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Cinema Sunday: The Door with Seven Locks (A.K.A. Chamber of Horrors- 1940)

Posted on April 17, 2016 by billyd75

Title: The Door with Seven Locks

Distributor: Pathe Pictures (Warner Bros.)

Writers: John Argyle, Gilbert Gunn, Norman Lee (Edgar Wallace – novel)

Director: Norman Lee

Producer: John Argyle

Starring: Leslie Banks, Lilli Palmer, Romilly Lunge, Gina Malo

Released: October, 1940 (U.K.)

MPAA: PG-13 (est.)

Hey folks! It’s nearly the last of the month, and I’m back with another movie review! When I set out to do movie reviews, I wanted to cover every good classic horror and sci-fi film I’d ever seen. I discovered that’s going to take a long time, but also I’ve discovered a few new ones along the way, like this one! Not many people outside of the United Kingdom will probably think of films of this genre produced there in the 1940s, as the Universal Studio films were dominating throughout the previous decade (and into the next).. But those who do that, will miss some absolute classic films that deserve your attention.

This little film doesn’t have any familiar faces/big names (to me), but that doesn’t hold it back one bit. A thriller with all sorts of intrigue, murder, torture, etc., will have you on the edge of your seat! Alright, let’s get down to the story…

The film opens at a mansion, with an old man in bed, apparently near death. Dr. Manetta (Leslie Banks– “The Most Dangerous Game”), tries to tell Lord Charles Francis Selford (Aubrey Mallalieu) that he’ll make it, but Selford knows his time has come. He announces to those present, that the majority of his fortune will go to his young son, John (Ross Landon). The other people in the room seem put off by that statement, but Selford doesn’t seem to care. He then reveals a box, which contains seven keys, and tells those in attendance that he’s appointed Edward Havelock (David Horne), as trustee of his estate. He says that in the event of John’s death, everything goes to June Lansdowne (Lilli Palmer – above right), his cousin. The keys are to be separated and are needed to open the seven locks on his tomb, which coincidentally is full of jewels!

Soon after, Lord Selford dies, and is buried. The keys are removed from the door with seven locks. Ten years pass, and we see Luis Silva (one of the men present during Lord Selford’s death scene- J.H. Roberts) writing a letter, but he’s interrupted by someone unseen. We next see him in an institution, and after others leave the room, he leaps up, and writes a letter to June, and throws it out of the window. A couple of delivery boys pick it up and take it to her home. One of the keys for the door with seven locks is inside the letter, and he tells her to come to the hospital. Her roommate, Glenda Baker (Gina Malo) listens as June tells her about the key and letter. Glenda thinks Silva is just some old pervert that’s trying to hook up with June, so she tells her she wants to go with her to keep an eye on things.

June arrives and is taken to Silva’s room by an orderly. Once inside the room, the orderly and a cop plot to try to get some info from the conversation the two in the room are about to have. As the two talk, we see that someone is peeking through the eyes of a painting on the wall. Just as Silva is about to tell her where the other keys are, a secret panel in the wall moves slightly aside, and a pistol fires a shot (silenced) at the old man. June calls for help, and when she reaches the hallway, a woman asks her what she’s doing. She explains, but the woman tells her no one has been in that room lately. As the two go back in, the body is gone. The two women argue over the validity of the situation, and then June runs to the police.

At the police station, we see Inspector Sneed (Richard Bird), and Dick Martin (Romilly Lunge), talking as Martin has resigned and is leaving the police force. Just then June and Glenda run in to tell the story of their wild afternoon. Sneed and martin are skeptical, but seem to think there might be something to this story, so they agree to check out her story. Martin agrees to stay on a bit as an advisor (at this point it seems only because of an attraction to June). Glenda, June, and Martin return to the girl’s apartment, and find a burglar inside. Martin attacks him and the two fight. The “cop” from the nursing home scene then sneaks up behind Martin and knocks him unconscious. The girls hear the fighting stop, and see Martin on the floor. Eventually he comes to and they make an appointment to see the executor of the estate. The man thinks he has six of the keys but when he looks into the box where they are kept, he finds them missing!

Now we understand why person or persons unknown are trying to kill June and get the last key! Will they succeed and get the jewels or will Inspector Sneed and Martin be able to stop them?!?!

OK, here are my thoughts:

This neat little film might not have any of the industry giants from the horror/thriller genre, but it does have a certain charm about it that makes it a winner. The sets are incredible, the mood and atmosphere are great, and the acting very good. The only scene that seemed a bit lame was the fight scene between Martin and the burglar.

There are a few humorous moments that break up the darker ones, and they are well placed and hilarious, even by today’s standards. Slightly sexist, and stereotypical, but funny nonetheless especially when you consider it was 1940. The musical score was just slightly above average I’d say, but doesn’t bring the film down in the slightest. And not to be forgotten, Lilli Palmer is stunning in this film (image below)!

Get out there and grab this flick because it is more than deserving of a viewing!

Click here for trailer!

Cinema Sunday: The Abominable Dr. Phibes

Posted on February 28, 2016 by billyd75

Title: The Abominable Dr Phibes

Distributor: MGM/AIP

Writers: James Whiton, William Goldstein, Robert Feust (uncredited)

Director: Robert Feust

Producers: Ronald S. Dunas, Louis M. Heyward

Starring: Vincent Price, Joseph Cotten, Hugh Griffith, Terry Thomas, Virginia North

Released: April/May, 1971

MPAA: PG-13

As you’ve probably noticed by now, I’m rolling with one movie review a month, plus scaling back on my comic book reviews as well. Everyday life is not permitting much else I’m afraid, but don’t fret, because the minute it does…alright, no promises, because I’ll probably just vacation more if/when that happens! But, for now we’ll be strolling down a dark lane that leads to a guy in a creepy mask that plays an organ. Yes once more, a Vincent Price film we’ll be featured! This is one of his later films (he’d already been acting in films since 1938!) but one of his best, no doubt about it!

This film is one that all Price fans must see if they already haven’t. It differs quite a bit from most of his other films because of the sets, the character’s demeanor, humor, and overall creepiness. Some of the scenes in this flick are quite disturbing, and the biblical references (the Ten Plagues), add a really crazy touch. Alright, no more hype, let’s get down to business!

The film begins with a robed man playing an organ (roll credits). It’s rising from a lower level to a sort of ballroom. We see what looks like an orchestra as well, but we soon realize they are just automated figures. The robed figure begins to play conductor, and the automatons play music. A side door then opens, and a beautiful woman, Vulnavia (Virginia North) wearing a white gown appears. The two embrace, and strut towards the center of the ballroom, an begin dancing. Eventually, the woman heads up to the second level balcony. The robed man grabs a wrapped object, and they get into a car, and hit the road.

Meanwhile, across town, an older gentleman is bedding down for the evening. He shuts off his lamp, and attempts to slumber. Outside of his home, the car with the robed man and Vulnavia pulls up. As the man sleeps, a skylight over his bed opens, and a cage is lowered into the room. The cage empties, and is then raised back through the skylight and it is shut. After hearing some rustling noises, the man awakens to find his bedroom infested with bats. And they must be starving because they attack and kill the old man (presumed now, but told shortly after).

The car returns home, and the robed man returns to his organ playing. The following day, a butler discovers the old man dead, and the room covered in bats. Back at the robed guy’s house, he puts a necklace on a wax figure of the dead old guy, then melts it with fire. The police finally arrive at the home of the dead man, and they remark about the peculiar nature of the incident. Inspector Harry Trout (Peter Jeffrey) and Sgt. Tom Schenley (Norman Jones) conduct an investigation, and talk of another recent case where another doctor (apparently the dead guy as a surgeon), was killed in his library by a swarm of bees.

Back at the creepy house, we see the robed guy at a table where he has pieces of a face made of rubber or some such material. He picks up a nose, then two ears, then grabs a wig. We then get to finally see Dr. Anton Phibes (Vincent Price), in all his glory (although it was believed he died in a car accident years earlier)! He goes back over to his organ, and begins to belt out a tune. Later, a cocktail party is buzzing with life. This isn’t a regular party though, as all the participants are wearing ornate masks. One man, Dr. Hargreaves (Alex Scott) enters and is given a frog mask. He remarks at how he’s not a surgical doctor, but a psychiatrist…a “head shrinker,” if you will. We can now realize that the man giving him the mask is Phibes, and he gives a glaring look when the doctor makes the remark. He helps strap on the mask, and locks it. As Phibes watches, the mask begins to tighten, and eventually crushes the skull of Dr. Hargreaves.Blood begins to pour out of the mask. Once again, Phibes puts a chain around the neck of a wax figure resembling the victim, then melts it with a torch.

But, why is this disfigured man murdering doctors? And what does his dead wife have to do with these murders? All will be revealed when the time comes!

OK, here are my thoughts:

This film is nothing short of extraordinary. The sets are remarkable and allow ones mind to float off into a head trip of sorts. Bright colors, followed by darks, then throw in some lighting and wild music, and you’ve got something very unique. Of course, Price adds his immense talent to the film, and portrays this murderous figure as a sympathetic character that you end up feeling sorry for in the end.

Whether it was the sets, makeup, costumes, cast, or anything else, you can’t go wrong with this flick. It’s definitely one of Price’s masterpieces, and AIP (American International Pictures) should be commended as well for the films excellence. A seminal piece for sure, the film is one of the best of Price’s career and of the decade.

Click here for the trailer!

Cinema Sunday: Shock (1946)

Posted on February 7, 2016 by billyd75

Title: Shock

Distributor: 20th Century Fox

Writers: Eugene Ling, Martin Berkeley (screenplay), Albert Demond (story)

Director: Alfred L. Werker

Producer: Aubrey Schenck

Starring: Vincent Price, Lynn Bari, Frank Latimore, Anabel Shaw, Stephen Dunne

Released: January 10th, 1946

MPAA: NR

Getting back into the swing of things this new year, I thought it appropriate to lift high the name of Vincent Price, as he is one of the masters of horror! Looking through his catalog, you see quite an array of films, but of course, the horror films are the ones we most remember. Why is that? Because he was born for it. He could act well enough for any genre, but is performances in horror films are more than just memorable, they’re magnificent. This film is more of a thriller than horror, but Price is a fantastic villain!

I could go on all day about him and his films, but instead, let us get to this wonderful film. It’s not easy to find a decent copy, but the usual video sites have copies for a viewing (I own a set with it on, and the quality is slightly better than online). Here we go!

The film begins with a woman, Janet Stewart (Anabel Shaw), who is entering a hotel (in San Francisco). She asks the desk clerk if her husband has arrived yet, but he tells her no. Her husband is returning from the military (serving overseas), and supposedly has booked a room at his hotel. The man at the desk tells her that no one has check in under that name. He tells her that they’re completely booked. But after she starts sobbing, the manager finds her accommodations for the night.

Later, Janet is thinking about how great it will be to finally see her husband after him being away for so long. She falls asleep and dreams of him returning. It soon turns into a bit of a nightmare though, but she eventually wakes up. She calls the front desk and asks if her husband arrived, but he hasn’t. She then heads out on to the balcony for some fresh air. She then hears the voices of a man and woman (presumably husband and wife) arguing. The husband, Dr. Richard Cross (Vincent Price), tells his wife that he wants a divorce because he’s in love with his nurse. She laughs at him and threatens to call and rat him out for his infidelity. He gets enraged, and then picks up a candlestick, and bludgeons her with it. Anabel is horrified, and falls to the couch.

The next morning, Lt. Paul Stewart (Frank Latimore) shows up at the hotel, and rushes upstairs to meet his wife. As he walks through the door, you can see Anabel hasn’t moved an inch from the spot where we last saw her. Paul rushes over to her, but within a minute, it’s obvious that she’s in a trance-like state, and nothing seems to be getting her out of it. He immediately calls for a doctor, and luckily there’s one close. He examines her and tells Paul that she’s in a deep state of shock. He recommends a very good neurological doctor that goes by the name of Dr. Richard Cross!

The doctor shows up and examines Janet. He tells Paul that she’s had a nervous breakdown from something traumatizing. Dr. Cross then heads out to the balcony for a cigarette, and notices that her balcony can see directly into the room where he murdered his wife. He realizes that there’s more than a good chance she witnessed the murder, so he suggests that Janet be transferred to his sanitarium in the country (so he can keep a close eye on her). Dr. Cross’s naughty nurse/lover takes Janet to the hospital, and tells her to give her an injection to keep her calm.

After a while, Janet begins to respond slightly to Dr. Cross’s voice. It’s almost like she’s under hypnosis. He questions her about what she saw the night before, and she admits that she saw him kill his wife. Janet’s eyes open , and as she recounts the event, Cross realizes she must be kept from telling this secret. Later that night, Nurse Elaine (Lynne Bari) comes over to the Doc’s house for some hanky-panky, and the two plot to keep Janet under their sway so she doesn’t spill the beans.

The following day, Dr. Cross brings Paul to see his wife. She’s very groggy and almost seems worse. Cross informs him that his time missing in action in the war has disturbed his wife’s mind, and that she may never recover. He informs the good doctor that he went to the local military base and got a second opinion. Later, Dr. Cross and Nurse Elaine are mentally torturing Janet to drive her further into insanity.

Will the new doctor be able to help Janet awaken from her nervous breakdown? Can Janet ever live a normal life again? Will Dr. Cross and his sinister nurse get caught and pay for their crimes? All will be answered…maybe.

OK, here are my thoughts:

If you think about it, this is one whacked out film. Imagine a doctor this sinister. Killing his wife, then using drugs, and any other means possible to drive someone insane. I’m sure a plot like this was quite shocking (no pun intended) back in 1946 for the audience. Obviously in today’s reality, this kind of thing is old news, sadly. The supporting cast isn’t all that stellar, but Price is on point once again. At certain moments, he’s truly evil, but once in a while, he’s conflicted. This sets in motion the thought: Is Price’s character insane or just tormented? Sure, he bludgeoned his wife, but that was in a fit of rage, the textbook definition of insanity. And when it comes down to actually killing another, he’s torn about it because he loves the nurse, but realizes killing is wrong.

We do see a solid performance by Anabel Shaw (Janet). She does a pretty good job at portraying someone fight for their sanity. The sets were pretty much standard fare, as was the soundtrack (it did have its moments, but overall it was average). Another classic that any fan of Vincent Price must see. It almost has a vibe to it like “The Fly,” as far as the conflicting emotions go. Hit up any video site, as I believe this one has fallen into public domain.

Click here for a clip!

Giant-Size Werewolf 5, 1975 “The Plunder of Paingloss”

Posted on December 15, 2015 by billyd75

In my time-honored tradition of spotlighting goofball villains, this one is a doosie! When the front cover of a comic book exclaims…”The Peril of Paingloss,” it’s a pretty safe bet that you’re in for something wacky. That said, Werewolf by Night could fight a troupe of clowns and I’d buy it, so maybe I’m not the best measuring stick for this one. Moving on, Jack Russell and his confidant, Buck Cowan, end up embroiled in some mystical mayhem that almost kills the two of them! Yes, by the mighty Paingloss (try to hold back your laughter)!

I didn’t know who the creative team was on this one until I got it home and checked it out. I wasn’t shocked to see the name Doug Moench (writer) in the credits. He did plenty of work on this title and during this period for Marvel. You could always count on a solid script/story with him at the helm. The artist is one that I’ve seen before, maybe once or twice, and Yong Montano (pencils/inks) definitely delivered in this issue. The letterer is another name that doesn’t evoke the Bronze Age feel, but Marcos Pelayo does a fine job. The rest of the cast is the usual bunch of stalwarts in Len Wein (editor), George Roussos (colors), and a wonderful cover by Gil Kane (pencils) and Tom Palmer (inks)! There are a couple of back-ups as well, and one features art by the legendary, Joe Orlando!

Cinema Sunday: Macabre (1958)

Posted on December 6, 2015 by billyd75

Title: Macbre

Distributor: Allied Artists

Writer: Robb White

Director: William Castle

Producer: William Castle

Starring: William Prince, Jim Backus, Christine White, Jacqueline Scott, Susan Morrow

Released: March 1958

MPAA: Approved

As I march thru the holiday season, there are a couple more flicks I want to get out of the way. This one by William Castle and company is at the top of my list. For those who haven’t seen this film, you’re in for a treat. Imagine if you got home one day, and your child was missing. You frantically run through your entire house, but the child is nowhere to be found. A sinister voice over a phone tells you something nightmarish, and voilà, you have an incredible thriller! Oh, and when you see a familiar face as one of the main characters, try not to laugh! OK, here we go…

The film begins with a funeral parlor director giving a statement to the sheriff (Jim Backus, yes, from Gilligan’s Island!) about how his establishment was broken into. He tells the sheriff that it was a child’s coffin, but the sheriff seems to think the man is probably trying to pull an insurance scam to pay off gambling debts. He then sees a man get out of a car across the street, and you can tell he’s got bad intentions towards the man. We are then introduced to Dr.Rod Barrett (William Prince), as he’s verbally accosted by the sheriff, who seems to have it in for him. Why? Because apparently the Doc won the affections of a woman who the sheriff also loved (Alice, the Doc’s wife who died). The sheriff advises him to get out of town, but the Doc tells him to get lost, then heads inside to his office.

Inside the office, we meet the Doc’s secretary, Polly Baron (Jacqueline Scott). She’s prettying herself up for the Doc, as she seems to be smitten with him. He enters the office and she lights up like a Christmas tree. They talk briefly about the sheriff, but the Doc (with Polly in-tow) eventually heads out and to his home. Once there, he looks for his daughter, who was with his girlfriend all afternoon, but returned home safely. The nanny, Miss Kushins (Ellen Corby), informs him that his daughter is probably just hiding, and that’s why he can’t find her. He frantically searches for her, but to no avail. He thinks maybe she’s gone back to his girlfriend’s house, so he heads over to her place. He arrives but she’s not there either, and he has a brief conversation with Sylvia Stevenson (Susan Morrow), but returns home quickly.

Just before he reaches his home though, the telephone rings. Polly answers, rushing in front of the nanny. She gets a horrified look on her face, and then begins screaming at the caller. The Doc rushes in, and asks her what’s going on. She tells him that the unidentified caller told her that the Doc’s three-year old daughter has been kidnapped, and buried alive. They only have a few hours before she runs out of air, and dies. Polly, the Nanny, and the Doc are trying to piece together this insane assault on his family, but cannot figure it out. The Doc thinks she must be buried in the graveyard, so he and Polly head over there to try to find her. Meanwhile, the nanny goes to the grandfather (the Doc’s father-in-law), to inform him of the incident, even after the Doc requested she not tell him due to a bad heart condition he has recently acquired. She tells him what’s going on, and you can tell by his demeanor that he’s not going to take this lying down.

Over at the graveyard, Polly and the Doc are still trying to piece this together while searching the area. They seem to feel like they’re being watched, and Polly tells him numerous times that she heard and saw something in the brush nearby. They see a fresh grave, so they begin digging. A few minutes in, and the Doc realizes it’s a ruse. They then head over to a crypt of the family’s but it’s so full of cobwebs, you know it hasn’t been disturbed in years. They get surprised by the grave keeper, but explain to him they’re not grave robbers. Jode Wetherby (the grandfather, real name Philip Tonge), surprises the grave keeper, and accidentally kills him. Polly rushes him back to the Doc’s house, where he accuses the nanny of possibly being the abductor.

Is it the nanny, the sheriff, or another enemy of the Doc or Wetherby family? Find this movie and get the answers to this riddle!

OK, here are my thoughts:

This is one film for the time that was pretty morbid and outlandish. Think about it, the year is 1958, and most of us weren’t even in a dream in momma’s head yet. William Castle can be called nothing less than a revolutionary in the film industry. Yes, most will remember him for the gimmicks (this film had one- an insurance policy because you might die of fright! – image below), and rightly so, but dig deeper, and watch these films, and you’ll see the substance is there.

Believe it or not, Jim Backus plays an incredible heel in this film. Most will remember him as Thurston Howell III, from Gilligan’s Island, of course, but put that role out of your head, because this is nothing like that show. William Prince does a good job portraying a tortured soul, and the frantic father. The supporting cast is above average, and we get a great mystery with a few red herrings to throw you off the scent. A couple of beautiful starlets are a treat as well (images below)!

Get out there and find this flick, you wont regret the time spent watching this thriller!

Click here for the trailer!

Marvel Spotlight 26, 1975 “Death Waters of the River Styx”

Posted on December 4, 2015 by billyd75

Goofball villains are a thing of beauty. Any writer/artist that can make them interesting enough to buy a comic that has them in it, is a genius. Throw in some extra-dimensional demons, a chick that knows martial arts from her “street fighting” days, and some slap-stick comedy, and you’ve got a winner. Even though the Scarecrow only made a few sparse appearances, he’s definitely one of my all time favorites!

Scott Edelman (writer), a bit of a journeyman writer that really didn’t have any long runs on one title. He’s one of those guys that wrote for many titles in his career (mostly Bronze Age), filling in and doing one-shots. Artist Ruben Yandoc (pencils and inks), didn’t have a very long career, but did do most of his work for DC comics (after a career in the Philippines, apparently). Colorist, Petra Goldberg, letter, San Jose, and editor Marv Wolfman, round out the interior team! Although I don’t care for his later work, Howard Chaykin (pencils) has done some outstanding work from the Bronze Age, and along with Al Milgrom (inker), they provide a solid cover, showing just how crazy this character can be!

Dr Strange and Dr Doom: Triumph and Torment – OGN (1989)

Posted on December 2, 2015 by billyd75

I typically only talk about single issues of comics when I blog (sometimes two issues), but this OGN (original graphic novel) is one that gets very high praise from me, and as well it should. For those that don’t know, Victor Von Doom’s mother was a sorceress, and one day when she wanted revenge, she called out for help from an ancient evil. The evil that answered is named Mephisto. He then had control over her immortal soul, and one day, every year, Doom attempts to wrest control of his mother’s soul from this demonic entity. After quite a few failed attempts, he turned to the sorcerer supreme himself, Dr. Strange, for help. As with everything, though, not all is as it seems with Doom, and his plans for retrieving his mother’s soul from Limbo!

Undoubtedly, one of my favorite writers is Roger Stern. Whether it’s The Avengers work he did, his run on Doctor Strange (1974 series), or his incredible (but way too short) run on Captain America, he always delivered the goods! The artwork is something to marvel at as well. Mike Mignola (pencils) and Mark Badger (inks and colors) prove to be a very good team. Their rendition of Mephisto is spot on in this story. There is some extra material in the trade I have that fleshes out the characters in this story a bit, and those names are nothing short of iconic as well (Gerry Conway, Gene Colan, Tom Palmer, P. Craig Russell, and more).

The Spider: Scavengers of The Slaughtered Sacrifices (2002)

Posted on November 30, 2015 by billyd75

When you have a character that has been around since 1933, it’s kind of double-edged sword if you try to modernize him. Most creators don’t though, and that’s a good thing. Sure you might miss out on the youth that doesn’t care about pulp characters, but you will hit your target demographic. The character in this story is called The Spider. He’s Richard Wentworth, a rich, playboy type guy, that uses his wealth to help him in his fight against injustice…no, not Batman, The Spider! When Harry Steeger created this character, the only other big time pulp characters were basically The Phantom, and The Spirit. Steeger did a good job at using the momentum those characters had generated, but The Spider definitely stood out from them.

Fast forward to the year 2012, Dynamite Entertainment put out some promotional material stating a new series starring this character was soon to be published. It definitely piqued my interest, and the series paid off with great talent (David Liss, Colton Worley, Alex Ross, Francesco Francavilla, and others), that brought intriguing stories, incredible artwork, and quite frankly, a breath of fresh air to the medium.

This introduction got me thinking that perhaps there was more material that I could feast upon? The first book I encountered was an immediate buy. Why? Because when I saw Don McGregor (writer) and Gene Colan (art) at the top of the book (The Spider: Scavengers of the Slaughtered Sacrifices – 2002 Vanguard), that’s all it took. I knew nothing about the story but had faith in Don’s reputation, and of course, it didn’t hurt that my favorite artist was also one of the creators either. If you like crime, action, Noir, and a twist of the macabre, then this is a book you must seek out right away. It’s like mashing Tomb of Dracula and Batman meets Ghost Rider. No joke, it’s that cool.

Cinema Sunday: Frankenstein Must Be Destroyed (1969)

Posted on November 29, 2015 by billyd75

Title: Frankenstein Must Be Destroyed

Distributor: Hammer Films/Warner Bros.

Writer: Bert Batt

Director: Terence Fisher

Producer: Anthony Nelson Keys

Starring: Peter Cushing, Veronica Carlson, Freddie Jones, Simon Ward

Released: May 1969 (U.K.)

MPAA: PG-13

After focusing on a film starring Christopher Lee last week, I couldn’t help but gravitate towards a film starring his Hammer Films counterpart, Peter Cushing! I’ve just about exhausted all Hammer’s Vampire/Frankenstein’s Monster films, but this little gem remains! A controversial film to say the least, this is one that features not only Cushing, but also the gorgeous Veronica Carlson! She’s one of those few starlets that lights up the screen when she appears, and plays a great counterpart to evil Doctor Frankenstein!

Cushing only did one more Frankenstein film after this one (Frankenstein and the Monster from Hell), and I’ll eventually get to it down the road, but for now, let us traverse back in time, to the turn of the century. To a time when a villain like Dr. Frankenstein could get away with his ghastly experiments!

The film begins with a doctor walking down a foggy street, heading for his office. He’s suddenly accosted by a man who’s carrying a basket and some bladed weapon. The man (not seen clearly) slices the doctor’s head clean off! Just then, we see a burglar (Harold Goodwin) trying to break into a home. He hears footsteps, and cannot complete his mission, so he tries the nearest doorknob, and successfully gains access to another house. He wanders around for a few seconds, and then sees a laboratory filled with unusual devices and even a frozen corpse! He gets startled, and crashes into a table. The noise alerts the man whose home he’s broken into (the same man that frightened him into the home in the first place). As the burglar waits, he hears footsteps drawing nearer. He’s then confronted by a horrifically scarred man, and the two then fight. As the two brawl, a basket gets kicked over that the scarred man was carrying. A head comes rolling out, and we now know that it was the head of the doctor who was murdered just minutes before. The burglar eventually gets away, and the other man removes a mask, and it’s revealed that it is Dr. Frankenstein (Peter Cushing) himself!

The doctor realizes that the man will go to the police in all likelihood, so he opens a hatch in the floor, and dumps the body (and kicks the head down like a soccer ball), into a stream below. The burglar runs into a policeman, and then is taken to the station. After confessing, the police arrive and surmise that the man who beheaded the doctor earlier is probably the same man who had this secret laboratory. They then begin their investigation, and it’s headed up by Inspector Frisch (Thorley Walters), who’s an odd fellow to say the least. He doesn’t seem to have any ideas as far as who the killer may be, nor does he take advice from his fellow investigators.

As Dr. Frankenstein leaves the house he was occupying, he then finds a room for rent on the other side of London. He knocks on the door and is greeted by Anna (Veronica Carlson), and with her mother currently elderly and ill, she is running the boarding house. We then switch to a local asylum, where a woman is screaming like a banshee. We are introduced to Dr. Karl Holst (Simon Ward), who is a very prominent young doctor employed there. He looks in on another patient, Dr. Frederick Brandt (George Pravda), who has had a traumatic brain injury, and cannot even speak. The other doctors at the asylum believe he cannot be cured. Back at the boarding house, the other four tenants are discussing Dr. Brandt, and then after Dr. Frankenstein enters the room (under an assumed name), and they involve his name in the conversation. He tells them it’s fools like them that have blocked progress for centuries. They get furious with him, but he leaves (like a boss).

Later, Karl comes to take out his bride-to-be, Anna. He drops a box (of medicinal cocaine) on the doorstep, and then heads inside to see Anna. Dr. Frankenstein finds the box, and uses this leverage to blackmail them into service of his dastardly deeds. They’ve been using the stolen drugs to sell them to support Anna’s elderly mother. The next day, Anna tosses the other four tenants out on the street to make room for Dr. Frankenstein’s experiments. He then tells Karl that he means to repair the damaged brain of Dr. Brandt, a man whom he’d been corresponding with about brain surgery. Frankenstein and Holst rob a medical supply store, and Holst murders the night watchman in fear of being caught. Frankenstein then uses Karl’s place at the asylum to kidnap Dr. Brandt from the asylum, so he can remove his brain and put it in another body, and repair it during the process.

Will Dr. Frankenstein succeed in his devilish plot or will Karl and Anna find a way to not only clear their names but also put an end to the devious deeds of Dr. Frankenstein?!?!

OK, here are my thoughts:

One scene aside, this is one of Hammer’s best films in the “Frankenstein’s Monster” franchise. It’s not the typical monster as was the first couple of films (and the Universal Studios film), in that the story revolves more around the doctor himself, and his machinations. Of course, when you have a lead like Peter Cushing this is possible. The supporting cast is great as well, and you get a wild actor like Thorley Walters, a solid job by a young Simon Ward, and the utter beauty and grace of Veronica Carlson (image below) to cap it all off.

At this point, Hammer was relying on film distribution companies in the U.S. to partially back their films, and of course, distribute them in America. So, in a roundabout way, they had some say in the content of the film itself. Hammer executive, James Carreras, demanded that director Terence Fisher (his first film back at Hammer after a few years break) add a rape scene to the film. This did not settle well with Cushing and Carlson (the two involved in the scene), but the did it, albeit begrudgingly. Quite honestly, the scene does seem a bit out-of-place, and for anyone that’s a Hammer aficionado, you’ll know that this isn’t something Dr. Frankenstein would’ve been interested in.

Definitely set aside some time to watch this one. It’s part of a great four film set by TCM Classics, and is one of my treasured compilations of Hammer Studios material!

Click here for the trailer!

Cinema Sunday: The City of The Dead (A.K.A. Horror Hotel – 1960)

Posted on November 15, 2015 by billyd75

Title: The City of The Dead (U.S. Title- Horror Hotel)

Distributor: British Lion

Writer: George Baxt (screenplay), Milton Subotsky (story)

Director: John Moxey

Producers: Seymour S. Dorner, Milton Subotsky, Max Rosenberg, Donald Taylor

Starring: Christopher Lee, Dennis Lotis, Venetia Stevenson, Betta St. John, Patricia Jessel

Released: Sept. 1960 (U.K.)

MPAA: PG-13

It has been a couple of months since I spotlighted a film starring the late, great Christopher Lee. His contributions to the industry are nothing short of legendary, and rightly so. This week I’m going to showcase a lesser-known film that stars Sir Christopher, called “The City of the Dead!” With the two men responsible for the creation of Amicus Studios at the helm (Subotsky and Rosenberg), this film is impressive because of its atmospherics, and some solid acting.

In 1960, the age of Hammer Studios was just starting to blossom (Cushing and Lee were just beginning their conquering stride through the medium), and everyone else was scrambling to catch up. Most other companies (as a whole) never caught up, but some did produce some very good films that live on! Anytime you mix witches, Christopher Lee, and Massachusetts together, you know you’ve got a winner! Alright, and away we go…

The film begins with a witch, Elizabeth Selwyn (Patricia Jessel) being burned at the stake for her unholy actions. One man in the crowd (Puritans?), Jethrow Keane (Valentine Dyall), seems to have a connection to her, and calls out to the devil to help her. It doesn’t seem to help much though, and she’s apparently toast. Fast forward to modern times, and Professor Alan Driscoll (Christopher Lee), is lecturing some students about these very matters. One student in particular, Nan Barlow (Venetia Stevenson), is very receptive to the subject. Her boyfriend, Bill Maitland (Tom Naylor), thinks it’s a bunch of nonsense, and this angers Driscoll.

Nan then asks Driscoll if he knows of any place where she can visit to help with her term paper on the subject. Driscoll suggests she stay in his ancestral town of Whitewood, Massachusetts, where she can get a first hand look and get some real perspective. Her boyfriend, Bill, isn’t too happy about this, but lets her go without much trouble. Just then, Nan’s brother, a professor of science at the same school walks in, and has a go with Driscoll about witchcraft. We see that although Driscoll may look like a wuss, he has a temper, and also a sinister look about him.

The following day, Nan heads out to the town of Whitewood, but seems to get lost in an eerie fog. She happens upon a gentleman and asks him for directions. He tells her the way, but warns her that the town is evil. She continues on, even after he warning. As she gets to a fork in the road, a man is walking nearby. He introduces himself as Jethrow Keane (Valentine Dyall – image below) and asks for a ride. She invites him in, and he begins to tell her a little about Whitewood. They eventually arrive in town, and their destination, the Ravens Inn. As Nan turns around to get her luggage, but then the man disappears! She heads inside and meets Lottie (Ann Beach), but before she can even try to communicate with her, the owner of the inn appears. We then are introduced to Mrs. Newless (Patricia Jessel – image below), who has a striking resemblance to the witch, Elizabeth Selwyn.

Later that night, Nan heads out to take a walk around town. It’s very dark and dreary, and the townspeople, who are few, don’t seem to care for strangers. She then heads over to the old church. It seems unoccupied, and in an obvious state of closure. As she attempts to enter, her way is blocked by a minister, claiming to be the leader/caretaker of the church. She questions him about the church and town, but he’ll only remark that there is an evil presence here, and that she should go immediately. She returns to the inn, and settles in for the night.

After a short time, she thin ks she hears some noise below her room. She gets the attention of Mrs. Newless, but after they investigate, there is nothing to be found. Later, Mrs. Newless invites Nan to come out to join the others, who are dancing in the hall. She eventually does, but by that time, no one is around anymore. We are then made aware that this date is of significance for those who worship Satan, which unfortunately is bad news for Nan. At the very stroke of midnight, she again hears some disturbance, and as she looks outside of her window, she can see robed figures walking through the cemetery. She then finds a handle that fits into the trap door in the floor of her bedroom, and uses it to open the door.

Next, Nan decides to head down into the dark basement, but is instantly accosted by two men in robes. They drag her, kicking and screaming to an altar, where we see the townspeople, Mrs. Newless, and Jethrow Keane. They begin a count, and when they reach the number thirteen, the knife is plunged! Over at a party, Nan’s brother, Richard, and her boyfriend, Bill, haven’t heard from her in days, and are worried. They attempt to call the inn, but are told that no such place exists.

Will Bill and Richard find out what happened to Nan and stop the cult from killing again? And what does Professor Driscoll have to do with all of this chicanery? You must watch to find out!

OK, here are my thoughts:

Any time you get a black and white film full of atmosphere and incredible sets, count me in. Even if Lee wasn’t in this picture, it would still be quite good. He does add his normal power and presence, but his screen time is somewhat sparse. His scenes are very important, but I’m used to seeing him as the big star, and not a lesser part. The rest of the cast does a solid job though, and really plays up the scary! Patricia Jessel is especially creepy, and does a fantastic job as the witch. Not lost in the crowd is Dennis Lotis (Nan’s brother), who really takes charge once his sister disappears.

As stated above, the atmosphere in this one is incredible. Even though the film is a little too dark at times, it does add a level of fright that is welcomed. The one and only thing I can say that was pretty bad, was the music score. During a couple of the scenes (mainly driving scenes), the music was a ridiculous upbeat tune that seems more appropriate for a Doris Day/Rock Hudson film. Take that away, and this is an excellent film that should be viewed by any serious fan of the time/genre. Oh, and Venetia Stevenson (image below) is stunning in this film!

Click here for the trailer!

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