1950’s | Magazines and Monsters!

Cinema Sunday: The Mad Magician (1954)

Posted on November 9, 2014 by billyd75

Title: The Mad Magician

Distributor: Columbia Pictures

Writer: Crane Wilbur

Director: John Brahm

Producer: Bryan Foy

Starring: Vincent Price, Mary Murphy, Eva Gabor, John Emery

Released: May 1954

MPAA: UR

This past Halloween has me completely focused on one actor – Vincent Price! I can’t get enough of his films, and that will continue today with a look at another one of his classics. This film has quickly ascended to near the top on my favorite films of Price, and won’t likely be pushed backwards any time soon. The film’s director has a pedigree in the entertainment industry, and we’ll touch on that a bit later.

For Price, this film was one that followed his huge hit, House of Wax, so you know that his name was slowly becoming a household name, and could begin to draw in moviegoers by the droves. Price almost went explicitly horror after this film, with a few minor exceptions. That genre would cement him as one of the biggest horror icons of all time. Now, let’s get to the plot!

The film opens with a typical street scene of that era (turn of the century). People muddling around, without a care in the world. A poster for a show running adorns the side of a building, and announces that Gallico the Great will perform many illusions, and the most dangerous of them all is the “Lady and the Buzz-saw” trick! Inside, the crew is bustling around, attempting to ready for the show. On stage, a man, Don Gallico (Vincent Price), is giving instructions to the musicians on how he expects them to follow his lead. Meanwhile, at the front door, a man, Detective Alan Bruce (Patrick O’ Neal) is seeking entrance but the doorman tells him that no one is allowed in during rehearsal. He mentions that he’s there to see a friend, Karen Lee (Mary Murphy), and the doorman lets him in to see her.

Back on stage, Gallico talks to Karen and Alan about this being his first performance, so he’s very nervous. Karen explains to Alan that Gallico has been in the industry for a long time, but behind the scenes, building the marvelous contraptions that other magicians use to mystify the crowds. He felt it was high-time he stepped out from behind the curtain, and was the star of the show!

That night, the show opens, and back in the dressing room, Gallico prepares for his big night. He’s wearing a disguise, one that mimics one of his competitors. The magician he impersonates is the Great Rinaldi. He does a few simple illusions, one involving his assistant, Karen. He leaves the stage to prepare for his next big illusion (the buzz-saw trick), and everyone readies themselves. As he removes his makeup, he returns tot he stage, and demonstrates his saw. It tears right through a wooden post, that slightly resembles the shape of a human body/head. Just as the trick is about to begin, a curtain falls, and Gallico is furious. The building manager tells him that two men have arrived with an injunction, stopping him from doing this trick. Ross Ormond (Donald Randolph), owns the company that Gallico works for, and he tells him that the machine belongs to him. He demands that Gallico takes it to his warehouse in New York City, or he’ll never work in the industry again (he insinuates that Gallico will be blacklisted). Gallico snaps, and tries to grab Ormond, but Karen’s boyfriend Alan, stops him. You can literally see the hate in Gallico’s eyes, and we know this will not end well.

The next day, Gallico and Alan are looking over the contract, and see that there is no way out. Alan feels bad for Gallico, and tells him that he’ll help any way he can. Ormond and the Great Rinaldi (John Emery) show up, and tell Gallico that they will be using the buzz-saw trick at his next show at the same theater Gallico had booked for his big show. Rinaldi leaves, and Ormond then informs Gallico that he knew about the machine well before the night before, but wanted to teach him a lesson in humility, so he waited until he was on stage, then humiliated him at the worst moment. To make matters worse, Gallico had a beautiful wife, but Ormond stole her away from him (with his money). As the two men recount the past, the face of Gallico reveals his incendiary feelings towards Ormond. In a fit of rage, Gallico chokes Ormond, then places him on the buzz-saw machine, holds him down, and activates the saw…

A while later, Gallico is cleaning up the studio, and Karen knocks at the door, he finishes cleaning up, and lets her in, but is obviously rattled. He thanks her for her help with the show, and writes a check to her for her work. She leaves to go and meet Alan for dinner, but grabs Gallico’s bag by mistake (they look very similar), and heads out. After a minute or so, Gallico realizes that she took his bag instead of her own, which shouldn’t be a big deal, accept that Ormond’s head is in his bag! He rushes to the restaurant and finds Karen and Alan. He asks her for the bag, but she left it in a cab. Frantically, Gallico tracks down the cab that took her to the restaurant, but he tells her that he saw it was left in the cab, so he gave it to a cop. He tracks him down, and retrieves the bag before anything goes awry.

Next, we see that Gallico saved the head for a specific reason. He uses it to make a model and then a mask, replicating Ormond exactly! He then tosses the body on a bonfire (the town is celebrating a football game victory) to get rid of the evidence. We then see him with his “Ormond” mask on, and he then assumes that identity. He rents a room at a nearby building, and begins to build something. out of the blue one day, his ex-wife shows up, and immediately begins to hit on him. She questions him about the whereabouts of Ormond. Gallico tells her that he doesn’t know where he is, and when she goads him, he slaps her, then warns her to get out. She then goes to the police, asking for their help in finding her missing husband.

Soon after, Mrs. Ormond gets call from the landlords where Gallico (disguised as Ormond, but using an assumed name) is now living. The landlords out him, and then allow her to wait in his room, and surprise him. She surprises him alright, but then the surprise is on her when she realizes that it’s Gallico. He listens to her talk about how she only wanted Ormond for his money, and now she’ll hook back up with him, because she’s also deduced that Ormond is dead. Gallico snaps, and throttles her to death. The landlords bust in, but Gallico jumps out the window, and escapes. The next day, the police have Gallico, the landlords, The Great Rinaldi, and Kate, in a room for questioning. The group basically feels as if Ormond killed his wife, and the police say that they have fingerprints that corroborate this theory.

Gallico then finishes his latest trick, and shows it off to a few people. It’s a device called “the Crematorium,” and it looks spectacular. Lurking behind a curtain is the Great Rinaldi, and you just know he plans on stealing this new trick. As the trick is finished, Rinaldi pops out, and declares that he’ll be using the new device at his show. This is the last straw for Rinaldi, and Gallico has had enough of his pompous blustering. We don’t see the heinous act, but soon after, we see the Great Rinaldi, performing on stage, is actually Gallico in disguise.

As the police start closing in on the real killer, Gallico seems to be coming more and more unhinged. Will they catch him before he commits another murder? Watch the movie and find out!

OK, here are my thoughts:

This has to be considered one of Price’s best films. If you watch this one, it gives you chills when Price goes off the deep end. Why you ask? Because put yourself in that situation, and think about it for a moment. Everything you ever loved, worked for, or cherished gets taken away from you in a very humiliating manner. Yeah, exactly. Price has always played a good crazy person, and this one doesn’t disappoint. The ancillary characters don’t really give stellar performances, but Price gives such a grand one, that it doesn’t even matter. That’s not to say that they bring it down, but most of them are just bland.

The direction, production, and overall crew did a fantastic job at selling this film. The budget wasn’t very high, so you had to have a great show put on by Price, and of course, being the consummate pro, he did just that for audiences around the country. This film is one I’d love to see on the big screen and in 3-D (as it was originally released). I believe the film is in public domain, give the link below a click, and have at it! You will be more than satisfied after the seventy-two minutes are up! As I spoke of briefly earlier, the director, John Brahm, has a family history in the entertainment industry, including the work of his father, Ludwig Brahm, an actor himself, and also his uncle, Otto Brahm, who was a theater man, director, and critic as well!

Click here for full movie!

Cinema Sunday – Special Edition! House on Haunted Hill (1959)

Posted on October 31, 2014 by billyd75

Title: House on Haunted Hill

Distributor: Allied Artists

Writer: Robb White

Director: William Castle

Producers: William Castle, Robb White

Starring: Vincent Price, Carol Ohmart, Richard Long, Elisha Cook Jr., Carolyn Craig

Released: February 1959

MPAA: UR

Anyone that knows me (or follows my blog, etc.), will undoubtedly understand why I’m reviewing this film. Vincent Price is one of my film heroes, and that will never change. His voice, the way he commanded a scene, and his overall creepiness, make him a movie icon. It cannot be disputed or denied. This man’s body of work is incredible, and worthy of high praise. When this film debuted in 1959, Price had already established himself as a B-movie stalwart, starring in hits like House of Wax , The Mad Magician, and The Fly. He also worked on a few more films before those, but they weren’t horror or suspense really. No, it was the horror genre that Price would become infamous for, and I don’t believe he wanted it any other way.

A fine actor Price was indeed, but who is the man behind this film? A gentleman named William Castle, that’s who! Let’s just say that this man could churn out a movie on time, within its budget, and oh yeah, it would be great, too! He was the king of gimmicks, but the story was still always there in his movies. OK, now, let us get to the movie!

The film opens with a woman’s shriek, followed by ghoulish moans, and more shrieks. Next, we see the floating head of Watson Pritchard (Elisha Cook Jr.), and he explains that the house you are about to see is haunted. He also tells us that he almost died in this house. Another floating head, that of Frederick Loren (Vincent Price), explains that he has rented this haunted house, and is having a party for his fourth wife, Annabelle (Carol Ohmart). He also is going to offer ten thousand dollars to anyone one of the party-goers who can stay the entire night in the house. You definitely get the impression that he doesn’t particularly care for his wife. As the guests arrive, he introduces them to us, one by one. A test pilot, Lance Schroeder (Richard Long), a newspaper columnist, Ruth Bridges (Julie Mitchum), a psychiatrist, Dr. David Trent (Alan Marshal), Nora Manning (Carolyn Craig), who works for one of Loren’s companies (he’s a multimillionaire), and finally, the home owner, Pritchard, who says he needs the money.

As they all make their way inside, introductions are made, but the questions remains. Where is the host of this party? Suddenly, a door slams shut, and the chandelier begins to shake. Loren watches with glee. he makes his way to the bedroom, calling his wife. He announces that the guests are all here, and unfortunately still alive. He asks her if she’s “put her face on” and she emerges from the bathroom, firing right back with insults of her own. The two go back and forth for a few minutes, and then Loren asks his wife if she’ll take a million dollars and just go away. She tells him that she won’t, because she wants all of his money. He then recalls a time when she poisoned him, but she denies it, and tells him that it was something he ate…he replies with “yes, arsenic on the rocks.”

Loren then heads downstairs and makes some drinks for his guests. He then takes them on a tour of the house, and Pritchard tells them about some of the murders that took place in th house at one time or another. Some blood drips on Ruth, and Pritchard tells her that she’s been “marked” but they laugh it off. In the basement, they see the pit of acid that one man supposedly used to kill off his wife. Nora almost falls in, and everyone gasps. Lance then gets Nora alone, and begins to hit on her. Nora explains that she needs the money because she’s the only one in her family that’s working. Lance opens a door, and walks in, and the door immediately shuts behind him. Nora tries to open it, but can’t even budge it. The lights go out, and a weird noise starts up, and scares Nora. She looks across the room, and a ghastly figure appears. She nearly dies of fright, and after the apparition disappears, she runs into the other room where everyone else is congregating. They all rush to find Lance, and he’s lying in the room, with a huge gash on his head, bleeding.

Lance then has Nora help him try to figure out what happened when he was hit on the head. He and Nora split up just for a moment, and once again, Nora sees the horrible woman/ghost, as it menacingly leans over her, she huddles down near the floor. It floats away, and Lance hurries in. She tells him what happened, but he doesn’t believe her because he didn’t see anything. She leaves in a huff, and goes upstairs. She runs into Annabelle, and the two have a talk. You get the feeling that Annabelle thinks that her husband is fooling around with Nora, but she denies it vehemently. After that, Annabelle runs into Lance, and they have a talk about the house, and about Loren. Annabelle seems to be scared that Loren is going to try to kill her, and Lance seems puzzled. Annabelle rushes back to her bedroom, and Loren comes in and threatens her, that she’d better come downstairs, or else!

As the night grows older, more and more hi-jinx ensue, with some of the shenanigans getting even more deadly by the minute! Is ten thousand dollars worth being scared to death or worse? Watch and find out!

OK, here are my thoughts:

When you look at this film’s budget, and the fact that it made a ton of money (for its time), this film is a gem that cannot be undervalued. Price is his usual brilliant self, but the rest of the cast also gives quite a good performance. Some of the scenes are hilarious, and really add to a movie that already is gold. At one point, Price and Ohmart are jabbing back and forth at each other, and Price tells her not to “stay up all night thinking of ways to kill him, because it will give her wrinkles.” Another great touch is when Price is attempting to assuage the fears of the guests, so he hands out pistols to each of them. The guns are being kept in little miniaturized coffins! Carolyn Craig (Nora) gives a good performance as well, and should be applauded for it.

The cinematographer (Carl E. Guthrie) must be mentioned, as his efforts were monumental considering what he had to work with budget-wise. William Castle was the ultimate showman, and he was the king of gimmicks. He had most of the theaters rigged with flying skeletons, to try to scare the audience. This was something he used many times, but most notably in this film, The Tingler (1959), and 13 Ghosts (1960). His biggest commercial credit is being the producer of Rosemary’s Baby (1968). This film lapsed into public domain, so give it a shot, you have nothing to lose!

Click here for the full movie!

Cinema Sunday: The Mummy (1959)

Posted on October 26, 2014 by billyd75

Title: The Mummy

Distributor: Hammer Studios/Universal

Writer: Jimmy Sangster

Director: Terence Fisher

Producer: Anthony Nelson Keys, Michael Carreras

Starring: Peter Cushing, Christopher Lee, Yvonne Furneaux, Eddie Byrne, George Pastell, Michael Ripper

Released: September 25, 1959

MPAA: UR

It recently occurred to me. that I’ve never reviewed a “mummy” movie! This must be rectified immediately, and it’ll be in grande fashion in the Hammer Studios style! The acting credits include two giants, Cushing & Lee, the people behind the scenes are no slouches either (Sangster, Fisher, Keys, Carreras), so for those that haven’t seen this flick yet, what are you waiting for exactly? I’ll keep the intro short because I’m on a deadline for a few surprises for this spooky week! Get ready, because we need to set the WABAC Machine a long time for this one!

The year is 1895, and we zoom in on an archaeological dig in the deserts of Egypt. Three men, Stephen Banning (Felix Aylmer), his son, John Banning (Peter Cushing), and Joseph Whemple (Raymond Huntley), have just discovered the tomb of Ananka (the high priestess of the god, Karnak). As they’re just about to enter the tomb, a man (George Pastell) approaches, and begs them not to enter. He tells them that they will be cursed for doing this, but they dismiss him quickly. John has a broken leg, so he cannot go in, but his father, and uncle both enter. Once they see the remains of Ananka, Joseph runs out to tell John that they’ve found what they’ve been looking for after twenty years of research. Back inside the tomb, we see Stephen, as he’s searching for more relics. He removes the “scroll of life” from a cubbyhole, and it activates a nearby doorway. It opens, but before we see anything, the scene switches back to the tent, and the conversation between John and Joseph. Suddenly, they hear a blood-curling scream from the tomb. Joseph rushes in, and finds John, acting like he’s had a mental breakdown.

A couple of years later, we see John and Joseph, as they’re wrapping up crating all the relics from the tomb. One of the servants then lights a fuse, and they seal the tomb, forever. They return to England, and John visits his father in the mental ward. Back in Egypt, the local man who warned them against this act, prays to his gods, to take revenge against these infidels. Back at the asylum, John’s father begins raving about a mummy that attacked him while he was inside the tomb, but John doesn’t believe him. His father again warns him about the scroll, and the mummy, but John just thinks he’s gone insane. We next see two men in a pub, discussing how they were contracted to transport some goods to a local home. The cargo is ancient Egyptian relics, and we get a feeling things aren’t quite right. Back at the asylum, John’s father goes completely off his rocker, and smashes the windows in his room. The delivery guys hear the racket, and drive the cart faster, it then is almost upset, and a large crate falls off.

Later that night, the creepy Egyptian dude uses the writings on the scroll to call forth the mummy from the swamp where the crate fell into earlier. The mummy (Christopher Lee), emerges from the swamp, looking like he’s going to open up a can on somebody. The Egyptian dude then commands him to go and kill those who desecrated the tomb. The first victim is John’s father, over at the asylum. He’s now in a padded cell after his outburst. He looks over at the window, and sees an enormous shadow approaching. He begins to shout and pound on the door, but they can’t hear him. The mummy rips the steel bars off of the window, smashes the glass, and kicks the fence in. He then descends on the old man, and throttles him to death. The police say it was a “lunatic,” and move on.

John and his uncle Joseph talk about who could have done this heinous act. Joseph tells John about the Egyptian guy that warned him back during the dig, but he doesn’t seem to be worried. The two discuss the dig, and the origin of Ananka. We see a priest (Christopher Lee), as he performs a funeral for Ananka, and things end up going terribly wrong. As they attempted to bury Ananka, the priest violates the sacred tomb (he attempted to resurrect her from the dead) , and then must pay the price. The Egyptians cut out his tongue, and mummify him. They place a curse on him, and put him in the tomb, so that he may guard her for eternity.

One by one, those who dared to desecrate the tomb are getting killed off. Will John be able to figure out the key to stopping this undead fiend or will the Mummy have his revenge!?!

OK, here are my thoughts:

I know most are high on the Universal Studios version of “The Mummy” and rightly so, but honestly, if you watch this one, you’ll have to admit that its right up there too. Cushing delivers a grande performance, as is his calling card. He really sunk his teeth into this one, and you get a bit of his “Dr. Frankenstein” vibe to spice things up. The rest of the cast is solid, but nothing crazy awesome. Lee does his thing as the monster, but let’s be honest, you can’t even tell it’s him. Now, when he was in the flashback scenes as the priest, that was pretty cool.

The music score for this one is top-notch (Franz Reizenstein), and really has some fantastic spots where it lends so much atmosphere to the movie. The direction is also great, and when you have someone like Terence Fisher calling the shots, you know you’re in good hands. A few quick scenes with Hammer stalwarts Michael Ripper, and George Woodbridge, are the icing on the cake. Listen, you need to see this film, it’s definitely a must see for any old school horror fan!

Click here for the trailer!

Cinema Sunday: Invisible Invaders (1959)

Posted on October 19, 2014 by billyd75

Title: Invisible Invaders

Distributor: United Artists

Writer: Samuel Newman

Director: Edward L. Cahn

Producer: Robert E. Kent

Starring: John Agar, John Carradine, Jean Byron

Released: May 15th, 1959

MPAA: PG

Another Sunday, and another sci-fi flick! This classic from 1959, stars the awesome John Agar, and if that wasn’t enough, we get another titan from the sci-fi/horror industry in John Carradine, as well! Both of these men had extensive careers in the film industry (especially Carradine), and have some fantastic credits on their filmography lists. During this decade, the explosion of “alien” films was crazy, and some are just terrible. Most didn’t have the luxury of having big names like these two, so it made the films seem bad because we know the budget for special effects wasn’t going to wow anybody. Alright, enough about that already, let’s get down to the movie!

The film begins with an experiment gone wrong, and the person that loses his life, is Dr. Karol Noyman (John Carradine – image above). The scene turns to Dr. Penner (Philip Tonge) discusses the accident with officials at the Pentagon. He wants to stop using nuclear tests for science. The Pentagon scoffs at him, and tells him it will continue. Penner leaves, and then gets a visit later that night at home. The dead Dr. Noyman comes for a visit, and tells him that he’s actually an alien invader that has reanimated the corpse of Dr. Noyman, and that the Earth must submit, or there will be a war. He also informs the good doctor that their ships are invisible, so the military will have no chance of stopping them. He even gives him a demonstration of the material that they use for the ships, and it is indeed invisible. Penner tells him that they won’t listen to him, but the alien tells him he’d better find a way or else! Then he exits the house.

Even later that evening, Penner’s daughter, Phyllis (Jean Byron) and her date, Dr. John Lamont (Robert Hutton) return home. Her father explains what has happened, but they think he’s had a nervous breakdown. He insists it happened, and begs Dr. Lamont to go to Washington D.C. and tell them of the impending doom. Dr. Lamont begrudgingly agrees to tell them, but we soon see newspaper headlines that make him out to be a kook. Dr. Penner is watching the clock, and wondering when the aliens will attack. He then prays to God, begging that this experience was all a dream. Dr. Lamont and Phyllis return, and give him the bad news. Dr. Lamont is kind of wiener about the situation, but soon, he’ll be a believer.

Dr. Lamont suggests that they try to contact the aliens and ask for more time. The all agree to head over to the cemetery and seek out the aliens inhabiting the corpses. Dr. Penner calls out to the aliens, and suddenly, they hear a growling noise. Something pushes its way through the brush, and then makes tracks in the soil. It’s at this time, that Phyllis and Dr. Lamont become believers. The alien then speaks to him, and he tells the alien that he failed and that no one will listen. He begs to get more time to try again, but the aliens refuse, and tell him that they will give one more warning to the people of Earth. The three of them realize they can do nothing to stop this, so they head for home.

The aliens then inhabit the body of a pilot who crashed his plane. He heads to a hockey game (don’t ask), and knocks out the announcers, and gets on the mic, and warns them of their impending doom. The people scatter like a bunch of ants. The alien then leaves the body of the corpse, and opens the door, leaving the room. The announcers wake up and are stunned to see this going on. Over in California, a car accident victim is possessed, and heads over to a large stadium and makes the same ominous warning. Again, people run away, and head for the hills!

Shortly thereafter, the aliens begin their invasion. They destroy bridges and roads, buildings and everything else in their path. They also start to possess every dead person on Earth. More people are killed in the chaos, and police cannot control the mobs that are going berserk. Washington D.C. then breaks into the news coverage, and tells everyone that Dr. Penner has agreed to rejoin the nuke project, and Major Bruce Jay (John Agar), is assigned to bring him in to the underground bunker. While on their way, a man with a shotgun holds them up, and attempts to steal their jeep. There are aliens (zombies) everywhere, and the man wants out. The next thing you know, something is stirring in the bushes nearby, and the man is distracted. Major Jay uses this opportunity to shoot the man in the head, killing him instantly. An alien then sneaks over and possesses the man.

Once they get to the bunker, Dr. Penner, Major Jay, and Dr. Lamont, head over to the lab, and begin to try to formulate a plan. The outside world is being decimated, corpse after corpse is being inhabited, and it looks as if there is no hope for humanity. Can this small group somehow find a way to stop the alien invasion? Watch it and find out!

OK, here are my thoughts:

This is one of those movies that any fan of the genre must see. No excuses, get out and grab or stream it on Netflix. Carradine is creepy as a zombie, and Tonge is quite good as well. Of course, you get an awesome “tough guy” from John Agar, and you can really see why he fits this mold very well. He’s a great action hero for this time period, and really commands the scenes that he appears in during the film. Of course the nuclear angle is something used HEAVILY in this time period, but it doesn’t detract from the cool factor of this flick.

The shots of the destruction are pretty cool, but the ones of the people running around are quite cheesy, and are most likely stock footage of something completely unrelated. Other than that, the film is pretty solid, and is a good representation of the time/genre. The revelation of what the invisible aliens actually look like is pretty cool too, and as I said before, the special effects obviously didn’t consume a good chunk of the budget, but they were good nonetheless. I try to imagine some of these older films in color, but honestly, this one is perfect in black and white. This is a must watch for movie fans of the genre, plain and simple.

Click here for the trailer!

Cinema Sunday: World Without End (1956)

Posted on September 28, 2014 by billyd75

Title: World Without End

Distributor: Allied Artists

Writer: Edward Bernds

Director: Edward Bernds

Producer: Richard Heermance

Starring: Hugh Marlowe, Nancy Gates, Rod Taylor, Nelson Leigh, Shawn Smith

Release: March 25, 1956

MPAA: PG

I’ve been dying to return to some Science Fiction, so why not return to the best decade for that genre, the 1950’s! The theme of space exploration was used heavily in this decade (and for the next couple), but for me, as long as the story is good, and the acting at least above average, it never gets old. This film has a solid cast, good sets, and a very good music score! Oh, and the first thing you see (even before the credits), is an atomic bomb detonating! C’mon, you know you’ve got a good movie on your hands when the beginning brings something that cool!

Well, rather than going on about this one for too long, I’ll just say that you should really see this film for no other reason than Rod Taylor, and a pack of gorgeous women! They have this film on Warner Archive now, so get over there and give it a watch!

The film begins with a group of military men telling the Pentagon that a ship out in space has gone silent for a couple of days. A spokesperson then tells some reporters that they can’t give any information about it until they investigate further. This same spokesman, comforts a woman and her children, because apparently her husband is one of the men on the mission. Switching to a TV station, a man tells the world that the space mission near Mars may have ended in disaster, with the ship losing communications with Earth. Speaking of the ship, we see it hurtling through space, as the communications officer, Ellis (Rod Taylor – The Time Machine, The Birds), informs the commander, Galbraithe (Nelson Leigh – Gunfight at the O.K. Corral), that they still cannot connect with Earth. Along with the rest of the crew, science officer, Borden (Hugh Marlowe – The Day the Earth Stood Still), and engineer, Jaffee (Christopher Dark), they are all optimistic about their return to Earth. Just as they finish some a last pass by the red planet, they ready themselves for the long trip home. Suddenly, the ship is tossed all over the place, and the crew hangs on for dear life!

After a crash landing, the crew believes they’ve landed on Mars or another nearby planet. As they look out the window, they see snow-covered mountaintops. They initially theorize, that they might be on Mars, but quickly discern that they are most certainly not. A Geiger counter tells them that there is some radiation, but nothing toxic. Ellis attempts to use the radio to contact someone, but gets static. The crew then packs up their gear, and heads out to explore this strange new world.

After walking for a while, they stop for a rest, and talk over a game plan. Jaffee is having a difficult time adjusting, and the rest of the crew wishes someone with a family hadn’t been allowed on the mission. They discover a cave, and upon exploring it, find a huge spiderweb. Ellis gets a bit too close though, and gets tangled up in it, then attacked by a huge spider! They wrestle with it, then shoot it at point-blank range. Another one tries to ambush them, but they put the kibosh to that one quickly with their pistols. Back outside, they find a clearing, but decide it will take too long to get anywhere else today, so they settle in for the night, and make camp.

During the night, we see a group of savages surround the camp, and they viciously attack the crew. Eventually, Ellis gets to his sidearm, and puts a couple of them down, and the rest flee. They notice that the attackers seem to be part human, part animal. The next day, they grab their gear and head off for the clearing they saw the day before. They come upon a gravestone, and it is then that they realize that they have time traveled into Earth’s future. Borden tells the rest of the crew that they were caught up in a time dilation, and pierced the sound barrier, and traveled into the far-flung future. Jaffee is having a tough time dealing with the fact that his family is long dead. They believe that there must have been a giant catastrophe that decimated the world, years before their arrival. They also think that the beasts that attacked them earlier are mutated human beings.

As they search on, Borden sees some unnatural smoke, and volunteers to investigate. The rest of the crew talks about his family, that died in a plane crash years ago. Just as they finish talking, another group of mutates attacks Borden, but between his fighting prowess, and the others hooting, they manage to fight off the mutates for a while. The mutates outnumber them by a long-shot though, so they hide in a tunnel nearby. As they look around, they find a steel door, that is obviously man-made, and harboring something. Another steel door closes to seal off the cave, and then another opens, inviting them inside. They enter, and are almost immediately met by a man who asks them to follow him down a corridor. They are brought before a council that informs them that Armageddon ravaged the planet, and that they are all that’s left of the human race, along with the mutates. And also, that it is now the year 2508!

As they get more familiar with each other, a door opens, and a beautiful woman enters, Garnet (Nancy Gates), and introduces herself as the leader’s daughter. She escorts the men to a room where they can relax, and then two other women, Deena (Lisa Montell), and Elaine (Shirley Patterson) . The weary explorers are at a loss for words. Galbraithe then asks the girls why they haven’t gone back above ground since the radiation levels are livable. She explains that they have come accustomed to living there, and that the mutates might kill them, so they’d rather live below in peace.

A few hours later, Galbraithe meets with the council to discuss some things, but they only want to talk about ancient history, and he wishes to discuss fixing the ship to explore the rest of the planet. One of the council members, Mories (Booth Coleman – Planet of the Apes), is very skeptical about their intentions, and wants them to either conform or leave. The men take a tour of the complex, and Garnet gives Borden a “private tour” because they seem to be sweet on each other. There’s a bit of jealousy on the part of Mories, as he gives Borden the evil eye when he sees Garnet giving him so much attention.

The crew repeatedly attempts to sway the council to rise to the surface, and defeat the mutates, and live as humans should, on top of the surface. The council seems to think the crew might have a point, but Mories keeps frightening them with stories of how they’ll be murdered by the mutates. The crew even asks to just be able to use some men to make it to their ship, and also use their factory to make weapons, but they are told that isn’t possible. Mories is then seen spying on them, and then tells the other council members that the crew is planning a coup. Garnet talks to her father, Timmek (Everett Glass), (the leader of the underground people), and tries to convince him that they are sincere, and just want harmony for all mankind.

One of the other council members reports this to Mories, who then devises a plan to frame the crew for crimes against the council. He steals the weapons of the crew (that were confiscated earlier), and then hides them in their room, and accuses them of subterfuge. The council has a kangaroo court that finds them guilty, and they’re locked up and told that they’ll be thrown out with nothing more than what they had when they came to the community. As Mories was stealing the weapons though, he was discovered by one of the other council members, so he killed him to hide his actions. He blames the crew for that as well. The women don’t believe it though ( as they’ve fallen in love with the crew members), so they agree to help them escape. Unbeknownst to Mories, Deena saw him enter the room of the crew, and tries to report him, but he attacks her as well. She eventually recovers, and outs Mories. He runs to the only place where he can get away, the outside world. Within seconds he’s savagely attacked and killed by the mutates.

The council changes their mind, and agrees to help the crew with furnishing weapons and some men to help them make their way to the ship. Will they be able to fight off the mutates, and make it to the ship? Will they ever see the 20th century again? Only watching the movie will get you those answers!

OK, here are my thoughts:

There’s no two ways to say this other than if you like Sci-Fi, you need to see this movie. It’s not as flashy as Forbidden Planet, but I’d guess that the budget was significantly less, so you’d have to factor that in the equation. The crew of the ship really do grow on you, and have you on their side from the beginning. Rod Taylor does a fantastic job at playing the young, cocky space-jocky type, and Hugh Marlowe and Nelson Leigh really excel at being the “father figure” types for the younger two crew members. Of course you get some of the same tropes in this film that you get in most others of this period, but if you think about it, they’re still being used to this day in one way or another, so they can’t be labeled as tiresome in a movie from 1956.

The sets/locations for this film were pretty good, and really looked best in the outdoor scenes. The underground community set was solid as well, and looked like something straight out of a Star Trek episode (even though this movie predates that series by ten years!). There’s a bit of social commentary in the film but it doesn’t get too heavy or ridiculous. The music score (Leith Stevens), was very good, and I haven’t personally ever heard of this gentleman, but I’m definitely going to keep my eyes open and look for more of his work.

As I said above, either grab this film on DVD (you can get it in a double pack with Satellite in the Sky (1956) for around $12-15. Or if you have any kind of tablet, download the Warner Archive app, because you can get a month of free movies, where this flick is available as of now. Do yourself a favor, and give some of these classics a shot. They really did lay the foundation for the rest of the movies and TV shows for years to come in this genre!

Click here for a clip!

Cinema Sunday: Horror of Dracula (1958)

Posted on September 14, 2014 by billyd75

Title: Horror of Dracula

Distributor: Hammer Studios/ Universal Pictures

Writer: Jimmy Sangster (Screenplay)

Director: Terence Fisher

Producer: Anthony Hinds

Starring: Peter Cushing, Christopher Lee, Michael Gough, Melissa Stribling, Carol Marsh

Released: May 8th, 1958

MPAA: PG

It just occurred to me that this film wasn’t among the many Hammer films that I’ve reviewed. This cannot be so any longer, as I intend to showcase the first vampire film that Hammer Studios released, and the one that vaulted the career of Christopher Lee into orbit! Peter Cushing was already a commodity, and Michael Gough, Lee, and others had plenty of experience, but Cushing is the driving force behind the movie, make no mistake. Rather than me slobbering on forever about it, I’ll just get to the plot, which isn’t exactly like the Bram Stoker novel, due to legal issues with Universal and the estate of the Stoker family, but rest assured, it still is a classic!

The film opens with Jonathan Harker (John Van Eyssen), a young man who’s making his way through the Carpathian mountains, to reach a castle. Once there, his internal monologue tells us that he has a “job” to do, but what that is, we’re not sure. He sees food on the table, and decides to sit down and dine. After starting a fire, he begins to go through his personal items. He accidentally knocks over a plate, and as he’s picking it up, a beautiful woman (Valerie Gaunt) approaches. He introduces himself as the new librarian of the estate, but the woman only wishes to be rescued from being held a prisoner by the owner of the castle. Just then, the woman quickly races away, and Harker has a feeling there’s a good reason. He slowly turns around, and at the top of the staircase, is a dark figure, looking down ominously. The man quickly descends, and greets Harker, introducing himself, as Dracula (Christopher Lee).

After they exchange pleasantries, Count Dracula shows Harker to his room. He informs him that he’ll be away until tomorrow evening, so he can make himself at home. Dracula then notices a picture on the desk, and asks who the woman is, and Harker tells him that it is his fiancé, Lucy Homewood. Harker then writes in his journal, that he has gained access to the house, and that he is ready to do what must be done, about Dracula. As Dracula leaves, Harker is startled by the fact that he locks him in his room for the night. Later though, he hears the lock get unlocked, and he investigates to see who it was that was responsible. He heads downstairs, and runs into the same woman who approached him before. She pleads with him to rescue her from Dracula, but she isn’t clear about why she needs rescuing in the first place. As she hugs on to Harker, she also moves closer to his neck. He fangs pop out, and she readies herself to feed on the unsuspecting man.

Just as she attempts to bite him, Harker feels it, and shrugs her off. In the next seconds, you hear a godawful hiss, and we see Count Dracula at the top of the stairs, blood dripping from his mouth, and looking insane. He pounces on the woman, and scares Harker. But Harker tries to stop him from manhandling the woman. Dracula chokes him nearly unconscious, then grabs the woman, picking her up like a child, and carries her off to some other place in the castle. Harker then passes out in the living room.

The next morning, Harker awakens in his room, and is horrified to see that the woman actually broke through his skin, and bit him on the neck. He breaks down emotionally, and we see that he has some knowledge of this affliction. He writes again in his journal, and leaves a message for someone who he hopes will read this, and be able to help.

The next day, Harker embarks on a mission through the castle, to find the resting place of Dracula. He finds the woman, slumbering in a coffin. He wastes no time in driving a stake through her heart, but then notices the sun has gone down. As he looks towards the door, Dracula creeps in, and you know that Harker is no more.

Soon after, a pub is the new scene, and we watch as a man, Dr. Van Helsing (Peter Cushing), enters and begins to ask questions about his friend who recently passed by, named Harker. The pub owner (George Woodbridge) acts as if he doesn’t know anything, but the waitress tells Van Helsing that she remembers him. The pub owner scolds her, and sends her into the kitchen. Van Helsing questions the pub owner some more, but he refuses to get involved. When the meal is ready, the waitress brings it out, and hands a journal to Van Helsing. It is the journal of Harker, and it details the happening at the castle. Apparently, both men are sort of vampire hunting team.

Van Helsing goes to the castle, and searches for Harker (having not yet read the journal). He finds that Harker’s room has been ransacked, and that he seems to be missing. As he descends into the lower levels, Van Helsing finds Harker, dead in a coffin, with bite marks on his neck. He then reaches into his bag, and pulls out a stake and a hammer, then proceeds to do the deed. The next scene shows Van Helsing at the residence of the Homewood family. Van Helsing informs them that Jonathan is dead, and that he was cremated. Arthur Homewood (Michael Gough), is the brother of Lucy (Jonathan’s fiancé), and he is quite upset with Van Helsing, and his being very mysterious about Jonathan’s death.

later that evening, Lucy is in bed, and she gets out, with a very creepy look on her face. She makes sure that her door is locked, then she unlocks the patio doors, that lead to her bedroom. She also removes her crucifix, and readies herself for a visitor. We then see that she has bite marks on her neck. Across town, Van Helsing is listening to a recording about ways of fighting these undead creatures, such as Dracula. The following morning, Lucy is very ill, and almost on the brink of death. Mina Homewood (Melissa Stribling) goes to see Van Helsing, and to ask for his help with Lucy. Van Helsing then examines Lucy, and sees the bite marks on her neck. He then instructs Mina to keep her doors and windows locked at night-time, and to keep garlic flowers in her room.

After she does what Van Helsing instructs, night falls, and Lucy cries out to the maid to take away the flowers, and to open the windows. She does as Lucy asks, and the next morning, Lucy is dead. Van Helsing visits, and Arthur is very crass towards him. Van Helsing then tells him to read Jonathan’s journal, and then, he will understand. In the evening, a policeman visits and brings Tania (Lucy’s niece) back to the house. Tania claims to have been visited by Lucy. Arthur then goes to the crypt, and finds that Lucy is missing. He then witnesses Lucy, as she’s about to snack on Tania. He calls out to her, and she attempts to attack him, but Van Helsing is there as well, and brandishes a cross. He burns her forehead with it, and Lucy runs away screeching. Van Helsing and Arthur then go to the crypt, and pound a stake through Lucy’s heart, ending her nightmare, and releasing her soul.

Dracula then focuses his attention on Mina, and it’s up to Van Helsing and Arthur to try to stop this evil entity!

OK, here are my thoughts:

If there’s anyone out there that hasn’t seen this film yet, get to it. Even if you aren’t the biggest horror movie fan or a fan of old movies, you need to see this one. This is the beginning of the Cushing-Lee horror combo, that Hammer Studios would use to build an empire. The acting is superb, as the two main characters, along with Michael Gough, put on performances that make this classic what it has been and always will be as a landmark in cinema. This film was made only one year after Hammer struck gold with Frankenstein, and the hits would keep coming for more than a decade.

Along with the great acting, the people behind the scenes were just as responsible for this gem. Starting with James Bernard, and his wonderful music score. You get some thunderous music, and other times a frightening interlude. He really nailed this one, and was simply perfect. The script by Jimmy Sangster was quite good considering he couldn’t use the story from the book or the screenplay from the Universal film either. Terence Fisher gives us his usual brilliance with direction, and the team of Hinds and Keys rounds out the production of the film. Everything from the costume designs, the sets, lighting, you name it, this film was top-notch. Hit up your local store or just get to Amazon and grab a copy, you wont be disappointed. I own a set a four Hammer Films that TCM put out a few years ago. It has this film, plus three other classics that you’ll love.

Click here for the trailer!

BEWARE! #3, 1973 “The Monsters are Coming”

Posted on August 15, 2014 by billyd75

At a recent con (Boston Comic Con – 2014), I grabbed a few comics at a bargain, and one of them happened to be an issue of the reprint series, Beware! This particular issue reprints some Golden Age material from Atlas Comics (Marvel). Some pre-code stories by greats like George Tuska, Joe Maneely, and Al Luster! The cover by Rich Buckler and Joe Sinnott really sets the tone for the book!

Each story contained within has a different angle, but it doesn’t interrupt the flow from front cover to back. I really enjoy these types of books, and another good one is from Yoe Books (IDW distributing), called “Haunted Horror“. It’s a great reprint series showcasing some of the early horror work from some of the best talent of that period, and quite frankly, of all time. Give it a look if you can spare the time. In the meantime, take a peek at some of the awesome work in this fantastic book!

Cinema Sunday: The Revenge of Frankenstein (1958)

Posted on May 11, 2014 by billyd75

Title: The Revenge of Frankenstein

Distributor: Columbia Pictures (Hammer Studios)

Writer: Jimmy Sangster

Director: Terence Fisher

Producer: Anthony Hinds

Starring: Peter Cushing, Francis Matthews, Eunice Gayson, Michael Gwynn, Michael Ripper

Released: June 1st, 1958

MPAA: UR

In what basically is a direct sequel to The Curse of Frankenstein, this film has a unique twist to the tale of the Frankenstein Monster. With the usual cast of characters, and production stalwarts, some consider The Revenge of Frankenstein to out-do the first film. I wouldn’t go that far, but it is a good film, and we’re going to dive head first into the plot in a moment. The film stars the incredible work of Peter Cushing, along with a solid performance by Francis Matthews. Now, let’s get down to business!

The film begins with good old Baron Frankenstein (Peter Cushing), as he’s being led to the guillotine for his crimes against nature. There’s a few people surrounding him; a priest, a guard, and a man who appears to be crippled. This crippled man and the Baron share a quick nod, and as the camera goes off scene, we here a struggle, then the guillotine does its job. That scene then cuts to a bar, where a woman is howling because she’s having a good time. The view turns to two men, getting drunk, and talking about a job. One of the men tells the other that it’s a simple job of snatching a body from the graveyard. The other man (Michael Ripper), doesn’t seem to trust him on the real ease of the job, but he needs the money for booze (I guess), so he agrees to come along for the job. As the two men dig up the body, they realize the grave is marked Baron Frankenstein. Inside the casket though, is the body of a priest! This scares the one man off, but the other one stays to finish the job. Before he can do anything more though, a shadowy figure creeps out of the bushes, and introduces himself as Baron Frankenstein. This gives the old guy a heart attack, and he dies right there on the spot.

Three years later, a few gentlemen that belong to a “medical council” in Carlsbruck, are discussing a doctor in town that’s been stealing all of their patients. They agree that they’ll send a delegation to meet him and convince him to join their ranks. One of their number is Dr. Hans Kleve (Francis Matthews image above), and as they visit Dr. Stein (Peter Cushing), he recognizes him, but keeps quiet. After Dr. Stein refuses the medical council’s offer, Hans returns later that evening, and calls out the Baron on his true identity. Dr. Kleve then tells the Baron that he wants to learn under his guidance, and will keep quiet in exchange for knowledge. The Baron then takes him to his laboratory, and shows him his latest achievement. He shows Dr. Kleve a new body, constructed from “spare parts”, and tells him that it will be the new body for the crippled assistant, Karl (The Baron made a deal with Karl, that if he saved him from the guillotine, he’d grant him a new body).

Next, we see a young woman, Margaret, (Eunice Gayson) at the hospital for the poor (where the Baron gets his spare parts from), as she informs Dr. Kleve that she’ll be working at the hospital doing charitable work for the patients. Her father, who’s the minister of this town, would be trouble if “Dr. Stein” refused, so he allows her to stay. That night, the two doctors descend into the laboratory, to give Karl his new body. The surgery seems to be going well, but then suddenly, the body begins to twitch violently, and requires restraining. Karl’s brain now resides in the new body, and they take him to a secluded room at the hospital.

Once there, the janitor (George Woodbridge- image below)) sees them transporting the body there, and he also eaves drops on them as they discuss Karl (Michael Gwynn) and his new body. Karl screams out in pain, and the janitor shudders in fear. The next day, as Dr. Kleve is watching Karl (who’s still strapped down), he tells him that Dr. Stein wants to show him off to other doctors around the world. Karl gets upset because “people have stared at him his whole life”. Dr. Kleve tells him not to worry, and leaves for the day. The janitor wants to impress Margaret (image below), so he tells her of the “special patient” in the room upstairs. She visits him, and he asks her to loosen his traps, because they’re hurting him. She thinks nothing of it, and loosens them. Karl then uses this chance to escape the hospital. He doesn’t want to be ogled by anyone and wants to live his own life.

Later that night, the Baron and Dr. Kleve head over to the hospital to check on Karl, and find that he’s gone. Karl heads over to the laboratory, and attempts to dispose of his old body. He makes some noise, and the janitor that’s cleaning up hears him, and investigates. He attacks Karl, hitting him with a chair, then punching him several times. This causes brain damage to Karl’s recently operated on brain, and causes him to begin to revert back into his old self. He violently kills the man, then runs away crying. Dr. Kleve tells Dr. Stein that he told Karl about the big plans for him, and they realize that he couldn’t handle the news, and ran off. They immediately head over to the lab and discover the dead janitor, and also that he burned his old body in the furnace.

The next day, Margaret is finishing up some horseback riding, and heads into the stables to check on the other horses. She discovers a traumatized Karl (image below), hiding in her stables. Margaret tells him that he can’t stay there, but she’ll find a way to help Karl out without telling Dr. Stein (Karl tells her that he’s afraid of him). She returns to the hospital and tells Dr. Kleve about Karl. Meanwhile, Karl begins to relapse into his crippled state, and runs off into the night. In a nearby park, a young woman and her boyfriend are talking, but she soon dulls of his words, and leaves for home. She barely makes it around the corner, and she’s attacked and killed by Karl. Dr. Stein and Dr. Kleve are on their way to Margaret’s home, when they are stopped by the police. They tell them that there’s been a murder, and they investigate, and realize it may have been Karl. They then go to a party at Margaret’s house and speak to her bout what happened with Karl. In the next moments, Karl bursts through the window, and shouts “Frankenstein, help me!”

The following day, the medical council meets, and they decide that action must be taken to oust Dr. Stein. The hospital is empty as well, as word has gotten out about “Dr. Stein”, and his true lineage. Dr. Kleve is summoned by the medical council, and urges Dr. Stein to leave the country and they can start anew somewhere else. He refuses to leave and actually joins Dr. Kleve in the meeting with the medical council. Dr. Stein denies his real name, and the council goes to get proof. They dig up the grave, and find the priest’s body in the casket. As they are doing this, Dr. Stein is in the hospital for the poor, making his rounds. The janitor was apparently telling the patients of the rumors, and they savagely attack him.

I’ll stop here for now, and leave the ending a secret, but rest assured, the old Baron has a plan up his sleeve, and also Dr. Kleve to help him survive…or does he?

OK, here are my thoughts:

Although I like this film a lot for its interesting perspectives and plot, it doesn’t surpass the original. It lacks any real scare factor, unlike the first movie. Maybe this is due to Christopher Lee not being the “monster”, or maybe the lack of someone of strong principles opposing Baron Frankenstein. Either way, it’s still a good film, due to the roles played by Cushing and Matthews. Both are very good, and even the janitor, George Woodbridge, does a good job as a a secondary character.

The sets were quite good, as you’d expect from being filmed at Bray Studios. The music is average, but that can probably be attributed to the absence of James Bernard. The colors didn’t seem as vibrant in this second film either. If that’s just to the copy I have, or just fact, I’m not quite sure. Oscar Quitak (Karl, before the operation), was also very creepy in the movie, even though he was only around for the first third of the film. The brief appearance of Hammer faithful Michael Ripper definitely puts me at ease. His mere presence in any Hammer production automatically elevates it no matter what the quality is of the film. Definitely check this one out if you haven’t seen it before. It’s worth a watch and owning if you’re a Hammer fan.

Cinema Sunday: The Curse of Frankenstein (1957)

Posted on May 4, 2014 by billyd75

Title: The Curse of Frankenstein

Distributor: Warner Bros. (Hammer Studios)

Writer: Jimmy Sangster

Director: Terence Fisher

Producer: Anthony Hinds (also Max Rosenberg)

Starring: Peter Cushing, Christopher Lee, Hazel Court, Robert Urquhart

Released: May 2nd, 1957

MPAA: X (originally in the U.K., but PG in the U.S.)

To say that this film was groundbreaking for its time, is an overwhelming understatement. What Hammer Studios did was take the foundation of horror that was laid by Universal Pictures back in the 1930’s, and build a mansion of horror on top. It all began with this film, The Curse of Frankenstein, in 1957. The film broke down barriers that had been in place for a long time, and nothing would be the same after its release. Peter Cushing is an absolute superstar in this one, and it vaulted his career into the atmosphere. Let us now turn back the clock to 1957, and witness the birth of true horror.

The movie begins with a priest, as he rides along a windy path to a prison on a hill. Once there, he’s shown to a cell where a man is “raving”, but the priest enters alone anyway. Baron Frankenstein (Peter Cushing) is the man inside the cell, and he’s scheduled to be hanged in one hour. He tells the priest to sit down and listen to his story, so that he can pass it on to others over time. The priest tells him to start at the beginning, so Baron Frankenstein begins his story in his childhood days, when his mother died. He explains to the priest that he inherited the family fortune at the age of fifteen, and brought in a tutor, Paul Krempe (Robert Urquhart- pic below), to finish his schooling. The two grow to be quite close, and after two years, the young Baron has learned all Paul can teach him. The two are fascinated by the possibility of regenerating dead matter, and go ahead with their plans to conduct experiments that will lead to such a result.

After months of gathering information and equipment, they finally attempt to revive a dead puppy. The laboratory is filled with all sorts of arcane looking devices, and before you know it, they activate the machines, and revive the animal from the other side. At this point they theorize on what to do next. Paul believes they should share their findings with the medical federation that meets in London every year. The Baron disagrees, and tells Paul that now is the time to open Pandora’s Box, and “find what lies beyond it.” Paul seems confused, and the Baron tells him that they must build a man, piece by piece, and animate it, creating life, in the vein of God creating mankind itself. Paul seems skeptical, but agrees to go forward.

A neighboring town has just hanged a man for being a criminal, and hung his body at the town limits to warn others of the punishment waiting if they should try anything. Paul and the Baron cut the body down, and begin their experiment. First, the Baron tells Paul they must cut off the head, because the eyes and half of the head were eaten away by crows. Paul stands in shock and awe, as the Baron flippantly cuts off the head of the corpse. He then tosses it in a vat of acid, disposing of it once and for all. The Baron then informs Paul that he’s going away for a few days to get something (a new pair of hands for the creature). The next day, Paul is talking with Justine (Valerie Gaunt), the maid. A knock at the door interrupts them, and the door opens to show Elizabeth (Hazel Court- pic below), the baron’s cousin. She announces that she’s coming to live there, and to be married to the Baron as it was arranged by her mother. Paul then tells the Baron (in seclusion) that he’s decided to stop helping him with the experiment. The Baron tells him to leave him alone, and continue on without any help.

We next see the Baron and Justine, sharing a passionate kiss in a dark hallway. She tells him that she’s jealous of Elizabeth, and that she wants the Baron to marry her, as he promised. He kind of chuckles at her request, and then carries on with the make out session. The following day, the Baron leaves once again for more “materials”, and this time he brings back a new set of eyeballs for the creature. He then is seen examining them, close up. A knock on his laboratory door by Paul interrupts him, and then the two have a conversation about what the Baron is doing. The Baron then reveals the creature to Paul, but he rebuffs him again, and leaves.

Another day or so passes, and we see that the Baron is hosting one of the most brilliant minds in Europe. This older gentleman is a scientist that is possibly more brilliant than the Baron himself. As they have conversation, Paul enters the room, and the Baron introduces the two. The Professor then tells them that he’s tired, and needs to retire for the evening. The Baron agrees to walk him to his room, and shows him a painting at the top of the balcony. We see the Baron get a strange look on his face, and then tell the Professor that if he backs up against the railing, he’ll get a better view. As he backs up, the Baron pushes him over the railing, shouting as if the Baron is having an accident. We get the impression that the Baron planned this all along. He then offers to let the body of the Professor rest in his families crypt, being that he had no family. After the burial, the Baron sneaks into the crypt, and removes the Professor’s brain. Paul shows up, and the two argue over the fact that the Baron basically murdered the Professor. The argument gets very heated, and then Paul grabs the bag containing the brain. A brief struggle ensues, and the brain gets smashed against the wall. The Baron get furious, and pushes Paul out of the way.

Paul the warns Elizabeth that Victor is meddling with things he cannot control. She tells him that she wont be leaving, and he leaves her room, very disappointed. Next, we watch as Victor fixes the damage done to the brain by the struggle with Paul (or so he thinks). He then begins the process of reviving the creature. Initially, nothing seems to happen, but as he leaves the room, he then asks Paul to help him, and threatens to involve Elizabeth is he wont help him. Suddenly, he hears a loud crashing noise coming from the lab. He returns to see the creature (Christopher Lee), alive, and extremely volatile. It attacks the Baron, nearly killing him, if not for Paul intervening. The Baron is in ‘full arousal’ over this (even though he’s almost killed), and Paul is mystified at this reaction. Paul then begs Victor to dispose of the creature, but Victor tells Paul it’s his fault because he damaged the brain in the fight they had previously.

The following day, the creature gets loose, goes into the forest, and kills an old man and his grandson. Victor asks Paul for his help in tracking it down, then, Paul brings a rifle, and shoots the creature, killing it once and for all…or so he thinks. He and Victor bury the monster, but Victor then digs it up and keeps it secretly in his dungeon. Justine then threatens the Baron if he doesn’t marry her as he promised. He tells her that she had better not or face the consequences. He also tells her that she’d better be gone by tomorrow, or else. That night, Justine creeps out of her room to gather proof of what’s going on in the laboratory, so she can either extort Victor or hurt him by telling the police. Victor realizes this, and lays a trap for her. As she creeps into the lab, and then the dungeon, Victor slyly locks the door behind her, and the creature kills her.

Once again, Paul confronts Victor after learning the creature still lives. Victor and Paul argue and fight in the lab, then out in the street as well. The creature busts out of his chains, and attacks Elizabeth on the rooftop. Victor grabs a pistol, and in trying to shoot the creature, accidentally shoots Elizabeth. The creature then attacks him, but he throws a lantern at it, and it is engulfed in fire. It then stumbles towards the window, and falls into the pit of acid.

We then return to the prison, as Baron Frankenstein finishes his story, and the priest seems unconvinced. The guard then tells the Baron that Paul Krempe has come for a visit, and he shows him in. Victor begs Paul to corroborate his story, but Paul acts as if he has no clue what the Baron is talking about. The priest walks out, and Victor then attacks Paul, but the guards drag him off. Paul leaves and tells Elizabeth that Victor has gone insane. The last thing we see, is Baron Frankenstein being led to the gallows.

My thoughts are as follows:

In the beginning I said this film was groundbreaking, and that’s no exaggeration. It showed copious amounts of red blood, and now for the first time in color, it seemed even more revolting. Hammer is known for its “RED” blood, no doubt about that. The scenes of other grotesqueness include the Baron holding an eyeball right in front of the audience, the reveal of the creatures horrific face, when the Baron cut off the head, and disposed of it in the acid, and so on. This movie pushed the envelope of what it meant to be a “horror” movie like no other of its time.

Peter Cushing was marvelous, of course, and Robert Urquhart added a fantastic element of struggle against the Baron. Both men played off of each other very well, and showed how just two characters can carry an entire film literally by themselves. Yes, you did get Lee as the creature, and Hazel Court was beautiful, and well spoken, but those two men were the shining light of this movie, make no mistake.

In typical Hammer fashion, we had sets that were awe-inspiring, and the locations were numerous but none more famous than Bray Studios. Fisher, Hinds, and Sangster, gave us a masterpiece with this film, and should be lauded for their efforts. Also in keeping with Hammer traditions, the music score by James Bernard will send chills up your spine and have you on the edge of your seat with his thunderous climaxes. If you’ve never seen this film, shame on you, and rectify this blemish on your record immediately. If you have watched this film but do not own it, buy this film in a set like I did (TCM Classic Horror), it includes four Hammer classics that every horror fan needs to own!

Marvel’s Unsung Heroes! -George Tuska!

Posted on April 28, 2014 by billyd75

The name George Tuska (RIP) doesn’t stand out for a lot of people, but this guy had quite a career beginning way back in the Golden Age. Titles such as “Crime Does Not Pay” and “Captain Marvel Adventures“, were home to hard-working guys like George. He really is the textbook definition of a journeyman. He has a ton of credits, but personally, I don’t own many of his books. That being said, he’s made an impression on me, and I think he deserves to get some love! So, here’s to you, George, thanks for all the work you put in over the years in the world of comic books!