Starring Menghe Gu, Ping Hu, Shan Jin, Chau-Shui Yee, Wenzhu Zhou
Directed by Weibang Ma-Xu
(actor & director credits courtesy IMDB.com)
A young opera singer is tutored by a mysterious voice in a dilapidated theater he performs in, which he discovers belongs to a scarred performer thought dead long ago.
Credited as China's first horror film by IMDB, I would call it more of a melodrama with a few eerie visuals, but I do think it's a well-acted and directed piece of work. The story is clearly based on Gaston Leroux's The Phantom Of The Opera, and while the production is smaller in scale than more well known film adaptations of the novel, it debuts some ideas which may well have had an impact on other versions. Some of the differences that make the film unique are the "Phantom" and his protege are both male, they both have love affairs that intersect with tragedy, and their stories are tied together by the presence of a common villain. Shan Jin is very good as the scarred Song Danping, and especially so within the makeup, which is well-designed to complement his performance. The opera numbers are distinctive if not elaborately staged, and there's some fine cinematography which adds some spooky moments to the film's beginning and suspense to its latter half. Although the opera numbers sound original, curiously the underscore is made up of disparate classical selections, including highlights from The Sorcerer's Apprentice, A Night On Bald Mountain, and Rhapsody In Blue.
Thursday, January 31, 2019
Monday, January 28, 2019
The Beast With A Million Eyes (1955)
Starring Paul Birch, Lorna Thayer, Dona Cole, Richard Sargeant, Leonard Tarver
Directed by David Kramarsky
(actor & director credits courtesy IMDB.com)
An alien intelligence with the power to control animals' minds lands on Earth, and preys on a struggling farmer and his family.
This early sci-fi effort from the American Releasing Corporation (later to become American International Pictures) has been said to have had Roger Corman's involvement, as a producer and director, although he's nowhere in the listed credits. The low budget and meager technical effects are certainly consistent with his work, and they're used about as effectively as they could be, with us never really seeing the alien's form until the very end of the picture, just his spaceship which resembles a small cylinder with a spinning top. I've stated before that I'm a fan of actor Paul Birch, and he's very strong in the lead, a perfect fit for the decent hard-working farmer, who still has his faults, despite his nobility. Thayer has a difficult role as the frustrated and complaining wife but pulls it off, despite opening scenes that might have turned the audience off to her initially. Cole is fine as their daughter, and I didn't realize before checking IMDB that her boyfriend and the sheriff's deputy was played by a very young Dick Sargent, the 2nd Darrin on TV's Bewitched, just one example from his long television career. Tarver's role as the mute farmhand "Him" seems an odd fit in the film, although his damaged brain later becomes key to the plot, but scenes of him looking at girlie magazines and staring at Cole don't seem to go anywhere. Although the direction is adept at balancing the serious tone of the film with the fantastic elements, some of the animals attacks aren't very well staged, with a scene where Thayer feels threatened by a dog coming off a bit silly. The best parts of the film for me were the eerie imagery of the main titles and the unconventional music score, which almost seems like a classical work at certain points.
Directed by David Kramarsky
(actor & director credits courtesy IMDB.com)
An alien intelligence with the power to control animals' minds lands on Earth, and preys on a struggling farmer and his family.
This early sci-fi effort from the American Releasing Corporation (later to become American International Pictures) has been said to have had Roger Corman's involvement, as a producer and director, although he's nowhere in the listed credits. The low budget and meager technical effects are certainly consistent with his work, and they're used about as effectively as they could be, with us never really seeing the alien's form until the very end of the picture, just his spaceship which resembles a small cylinder with a spinning top. I've stated before that I'm a fan of actor Paul Birch, and he's very strong in the lead, a perfect fit for the decent hard-working farmer, who still has his faults, despite his nobility. Thayer has a difficult role as the frustrated and complaining wife but pulls it off, despite opening scenes that might have turned the audience off to her initially. Cole is fine as their daughter, and I didn't realize before checking IMDB that her boyfriend and the sheriff's deputy was played by a very young Dick Sargent, the 2nd Darrin on TV's Bewitched, just one example from his long television career. Tarver's role as the mute farmhand "Him" seems an odd fit in the film, although his damaged brain later becomes key to the plot, but scenes of him looking at girlie magazines and staring at Cole don't seem to go anywhere. Although the direction is adept at balancing the serious tone of the film with the fantastic elements, some of the animals attacks aren't very well staged, with a scene where Thayer feels threatened by a dog coming off a bit silly. The best parts of the film for me were the eerie imagery of the main titles and the unconventional music score, which almost seems like a classical work at certain points.
Sunday, January 27, 2019
Blood Of The Vampire (1958)
Starring Donald Wolfit, Vincent Ball, Barbara Shelley, Victor Maddern, William Devlin
Directed by Henry Cass
(actor & director credits courtesy IMDB.com)
A doctor convicted for trying to save a man's life through a blood transfusion is brought to a prison for the criminally insane by its administrator, a cold-hearted scientist eager to use him in his work.
My friend Dan Day Jr. calls this one of the first Hammer imitations, an attempt by producers Robert S. Baker and Monty Berman to emulate the British studio's style, along with a script from Hammer veteran Jimmy Sangster. Those expecting an actual vampire tale will be disappointed, as although the film begins with a bloody staking, the victim isn't a vampire, nor does another one ever turn up. That being said, it's not badly written, and future Hammer leading lady Barbara Shelley's presence is appreciated. However, Wolfit as the principal villain, while decent, is not magnetic enough a personality to carry the film, and Ball as the doctor is capable but not much better. Maddern's portrayal of a half-scarred assistant loyal to Wolfit is okay, but he's too similar to other characters in horror films decades before. I have to say I was never bored viewing the picture, and it delivers its share of shocks within its period setting, but they're fairly mild compared to a Hammer film of the same era.
Directed by Henry Cass
(actor & director credits courtesy IMDB.com)
A doctor convicted for trying to save a man's life through a blood transfusion is brought to a prison for the criminally insane by its administrator, a cold-hearted scientist eager to use him in his work.
My friend Dan Day Jr. calls this one of the first Hammer imitations, an attempt by producers Robert S. Baker and Monty Berman to emulate the British studio's style, along with a script from Hammer veteran Jimmy Sangster. Those expecting an actual vampire tale will be disappointed, as although the film begins with a bloody staking, the victim isn't a vampire, nor does another one ever turn up. That being said, it's not badly written, and future Hammer leading lady Barbara Shelley's presence is appreciated. However, Wolfit as the principal villain, while decent, is not magnetic enough a personality to carry the film, and Ball as the doctor is capable but not much better. Maddern's portrayal of a half-scarred assistant loyal to Wolfit is okay, but he's too similar to other characters in horror films decades before. I have to say I was never bored viewing the picture, and it delivers its share of shocks within its period setting, but they're fairly mild compared to a Hammer film of the same era.
Saturday, January 26, 2019
Invisible Agent (1942)
Starring Ilona Massey, Jon Hall, Peter Lorre, Cedric Hardwicke, J. Edward Bromberg
Directed by Edwin L. Marin
(actor & director credits courtesy IMDB.com)
The grandson of the original Invisible Man is first threatened by the Nazis for his secret formula, and then uses it himself as a spy behind German lines.
An enjoyable adventure with a wartime setting, the film has a fine cast and more of John P. Fulton's quality special effects. In the age of perfect picture DVDs, the wires used to suspend objects handled by the Invisible Man are much more visible, but a sequence in which the unseen Hall makes himself visible to Massey by coating his face in cold cream is impressively done and still comes off well. Hardwicke and Lorre are exceptional villains, and their performances are of the extent that one forgets about their true nationalities- although visually the Hungarian Lorre stretches credulity as a Japanese agent, his menace make us forget that, and audiences of the time would have been conditioned to him playing that type of role from his many appearances as Oriental sleuth Mr. Moto. Curt Siodmak's screenplay adds humor to the seriousness of the tale, which he was well aware of after fleeing Germany, by using Bromberg's secret police chief as the object of ridicule by our invisible hero. Massey, another Hungarian, gives probably the best performance I've seen of hers, very convincing as a German double-agent. Although Hall lacks the punch of previous "Invisible Men" Claude Rains and Vincent Price in his vocal characterization, he still is affable and capable in the lead role.
Directed by Edwin L. Marin
(actor & director credits courtesy IMDB.com)
The grandson of the original Invisible Man is first threatened by the Nazis for his secret formula, and then uses it himself as a spy behind German lines.
An enjoyable adventure with a wartime setting, the film has a fine cast and more of John P. Fulton's quality special effects. In the age of perfect picture DVDs, the wires used to suspend objects handled by the Invisible Man are much more visible, but a sequence in which the unseen Hall makes himself visible to Massey by coating his face in cold cream is impressively done and still comes off well. Hardwicke and Lorre are exceptional villains, and their performances are of the extent that one forgets about their true nationalities- although visually the Hungarian Lorre stretches credulity as a Japanese agent, his menace make us forget that, and audiences of the time would have been conditioned to him playing that type of role from his many appearances as Oriental sleuth Mr. Moto. Curt Siodmak's screenplay adds humor to the seriousness of the tale, which he was well aware of after fleeing Germany, by using Bromberg's secret police chief as the object of ridicule by our invisible hero. Massey, another Hungarian, gives probably the best performance I've seen of hers, very convincing as a German double-agent. Although Hall lacks the punch of previous "Invisible Men" Claude Rains and Vincent Price in his vocal characterization, he still is affable and capable in the lead role.
Wednesday, January 23, 2019
Encounter With The Unknown (1972)
Starring Rod Serling, Robert Ginnaven, Gary Brockette, John Leslie, Tom Haywood
Directed by Harry Thomason
(actor & director credits courtesy IMDB.com)
Three stories purportedly based on true events involving people who had encounters with the supernatural are retold, narrated by familiar television writer & host Rod Serling.
When I first heard about this film, based on Serling's involvement and the year of release, I thought this might be a compilation of episodes from his series Night Gallery, but apparently it's not. All three tales (none of which were written by Serling) were apparently filmed by the same crew, and directed by Thomason, who would later go on to be a hit television producer with his wife Linda. Despite the supernatural angle, they aren't really tales of horror, and aren't photographed that way, with the emphasis more on capturing picturesque scenery as background for the stories. The first tale was the one I found the best, concerning three young men who inadvertently cause another boy's death and are warned of supernatural vengeance by his mother. The second tale concerns a boy in rural America who loses his dog, but on looking for her, finds a hole in the ground that emanates fearsome sounds. The third tale involves the story of a young woman who was denied permission by her father to marry her poor beau and is sighted decades later on a bridge where tragedy struck. Strangely, Serling doesn't narrate the whole film, with another speaker brought in to introduce and wrap up the movie. Speaking of the wrap-up, it's a much too long conclusion, replaying scenes from all the tales while the narrator tries to perform lengthy analysis. All in all, this is far from a prime example of a good horror anthology, but I found some elements of interest in it.
Directed by Harry Thomason
(actor & director credits courtesy IMDB.com)
Three stories purportedly based on true events involving people who had encounters with the supernatural are retold, narrated by familiar television writer & host Rod Serling.
When I first heard about this film, based on Serling's involvement and the year of release, I thought this might be a compilation of episodes from his series Night Gallery, but apparently it's not. All three tales (none of which were written by Serling) were apparently filmed by the same crew, and directed by Thomason, who would later go on to be a hit television producer with his wife Linda. Despite the supernatural angle, they aren't really tales of horror, and aren't photographed that way, with the emphasis more on capturing picturesque scenery as background for the stories. The first tale was the one I found the best, concerning three young men who inadvertently cause another boy's death and are warned of supernatural vengeance by his mother. The second tale concerns a boy in rural America who loses his dog, but on looking for her, finds a hole in the ground that emanates fearsome sounds. The third tale involves the story of a young woman who was denied permission by her father to marry her poor beau and is sighted decades later on a bridge where tragedy struck. Strangely, Serling doesn't narrate the whole film, with another speaker brought in to introduce and wrap up the movie. Speaking of the wrap-up, it's a much too long conclusion, replaying scenes from all the tales while the narrator tries to perform lengthy analysis. All in all, this is far from a prime example of a good horror anthology, but I found some elements of interest in it.
Monday, January 21, 2019
The Phantom From 10,000 Leagues (1955)
Starring Kent Taylor, Cathy Downs, Michael Whalen, Helene Stanton, Phillip Pine
Directed by Dan Milner
(actor & director credits courtesy IMDB.com)
A scientist is sent to investigate deaths by radiation burns at a seaside community, and discovers a mutated monster is protecting a radioactive beam of light underwater.
A low budget sci-fi production by Dan & Jack Milner, it's not as entertaining as their later film, From Hell It Came, but I found elements to enjoy. I've always liked the debonair and polished actor Kent Taylor, the monster design is fairly well done, and Ronald Stein's music score adds punch to the movie, particularly his haunting title theme. However Downs has a fairly thankless part, and the story needs work, with too much ado placed on the difficulties of getting into Professor King's locked laboratory, and some nonsensical attacks by Pine's character with a speargun that is easily traced back to him. This is the most substantial role I've seen for Whalen, as the oceanography professor who's clearly behind it all from the beginning of the film, and he has some worthwhile moments although his part could have been better written. I still enjoyed the film on its own merits, despite its faults.
Directed by Dan Milner
(actor & director credits courtesy IMDB.com)
A scientist is sent to investigate deaths by radiation burns at a seaside community, and discovers a mutated monster is protecting a radioactive beam of light underwater.
A low budget sci-fi production by Dan & Jack Milner, it's not as entertaining as their later film, From Hell It Came, but I found elements to enjoy. I've always liked the debonair and polished actor Kent Taylor, the monster design is fairly well done, and Ronald Stein's music score adds punch to the movie, particularly his haunting title theme. However Downs has a fairly thankless part, and the story needs work, with too much ado placed on the difficulties of getting into Professor King's locked laboratory, and some nonsensical attacks by Pine's character with a speargun that is easily traced back to him. This is the most substantial role I've seen for Whalen, as the oceanography professor who's clearly behind it all from the beginning of the film, and he has some worthwhile moments although his part could have been better written. I still enjoyed the film on its own merits, despite its faults.
Sunday, January 20, 2019
Behind Locked Doors (1948)
Starring Lucille Bremer, Richard Carlson, Douglas Fowley, Ralf Harolde, Tom Brown Henry
Directed by Oscar Boetticher
(actor & director credits courtesy IMDB.com)
A reporter hires a private investigator to enter a private asylum as a patient, to prove a fugitive from justice is holed up there.
This intriguing low budget suspense picture, filled with the shadowy photography of a film noir, is a winner, written by Malvin Wald (The Naked City) and directed by Budd Boetticher, better known for his western movies. There's not a big star in the cast, although Carlson would become a bigger name later, but it's filled with plenty of accomplished actors, including future Ed Wood regular Tor Johnson as one of the asylum's violent patients, who never speaks, but has some pivotal scenes. Despite Henry's benevolent demeanor as the asylum's director, Carlson quickly discovers that there's sadism and abuse within the facility beyond the criminal they're sheltering, pointing out important issues although the film never quite becomes a social drama. I liked the film very much, and though Carlson comes on to Bremer harder than would be acceptable today, the two of them have a nice screen chemistry.
Directed by Oscar Boetticher
(actor & director credits courtesy IMDB.com)
A reporter hires a private investigator to enter a private asylum as a patient, to prove a fugitive from justice is holed up there.
This intriguing low budget suspense picture, filled with the shadowy photography of a film noir, is a winner, written by Malvin Wald (The Naked City) and directed by Budd Boetticher, better known for his western movies. There's not a big star in the cast, although Carlson would become a bigger name later, but it's filled with plenty of accomplished actors, including future Ed Wood regular Tor Johnson as one of the asylum's violent patients, who never speaks, but has some pivotal scenes. Despite Henry's benevolent demeanor as the asylum's director, Carlson quickly discovers that there's sadism and abuse within the facility beyond the criminal they're sheltering, pointing out important issues although the film never quite becomes a social drama. I liked the film very much, and though Carlson comes on to Bremer harder than would be acceptable today, the two of them have a nice screen chemistry.
Saturday, January 19, 2019
Yongary, Monster From The Deep (1967)
Starring Yeong-il Oh, Jeong-im Nam, Sun-jae Lee, Moon Kang, Kwang Ho Lee
Directed by Ki-duk Kim
(actor & director credits courtesy IMDB.com)
A giant monster emerges from underground to lay waste to Korea in its search for energy, but a young scientist may have the knowledge needed to defeat the creature.
This professional emulation of Japanese kaiju films by the Korean filmmakers is very well done, although the special effects are not quite of the quality of a studio like Toho at its finest. Nevertheless, the characters are engaging and the film's on a par with many other kaiju productions, although it drags a little bit here and there. There's more than a few similarities between Godzilla and Yongary, the giant reptilian monster here who has flaming breath and a giant horn upon its snout. It's also interesting to view as a snapshot of the Korean culture and architecture of the time, although most of the buildings we see are miniature reproductions for the suit actor to smash. It's definitely a worthwhile entertainment, especially for kaiju fans.
Directed by Ki-duk Kim
(actor & director credits courtesy IMDB.com)
A giant monster emerges from underground to lay waste to Korea in its search for energy, but a young scientist may have the knowledge needed to defeat the creature.
This professional emulation of Japanese kaiju films by the Korean filmmakers is very well done, although the special effects are not quite of the quality of a studio like Toho at its finest. Nevertheless, the characters are engaging and the film's on a par with many other kaiju productions, although it drags a little bit here and there. There's more than a few similarities between Godzilla and Yongary, the giant reptilian monster here who has flaming breath and a giant horn upon its snout. It's also interesting to view as a snapshot of the Korean culture and architecture of the time, although most of the buildings we see are miniature reproductions for the suit actor to smash. It's definitely a worthwhile entertainment, especially for kaiju fans.
Thursday, January 17, 2019
Robot Monster (1953)
Starring George Nader, Claudia Barrett, Selena Royle, John Mylong, Gregory Moffett
Directed by Phil Tucker
(actor & director credits courtesy IMDB.com)
A young boy imagines a post-apocalyptic future where all of humanity has been wiped from the Earth save for him and his family, who are being stalked by the alien Ro-Man.
Notorious for ending up on several "worst movies of all time" lists, I probably wouldn't put it there, although the film obviously has a number of strikes against it. Ro-Man and his leader, "The Great Guidance," are costumed in gorilla suits with space helmets on their heads, certainly an odd visual, and the movie's most notable special effects (outside of a bubble machine) are stock footage that's presented multiple times in the movie. The love scene between Nader and Barrett is rather comical, as is Ro-Man's lust for Barrett, culminating in trying to pull off her dress. I certainly wouldn't call it boring, the actors are earnest, and the score from future Oscar-winning composer Elmer Bernstein has its charms. It may not be great cinema, or even good, but it's certainly a memorable piece of work.
Directed by Phil Tucker
(actor & director credits courtesy IMDB.com)
A young boy imagines a post-apocalyptic future where all of humanity has been wiped from the Earth save for him and his family, who are being stalked by the alien Ro-Man.
Notorious for ending up on several "worst movies of all time" lists, I probably wouldn't put it there, although the film obviously has a number of strikes against it. Ro-Man and his leader, "The Great Guidance," are costumed in gorilla suits with space helmets on their heads, certainly an odd visual, and the movie's most notable special effects (outside of a bubble machine) are stock footage that's presented multiple times in the movie. The love scene between Nader and Barrett is rather comical, as is Ro-Man's lust for Barrett, culminating in trying to pull off her dress. I certainly wouldn't call it boring, the actors are earnest, and the score from future Oscar-winning composer Elmer Bernstein has its charms. It may not be great cinema, or even good, but it's certainly a memorable piece of work.
Wednesday, January 16, 2019
Dead Man's Eyes (1944)
Starring Lon Chaney Jr., Jean Parker, Paul Kelly, Thomas Gomez, Jonathan Hale
Directed by Reginald LeBorg
(actor & director credits courtesy IMDB.com)
After an artist is accidentally blinded, he's motivated to give up his career and beautiful fiancee, while his friends want him to hope for an eye transplant, someone badly enough to murder.
Another entry in the Inner Sanctum series of movies headlining Chaney, he plays the artist in this one, and I wouldn't call it a great performance, but it's less morose than his previous turns in the series, and he does a decent job of portraying a fall from being on the top of the world to a ruined life. Acquanetta, in the role of his model who pines for Chaney despite Kelly's pursuit of her, doesn't fare quite as well. She has striking features but lacks the talent of a professional actress, and can't carry across the emotional makeup of her character particularly well. The rest of the cast is filled with familiar faces and some fine actors among them which help to carry the film, despite its flaws. This was my second viewing of the film, and I liked it better this time around, focusing more on Dwight Babcock's script, and its build up of multiple suspects. It also has that 1940s Universal atmosphere that I love so much.
Directed by Reginald LeBorg
(actor & director credits courtesy IMDB.com)
After an artist is accidentally blinded, he's motivated to give up his career and beautiful fiancee, while his friends want him to hope for an eye transplant, someone badly enough to murder.
Another entry in the Inner Sanctum series of movies headlining Chaney, he plays the artist in this one, and I wouldn't call it a great performance, but it's less morose than his previous turns in the series, and he does a decent job of portraying a fall from being on the top of the world to a ruined life. Acquanetta, in the role of his model who pines for Chaney despite Kelly's pursuit of her, doesn't fare quite as well. She has striking features but lacks the talent of a professional actress, and can't carry across the emotional makeup of her character particularly well. The rest of the cast is filled with familiar faces and some fine actors among them which help to carry the film, despite its flaws. This was my second viewing of the film, and I liked it better this time around, focusing more on Dwight Babcock's script, and its build up of multiple suspects. It also has that 1940s Universal atmosphere that I love so much.
Monday, January 14, 2019
Baffled! (1972)
Starring Leonard Nimoy, Susan Hampshire, Rachel Roberts, Vera Miles, Jewel Blanch
Directed by Philip Leacock
(actor & director credits courtesy IMDB.com)
After a race car driver confesses to having witnessed mental visions on the track, he's tracked down by a British expert in the occult, who warns that he needs to act on his visions to save lives.
This British telefilm, per Wikipedia was considered as a pilot for a television series, and it's a shame a series never materialized, because it's an awful lot of fun. Nimoy plays the very affable racer Tom Kovack, and has great chemistry with Hampshire, as the two team up to investigate a British manor house from his vision, and have great adventures together exposing the evil hidden within. Familiar Hitchcock leading lady Miles plays a celebrated actress also staying at the manor with her daughter whose behavior begins to change rather frighteningly. Highlights include a vision where Nimoy falls into an ocean, a chase sequence in which he pursues a kidnapper in an old English roadster, and Nimoy and Hampshire investigating secret passages within the manor. Although there's some pretty sinister evildoers, the overall tone is very light, with an eclectic score from Richard Hill ranging from elegant melodies to 1970s funk. The closing of the film sets up another "episode," although sadly it's one we'll never get to see.
Directed by Philip Leacock
(actor & director credits courtesy IMDB.com)
After a race car driver confesses to having witnessed mental visions on the track, he's tracked down by a British expert in the occult, who warns that he needs to act on his visions to save lives.
This British telefilm, per Wikipedia was considered as a pilot for a television series, and it's a shame a series never materialized, because it's an awful lot of fun. Nimoy plays the very affable racer Tom Kovack, and has great chemistry with Hampshire, as the two team up to investigate a British manor house from his vision, and have great adventures together exposing the evil hidden within. Familiar Hitchcock leading lady Miles plays a celebrated actress also staying at the manor with her daughter whose behavior begins to change rather frighteningly. Highlights include a vision where Nimoy falls into an ocean, a chase sequence in which he pursues a kidnapper in an old English roadster, and Nimoy and Hampshire investigating secret passages within the manor. Although there's some pretty sinister evildoers, the overall tone is very light, with an eclectic score from Richard Hill ranging from elegant melodies to 1970s funk. The closing of the film sets up another "episode," although sadly it's one we'll never get to see.
Sunday, January 13, 2019
The Flying Serpent (1946)
Starring George Zucco, Ralph Lewis, Hope Kramer, Eddie Acuff, Wheaton Chambers
Directed by Sherman Scott
(actor & director credits courtesy IMDB.com)
After an archaeologist discovers Montezuma's treasure as well as the blood-drinking feathered serpent that guards it, he uses the beast to kill anyone who comes too close to uncovering his secrets.
This may well be my favorite of Poverty Row studio PRC's productions, which is patterned somewhat after their earlier success with Bela Lugosi, The Devil Bat. Despite the low budget and some really poorly lit scenes in the creature's cave, this is a lot of fun, with Zucco perfect as the mad archaeologist and the creature's flying scenes coming off fairly decently. Meant to be the embodiment of the Aztec god Quetzalcoatl, the creature is far from a special effects triumph, but is about as good as we can expect coming out of Poverty Row. Leo Erdody's score has a nice musical theme which has an Aztec flavor and really sets an ominous tone, the perfect accompaniment to Zucco's misdeeds. PRC's prolific director Sam Newfield directs under one of his aliases, Sherman Scott.
Directed by Sherman Scott
(actor & director credits courtesy IMDB.com)
After an archaeologist discovers Montezuma's treasure as well as the blood-drinking feathered serpent that guards it, he uses the beast to kill anyone who comes too close to uncovering his secrets.
This may well be my favorite of Poverty Row studio PRC's productions, which is patterned somewhat after their earlier success with Bela Lugosi, The Devil Bat. Despite the low budget and some really poorly lit scenes in the creature's cave, this is a lot of fun, with Zucco perfect as the mad archaeologist and the creature's flying scenes coming off fairly decently. Meant to be the embodiment of the Aztec god Quetzalcoatl, the creature is far from a special effects triumph, but is about as good as we can expect coming out of Poverty Row. Leo Erdody's score has a nice musical theme which has an Aztec flavor and really sets an ominous tone, the perfect accompaniment to Zucco's misdeeds. PRC's prolific director Sam Newfield directs under one of his aliases, Sherman Scott.
Saturday, January 12, 2019
The Master Key (1945)
Starring Milburn Stone, Jan Wiley, Dennis Moore, Addison Richards, Byron Foulger
Directed by Ray Taylor & Lewis D. Collins
(actor & director credits courtesy IMDB.com)
A government agent and a police lieutenant try to defeat the plans of a ring of Nazi agents in America, who have acquired a machine that extracts gold from sea water.
I wouldn't call this a great movie serial, but it is a fun one, with Universal stalwart Stone and serial veteran Moore trying to track down the secret location of the Nazi agents with the aid of reporter Jan Wiley. Richards is quite good as the chief Nazi agent, who along with his cohorts all have keys that allow them to communicate with "The Master Key," a mysterious voice that gives them their orders. The serial could use some more fantastic elements in my opinion, but there's some interesting plot devices in the screenplay, with reporter Wiley employing a group of street kids to do her legwork, a secret relationship between Wiley and one of the Nazi agents, and some twists and turns that always keep the villains a step ahead of our heroes until the conclusion. Universal horror fans will recognize a number of the music cues, including the title theme which repurposes the main title of House Of Frankenstein.
Directed by Ray Taylor & Lewis D. Collins
(actor & director credits courtesy IMDB.com)
A government agent and a police lieutenant try to defeat the plans of a ring of Nazi agents in America, who have acquired a machine that extracts gold from sea water.
I wouldn't call this a great movie serial, but it is a fun one, with Universal stalwart Stone and serial veteran Moore trying to track down the secret location of the Nazi agents with the aid of reporter Jan Wiley. Richards is quite good as the chief Nazi agent, who along with his cohorts all have keys that allow them to communicate with "The Master Key," a mysterious voice that gives them their orders. The serial could use some more fantastic elements in my opinion, but there's some interesting plot devices in the screenplay, with reporter Wiley employing a group of street kids to do her legwork, a secret relationship between Wiley and one of the Nazi agents, and some twists and turns that always keep the villains a step ahead of our heroes until the conclusion. Universal horror fans will recognize a number of the music cues, including the title theme which repurposes the main title of House Of Frankenstein.
Tuesday, January 8, 2019
Yog, Monster From Space (1970)
Starring Akira Kubo, Atsuko Takahashi, Yukiko Kobayashi, Kenji Sahara, Yoshio Tsuchiya
Directed by Ishiro Honda
(actor & director credits courtesy IMDB.com)
An alien intelligence hijacks an Earth space capsule and takes it back to our planet, where it creates giant creatures that menace a tropical island's population.
An entertaining picture from Gojira auteur Honda, it's very colorful with fine cinematography by Taiichi Kankura, and a good score from Akira Ifukube. My favorite of the creatures was the giant crab with continually moving jaws that made it unique from past creature suits, but an immense armored turtle with an extending neck also impressed. The giant octopus that drives the first part of the film wasn't as striking, with immobile eyes and tentacles that had to be replaced with animation in several scenes, but it was certainly memorable. The cast of dependable Toho veterans, including Kubo and Sahara, brought an enjoyable comfort to my viewing. I didn't find the story to be overall that strong, but the movie was certainly a fun diversion, and unique in its own way from other Toho product.
Directed by Ishiro Honda
(actor & director credits courtesy IMDB.com)
An alien intelligence hijacks an Earth space capsule and takes it back to our planet, where it creates giant creatures that menace a tropical island's population.
An entertaining picture from Gojira auteur Honda, it's very colorful with fine cinematography by Taiichi Kankura, and a good score from Akira Ifukube. My favorite of the creatures was the giant crab with continually moving jaws that made it unique from past creature suits, but an immense armored turtle with an extending neck also impressed. The giant octopus that drives the first part of the film wasn't as striking, with immobile eyes and tentacles that had to be replaced with animation in several scenes, but it was certainly memorable. The cast of dependable Toho veterans, including Kubo and Sahara, brought an enjoyable comfort to my viewing. I didn't find the story to be overall that strong, but the movie was certainly a fun diversion, and unique in its own way from other Toho product.
Monday, January 7, 2019
Sleepers West (1941)
Starring Lloyd Nolan, Lynn Bari, Mary Beth Hughes, Louis Jean Heydt, Edward Brophy
Directed by Eugene Forde
(actor & director credits courtesy IMDB.com)
Detective Michael Shayne meets a reporter and former old flame on a train to San Francisco, and tries to conceal the surprise witness he's escorting back on the same train from her.
Rather surprisingly this entry in the Michael Shayne series of films isn't based on a novel by the character's creator, Brett Halliday, but one by Frederick Nebel, which the studio clearly refashioned to be a Shayne vehicle. It's not a bad story, but is somewhat atypical for the series as there is no real mystery, and this is more a straight thriller, albeit with a good deal of comedy worked in. I thought it was well-directed and photographed, with plenty of notable actors in the cast. Strangely though a subplot in which Hughes and Heydt make plans to elope seems a bit tacked on and distracting from the rest of the narrative. Nevertheless it's still a charming picture.
Directed by Eugene Forde
(actor & director credits courtesy IMDB.com)
Detective Michael Shayne meets a reporter and former old flame on a train to San Francisco, and tries to conceal the surprise witness he's escorting back on the same train from her.
Rather surprisingly this entry in the Michael Shayne series of films isn't based on a novel by the character's creator, Brett Halliday, but one by Frederick Nebel, which the studio clearly refashioned to be a Shayne vehicle. It's not a bad story, but is somewhat atypical for the series as there is no real mystery, and this is more a straight thriller, albeit with a good deal of comedy worked in. I thought it was well-directed and photographed, with plenty of notable actors in the cast. Strangely though a subplot in which Hughes and Heydt make plans to elope seems a bit tacked on and distracting from the rest of the narrative. Nevertheless it's still a charming picture.
Sunday, January 6, 2019
Superargo And The Faceless Giants (1968)
Starring Giovanni Cianfriglia, Guy Madison, Luisa Baratto, Diana Lorys, Aldo Sambrell
Directed by Paolo Bianchini
(actor & director credits courtesy IMDB.com)
The government calls in the costumed agent Superargo when star athletes across the nation are abducted by a group of blank-faced robots.
The second Superargo film brings back Cianfriglia in the title role, a former wrestler whose fighting prowess and unusual abilities make him a valuable freelance agent. Accompanied by Sambrell's mind-reading mystic, they battle the robots and trace the disappearing athletes to American guest-star Madison. I thought it was an okay movie, with some cool theme music, glamorous women, and well-choreographed fights, but the villain's motives are never really sufficiently explained, and the characters are paper-thin, with little development or backstory. The movie's a diverting enough watch, but there have been far better superhero films.
Directed by Paolo Bianchini
(actor & director credits courtesy IMDB.com)
The government calls in the costumed agent Superargo when star athletes across the nation are abducted by a group of blank-faced robots.
The second Superargo film brings back Cianfriglia in the title role, a former wrestler whose fighting prowess and unusual abilities make him a valuable freelance agent. Accompanied by Sambrell's mind-reading mystic, they battle the robots and trace the disappearing athletes to American guest-star Madison. I thought it was an okay movie, with some cool theme music, glamorous women, and well-choreographed fights, but the villain's motives are never really sufficiently explained, and the characters are paper-thin, with little development or backstory. The movie's a diverting enough watch, but there have been far better superhero films.
Saturday, January 5, 2019
Horrors Of The Black Museum (1959)
Starring Michael Gough, June Cunningham, Graham Curnow, Shirley Anne Field, Geoffrey Keen
Directed by Arthur Crabtree
(actor & director credits courtesy IMDB.com)
A crime columnist and author provokes the police when stymied by recent slayings, while hiding the secret that he is behind the murders, using instruments from his own personal black museum.
Michael Gough is probably better known today for his late-career films for Tim Burton, and in particular his memorable casting as Alfred the butler in Burton's Batman films, but he was the face of several horror films in the 1960s, playing the most reprehensible of villains in a series of movies for producer Herman Cohen. This was the first of those, and Gough shows a talent for bringing out hate and vitriol in the way he speaks his dialogue, subtly at first but culminating in explosions of anger when necessary. It's really a remarkable gift on the part of the actor. Accompanying Gough in the film are some truly shocking scenes for the time, including a murder by needles hidden in a pair of binoculars. To be frank, there's a lot that's distasteful about the movie, but the filmmakers were clearly trying to push the envelope, and they do so rather expertly. A prologue featuring real-life psychologist Emile Franchel trying to hypnotize the audience has absolutely no connection with the film, but it's charming in its own way.
Directed by Arthur Crabtree
(actor & director credits courtesy IMDB.com)
A crime columnist and author provokes the police when stymied by recent slayings, while hiding the secret that he is behind the murders, using instruments from his own personal black museum.
Michael Gough is probably better known today for his late-career films for Tim Burton, and in particular his memorable casting as Alfred the butler in Burton's Batman films, but he was the face of several horror films in the 1960s, playing the most reprehensible of villains in a series of movies for producer Herman Cohen. This was the first of those, and Gough shows a talent for bringing out hate and vitriol in the way he speaks his dialogue, subtly at first but culminating in explosions of anger when necessary. It's really a remarkable gift on the part of the actor. Accompanying Gough in the film are some truly shocking scenes for the time, including a murder by needles hidden in a pair of binoculars. To be frank, there's a lot that's distasteful about the movie, but the filmmakers were clearly trying to push the envelope, and they do so rather expertly. A prologue featuring real-life psychologist Emile Franchel trying to hypnotize the audience has absolutely no connection with the film, but it's charming in its own way.
Friday, January 4, 2019
Night Of Terror (1933)
Starring Bela Lugosi, Wallace Ford, Sally Blane, Bryant Washburn, Tully Marshall
Directed by Ben Stoloff
(actor & director credits courtesy IMDB.com)
A serial killer strikes again and again near the home of a wealthy family, where a scientist is planning to test a formula for surviving being buried alive.
Lugosi stars in the role of a turbaned Indian servant in this mystery-thriller, which has more in common with his other parts as a murder suspect than any of his horror classics. Still, this was filmed near the height of his fame, and it's a beefier showcase for him then you might think, abetted by Joseph Valentine's spooky and shadowy photography. Unfortunately the film is badly dated by a racial stereotype played by Oscar Smith, whose manner of speech and stuttering are cruelly presented for laughs. By contrast, Lugosi and his Indian on-screen wife, played by Mary Frey, are much more noble and honored, despite being demeaned as servants in some dialogue. Ford is cast in one of his many wisecracking reporter roles, playing off Matt McHugh's inept police detective, while trying to romance Blane's already engaged character, and they're all fine, but Lugosi's the one worth watching, along with Edwin Maxwell's pointy-toothed Maniac killer.
Directed by Ben Stoloff
(actor & director credits courtesy IMDB.com)
A serial killer strikes again and again near the home of a wealthy family, where a scientist is planning to test a formula for surviving being buried alive.
Lugosi stars in the role of a turbaned Indian servant in this mystery-thriller, which has more in common with his other parts as a murder suspect than any of his horror classics. Still, this was filmed near the height of his fame, and it's a beefier showcase for him then you might think, abetted by Joseph Valentine's spooky and shadowy photography. Unfortunately the film is badly dated by a racial stereotype played by Oscar Smith, whose manner of speech and stuttering are cruelly presented for laughs. By contrast, Lugosi and his Indian on-screen wife, played by Mary Frey, are much more noble and honored, despite being demeaned as servants in some dialogue. Ford is cast in one of his many wisecracking reporter roles, playing off Matt McHugh's inept police detective, while trying to romance Blane's already engaged character, and they're all fine, but Lugosi's the one worth watching, along with Edwin Maxwell's pointy-toothed Maniac killer.
Thursday, January 3, 2019
The Saga Of The Viking Women And Their Voyage To The Waters Of The Great Sea Serpent (1957)
Starring Abby Dalton, Susan Cabot, Brad Jackson, June Kenney, Richard Devon
Directed by Roger Corman
(actor & director credits courtesy IMDB.com)
After their men don't return from a voyage, a tribe of Viking women build a ship and head after them, finding the men have been captured by a band of savages after a battle with a sea serpent.
Although the story's pretty thin, there's still elements to enjoy in another cheap adventure from Corman, with Dalton a strong and compelling female lead. The other ladies in the cast unfortunately don't have much to do, other than Cabot's duplicitous Enger, who'd be even more interesting if she didn't have to have a change of heart in the last act. Devon and the other men playing savages pitted against the Vikings are pretty pale villains, and rather surprisingly, Jackson, cast as the leader of the Vikings, comes off pretty bland, with Jonathan Haze's Ottar much more daring and heroic in comparison. Yet Albert Glasser's score adds much needed punch and Nordic flavor to the narrative, and the sea serpent looks pretty decent, when we get to see something of it. It's shoestring filmmaking from Corman, but he did it better than anyone.
Directed by Roger Corman
(actor & director credits courtesy IMDB.com)
After their men don't return from a voyage, a tribe of Viking women build a ship and head after them, finding the men have been captured by a band of savages after a battle with a sea serpent.
Although the story's pretty thin, there's still elements to enjoy in another cheap adventure from Corman, with Dalton a strong and compelling female lead. The other ladies in the cast unfortunately don't have much to do, other than Cabot's duplicitous Enger, who'd be even more interesting if she didn't have to have a change of heart in the last act. Devon and the other men playing savages pitted against the Vikings are pretty pale villains, and rather surprisingly, Jackson, cast as the leader of the Vikings, comes off pretty bland, with Jonathan Haze's Ottar much more daring and heroic in comparison. Yet Albert Glasser's score adds much needed punch and Nordic flavor to the narrative, and the sea serpent looks pretty decent, when we get to see something of it. It's shoestring filmmaking from Corman, but he did it better than anyone.
Wednesday, January 2, 2019
The House In Marsh Road (1960)
Starring Tony Wright, Patricia Dainton, Sandra Dorne, Derek Aylward, Sam Kydd
Directed by Montgomery Tully
(actor & director credits courtesy IMDB.com)
A struggling married couple receive an unexpected windfall when the wife is bequeathed the home of her aunt, but after they move in they discover it's haunted by a ghost.
An interesting British film based on Laurence Meynell's novel, that although it's not a comedy, features not a horrific but a more mischievous ghost who generally leaves the other dwellers alone, until Dainton's character is wronged by her husband. Wright, playing the husband, is okay, but doesn't deliver a performance worthy of the cad his character is, an alcoholic writer who continually demeans his wife, and has the nerve to steal money from her to give to his mistress. Dainton fares better, with a nice moxie on display when she stands up to Wright and refuses his ideas that will bring them back to poverty's door. The focus is more on their relationship than the ghost, and don't expect anything major as far as special effects, which are quite limited, but I still enjoyed the film. I was rather intrigued by the musical score, which includes a theme whose first several notes are reminiscent of the theme to TV's One Step Beyond, somewhat fitting as the story, with it's supernatural presence and fiery climax, could have certainly appeared on that series.
Directed by Montgomery Tully
(actor & director credits courtesy IMDB.com)
A struggling married couple receive an unexpected windfall when the wife is bequeathed the home of her aunt, but after they move in they discover it's haunted by a ghost.
An interesting British film based on Laurence Meynell's novel, that although it's not a comedy, features not a horrific but a more mischievous ghost who generally leaves the other dwellers alone, until Dainton's character is wronged by her husband. Wright, playing the husband, is okay, but doesn't deliver a performance worthy of the cad his character is, an alcoholic writer who continually demeans his wife, and has the nerve to steal money from her to give to his mistress. Dainton fares better, with a nice moxie on display when she stands up to Wright and refuses his ideas that will bring them back to poverty's door. The focus is more on their relationship than the ghost, and don't expect anything major as far as special effects, which are quite limited, but I still enjoyed the film. I was rather intrigued by the musical score, which includes a theme whose first several notes are reminiscent of the theme to TV's One Step Beyond, somewhat fitting as the story, with it's supernatural presence and fiery climax, could have certainly appeared on that series.
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