Starring Paul Kelly, DeForest Kelley, Ann Doran, Kay Scott, Charles Victor
Directed by Maxwell Shane
(actor & director credits courtesy IMDB.com)
A mild-mannered bank teller dreams of committing a murder, and becomes shaken after awakening when he finds evidence from the crime in his room.
A low budget film noir of sorts, it's nonetheless a very good one, with an interesting role for a young Kelley, twenty years before being cast as the irascible Dr. McCoy on the classic Star Trek TV series. For those who haven't seen him as anything but McCoy, this is a very different role, and he's earnest and believable as a meek but shaken young man who thinks his life is over. I'm a person of the same temperament, so I really identified with his character. Paul Kelly is very good as his detective brother-in-law who's character is cut more from the hard-boiled characters of film noir, and he and Kelley have a compelling on-screen relationship that I found fairly unique. Maxwell Shane adapted Cornell Woolrich's story and also directed, and employs some interesting visual transitions that echo some higher-budgeted noirs but also make it distinctive on its own.
Thursday, August 31, 2017
Tuesday, August 29, 2017
The Creeping Terror (1964)
Starring Vic Savage, Shannon O'Neil, William Thourlby, John Caresio, Norman Boone
Directed by A.J. Nelson
(actor & director credits courtesy IMDB.com)
An alien spaceship sets down near a small Southern town and ravenous monsters aboard set out to swallow alive whatever human victims they come across.
This film's been ridiculed for years, and let's face it, even for a movie made by amateurs on a shoestring budget, it's pretty rough. Largely filmed without audible dialogue, probably due to the unavailability of sound equipment, a narrator explains to us what's going on, while the story focuses on Savage's small-town sheriff (aka director A.J. Nelson), who spends most of the film not doing much of anything except making out with his on-screen wife. The alien creatures, often dubbed "the carpet monsters," are far from convincing, but are certainly unique, and their swallowing of people whole by pulling the actors within the creature's orifice becomes even more amusing when they seem to have trouble finishing the job. Frederick Kopp's eclectic musical score probably reaches its high point with some unexpectedly catchy but cheesy rhythms for a sequence in a dance hall, in which a number of the dancing patrons seem to need many more lessons. As with many amateur productions, the film isn't exactly edited with care, leaving in a number of tedious scenes with no relevance to the plot. Still, for all its faults, and despite Savage/Nelson's reputation as an odious individual, there's definitely some entertainment value to be had here.
Directed by A.J. Nelson
(actor & director credits courtesy IMDB.com)
An alien spaceship sets down near a small Southern town and ravenous monsters aboard set out to swallow alive whatever human victims they come across.
This film's been ridiculed for years, and let's face it, even for a movie made by amateurs on a shoestring budget, it's pretty rough. Largely filmed without audible dialogue, probably due to the unavailability of sound equipment, a narrator explains to us what's going on, while the story focuses on Savage's small-town sheriff (aka director A.J. Nelson), who spends most of the film not doing much of anything except making out with his on-screen wife. The alien creatures, often dubbed "the carpet monsters," are far from convincing, but are certainly unique, and their swallowing of people whole by pulling the actors within the creature's orifice becomes even more amusing when they seem to have trouble finishing the job. Frederick Kopp's eclectic musical score probably reaches its high point with some unexpectedly catchy but cheesy rhythms for a sequence in a dance hall, in which a number of the dancing patrons seem to need many more lessons. As with many amateur productions, the film isn't exactly edited with care, leaving in a number of tedious scenes with no relevance to the plot. Still, for all its faults, and despite Savage/Nelson's reputation as an odious individual, there's definitely some entertainment value to be had here.
Monday, August 28, 2017
Bloodlust! (1961)
Starring Wilton Graff, June Kenney, Walter Brooke, Robert Reed, Gene Persson
Directed by Ralph Brooke
(actor & director credits courtesy IMDB.com)
Young people on a boating vacation decide to explore a mysterious island, and become the captives of a madman who has turned to hunting human beings for his own amusement.
Although not credited as being based on Richard Connell's famous story, The Most Dangerous Game, the movie obviously is and can't compare to the classic 1932 film adaptation. That doesn't mean it's not fun however, and while Graff is not as memorable as Leslie Banks was in the previous film, he does give a believable performance as the deadly serious hunter. Robert Reed, the future patriarch of TV's The Brady Bunch, leads the quartet of young people who would seem to be playing teenagers but were actually all in their late 20s or early 30s when this was filmed. The film was photographed by Richard Cunha, and it fits in well with the four sci-fi/horror shockers he made in the late 1950s, with some grisly scenes of Graff's victims and dark atmospheric music. Per IMDB, Walter Brooke, who plays another resident of the island trying to escape, would go on to utter the immortal "Plastics" line in The Graduate.
Directed by Ralph Brooke
(actor & director credits courtesy IMDB.com)
Young people on a boating vacation decide to explore a mysterious island, and become the captives of a madman who has turned to hunting human beings for his own amusement.
Although not credited as being based on Richard Connell's famous story, The Most Dangerous Game, the movie obviously is and can't compare to the classic 1932 film adaptation. That doesn't mean it's not fun however, and while Graff is not as memorable as Leslie Banks was in the previous film, he does give a believable performance as the deadly serious hunter. Robert Reed, the future patriarch of TV's The Brady Bunch, leads the quartet of young people who would seem to be playing teenagers but were actually all in their late 20s or early 30s when this was filmed. The film was photographed by Richard Cunha, and it fits in well with the four sci-fi/horror shockers he made in the late 1950s, with some grisly scenes of Graff's victims and dark atmospheric music. Per IMDB, Walter Brooke, who plays another resident of the island trying to escape, would go on to utter the immortal "Plastics" line in The Graduate.
Terrified (1963)
Starring Rod Lauren, Steve Drexel, Tracy Olsen, Stephen Roberts, Sherwood Keith
Directed by Lew Landers
(actor & director credits courtesy IMDB.com)
A college student writing a term paper on terror is shaken by the crimes of a maniac out to terrify people to death, but ends up confronting the villain in a deserted ghost town.
We have here a low-budget shocker, but one competently directed by Lew Landers, the veteran director with over a hundred credits, and this per IMDB, was apparently his final film. The ghost town isn't a bad setting for a horror film, and the story is compelling enough, but I didn't find the cast or the screenplay strong enough to make the film truly memorable. Additionally, while there's a good deal of darkly lit scenes, the photography doesn't make too creative use of them, and while I liked some elements of Michael Andersen's music score, it didn't exactly leave me on the edge of my seat. As a whole, it's not bad, and held my interest, but for a film about terror, there's too little attention paid by the filmmakers to creating chills within the audience.
Directed by Lew Landers
(actor & director credits courtesy IMDB.com)
A college student writing a term paper on terror is shaken by the crimes of a maniac out to terrify people to death, but ends up confronting the villain in a deserted ghost town.
We have here a low-budget shocker, but one competently directed by Lew Landers, the veteran director with over a hundred credits, and this per IMDB, was apparently his final film. The ghost town isn't a bad setting for a horror film, and the story is compelling enough, but I didn't find the cast or the screenplay strong enough to make the film truly memorable. Additionally, while there's a good deal of darkly lit scenes, the photography doesn't make too creative use of them, and while I liked some elements of Michael Andersen's music score, it didn't exactly leave me on the edge of my seat. As a whole, it's not bad, and held my interest, but for a film about terror, there's too little attention paid by the filmmakers to creating chills within the audience.
Thursday, August 24, 2017
The Madmen Of Mandoras (1963)
Starring Walter Stocker, Audrey Caire, Carlos Rivas, John Holland, Marshall Reed
Directed by David Bradley
(actor & director credits courtesy IMDB.com)
Enemy agents kidnap a professor who's invented an antidote to a deadly gas, and take him to a foreign nation where one of history's greatest villains may still be alive.
The main point of interest in this movie is the identity of the supposed man behind the plot, which I won't reveal here, but will say the film was later re-released with added scenes and a new title that gave his identity away. The scenes without that villain and the sci-fi premise behind his preservation are pretty routine, and a largely unknown cast and an uninspired screenplay don't help matters. It was good to see familiar 1950s character actors Rivas and Nestor Paiva, and the premise is a good one, but would have made a much better movie in more skilled hands. It's still worth checking out if you've never seen it, but for me, it just wasn't a highly entertaining film.
Directed by David Bradley
(actor & director credits courtesy IMDB.com)
Enemy agents kidnap a professor who's invented an antidote to a deadly gas, and take him to a foreign nation where one of history's greatest villains may still be alive.
The main point of interest in this movie is the identity of the supposed man behind the plot, which I won't reveal here, but will say the film was later re-released with added scenes and a new title that gave his identity away. The scenes without that villain and the sci-fi premise behind his preservation are pretty routine, and a largely unknown cast and an uninspired screenplay don't help matters. It was good to see familiar 1950s character actors Rivas and Nestor Paiva, and the premise is a good one, but would have made a much better movie in more skilled hands. It's still worth checking out if you've never seen it, but for me, it just wasn't a highly entertaining film.
Tuesday, August 22, 2017
House Of Dracula (1945)
Starring Lon Chaney Jr., John Carradine, Martha O'Driscoll, Lionel Atwill, Onslow Stevens
Directed by Erle C. Kenton
(actor & director credits courtesy IMDB.com)
A scientist tries to cure Count Dracula and The Wolf Man of their afflictions, but is transformed into an evil creature himself, and determined to revive the Frankenstein monster.
The final Universal horror rally film before the studio's most popular monsters were teamed for one last hurrah with Abbott & Costello, it's a somewhat lackluster production, following the blueprint of the previous year's House Of Frankenstein a little too closely. Once again we have Dracula, The Wolf Man, Frankenstein's monster, a mad scientist, and a hunchback, and although each has their own story and some respectable moments within the film, none of the monsters end up fighting each other. I still was engaged, enjoyed the performances of Stevens and Carradine, as well as those great Universal music cues, but didn't find the film to be a fitting coda for the long running series.
Directed by Erle C. Kenton
(actor & director credits courtesy IMDB.com)
A scientist tries to cure Count Dracula and The Wolf Man of their afflictions, but is transformed into an evil creature himself, and determined to revive the Frankenstein monster.
The final Universal horror rally film before the studio's most popular monsters were teamed for one last hurrah with Abbott & Costello, it's a somewhat lackluster production, following the blueprint of the previous year's House Of Frankenstein a little too closely. Once again we have Dracula, The Wolf Man, Frankenstein's monster, a mad scientist, and a hunchback, and although each has their own story and some respectable moments within the film, none of the monsters end up fighting each other. I still was engaged, enjoyed the performances of Stevens and Carradine, as well as those great Universal music cues, but didn't find the film to be a fitting coda for the long running series.
Monday, August 21, 2017
Dr. Jekyll And Mr. Hyde (1941)
Starring Spencer Tracy, Ingrid Bergman, Lana Turner, Donald Crisp, Ian Hunter
Directed by Victor Fleming
(actor & director credits courtesy IMDB.com)
The brilliant young Dr. Jekyll risks his impending marriage and standing in society in experiments to unleash his own dark half, a hideous alter ego who is as depraved as Jekyll is good and decent.
The 1941 version of Robert Louis Stevenson's famous story isn't quite the film that the 1931 adaptation with Fredric March is, and suffers a bit due to modifications that must have been made to please the Hays Office, giving the movie's predecessor an edge due to its Pre-Code status. In this version, despite his fantastic theories, Jekyll is a clearly defined Christian, and his atrocities as Hyde are mostly hinted at and kept off screen. Nevertheless, an early fantasy sequence in the film almost makes up for some of the whitewashing with some very daring imagery. The picture may be best remembered for its unconventional casting with Turner and Bergman playing the opposite roles one would expect based on their careers. The film also takes a chance in giving Tracy a somewhat subtle makeup as Hyde, but I think the actor pulls off the role with polish and panache. It's definitely not as exciting a film as the 1931 version, but it certainly looks impressive, with good photography and some elaborate sets, and does have the advantage of a musical score by the great Franz Waxman.
Directed by Victor Fleming
(actor & director credits courtesy IMDB.com)
The brilliant young Dr. Jekyll risks his impending marriage and standing in society in experiments to unleash his own dark half, a hideous alter ego who is as depraved as Jekyll is good and decent.
The 1941 version of Robert Louis Stevenson's famous story isn't quite the film that the 1931 adaptation with Fredric March is, and suffers a bit due to modifications that must have been made to please the Hays Office, giving the movie's predecessor an edge due to its Pre-Code status. In this version, despite his fantastic theories, Jekyll is a clearly defined Christian, and his atrocities as Hyde are mostly hinted at and kept off screen. Nevertheless, an early fantasy sequence in the film almost makes up for some of the whitewashing with some very daring imagery. The picture may be best remembered for its unconventional casting with Turner and Bergman playing the opposite roles one would expect based on their careers. The film also takes a chance in giving Tracy a somewhat subtle makeup as Hyde, but I think the actor pulls off the role with polish and panache. It's definitely not as exciting a film as the 1931 version, but it certainly looks impressive, with good photography and some elaborate sets, and does have the advantage of a musical score by the great Franz Waxman.
Saturday, August 19, 2017
Dr. Jekyll And Mr. Hyde (1931)
Starring Fredric March, Miriam Hopkins, Rose Hobart, Holmes Herbert, Halliwell Hobbes
Directed by Rouben Mamoulian
(actor & director credits courtesy IMDB.com)
The brilliant young Dr. Jekyll risks his impending marriage and standing in society in experiments to unleash his own dark half, a hideous alter ego who is as depraved as Jekyll is good and decent.
For my money we have here the best adaptation ever of Robert Louis Stevenson's famous novel, and there have been quite a few, but March's exceptional performance and the excellent photography of Karl Struss make this one rise to the top. Many actors have played Jekyll and Hyde, and many brilliantly so, but March is so unrecognizable as Hyde, another actor could have been credited with Hyde's performance, and I think all would have believed it. It's true that March's features are hidden under the ape-like Hyde's makeup and toothy grin, but his voice, his mannerisms, and his obsessive stare are so different from what we've seen from March as Jekyll or in his other films, it's no wonder he won the Oscar that year (tied with Wallace Beery). Struss' camerawork adds excitement to the film, opening with a long sequence where we see through Jekyll's eyes alone, in counterpoint to the coming emphasis on how characters see him and his alter ego, and the visual trickery Struss and editor William Shea employ during the Hyde transformation sequences make them seem vibrantly real. The picture also has excellent art direction, a talented supporting cast, and Hopkins' pre-Code attempted seduction of Jekyll in the film's early moments still packs plenty of heat.
Directed by Rouben Mamoulian
(actor & director credits courtesy IMDB.com)
The brilliant young Dr. Jekyll risks his impending marriage and standing in society in experiments to unleash his own dark half, a hideous alter ego who is as depraved as Jekyll is good and decent.
For my money we have here the best adaptation ever of Robert Louis Stevenson's famous novel, and there have been quite a few, but March's exceptional performance and the excellent photography of Karl Struss make this one rise to the top. Many actors have played Jekyll and Hyde, and many brilliantly so, but March is so unrecognizable as Hyde, another actor could have been credited with Hyde's performance, and I think all would have believed it. It's true that March's features are hidden under the ape-like Hyde's makeup and toothy grin, but his voice, his mannerisms, and his obsessive stare are so different from what we've seen from March as Jekyll or in his other films, it's no wonder he won the Oscar that year (tied with Wallace Beery). Struss' camerawork adds excitement to the film, opening with a long sequence where we see through Jekyll's eyes alone, in counterpoint to the coming emphasis on how characters see him and his alter ego, and the visual trickery Struss and editor William Shea employ during the Hyde transformation sequences make them seem vibrantly real. The picture also has excellent art direction, a talented supporting cast, and Hopkins' pre-Code attempted seduction of Jekyll in the film's early moments still packs plenty of heat.
Friday, August 18, 2017
Devil's Partner (1961)
Starring Ed Nelson, Edgar Buchanan, Jean Allison, Richard Crane, Spencer Carlisle
Directed by Charles R. Rondeau
(actor & director credits courtesy IMDB.com)
A bitter old hermit sells his soul to the devil and in return is given youth, which he uses to pass himself off as his own nephew, and the power to possess the bodies of animals.
Although low budget and possessing little in the way of special effects, this is a compelling little horror picture, notable for its cast, and a terrific unheralded music score from Ronald Stein that's among my favorites of his. Nelson stars in both of the hermit's guises and gives a good performance, making his swift convincing of the townspeople that the kindly nephew is nothing like the cruel old man utterly believable. I liked him and all the cast- reliable character actor Buchanan is also most welcome as the town doctor, and Byron Foulger is almost unrecognizable as a dirty vagrant. As a horror film, I found the movie effective even with much of the violence occurring off camera, and a good bit of humor also featured in the script. The animal possession sequences are nothing special, and perhaps could have been better with more money, but regardless I think this is fun viewing for any old-time horror fan.
Directed by Charles R. Rondeau
(actor & director credits courtesy IMDB.com)
A bitter old hermit sells his soul to the devil and in return is given youth, which he uses to pass himself off as his own nephew, and the power to possess the bodies of animals.
Although low budget and possessing little in the way of special effects, this is a compelling little horror picture, notable for its cast, and a terrific unheralded music score from Ronald Stein that's among my favorites of his. Nelson stars in both of the hermit's guises and gives a good performance, making his swift convincing of the townspeople that the kindly nephew is nothing like the cruel old man utterly believable. I liked him and all the cast- reliable character actor Buchanan is also most welcome as the town doctor, and Byron Foulger is almost unrecognizable as a dirty vagrant. As a horror film, I found the movie effective even with much of the violence occurring off camera, and a good bit of humor also featured in the script. The animal possession sequences are nothing special, and perhaps could have been better with more money, but regardless I think this is fun viewing for any old-time horror fan.
Thursday, August 17, 2017
The Devil's Messenger (1961)
Starring Lon Chaney Jr., Karen Kadler, Michael Hinn, Ralph Brown, John Crawford
Directed by Herbert L. Strock
(actor & director credits courtesy IMDB.com)
As Satan admits new arrivals through the gates of hell, he makes an offer to a suicide victim to spare her punishment by delivering items that will lead new souls down a dark path.
Although there's no mention of this in the film's credits, the movie is a repackaging of episodes from 13 Demon Street, a TV series writer/director Curt Siodmak created and produced, which was filmed in Sweden, and hosted by Chaney. Siodmak's name in fact is nowhere to be found, although IMDB indicates he directed and/or wrote some of the installments included. Three stories from the TV series are included, featuring a photographer who kills a woman and is then haunted by her image, a scientist who falls in love with an ancient woman found frozen in ice, and a man informed by a fortune teller he is fated to die at midnight. I can't say any of the tales are particularly memorable, and there's no notable names in their casts. Among them, the photographer's tale probably comes off best and has the most visually satisfying conclusion. I found the wrap around story filmed with Chaney and Kadler to be extremely low budget and it doesn't mesh well with the episodes, but as a whole, the film engaged my interest and has a similar feel to the later (if more superior) horror anthologies put out by Amicus in the 1960s and 1970s.
Directed by Herbert L. Strock
(actor & director credits courtesy IMDB.com)
As Satan admits new arrivals through the gates of hell, he makes an offer to a suicide victim to spare her punishment by delivering items that will lead new souls down a dark path.
Although there's no mention of this in the film's credits, the movie is a repackaging of episodes from 13 Demon Street, a TV series writer/director Curt Siodmak created and produced, which was filmed in Sweden, and hosted by Chaney. Siodmak's name in fact is nowhere to be found, although IMDB indicates he directed and/or wrote some of the installments included. Three stories from the TV series are included, featuring a photographer who kills a woman and is then haunted by her image, a scientist who falls in love with an ancient woman found frozen in ice, and a man informed by a fortune teller he is fated to die at midnight. I can't say any of the tales are particularly memorable, and there's no notable names in their casts. Among them, the photographer's tale probably comes off best and has the most visually satisfying conclusion. I found the wrap around story filmed with Chaney and Kadler to be extremely low budget and it doesn't mesh well with the episodes, but as a whole, the film engaged my interest and has a similar feel to the later (if more superior) horror anthologies put out by Amicus in the 1960s and 1970s.
Monday, August 14, 2017
The Creature Walks Among Us (1956)
Starring Jeff Morrow, Rex Reason, Leigh Snowden, Gregg Palmer, Maurice Manson
Directed by John Sherwood
(actor & director credits courtesy IMDB.com)
A wealthy scientist, obsessed with controlling what he owns, including his young wife, plans to recapture the Gill-Man and transform him into an evolved form of life.
The second sequel to Creature From The Black Lagoon is an improvement on the previous film, Revenge Of The Creature, staging much of its action in the Florida Everglades, where the Creature, hidden beneath the murky surface, becomes a predatory threat, with underwater photography to rival that in the original film. It also takes the story further in a unique direction, with the creature becoming less bestial and more tragic as he is robbed of his gills and forced to live on land. Although Snowden is given a progressive role as a woman concerned with her own needs and seeking to distance herself from both Morrow's controlling husband and Palmer's obsession with her, it's too bad and rather surprising she doesn't have any meaningful scenes with the Creature. I think the film's strongest plusses are the speculative screenplay by Arthur Ross and the adept music score which paints a different palette than the past two films, featuring a memorable jazz theme for Snowden, and some terrifically suspenseful cues.
Directed by John Sherwood
(actor & director credits courtesy IMDB.com)
A wealthy scientist, obsessed with controlling what he owns, including his young wife, plans to recapture the Gill-Man and transform him into an evolved form of life.
The second sequel to Creature From The Black Lagoon is an improvement on the previous film, Revenge Of The Creature, staging much of its action in the Florida Everglades, where the Creature, hidden beneath the murky surface, becomes a predatory threat, with underwater photography to rival that in the original film. It also takes the story further in a unique direction, with the creature becoming less bestial and more tragic as he is robbed of his gills and forced to live on land. Although Snowden is given a progressive role as a woman concerned with her own needs and seeking to distance herself from both Morrow's controlling husband and Palmer's obsession with her, it's too bad and rather surprising she doesn't have any meaningful scenes with the Creature. I think the film's strongest plusses are the speculative screenplay by Arthur Ross and the adept music score which paints a different palette than the past two films, featuring a memorable jazz theme for Snowden, and some terrifically suspenseful cues.
Saturday, August 12, 2017
Jason And The Argonauts (1963)
Starring Todd Armstrong, Nancy Kovack, Gary Raymond, Laurence Naismith, Niall MacGinnis
Directed by Don Chaffey
(actor & director credits courtesy IMDB.com)
A young hero recruits a mighty crew, and they set off on a bold quest to bring back the fabled Golden Fleece, but must face many dangers and fearsome creatures along their path.
Special effects wizard Ray Harryhausen uses this classic tale from Greek mythology to showcase more of his brilliantly animated creations, including a mighty stone giant, malevolent bat-winged harpies, the legendary Hydra with seven snapping snake heads, and an army of sword-wielding skeletons. The skeleton sequence in particular stands out as one of Harryhausen's greatest achievements, but all of them are memorable, and Bernard Herrmann's majestic music score adds unsettling motifs for each animated monster. Armstrong is suitably proud and determined as Jason, and Nigel Green, although perhaps atypically cast as the well-known hero Hercules, makes the character his own and an interesting participant in the action. Chaffey keeps the story moving efficiently between the creature effects, and the film's bright color palette makes it a vivid rendition of this famous tale.
Directed by Don Chaffey
(actor & director credits courtesy IMDB.com)
A young hero recruits a mighty crew, and they set off on a bold quest to bring back the fabled Golden Fleece, but must face many dangers and fearsome creatures along their path.
Special effects wizard Ray Harryhausen uses this classic tale from Greek mythology to showcase more of his brilliantly animated creations, including a mighty stone giant, malevolent bat-winged harpies, the legendary Hydra with seven snapping snake heads, and an army of sword-wielding skeletons. The skeleton sequence in particular stands out as one of Harryhausen's greatest achievements, but all of them are memorable, and Bernard Herrmann's majestic music score adds unsettling motifs for each animated monster. Armstrong is suitably proud and determined as Jason, and Nigel Green, although perhaps atypically cast as the well-known hero Hercules, makes the character his own and an interesting participant in the action. Chaffey keeps the story moving efficiently between the creature effects, and the film's bright color palette makes it a vivid rendition of this famous tale.
Revenge Of The Creature (1955)
Starring John Agar, Lori Nelson, John Bromfield, Nestor Paiva, Grandon Rhodes
Directed by Jack Arnold
(actor & director credits courtesy IMDB.com)
After the legendary Gill-Man is captured and put on exhibition in a Florida aquarium, an animal psychologist and his beautiful assistant discover the creature can't be tamed.
This follow-up to the classic Creature From The Black Lagoon can't compete with the original, but Agar brings natural charm to his character in one of his first sci-fi credits, despite his cruel attempts to train the creature with a bull prod. One hopes this was an invention of the screenplay, and not indicative of the methods real animal psychologists used at the time, which makes me shudder if they were. The rest of the picture offers efficient thrills, Nelson is gifted with some meaningful dialogue as the film's leading lady, and Tom Hennesy and Ricou Browning bring the Gill-Man to life as memorably as in the first film. However, for me the Creature was far more effective in his native environment. Paiva is the only actor from the original film to reprise his role, as the charter boat captain Lucas, a rogue more colorful than most of the other characters, and it's a shame he's only around for less than the first half of the picture.
Directed by Jack Arnold
(actor & director credits courtesy IMDB.com)
After the legendary Gill-Man is captured and put on exhibition in a Florida aquarium, an animal psychologist and his beautiful assistant discover the creature can't be tamed.
This follow-up to the classic Creature From The Black Lagoon can't compete with the original, but Agar brings natural charm to his character in one of his first sci-fi credits, despite his cruel attempts to train the creature with a bull prod. One hopes this was an invention of the screenplay, and not indicative of the methods real animal psychologists used at the time, which makes me shudder if they were. The rest of the picture offers efficient thrills, Nelson is gifted with some meaningful dialogue as the film's leading lady, and Tom Hennesy and Ricou Browning bring the Gill-Man to life as memorably as in the first film. However, for me the Creature was far more effective in his native environment. Paiva is the only actor from the original film to reprise his role, as the charter boat captain Lucas, a rogue more colorful than most of the other characters, and it's a shame he's only around for less than the first half of the picture.
Thursday, August 10, 2017
Condemned To Live (1935)
Starring Ralph Morgan, Pedro de Cordoba, Maxine Doyle, Russell Gleason, Mischa Auer
Directed by Frank R. Strayer
(actor & director credits courtesy IMDB.com)
A kindly professor, revered by his community, fails to realize that during nightly blackouts, he becomes a bloodthirsty vampire who preys on his friends and neighbors.
I think I probably like this film best among the many low-budget offerings directed by Frank Strayer. It has similarities to the other "vampire" film he directed, The Vampire Bat, although this entry has a much more substantive vampire than the other movie, and it moves along pretty well. It doesn't compare to the more polished Dracula movies, but I still found it enjoyable. Morgan doesn't offer much in his vampire persona other than twisting his limbs and expression, but gives a good performance as his decent other half, convincing us through sensitive line readings of his nobility and his love for the much younger Marguerite, played by Doyle. Gleason is rather bland as Morgan's competition for Doyle, but Auer in an atypical role as a hunchback, is quite sympathetic and memorable.
Directed by Frank R. Strayer
(actor & director credits courtesy IMDB.com)
A kindly professor, revered by his community, fails to realize that during nightly blackouts, he becomes a bloodthirsty vampire who preys on his friends and neighbors.
I think I probably like this film best among the many low-budget offerings directed by Frank Strayer. It has similarities to the other "vampire" film he directed, The Vampire Bat, although this entry has a much more substantive vampire than the other movie, and it moves along pretty well. It doesn't compare to the more polished Dracula movies, but I still found it enjoyable. Morgan doesn't offer much in his vampire persona other than twisting his limbs and expression, but gives a good performance as his decent other half, convincing us through sensitive line readings of his nobility and his love for the much younger Marguerite, played by Doyle. Gleason is rather bland as Morgan's competition for Doyle, but Auer in an atypical role as a hunchback, is quite sympathetic and memorable.
Monday, August 7, 2017
The Deadly Mantis (1957)
Starring Craig Stevens, William Hopper, Alix Talton, Donald Randolph, Pat Conway
Directed by Nathan Juran
(actor & director credits courtesy IMDB.com)
A paleontologist discovers a giant praying mantis has been freed from suspended animation in the Arctic, and is now heading south, feeding on the humans it encounters.
This is a halfway decent "giant bug" movie from the many made during the 1950s, although it is more than a little derivative of The Beast From 20,000 Fathoms, and is plagued a bit by overuse of a large amount of military stock footage. Nevertheless the special effects are well-done and the mockup of the creature is certainly imposing and frightful, more than likely a cause of nightmares for children of the period. While the film has a capable enough cast, including Hopper who was to be featured on TV screens the same year as investigator Paul Drake on the Perry Mason TV series, there's not really anything new and different for them to do. Talton has some moments as a liberated female reporter, but is also saddled with a clunky romance with Stevens her character doesn't seem to be all that interested in. It's still fun movie monster viewing, but I've seen the same story done far better before.
Directed by Nathan Juran
(actor & director credits courtesy IMDB.com)
A paleontologist discovers a giant praying mantis has been freed from suspended animation in the Arctic, and is now heading south, feeding on the humans it encounters.
This is a halfway decent "giant bug" movie from the many made during the 1950s, although it is more than a little derivative of The Beast From 20,000 Fathoms, and is plagued a bit by overuse of a large amount of military stock footage. Nevertheless the special effects are well-done and the mockup of the creature is certainly imposing and frightful, more than likely a cause of nightmares for children of the period. While the film has a capable enough cast, including Hopper who was to be featured on TV screens the same year as investigator Paul Drake on the Perry Mason TV series, there's not really anything new and different for them to do. Talton has some moments as a liberated female reporter, but is also saddled with a clunky romance with Stevens her character doesn't seem to be all that interested in. It's still fun movie monster viewing, but I've seen the same story done far better before.
Sunday, August 6, 2017
The Land Unknown (1957)
Starring Jock Mahoney, Shawn Smith, William Reynolds, Henry Brandon, Douglas Kennedy
Directed by Virgil Vogel
(actor & director credits courtesy IMDB.com)
A naval research expedition to the South Pole brings along a magazine reporter, but they're forced to crash land on a strange tropical plateau where they encounter prehistoric creatures.
An underrated dinosaur film from Universal-International, the picture boasts a number of interesting special effects, and the creature mockups of a Tyrannosaurus Rex and plesiosaur offer excellent and fearsome detail although no animation is used. Regardless, the dinosaurs look great in close-up, and the monster suits/puppetry used are very effective, framed against a number of artistic and convincing backgrounds. Even footage of real-life lizards blown up to giant size, although cruelly staged and largely unnecessary, comes off fairly well visually. There's some dated situations involving Shawn Smith's heroine, but she still comes across as a strong-willed character, and the rest of the acting ensemble deliver believable performances. Henry Brandon is particularly memorable as the cruel Dr. Hunter, stranded on the plateau for 10 years or more, who considers himself the area's human master, and schemes to take whatever he wants. A nice mix of sci-fi action and human drama make this a picture very worth seeking out, and the film's strong visual impact adds to the fun.
Directed by Virgil Vogel
(actor & director credits courtesy IMDB.com)
A naval research expedition to the South Pole brings along a magazine reporter, but they're forced to crash land on a strange tropical plateau where they encounter prehistoric creatures.
An underrated dinosaur film from Universal-International, the picture boasts a number of interesting special effects, and the creature mockups of a Tyrannosaurus Rex and plesiosaur offer excellent and fearsome detail although no animation is used. Regardless, the dinosaurs look great in close-up, and the monster suits/puppetry used are very effective, framed against a number of artistic and convincing backgrounds. Even footage of real-life lizards blown up to giant size, although cruelly staged and largely unnecessary, comes off fairly well visually. There's some dated situations involving Shawn Smith's heroine, but she still comes across as a strong-willed character, and the rest of the acting ensemble deliver believable performances. Henry Brandon is particularly memorable as the cruel Dr. Hunter, stranded on the plateau for 10 years or more, who considers himself the area's human master, and schemes to take whatever he wants. A nice mix of sci-fi action and human drama make this a picture very worth seeking out, and the film's strong visual impact adds to the fun.
Saturday, August 5, 2017
Monster On The Campus (1958)
Starring Arthur Franz, Joanna Moore, Judson Pratt, Nancy Walters, Troy Donahue
Directed by Jack Arnold
(actor & director credits courtesy IMDB.com)
A professor of science brings a giant prehistoric fish to his university but discovers too late the creature's blood transforms anything that swallows it into a savage beast of the past.
An entertaining sci-fi/horror romp from Universal-International with some worthy creature effects, I've always been fond of this picture, although it's probably one of the lesser regarded films of director Jack Arnold. It's not on the same level as Creature From The Black Lagoon and The Incredible Shrinking Man, but it's a lot of fun, with Franz as the obsessed scientist who cares more about his experiments than his college lectures, Pratt as the no-nonsense police detective who has to start believing in the fantastic, and the always welcome Ross Elliott as his ill-fated partner. Plenty of great Universal cues are tracked into the music score, including a generous sampling from Son Of Frankenstein once a neanderthal man appears on the scene. Although the film's somewhat predictable, it's still enjoyable viewing everytime I revisit it.
Directed by Jack Arnold
(actor & director credits courtesy IMDB.com)
A professor of science brings a giant prehistoric fish to his university but discovers too late the creature's blood transforms anything that swallows it into a savage beast of the past.
An entertaining sci-fi/horror romp from Universal-International with some worthy creature effects, I've always been fond of this picture, although it's probably one of the lesser regarded films of director Jack Arnold. It's not on the same level as Creature From The Black Lagoon and The Incredible Shrinking Man, but it's a lot of fun, with Franz as the obsessed scientist who cares more about his experiments than his college lectures, Pratt as the no-nonsense police detective who has to start believing in the fantastic, and the always welcome Ross Elliott as his ill-fated partner. Plenty of great Universal cues are tracked into the music score, including a generous sampling from Son Of Frankenstein once a neanderthal man appears on the scene. Although the film's somewhat predictable, it's still enjoyable viewing everytime I revisit it.
Wednesday, August 2, 2017
The Monolith Monsters (1957)
Starring Grant Williams, Lola Albright, Les Tremayne, Trevor Bardette, Phil Harvey
Directed by John Sherwood
(actor & director credits courtesy IMDB.com)
A geologist in a small western town discovers a lethal menace in the remains of a meteor that when combined with water turn into deadly towers of rock.
The "monsters" of the film, tall towers of dark gleaming rock that rise and fall in advancing towards the town, are very unique and make this sci-fi effort from Universal stand out among the alien and giant bug pictures delivered by Universal and rival studios during the 1950s. Director Jack Arnold, known for helming Creature From The Black Lagoon and The Incredible Shrinking Man, is credited with contributing towards the story, and the screenplay is well-structured, balancing the investigation of the rocks with the drama of their dangerous effects on people. Williams and Albright make a cute couple, and Tremayne and Bardette add professional performances that ground the film. The special effects, which look very convincing, are cleverly showcased in well-edited sequences that build suspense accompanied by menacing music from Universal's uncredited staff of composers, which per music historian David Schecter, included Irving Gertz, Henry Mancini, and Herman Stein. With so many winning elements assembled together, this makes for fun and entertaining viewing, and a definite departure from the usual.
Directed by John Sherwood
(actor & director credits courtesy IMDB.com)
A geologist in a small western town discovers a lethal menace in the remains of a meteor that when combined with water turn into deadly towers of rock.
The "monsters" of the film, tall towers of dark gleaming rock that rise and fall in advancing towards the town, are very unique and make this sci-fi effort from Universal stand out among the alien and giant bug pictures delivered by Universal and rival studios during the 1950s. Director Jack Arnold, known for helming Creature From The Black Lagoon and The Incredible Shrinking Man, is credited with contributing towards the story, and the screenplay is well-structured, balancing the investigation of the rocks with the drama of their dangerous effects on people. Williams and Albright make a cute couple, and Tremayne and Bardette add professional performances that ground the film. The special effects, which look very convincing, are cleverly showcased in well-edited sequences that build suspense accompanied by menacing music from Universal's uncredited staff of composers, which per music historian David Schecter, included Irving Gertz, Henry Mancini, and Herman Stein. With so many winning elements assembled together, this makes for fun and entertaining viewing, and a definite departure from the usual.
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