lon is adamant that what worked before remains effective, Boris a bit more skeptical, Lorre (garbed only in a cape) delivering a priceless retort when being compared to 'Peter Lorre': "that's pretty insulting, isn't it?" The frightened reactions of the girls prove an absolute delight for our classic monsters, Chaney in particular rejoicing up and down the hotel hallways before bidding farewell with one last snarl. Brief turns from Conrad Nagel and Martita Hunt can't steal the thunder from the terror-ble trio, the whole thing rather slight yet pure nostalgia for long time chiller fans. Karloff would soon return to films in "The Raven," Chaney doing the same in "The Haunted Palace," both for AIP opposite current horror star Vincent Price (this was the second of Lon's three ROUTE 66 episodes, preceded by "The Mud Nest" and followed by "Come Out, Come Out, Wherever You Are!").
Flame of Araby
(1951)
Jeff Chandler and Lon Chaney
28 November 2023
1951's "Flame of Araby" was a fairly ordinary though well made adventure, aided greatly by the pairing of rugged Jeff Chandler and ravishing Maureen O'Hara, shot in saturated color as first "Wildfire," then "Flame of the Desert." It's strictly by the numbers scripting by Gerald Drayson Adams, a stodgy Arabian Knights outline depicting the conflicts between a regal Tunisian princess and a Bedouin chieftain, transformed by the staging of director Charles Lamont into a straightforward Western in the pursuit of a wild black stallion known to be the swiftest horse of them all, Shahzada. Jeff Chandler was described by future costar Jane Russell as more a personality than an actor (specifically 'a charming man'), which works here as his relentless desire to tame that which cannot be tamed equals that of Princess Tanya (Maureen O'Hara), whose hand in marriage has been promised to one of the dreaded Corsair brothers, desperately in need of a champion who can outrace their finest steeds to defeat them both. Much of Maureen's thunder is stolen early on by the stunning Susan Cabot, whose erotic dance before Chandler's Tamerlane made quite an impression on her instructor: "with a figure like yours, the only person who'll look at your feet will be Arthur Murray!" Once interiors conclude at the midway mark, it's an all outdoor feast most appealing to equestriennes everywhere who can appreciate the characterization of the horse Shahzada, his sleek nobility and sheer power essayed by 8 year old saddlehorse Highland Dale, best remembered as the 1946 "Black Beauty," and as Broadway Bill in Frank Capra's "Riding High." Back at Univeral for only his second film since 1945's "House of Dracula," Lon Chaney was cast as Borka Barbarossa, never seen without brother Hakim (Buddy Baer), preying upon the spinelessness of Tanya's ruler cousin (Maxwell Reed) to secure a princess in their midst (two years later, he appeared opposite John Payne's pirate Barbarossa in "Raiders of the Seven Seas"). Appearing unbilled are Neville Brand as a horse trader (reunited with Chaney from Gregory Peck's "Only the Valiant"), Richard Hale as Tanya's dying father, and pretty Dorothy Ford, a tall starlet soon to play opposite Buddy Baer again in Abbott and Costello's "Jack and the Beanstalk."
Jesse James
(1939)
John Carradine and Lon Chaney, part 4
21 November 2023
1939's "Jesse James" is a hugely enjoyable Western that was shot on gorgeously saturated color landscapes in Missouri, but about all it has to do with the real Jesse was shared by his granddaughter: "well, there was a man named James and he did ride a horse!" Cast against type in an effort to counter his 'pretty boy' image was Tyrone Power, paired with Henry Fonda as brother Frank, so good that he received his own sequel a year later, "The Return of Frank James." Present in both films was the flamboyant John Carradine, in one of his best remembered roles, the 'dirty little coward' who shoots Jesse in the back to conclude this entry, then facing the wrath of his vengeful brother in the follow up, finishing with a climactic encounter in court. Carradine doesn't make his first appearance until after the 20 minute mark, wearing a mask as the James gang wage war on the Midland railroad by robbing their first train. Brian Donlevy's opening salvo against Jesse's mother (Jane Darwell) includes Lon Chaney inside and outside the James home, billed 31st out of 31 as 'One of James Gang,' speaking only four words but granted far more screen time than one might at first suspect (he lasts all the way until the Northfield raid, flying off his horse once he gets shot). If anything brings it down it's the thankless intrusion of Nancy Kelly, bringing the picture to a dead stop every time she pops up, but at least Henry Hull's bluster counters with a number of sharp retorts.
One Million B.C.
(1940)
Lon Chaney and Carole Landis
20 November 2023
1940's "One Million B. C." was producer Hal Roach's follow up to John Steinbeck's tragedy "Of Mice and Men," an even more challenging film from Hollywood for combining cavemen with dinosaurs despite the fact that they were long extinct before mankind walked the earth. Casting the leads required no real acting experience due to the deliberate absence of intelligible dialogue, though Lon Chaney was retained from the Steinbeck feature to play Akhoba, leader of the Rock people, ruling the clan by brute force and leading the hunt with his huge hounds. Victor Mature does make an impression as Tumak, son of Akhoba, forced to go his own way after losing a dispute with his father, coming upon Carole Landis as lovely Loana (Raquel Welch became an icon in this role for the 1966 remake), a member of the gentle Shell tribe, serving as tutor in the more measured ways of her people for the rough hewn Tumak. The human interest story eventually takes a back seat once the dinosaurs arrive, ordinary lizards and gators made to look more ferocious and pitted against each other on miniature sets (this footage would adorn many a cheap outing for decades to come, from 1950's "Two Lost Worlds" to 1961's "Valley of the Dinosaurs"). The shapely and busty Landis is a revelation in her skimpy one piece outfit, yet it's the veteran Chaney who earns acting honors as the once proud warrior who learns how to adjust to the kindness of a stranger. He even sought to match the exploits of his late father by creating his own makeup design, and photos prove he had the right stuff had not union rules prevailed. Even after the accolades that emerged from his grand portrayal of Lennie in "Of Mice and Men," this would sadly be his only movie role for all of 1940, until he was tabbed by Universal to star in "Man Made Monster," then a much smaller henchman part in MGM's "Billy the Kid."
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