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Return of the Fly (1959)

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Return of the Fly is the first sequel to the 1958 horror film The Fly. It was released in 1959, and directed by Edward Bernds. Unlike the preceding film, Return of the Fly was shot in black and white. It was followed by a further sequel in 1965, Curse of the Fly.

Plot:

Phillipe Delambre is determined to vindicate his father by successfully completing the experiment. His uncle Francois (Vincent Price) refuses to help. Phillipe hires Alan Hines from Delambre Frere and uses his own finances, but the funds run out before the equipment is complete.

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When Phillipe threatens to sell his half of Delambre Frere, Francois relents and funds the completion. After some adjustments, they use the transporter to “store” and later re-materialize test animals. Alan Hines turns out to be Ronald Holmes, an industrial spy. Ronnie tries to sell the secrets to a shadowy cohort named Max.

Before Ronnie can get away with the papers, a British agent confronts him. Ronnie knocks him out and uses the transporter to “store” the body. When rematerialized, the agent has the paws of a guinea pig that had been disintegrated earlier, and the guinea pig has human hands…

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“Somewhere along the line this “horror” movie morphs into a noir-esque drama rife with shady characters, tilted Stetsons, cars rolling over cliffs with bodies in the trunk—but no tough dames, sorry […] To the filmmakers’ credit, they avoid simply repeating the same plot as the original; even though there are strong similarities, there are also enough twists to make this movie enjoyable for its own sake.” David Maine, Pop Matters

” … the film was only interested in jerry-rigging things to get another guy into a giant fly mask … Watching somebody lose the battle for all the things that matter to him resonates with everyone on some level. Watching his son try not fall over because of an oversized prop fly head only makes you realize that they should have hung a flystrip up in the lab the second go around.” Monsterhunter

“The film only lasts for an hour and fifteen minutes, and yet is plodding and too lengthy for the most part. The production design is more ambitious, and the stark black-and-white imagery seems to have dated less than the original’s colour tones, but this appears to be the only thing going for Return of the Fly.” Raphael Pour-Hashemi, The Digital Fix 

“With stark black-and-white photography by Brydon Baker, director Edward L. Bernds evokes some horrifying moments in a mortuary and keeps things buzzing.” John Stanley, Creature Features

Vincent Price Collection II Blu-ray

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” …abandons any pretence to dramatic content in favour of re-using the gimmick from the first film: the ‘happy’ ending is particularly unfortunate.” Alan Frank, The Horror Film Handbook

“Although Bernds script is overly episodic and his direction flat, the film was a commercial success…” The Aurum Film Encyclopedia: Science Fiction

“Artless and filmed on a strictly B picture budget and with a B picture script, this fly should have stayed swotted.” Films and Filming, 1959

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return of the fly

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Wikipedia | IMDb | AFI | Amazon.com

Image thanks: the scene of screen 13



The Snow Creature (1954)

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‘Half man! Half monster!’

The Snow Creature – promoted as Snow Creature – is a 1954 monster movie produced and directed by W. Lee Wilder (FrightPhantom from Space; Killers from Space), based on a story and screenplay by Myles Wilder.

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It was the first modern era yeti/abominable snowman-themed movie. The use of the Los Angeles storm drain system as the film’s climactic setting can also be seen in the 1954 giant ant film, Them!

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Botanist Frank Parrish (Paul Langton – It! The Terror from Beyond SpaceThe Incredible Shrinking ManInvisible Invaders) and photographer Peter Wells (Leslie Denison – The Return of the VampireThe Son of Dr. Jekyll) lead a scientific expedition to the Himalayas.

The team encounter and capture a yeti with the help of Subra (Taru Shimada – War of the Worlds; Revolt of the Zombies), a revenge-seeking sherpa whose wife has been captured by the creature.

The yeti is taken back to the United States, but escapes from a refrigerated unit and runs havoc in the Los Angeles sewers…

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Reviews:

“With a storyline so utterly bereft of imagination, The Snow Creature could be the work of only one man: W. Lee Wilder, Billy’s monumentally untalented brother. The movie is cheap and tacky and stupid, all of which I can forgive. It’s also mind-numbingly boring, and that I can’t.” And You Call Yourself a Scientist!

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” …nothing is made of the original concepts or the LA scenes. Long minutes are wasted with people plodding over one mountain range or another, or sitting and talking about rudiments […] Well, it’s got some nice footage of propellor planes.” David Elroy Goldweber, Claws & Saucers

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“While you never get a great glimpse of him, the Yeti often just looks like a dude in a winter hat wearing giant oven mitts to make his hands look more beastly. Technically, there might only be four or five different shots of the creature, and one of them is recycled about a dozen times.” Brett Gallman, Oh, the Horror!
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“…how such a mundane B-programmer can encapsulate all the tenets of Ciné du Sasquatch and yet do so without making any of the elements entertaining is a curious dichotomy.” David Coleman, The Bigfoot Filmography

Bigfoot Filmography

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“Beyond the singularly tacky monster suit (it’s nothing but a bunch of cheap furs sewn haphazardly together), the excessive reliance on voice-over to propel the story, and a cast that deservedly spent most of its respective careers playing characters with names like “Farmer,” “Policeman,” and “Japanese Ambassador,” The Snow Creature suffers from the deadliest of all shortcomings. It’s boring.” Scott Ashlin, 1000 Misspent Hours and Counting

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“The Yeti was big and ferocious looking if one overlooked the cheap costume (you could see folds in the fabric as it walked). But it never challenged a male unless cornered, even ones half it’s size. Didn’t mind jumping females though. Killed one and chased another. But all off screen. We heard a couple of screams, but no actual footage.” Not the Baseball Pitcher

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Choice dialogue:

“Suppose you did kill one. How would you know it’s the one you’re after? If there’s one yeti there must be a whole civilisation, or a whole tribe of ’em.”

Cast and characters:

Paul Langton as Frank Parrish
Leslie Denison as Peter Wells
Taru Shimada as Subra
Rollin Moriyana as Leva
Robert Kino as Inspector Karma

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Filming Locations:

Bronson Caves, Bronson Canyon, Griffith Park, Los Angeles, California, USA

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Wikipedia | IMDb | Image thanks: The Telltale Mind | VHS Collector

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Bad Movies = Great Trash – article by Bret McCormick

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“Movies are so rarely great art that if we cannot appreciate great trash we have very little reason to be interested in them.”

This quote is attributed to Pauline Kael, one of cinema’s best known professional critics. She also confessed to having a fondness for the biker movies that made such a mindless splash in the late 60s and early 70s.

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“I’m a little unclear on this whole good/bad thing.” Dr. Peter Venkman, Ghostbusters (1984)

Inevitably, when someone tells me they love my 1986 movie The Abomination, it’s because they stumbled onto the film at a very formative age. As kids, we are sponges, soaking everything up and trying to make sense of the insanity that passes for reality on this planet. A completely inane film can leave a deep mark in our developing consciousness, because it is puzzling to us or so incredibly different from anything we could imagine adults creating.

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I have a very vivid memory of the impact a cheesy film from the 50s, From Hell It Came, had on my five-year-old mind. I was at the babysitter’s house and had been told to take a nap. It was mid-afternoon and the sitter was watching the film on Dialing for Dollars, a local program that enticed people to watch B-movies by giving them the chance to win cash if their number was dialed on the air.

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I stood behind the door and peered through the crack to watch this film about a murdered tribesman who comes back to life as a killer tree. It was about as hokey as a film can be; the “monster” a tree not much different than the one that threw its apples at Dorothy and the gang in The Wizard of Oz.

Still, the movie left a very creepy mark on my psyche. Partly, because I was raised in a strict Baptist environment in which the word “Hell” was simply not spoken. And I’m sure, the fact that I watched secretly through a narrow slit heightened the experience. For years, I would get an inexplicable chill down my spine when I watched that silly film.

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I believe the question ultimately is not, “Why do people like bad movies?” The real question is, “Why do humans insist on labelling movies either good or bad?” I think the answer lies in the cognitive dissonance that inevitably arises in our minds when we attempt to reconcile the world as it is with the world authority figures have encouraged us to believe in.

Religions have always shaped the here-and-now by applying threats and promises of consequences in a hereafter. Taking a cue from the religions, governments have generated a secular world view that aims at having citizens police themselves. These influences in early life can only lead to the compulsive division of all we see or experience into good/bad, sheep/goats, dark/light, etc. Duality.

Humans are an odd species. They like bestowing awards on people and things. A warrior is given a medal by his king, leading him to be exalted as a hero. Meanwhile, on the foreign turf where he rode rough-shod over men, women and children, he’s viewed as a psychopath. The warrior is both a hero and a murderer, depending on your perspective. It’s no different with movies. We bestow awards on films because they are congruent with the current zeitgeist, or because they support the agenda of a particular organization.

WTF, man? I thought this was about bad horror movies! What’s all this high-falutin’ verbiage have to do with it?

Everything.

We humans want to believe things are separate. We like taking things and dissecting them into little bits. We pretend we’re learning from this process. In reality, I believe we’re just whistling in the dark. The answers to all our deepest questions are not answered. We escape the oppression and uncomfortable uncertainty by turning to entertainment.

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Boys love dinosaurs. A lot of little girls do, too. This love of giant reptiles often expands into an appreciation of all sorts of “monsters.” Perhaps parents encourage you to watch something they think will capture your imagination.

So, you overcome your fear and start watching monsters, aliens and such. Still, you’re probably only watching the “good stuff;” the big budget movies your folks are familiar with. Often times, the young person’s appetite for weirdness outstrips the supply of A-list titles. This is where the schlockmeisters creep into the scenario, filling the demand for the outré.

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Initially, the child is disappointed by these inferior films. Even so, he/she keeps watching every quirky title that gets a hook into the young imagination: Cat-Women of the Moon, The Killer ShrewsI Was a Teenage Frankenstein, The Brain That Wouldn’t DieHow to Make a Monster. These mad movies still demand a viewing simply for the enticing allure of their title alone.

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As the child approaches puberty, a sort of jaded quality sets in and watching “bad” movies with friends seems fun. What better bonding experience than pointing out the many flaws of films such as Larry Buchanan’s The Eye Creatures or Zontar: Thing from Venus while ingesting sodas and popcorn with your mates?

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Invariably, the young viewer crosses a line into dangerous territory… forbidden fruit… films that seem somehow threatening to the adults in the family. A defugalty arose when I was fifteen over an Andy Milligan poster I had hanging in my room. My Mom had previously ignored the thing, Bloodthirsty Butchers, whose infamous tag line was:

“Their prime cuts were curiously erotic… but thoroughly brutal!”

When my grandmother visited, she was scandalised. How could a fifteen-year-old boy be allowed to have such filth in his bedroom? It wasn’t healthy. My mother was swayed and she insisted I take it down. I retaliated by refusing to get a haircut.


Bad films are most certainly an acquired taste. Akin to masochism, I suspect.

As a purveyor of really cheap movies, I must admit that all my creations fall into the “bad” category. The uninitiated viewer is mistaken to think these things are accidentally bad. When they ask questions like, “How on Earth did this atrocity receive funding?” they completely miss the point.

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Earth Girls Are Easy (1988)

Bad movies are dredged up from the same polluted well as rock ‘n’ roll (including punk, metal, rap and all popular music’s more violent permutations). Bad films arise from the same impulses that birthed surreal art and the non-art of people like Andy Warhol (whose name was used to promote Paul Morrissey’s Blood for Dracula and Flesh for Frankenstein). They surge toward receptive minds in response to the morbid curiosity that causes people to ogle car wrecks and freak shows.

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As Pablo Picasso said: “Ah, good taste! What a dreadful thing! Taste is the enemy of creativeness.”

Bret McCormick, Horrorpedia © 2017

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Coming soon from Bret McCormick: Texas Schlock: B-Movie Sci-Fi and Horror from the Lone Star State

Related: 

B-Movie Baggage: Filmmaker versus Distributor in a Fight for Survival – article by Bret McCormick

Worst Horror Films of All-Time


The Haunted Strangler aka Grip of the Strangler (1957)

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‘Their wild beauty marked them for death by…’

The Haunted Strangler – aka Grip of the Strangler – is a 1957 – released 1958 – British-American horror film directed by Robert Day (The Initiation of Sarah; First Man into Space; Corridors of Blood).

The film was adapted from “Stranglehold”, a story that screenwriter Jan Read had written specially for Boris Karloff, and was shot back-to-back with producer Richard Gordon’s Fiend Without a Face. In the US, both films were released as a double-bill by MGM.

 

Read’s script was rewritten by John Croydon who brought in the idea of making the killer a Jack the Ripper-style murderer and having the transformation be physical (in the original draft Rankin was only possessed by the killer’s spirit).

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According to John Hamilton, writing in X-Cert: The British Independent Horror Film: 1951 – 1970, “Croydon also wrote in many of the elements considered by filmmakers to be essential features with a Victorian backdrop: floggings, graveyards and chirrupy chorus girls cavorting in French knickers.”

Twenty years after Edward Styles – labelled the “Haymarket Strangler” – was tried and executed for killing five women, James Rankin (Boris Karloff), a novelist and social reformer, launches an investigation to prove that Styles is innocent.

His search for clues leads him first to the sleazy Judas Hole music hall, where the Strangler picked his victims from the resident can-can dancers and loose women, and then to the prison cemetery at Newgate where Styles was buried – in order to exhume his body.

When the killings resume again, Rankin’s theory seems to be vindicated. However, his growing obsession with the case signals a most unwelcome revelation as to the true identity of the murderer…

Reviews:

“Not surprisingly, Karloff is the best thing about this late ’50s thriller; here, the horror legend injects a real watchability into the oft-used premise of a mild-mannered gentleman transformed into a hideous creature of impulse.” The Terror Trap

“The performance that Karloff gives, where he seems to twist one side of his face up into an exaggerated snarl and put his arm into a claw, cannot help but seem absurd.” Richard Scheib, Moria

“It’s bloodier and has a nastier edge than you would expect from a Karloff vehicle, but it has some unexpected and quite interesting story twists. Unfortunately, this is one of the very few Karloff performances I don’t like; he seems to me to be somewhat over the top, almost hysterical…” Fantastic Movie Musings and Ramblings

“Though The Haunted Strangler makes pretenses of being about greater social issues, it’s the luridness of the plot and the setting that dominates […] Multiple scenes of cancan girls and a champagne spilled down Vera Day’s cleavage also add to the idea that The Haunted Strangler wasn’t really a high-falutin’ social drama. Screams and titillation are the order of the day!” Jamie S. Rich, Criterion Confessions

“A dual personality that without the knife is incomplete.” Exactly. Grip of the Strangler is bizarre, quite likeable, a bit slow, and strange. I’d recommend it, but as a bizarre oddity.” British Horror Films

“The movie could have benefited from some type of exploration of the mental problems Rankin was suffering from and his own attempts to reconcile what he was and what he was becoming again with the rather prosaic life he was currently leading. Instead, they wanted to get “Boris Karloff the Horror Icon” out there and have him running around like Mr. Hyde hacking up strippers and dumb wives.” MonsterHunter

Choice dialogue:

Dr. Kenneth McColl: “Do you think you can cure a diseased mind by brutality?”

Cast and characters:

  • Boris Karloff as James Rankin
  • Jean Kent as Cora Seth
  • Elizabeth Allan as Barbara Rankin
  • Anthony Dawson as Superintendent Burk
  • Vera Day as Pearl
  • Tim Turner as Dr. Kenneth McColl
  • Diane Aubrey as Lily Rankin
  • Max Brimmell as Newgate Prison Turnkey
  • Leslie Perrins as Newgate Prison Governor
  • Jessica Cairns as Asylum Maid
  • Dorothy Gordon as Hannah
  • Desmond Roberts as Dr. Johnson

Filming locations:

Walton Studios, Walton-on-Thames, Surrey, England, UK

Wikipedia | IMDb

Image credits: Wrong Side of the Art! | Zombos’ Closet


I Was a Teenage Frankenstein (1957)

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Poster designed by Reynold Brown

‘Body of a boy! Mind of a monster! Soul of an unearthly thing!’

I Was a Teenage Frankenstein – aka Teenage Frankenstein is a 1957 American science fiction horror film directed by Herbert L. Strock (The Crawling Hand; Blood of Dracula) from a screenplay credited to Kenneth Langtry [actually producer Herman Cohen and Aben Kandel]. It stars Whit Bissell, Phyllis Coates and Gary Conway.

The film is the follow-up to AIP’s box-office hit I Was a Teenage Werewolf released less than five months earlier by American International Pictures (AIP). Both were later referenced in How to Make a Monster, released in July 1958.

I Was a Teenage Frankenstein was filmed in black and white, with the ending in colour for a vivid effect.

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Plot:

Professor Frankenstein, a guest lecturer from England, talks Dr. Karlton into becoming an unwilling accomplice in his secret plan to actually assemble a human being from the parts of different cadavers.

After recovering a cadaver from a catastrophic automobile wreck, Professor Frankenstein takes the body to his laboratory-morgue, where in various drawers he keeps spare parts of human beings. The Professor also enlists the aid of Margaret, as his secretary to keep all callers away from the laboratory.

Margaret, becoming suspicious of what is going on, decides to investigate and goes down to the morgue. She is panic-stricken by the monster who has been activated by electricity following the grafting of a new leg and arm. She dares not tell the Professor about her feelings, and keeps silent for the present…

Reviews:

“As in Teenage Werewolf, the monster comes to represent alienated adolescence and Whit Bissell is again cast as a calculating and manipulative scientist/authority figure. It is amusing to see that in this film Frankenstein is no longer traditionally a scientist with misguided intentions, he is utterly ruthless from the outset.” Richard Scheib, Moria

“When the monster twists off a handsome jock’s head so he can have it for his own, he carries it back to the lab in a birdcage! That’s sick, man!! Little moments like that make cinema such a viable art form. But despite this, I Was a Teenage Frankenstein is still a stupid movie, and despite its being a stupid movie, I loved every minute of it.” Mike Marano, Movie Magazine International

“One of the mini series of teenage science fiction films that followed in the wake of I Was a Teenage Werewolf, it remains watchable because Kandel’s script, though sadly not Strock’s direction which is pedestrian, has an element of parody about it.” Phil Hardy (editor), The Aurum Film Encyclopedia: Horror

“It forces one to acknowledge the impression that such films may aggravate the mass social sickness euphemistically termed ‘juvenile delinquency’ … In this particular film, there are graphic displays of human dismemberment. Before one such act of surgical perversion, the mad doctor'[s] assistant says ‘I have no stomach for it.'” Richard W. Nason, The New York Times, January 30, 1958

” …intelligently and imaginatively done … there is enough of genuine frightfulness to satisfy and fan…” The Hollywood Reporter

“Immensely silly but enjoyable piece of hokum, with a classic title, a serious performance against the odds by Whit Bissell…” Alan Frank, The Horror Film Handbook

Choice dialogue:

Professor Frankenstein:”Well, you’re being true to yourself. And your sex. You know that perfectly well science has proved that in all forms of life the female pursues the male.”

Professor Frankenstein: “I want him to know and feel pain so that when I alleviate it, he’ll also know gratitude.”

Professor Frankenstein: “Answer me! You have a civil tongue in your head! I know – I sewed it in there!”

Cast and characters:

 

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Wikipedia | IMDb | AFI | Image credits: Greggory’s Shock Theater | HorrorFind.com

Horrorfind.com galleries of posters, lobby cards, promo material and collectibles

 


The Head (1959)

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‘It just won’t lay down and stay dead’

The Head is a 1959 German science fiction horror thriller written and directed by Russian-born Victor Trivas. It stars Michel Simon, Horst Frank and Paul Dahlke. The original title, Die Nackte und der Satan, translates as “The Naked and the Devil”.

Trans-Lux released the film in the US in 1961. In the UK, it was cut by the BBFC for an ‘X’ certificate and released in 1964 by S F Films on a double-bill with Playgirls and the Vampire.

Plot:

Professor Abel (Michel Simon) has invented Serum Z, which he has used to keep a dog’s severed head alive. His mad assistant, Doctor Ood (Horst Frank) then uses the serum to keep Simon’s own head alive after a failed heart transplant.

Meanwhile, Ood also plans to transplant the head of a hunchbacked nurse onto the body of an alcoholic stripper…

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Reviews:

The Head remains one of the better entries in the decapitated body genre […] The Germanic influence makes this film most entertaining and the image of Michel Simon’s disembodied head begging to be disconnected from its life-giving fluids is a guilty pleasure worth reliving from time to time.” Christopher Dietrich, DVD Drive-In

“Overall, The Head is rather forgettable. It probably would have left a stronger impression had Horst Franck taken a more over the top approach. Yes, the subdued approach he took was a solid choice, but there really wasn’t anything else to give the movie personality.” Christopher Beaumont, Critical Outcast

“The image of Michel Simon’s disembodied head combined with the landscape of expressionistic surroundings courtesy of Hermann Warm invest Trivas’s film with a genuinely bizarre encounter of the German era past and present Euro horror.” David Del Valle, kinoeye

“Although obviously not endowed with a large budget, and hardly the most original or well paced script, The Head remains enjoyable thanks to great looking sets and soundtrack, and a superb lead performance from Horst Frank.” Timothy Young, Mondo Esoterica

“Filmed in a landscape composed of dead trees, dark passageways, a scary cavernous house in the woods with a strange futuristic look, and a menacing looking operating room, the Euro horror film sets up a hellish Germanic expressionistic atmosphere. There’s trashy fun to be had…” Dennis Schwartz, Ozus’ World Movie Reviews

“Its dark cinematography mixes, Noir, Expressionism, and exploitation. Atonal music and weird sounds pervade the background. Very little gore is actually shown, but the IDEA of gore is omnipresent. You feel like you’ve stepped into an underworld. Its villain – a grim selfish scientist with a arched eyebrows who manipulates everyone around him – is loathsome.”David Elroy Goldweber, Claws & Saucers

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“A genuinely bizarre case of medical Science Fiction by Trivas … The scenes with Simon … reduced to his extra-ordinary head are collectors’ items.” Phil Hardy (editor), The Aurum Film Encyclopedia: Science Fiction

Main cast:

Michel Simon, Horst Frank (The Dead Don’t Die; The Cat ‘O Nine Tails; So Sweet, So Perverse), Paul Dahlke, Karin Kernke, Helmut Schmid, Dieter Eppler (Castle of the Walking Dead; Slaughter of the Vampires; The Strangler of Blackmoor Castle), Kurt Müller-Graf, Christiane Maybach.

IMDb


The Hearse Song aka The Worms Crawl In – song

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The Hearse Song” is a song about burial and human decomposition, of unknown origin.

It was popular as a World War I song, and was popular in the 20th century as an American and British children’s song, continuing to the present.

It has many variant titles, lyrics, and melodies, but generally features the line “the worms crawl in, the worms crawl out”, and thus is also known as “The Worms Crawl In“.

It gained more popularity in present times by being included Scary Stories to Tell in the Dark (1981) by Alvin Schwartz, who gives the lyrics as:

“Don’t you ever laugh as the hearse goes by,
For you may be the next one to die.
They wrap you up in big white sheets
and cover you from head to feet.
They put you in a big black box
And cover you with dirt and rocks.
All goes well for about a week,
Until your coffin begins to leak.
The worms crawl in, the worms crawl out,
The worms play pinochle on your snout,
They eat your eyes, they eat your nose,
They eat the jelly between your toes.
A big green worm with rolling eyes
Crawls in your stomach and out your sides.
Your stomach turns a slimy green,
And pus pours out like whipping cream.
You’ll spread it on a slice of bread,
And that’s what you eat when you are dead.”

Popular variations include that performed by Harley Poe on his album Satan, Sex and No Regrets, with major differences occurring in the final chorus:

And the worms crawl in, the worms crawl out,
They crawl all over your dirty snout.
Your chest caves in, your eyes pop out,
And your brain turns to sauerkraut.

They invite their friends and their friends too,
They all come down to chew on you.

And this is what it is to die,
I hope you had a nice goodbye.
Did you ever think as a hearse goes by,
That you may be the next to die?
And your eyes fall out, and your teeth decay,
And that is the end of a perfect day.

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In the 1960s, Terry Teene released a rock-and-roll novelty recording, “Curse of the Hearse”, loosely based on The Hearse Song lyrics, with a different melody.

This song was included in Finders Keepers, the 2014 horror film starring Jaime Pressly.

Wikipedia


The Devil’s Messenger (1961)

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The Devil’s Messenger is a 1961 anthology horror film combining three episodes of the 1959 Swedish television series 13 Demon Street directed by Curt Siodmak (Donovan’s BrainThe Wolf Man) and written by Leo Guild. 

Herbert L. Strock (The Crawling Hand; Blood of Dracula; I Was a Teenage Frankenstein) directed the footage featuring Lon Chaney Jr., Karen Kadler and Michael Hinn.

With the assistance of his reluctant yet seductive subject, Satanya (Karen Kadler), Satan (Lon Chaney Jr.) attempts to recruit new people to join him in Hell.

Satanya targets a sex-obsessed photographer, a scientist who discovers a woman frozen in ice, and the man who drove her to commit suicide. Ultimately, Satan’s plan is to blow up the planet with nuclear bombs…

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Reviews:

“The emphasis is on the weaknesses that already exist in the victim’s characters, and the inevitability with which those weaknesses lead them to their doom. There are no stunning surprises, but the atmosphere of moral degeneracy, the very dark tone, and Lon Chaney’s outrageous performance make it an entertaining enough way to spend 70 minutes…” Cult Movie Reviews

“All three episodes are brisk and exciting, although somewhat poorly shot […] These stories fall into the familiar Twilight Zone/Tales from the Crypt format, but they work this format skillfully. The unknown actors show vigor and seriousness. The music is fierce. And – best of all – they are thematically linked.” David Elroy Goldweber, Claws & Saucers

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[Spoiler] “The end of the movie is particularly great, as Chaney starts talking to “us” (that is, the presumed audience) and then nukes the entire world for some reason. We see that one house from the nuclear blast stock footage get blown apart for the 80 millionth time, and then the movie just ends. Kind of awesome.” Brian W. Collins, Horror Movie a Day

Buy: Amazon.com | Amazon.co.uk | Amazon.ca

“The individual episodes here aren’t bad, but they don’t exactly sparkle, either. The first one is probably the best; it involves a photographer who finds himself haunted by one of his photographs after he commits a rape/murder. The second starts well (a woman is found frozen alive in a block of ice for 5000 years), but ends lamely, and the third (about a man discovering his destiny in a dilapidated old building) is just average.” Dave Sindelar, Fantastic Movie Musings and Ramblings

See pressbook at Zombos’ Closet

Choice dialogue:

Satan: “Love is such a stupid emotion.”

Dr. Ben Seastrom: “What is time but a conception of man?”

Main cast:

Lon Chaney Jr., Karen Kadler, Michael Hinn, Ralph Brown, John Crawford, Bert Johnson, Frank Taylor, Chalmers Goodlin, Gunnel Broström, Sara Harts, Jan Blomberg,  Inga Botorp, Eve Hossner.

Filming locations:

Stockholm, Stockholms län, Sweden

Wikipedia | IMDb

Image credits: The Last Drive-In | Zombos’ Closet



The Brutal Practice of Head Shrinking – article

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The practice of shrinking a human head is extremely dark. While numerous cultures have participated in the practice of headhunting, the Ecuadorian Amazon and the Peruvian Amazon Jivaro Indian Tribe did more than just headhunt: they shrunk the heads that they collected.

Before we get into the history of the one and only tribe known to shrink human heads, we will first discuss some fascinating information on the more prevalent practice known as “head hunting.”

A genuine shrunken head from Ecuador [between 1890 and 1930]

The Purpose of Head Hunting

Following battle, the victor removed the head of their adversary; the severed head serves as his trophy. Believe it or not, head hunting has been practiced throughout much of the world.

Here is an original portrait of a British army officer and artist who lived from 1843-1925. 

Horatio Gordon Robley shows off his extremely creepy collection of real preserved human heads

Mokomokai are the severed heads of the Māori people (the indigenous people of New Zealand). In the 1860s, Robley served in New Zealand during the New Zealand land wars. His collection consisted of 35-40 mokomokai. Despite his failed attempt to sell his collection to the New Zealand Government, he was able to sell most of it to the American Museum of Natural History.

Robley’s fascination with the art of tattooing lead him to write text on the subject of moko, Moko; or Maori Tattooing in 1896. Moko is facial tattoos of a Māori to designate their tribal identity. In pre-European Māori culture, moko was a sign of high social status. Generally it was men who had full facial moko. However, high-ranked women were known for having moko on their chin and lip.

The illustration shows a chief who is looking to trade a severed head for firearms and ammunition [1896]

In the early 19th century, with the arrival of Europeans in New Zealand, tribes would trade mokomokai with European sailors, traders and settlers in exchange for firearms and ammunition. In order to get more firearms for defense, tribes would often carry out raids on their neighbours.

They would acquire severed heads for trade. In desperation to trade as many mokomokai as possible, tribes tattooed their slaves and prisoners with worthless designs, instead of moko.

During this period, the severed heads were also considered commercial trade items. They were sold in Europe and America for high prices as they were considered curiosities and museum specimens.

The Mokomokai Preservation Process

  • The head is severed.
  • First, the brain and eyes are removed.
  • Orifices are sealed with flax fibre and gum.
  • The head is boiled or steamed in an oven.
  • The severed head is smoked over an open fire and dried in the hot sun for a few days.
  • Shark oil is used to treat the head. It has been used for hundreds of years as a folk remedy to promote the healing of wounds.
  • Finally, the severed heads were placed in carved boxes and were brought out solely for sacred ceremonies.

Mokomokai were also considered “trophies of war,” as they were often the severed heads of enemy chiefs who were killed in battle.

Others Who Practiced Headhunting

During the 3rd century B.C.E. (300 B.C.E. to 201 B.C.E.), the Chinese state of Qin’s soldiers collected the heads of their fallen adversaries. The collected heads were tied around the soldier’s waist and used to terrorize enemies during future battles.

Throughout the middle ages, the Celts of Europe also participated in the practice of head hunting. The triumphant Celtic warrior took the heads he collected during battle and nailed them to his walls to serve as a warning to others.

The Marind-anim tribe of New Guinea removed the heads of their opponents so they could control their spirits. They also consumed the flesh of their slain opponent.

<a href="https://commons.wikimedia.org/wiki/File:Chromesun_mississippian_priest_digital_painting.jpg" target="_blank">"Chromesun mississippian priest digital painting"</a> by <a href="https://en.wikipedia.org/wiki/User:Heironymous_Rowe" target="_blank">Heironymous Rowe</a> is licensed under <a href="https://creativecommons.org/licenses/by-sa/3.0/deed.en" target="_blank">CC BY-SA 3.0</a>

This is a digital painting of a priest from Mississippian culture (approximately 800 B.C.E. to 1600 B.C.E.). In addition to his ceremonial flint mace is a severed human head

The Jivaro Indians and Their Gruesome Practice

Despite the various forms of headhunting practiced around the world, The Jivaro Indians are the only documented group of headhunters that practiced the art of reducing the human head to the size of a man’s fist. 

https://wellcomeimages.org/indexplus/image/M0003687.html

An image comparing the size of a human skull and a shrunken head.

The Jivaroan Indian Tribe

The Jivaroan tribe actually consists of four sub-tribes: Achuar, Aguaruna, Huambisa and Shuar. All of these tribes reside in the Amazon Rainforest: The Peruvian and Ecuadorian Amazon Rainforest, to be exact. The Shuar tribe is notorious for practicing the art of shrinking human heads. Once the head is reduced, it is referred to as a ‘tsantsa.’ Transforming a head into a tsantsa was a deadly insult to the slain warrior as well as his entire tribe.  

The Tsantsa

According to the Shuar, the tsantsa possesses power. Initially, the severed head serves as a trophy indicating that the warrior had fulfilled his obligation to his ancestors by taking blood revenge. The tribe believed that the creation of the tsantsa pleased the spirits of their ancestors, who would bestow the tribe with fortune and a bountiful harvest. Accordingly, if the murders of their ancestors were not properly avenged, misfortune would fall upon the tribe. Interestingly, the tribe was much more concerned about the potential wrath of their ancestors than they were of the vindictive actions of an enemy ghost.

The Jivaro believe that by shrinking the head, the spirit (wakani) attached to it becomes trapped inside. Besides keeping the wakani from seeking revenge upon his/her killer, the wakani is also prevented from continuing on to the afterlife. The wakani’s inability to enter into the afterlife prevents it from harming the dead ancestors of the warrior.

The Jivaroan Tribe Considered a Fierce, War-Like Tribe

The Jivaroan Indian Tribe is the only tribe that was successful in its revolt against the Spanish Empire. The tribe endured the Incas, who were in search of gold, and challenged the audacity of the first conquistadors who attempted to disrupt their freedom. According to early Spanish chronicles, in 1599 all four of the Jivaroan sub-tribes came together and raided two settlements. The tribes apparently massacred 25,000 colonial Europeans.

The Logrono Massacre occurred because the Spanish governor of a colony in Ecuador demanded that the natives pay taxes on profits from their gold-trade.  

The anger of the Jivaro tribe was taken out on the visiting governor. Members of the tribe poured molten gold down his throat. This torture session ended quickly once his bowels burst. Directly thereafter, the Spaniards that remained were killed. However, while older women and children were slain, the younger women were considered useful. Therefore, the tribe captured these women and forced them to join their clan. After gathering the items they wanted to keep, the settlement was torched and burned to the ground.

Their reputation as savages who practiced head-shrinking served them well, discouraging outsiders from encroaching upon their territory, despite the fact that they resided in one of South America’s richest regions for gold deposits.  

Although the four Jivaroan Indian Tribes found great success joining together to oppose the Spanish, they never actually united. The tribes were continuously at war with each other. For the majority of the world, wars are fought to gain and/or control territory, for the Jivaro, wars were fought as a means of vengeance.

Shrinking a Human Head

Typically, decapitation occurred directly following the kill; however, there were occasions when the enemy was decapitated prior to death. The decapitation process involved cutting the head off below the neck. In addition, a section of the skin on the back and chest is removed. The victor then uses his woven head-band or a vine as a means to carry his prize. He passes his headband/vine through the neck and mouth of the head, tying it over his shoulder while making a hasty retreat.

Directly following the battle, the warriors gather at an agreed upon location near a river. It is at this point that the process of shrinking the head begins.

  • A slit running from the neck and up to the back of the head is created. This allows the warrior to peel the skin and hair away from the skull.
  • After removing the skin and hair, the skull is pulled free. Upon removing the skull, the warrior also removed the brain, tongue, throat, tonsils, eyes and nasal system. All of which were thrown into the river to serve as a gift to Pani, the anaconda.
  • The eyelids are sewn shut using a very fine fiber.
  • The warrior then closes the lips and skewers them with tiny wooden pegs. Eventually, these pegs are removed and dangling strings applied.
  • At this point, the head is placed in a sacred cooking jar or boiling pot to be simmered for approximately two hours. Timing the simmering is essential because if left simmering too long, the hair begins falling out.
  • Once the simmering process is complete, the skin is rubbery and dark. The head is now much smaller and is about 1/3 of its initial size.
  • The warrior turns the skin inside out.
  • He uses a knife to scrape off any remaining flesh.
  • The skin is then turned right side out.
  • Now, the warrior sews the slit in the back of the head together. Following this step, the feel of the head can be compared to an empty rubber glove.
  • Hot stones and sand are used for the final shrinking process. During this process, the interior of the head is seared and shrinks even further.
  • The warrior drops these hot stones one at a time through the opening of the neck.
  • He continuously rotates the stones inside the head to prevent scorching.
  • As the skin shrinks, rotating the stones becomes difficult.
  • At this point, hot sand is used in place of the stones.
  • This hot sand is able to enter areas that the stones were unable to reach (i.e., the nose and ears).
  • Once the head shrinking process is complete, hot stones are applied to areas of the exterior face to shape and seal its features.
  • The warrior burns off any excess hair.
  • Charcoal ash is rubbed on the face to darken it. The Jivaro also believed that this step insured that the soul of the enemy would remain trapped inside.
  • When the shrinking process is complete and the exterior facial features are addressed, the tsantsa is hung above a fire.
  • As it hangs above the fire, the tsantsa hardens and turns black.
  • The lips are dried by applying a heated machete to them.
  • Once the lips are dried, the pegs are removed and three palm shoots (chonta) are placed through them.
  • The lips are then fastened together using string.
  • The final steps of tsantsa creation are completed in the forest, just a few hours away from the village. The warrior creates a hole in the top of his tsantsa. He inserts a double Kumai through this hole and ties it to the palm shoots inside. Once this step is complete, he can wear his tsantsa around his neck.
  • The entire head shrinking process lasted for about a week. The warriors worked on their severed heads every day on the journey back to their village.

Real vs. Fake

If you are interested in purchasing a fake shrunken head, there are plenty online. Stores such as Amazon and eBay sell them for various prices. While some are made cheap, others are a bit more expensive because they are often made of goat skins, as well as other animal skins.

Is It Legal to Own a Genuine Shrunken Head?

Over the years, tsantsas have become a very popular item with collectors of oddities. Various sources on the web claim that it is illegal to import shrunken heads into the United States. However, some sources say that the trade is legal simply because they are considered antiques.

It is safe to say that if you are interested in acquiring a genuine ceremonial/tribal shrunken head, it is recommended you first contact a lawyer.

If you are interested in acquiring a tourist shrunken head, you won’t have to worry about an illegal purchase. The reason tourist heads are legal is because unlike the ceremonial/tribal heads, the person was not killed specifically for their head. Towards the end of the 19th century, tribes would participate in the shrinking process in order to supply tourists.

How To Tell If a Tsantsa is Real

It you look at the image of the real shrunken head in the subheading of this article titled “Shrinking a Human Head,” you can clearly see that it has eyebrows, eyelashes and even nose hairs.

However, before you conclude that the head is real, also check to see if it has pores and wrinkles. Even if you are 100% sure it is real, it is recommended that you first contact a professional. Also, be careful with shrunken heads that are made to look real (such as those with animal skins).

Kirin Johnson, Horrorpedia

This article is based upon Kirin’s previous article at OdditiesBizarre.com, plus additional information.

Related: The Four Skulls of Jonathan Drake | Shrunken Heads


Hyde and Hare (1955)

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Hyde and Hare is a 1955 American Warner Bros Looney Tunes Bugs Bunny cartoon, directed by Friz Freleng [as I. Freleng] from a story by Warren Foster. The scenario was inspired by Robert Louis Stevenson’s novella Strange Case of Dr Jekyll and Mr Hyde (1886).

The cartoon pits Bugs against Dr. Jekyll, who continues to turn into Mr. Hyde. The title is a play on the expression “neither hide nor hair.”

Bugs comes out of his rabbit hole in a city park every morning because a kind gentleman keeps coming to feed him a carrot (“Well, here I go again with the ‘timid little rabbit’ routine. It’s shameful, but – eh, it’s a living!”). At first feigning the on-all-fours posture of a real rabbit, Bugs eventually stands up and confides that he’d rather simply go home with the gentleman as a “pet”, since it would be easier on both of them.

As the gentleman brings Bugs home, he remarks that it is strange that Bugs calls him “Doc” because, “I happen to be a doctor.” The camera then pans up to show that the name above the apartment is none other than Dr. Jekyll.

Inside the house, Bugs gets used to his new surroundings. Going into a room with a door marked “laboratory” in search of a carrot for Bugs, Dr. Jekyll comes across a fizzing, red potion that he knows he shouldn’t drink, but he gives in and drinks the potion anyway (“Oh, I’m so ashamed!!”). He then transforms into Mr. Hyde, with a monstrous green face and glowing red eyes.

Bugs quickly realizes that this cackling, knuckle-dragging, axe-swinging monster is not something to be heckled. He runs away from the monster, but soon the monster reverts to Dr. Jekyll. Bugs, thinking that the monster is still after both of them, tries leading the doctor into various rooms and closets, with the eventual re-transformation of the doctor into Mr. Hyde.

This continues until Dr. Jekyll decides that he’s going to pour the rest of the formula down the drain. He goes into his laboratory, but finds only the empty beaker. The doctor asks Bugs if he drank the potion; Bugs becomes insulted at the idea and leaves (“I am going back to the park! There is no question of my integrity there…”).

Walking back to his park, Bugs transforms into a monstrous green rabbit, confirming Jekyll’s suspicion that Bugs did drink the potion. The people at the park who are busy feeding the pigeons see the transformed Bugs and run away screaming. Bugs (who, unlike Dr. Jekyll, retained his usual personality and is unaware of the change in his appearance) wonders aloud, “Now what’s eating them? Hmph! You’d think they never saw a rabbit before!”

Buy: Amazon.com | Amazon.co.uk

Running time: 7 minutes

Trivia:

Players can choose to be Hyde Bugs in the Looney Tunes: Acme Arsenal video game.

Wikipedia | IMDb

Related: Gossamer (cartoon character) | Transylvania 6-5000 (1963 cartoon)

The images above are reproduced here in the interests of education and research into horror culture. No copyright infringement is intended or implied.

Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.


The Brain from Planet Arous (1957)

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‘It’s becoming an obsession. All this power and money. Who needs it?’

The Brain from Planet Arous is a 1957 American science fiction horror film directed by Nathan Juran [as Nathan Hertz] (The Boy Who Cried Werewolf; 20 Million Miles to Earth; The Deadly Mantis) from a screenplay by Ray Buffum. The Howco International production stars John Agar, Joyce Meadows and Robert Fuller.

An outer-space terrorist from a planet named Arous – a brain-shaped creature named Gor – arrives on Earth and possesses young scientist Steve March.

Gor proceeds to use his vast, destructive powers to bend the world to his will, threatening to wipe out the capital city of any nation that defies him.

Meanwhile, another brain from Arous – named Vol – arrives on Earth and eventually inhabits the body of March’s fiancee’s dog. Vol explains that Gor is a wanted criminal on their world. Gor’s only weakness is the Fissure of Rolando and he is only vulnerable during one brief period when he needs to exit his host to absorb oxygen…

Buy: Amazon.com

 

Reviews:

“Nowhere else have I seen Agar give such a gleefully unrestrained performance. Watching him as the possessed Steve March, blustering at a roomful of generals or feeling up Joyce Meadows like there’s no tomorrow, you get the feeling that Agar had never had so much fun on a movie set in his life.” Scott Ashlin, 1000 Misspent Hours and Counting

“Look, the plot is not important. What is important is that this film features two giant brains floating around and arguing. It also features an adorable dog and some atomic weapon testing stock footage. It’s not good but it’s a lot of fun.” Lisa Marie Bowman, Through the Shattered Lens

“The reason Arous stands apart from the Ed Woods is its smart script and its earnest playing.  The writing and production knows the whole enterprise is ridiculous, but refuses to surrender.  Meadows and Agar go at their noble profession even when swinging axes at Gor’s ‘fissure of Rolando’, as if the inflated-looking brain were a party Piñata.” Glenn Erickson, DVD Talk

brain from planet arous john agar

“Nathan Juran directs with admirable briskness (one shot of Agar through a water cooler is especially inspired) and the film is amusingly daft, with a hilarious final line.” Graeme Clark, The Spinning Image

Cast and characters:

  • John Agar as Steve March
  • Joyce Meadows as Sally Fallon
  • Robert Fuller as Dan Murphy
  • Thomas B. Henry as John Fallon
  • Kenneth Terrell as Colonel in Conference Room
  • Henry Travis as Colonel Frogley
  • E. Leslie Thomas as General Brown
  • Tim Graham as Sheriff Wiley Pane
  • Bill Giorgio as Russian
  • Kenner G. Kemp as Military Man at Meeting
  • Dale Tate as Professor/Voices of Gor and Vol [uncredited]

 

$_57-1

Filming locations:

Bronson Canyon, Los Angeles, California, USA

Wikipedia | IMDb | AFI


The Unknown Terror (1957)

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‘They dared to enter the Cave of Hell to explore the secrets of Hell and find the…’

Unknown Terror – aka The Unknown Terror – is a 1957 American science fiction horror film directed by western specialist Charles Marquis Warren (Back from the Dead) from a screenplay by Kenneth Higgins. The Emirau/Regal Films production stars John Howard, Mala Powers, Paul Richards and May Wynn.

unknown-terror-2

The mysterious disappearance of Jim Wheatley (Charles Gray), while exploring the “cave of the dead” near a Mexican village, brings his sister, Gina (Mala Powers), and her husband, Dan Matthews (John Howard), to the territory to search for him.

Embittered, crippled Pete Morgan (Paul Richards), insists on going along and reminds Dan that his condition is Dan’s fault since it happened in an accident in which Pete saved Dan’s life. Plus, Gina was Pete’s sweetheart before the accident.

Things become tense when native wife Concha (May Wynn) arranges for the men to be led to a place where they can hear the voices of the dead crying from beneath the earth and, while they are gone, a grotesque, demented man apparently covered with a foamy fungus attacks Gina and chases her into the jungle…

Reviews:

“We get the standard issue romantic triangle coupled with “the-natives-have-a-secret-and-are-restless” setup and enhanced by the “scientist-with-a-secret” plotline. Throw in a particularly disappointing monster that is only scary if the Scrubbing Bubbles terrify you, and you have an exercise in utterly routine science fiction/horror.” Dave Sindelar, Fantastic Movie Musings and Ramblings

“Yes, it’s just soap suds, and yes it takes an hour before the suds start foaming… but if you can get into it, you might find it enjoyable watching the stuff flow down from the cavern walls, into little rivers at the bottom, over the long-haired natives and other hapless victims […] I wished that the zombies had been featured earlier, and more often. But I was otherwise reasonably entertained.” David Elroy Goldweber, Claws & Saucers

Buy: Amazon.co.uk | Amazon.com | Amazon.ca

” …Unknown Terror is not a good film. However, it doesn’t miss the “fair to good” category by much. A sprinkling of lackluster performances and some missed plot opportunities might be forgiven, but the special monster effects that induce giggles instead of gasps are the final nail in the coffin.” Films from Beyond the Time Barrier

“The best part of the movie is the “fungus”. It is essentially soap bubbles and the evil creatures in the cave are just people covered in soap bubbles. I remember the creatures being kind of scary to me, but even then realizing they were pretty ridiculous. Of monster movies, The Unknown Terror isn’t much of one […] The movie isn’t very good and even as a child I knew it…” JP Roscoe, Basement Rejects

” …singularly unimaginative trash […] includes Mala Powers (she runs through through phoney foliage in flimsy negligees), John Howard (he climbs into the Cave of Death without even a flashlight) and Paul Richards (he watches the heavy bosom of Indian girl May Wynn). Now you know the real terror.” John Stanley, Creature Features

“Nothing new in the mixture but short enough to be entertaining, although the fungus itself looks like over-keen bubble bath.”Alan Frank, The Science Fiction and Fantasy Film Handbook

“Warren directs briskly enough but the monsters are unintentionally hilariously funny – they are simply actors entirely covered in soap suds.” Phil Hardy, The Aurum Film Encyclopedia: Science Fiction

“In this variation of the mad doctor gambit, captives held in a cave are dosed with foaming, bubbling mold creatures. They wind up in a mess and so does the plot.” Variety, 1957

 

 

Wikipedia | IMDb |


Adam West – actor

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Adam West (September 19, 1928 – June 9, 2017), born as William West Anderson, was an American actor whose career spanned seven decades. He is best known for portraying Batman in the campy 1960s TV series Batman and its theatrical feature film.

From 2000, West made regular appearances on the animated series Family Guy, in which he played Mayor Adam West, the mad mayor of Quahog, Rhode Island. His role gave him a new wave of popularity and lead writer Seth MacFarlane claims to have gone out of his way to avoid typecasting West by deliberately not making any references to the caped crusader.

Beyond his most famous roles, Adam West’s extensive career included roles in a number of sci-fi/horror movies, beginning with an uncredited bit part in the Boris Karloff starrer Voodoo Island (1957) as ‘Weather Station #4 Radio Operator’.

West starred as an astronaut facing-off against a Sand-Beast in ‘The Invisible Enemy’, a 1964 episode of the original The Outer Limits television show. The same year, he was also in Bewitched (as Darrin’s friend Kermit).

Proving once again that light comedy was his forte, in Rod Serling’s Night Gallery TV series, West played Mr. Hyde in the tongue-in-cheek skit ‘With Apologies to Mr. Hyde’.

More TV work followed. The Eyes of Charles Sand is a 1972 TV movie about a young man inherits the ability to see visions beyond the grave. He helps a girl investigate her brother’s alleged murder. West played a doctor.

Poor Devil is a bizarre 1973 TV movie pilot for a comedy series that unsurprisingly remained unsold. Sammy Davis Jr. starred as “Sammy”, a demon from Hell who desires a promotion from working in the furnace room. Lucifer, played by horror veteran Christopher Lee, tells Sammy that he must first convince a San Francisco accountant named Burnett J. Emerson (Jack Klugman) to sell his soul. Adam West was the other star name in the cast.

One Dark Night is a lacklustre PG-rated 1981 supernatural horror film directed by Tom McLaughlin that sat on the shelf for a couple of years.

Zombie Nightmare (1986) is a hilariously awful Canadian heavy metal horror outing for body builder Jon-Mikl Thor. Sporting a moustache, West played a weary-looking police captain. The same year was also a police captain in The Last Precinct, a TV comedy series that attempted to nuance the inexplicably successful inane Police Academy movies. Episode ‘Never Cross a Vampire’ featured Richard Lynch as an undead wannabe.

In the Tales from the Crypt 1993 episode ‘As Ye Sow’, West played Chapman, the head of a private investigation agency, hired by Hector Elizondo’s suspicious character to spy on his wife (see below).

He was The Galloping Gazelle in the two-part ‘Attack of the Mutant’, 1996 animated episodes of the R.L. Stine’s Goosebumps TV series.

In 1997, West played the Big Kahuna, a legendary vampire killer, in comedy horror outing American Vampire (aka An American Vampire Story).

In Seance aka Killer in the Dark (2001), West has a brief role at the end as a guardian angel/homeless man. The film concerns a preternatural spirit that haunted Jon (Corey Feldman) as a child and who is summoned by an ill-conceived séance to liven up a party only to unleash a litany of horrors and murders on the participants and anyone in his way.

2004 brought Tales from Beyond, a low-budget anthology horror movie in which West was a bookstore owner introducing the tales. MTV comedy-horror spoof Monster Island, which starred Carmen Electra (previously in the aforementioned American Vampire) provided West a more high-profile role as a mad doctor named Harryhausen.

Meanwhile, voice-overs for Scooby-Doo characters included Aloha, Scooby-Doo! and Scooby-Doo! and the Beach Beastie.

As with many actors whose careers are stymied by being identified with a major key character, Adam West struggled to rid himself of his Bruce Wayne/Batman identifier, yet he managed to land a vast amount of roles and was always willing to work in even the lowest of low budget movies as he simply loved acting. And he was never afraid to be self-deprecating, surely his greatest attribute (just see his The Big Bang Theory appearance). We salute the campest caped crusader and the mad Mayor of Quahog.

Adrian J Smith, Horrorpedia

Wikipedia | IMDb


The Bat (USA, 1959)

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‘When it flies… someone dies!’

The Bat is a 1959 American murder mystery film written and directed by playwright Crane Wilbur (screenplay for Mysterious IslandThe Mad Magician; House of Wax; storyline for The Amazing Mr. X). It stars Vincent Price, Agnes Moorehead and Gavin Gordon.

It is the fourth film adaptation of the story, which began as a 1908 novel The Circular Staircase by Mary Roberts Rinehart, which she later adapted (with Avery Hopwood) into the 1920 play The Bat.

In the US, The Bat was distributed by Allied Artists on a double-bill with the British Hammer film The Mummy.

Cornelia Van Gorder (Agnes Moorehead) is a mystery author who lives in a town terrorised by a mysterious murderer known only as “The Bat” who is said to be a man with no face.

The Bat enters Van Gorder’s rented house, The Oaks, and releases a bat, which bites van Gorder’s maid Lizzy (Lenita Lane). With Lizzy in a panic, fearing she may now have contracted “the rabies”, an outbreak of which local papers have reported, Van Gorder calls her doctor, Dr Malcolm Wells (Vincent Price), who is conducting research on bats…

Buy Blu-ray: Amazon.com | Amazon.co.uk

Reviews:

” …the cast virtually drips with greasepaint conjuring up the atmosphere of an intimate stage with a killer lurking just beyond the curtain. Such an approach proved mild in a decade filled with an increasing reliance on rampaging aliens and sinister ghouls, but time has been kind to the film… Nathaniel Thompson, Turner Classic Movies

House of Wax‘s Crane Wilbur, directing his own script, had again chosen to revive a creaky old melodrama which, on this occasion, remained every bit as creaky and melodramatic as the original […] After seven reels of wearisome comings and goings, Wilbur disposes of more to-ings and fro-ings by a last minute change in construction, switching from real time to flashback mode…” Denis Meikle, Merchant of Menace: The Life and Films of Vincent Price

Buy: Amazon.co.uk | Amazon.comAmazon.ca

“Crane Wilbur’s direction is fairly static, although he does make effective visual use of the deep dark shadows that are part and parcel of these “old dark house” stories. He also gives his cast free rein, allowing Vincent Price and Agnes Moorehead to take the performing ball and run away with it. They’re frequently over-the-top and occasionally campy…” Craig Butler, AllMovie

” …The Bat isn’t really scary as much as it’s “charming” […] The Bat is a great time waster, a film that will put a smile on the face of those who may remember it from days gone by…” Don Sumner, Horrorfreak News

” …Crane Wilbur, the scenarist-director, keeps the plot perking and the bodies falling (seven), with some amusing touches along the way. Finally, and fortunately, there is Agnes Moorehead’s good, snappy performance.” Howard Thompson, The New York Times, December 17, 1958

“Worth watching for fans of Morehead, Price, or The Bat Whispers. But I felt the whole thing should have been freakier and jazzier, and not so stately and professional.” David Elroy Goldweber, Claws & Saucers

Buy: Amazon.co.uk | Amazon.com | Amazon.ca

Choice dialogue:

Lizzie Allen: “All the victims died the same way, like their throats had been ripped open by steel claws.”

Cornelia van Gorder: “That I suppose is the cat dropping its dentures!”

Cast and characters:

Running time and aspect ratio:

80 minutes | 1.85: 1

View The Bat pressbook at Zombo’s Closet

Wikipedia | IMDb

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Martin Landau – actor (1928 – 2017)

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Martin Landau (June 20, 1928 – July 15, 2017) was an American film and television actor. His career took off in the 1950s, with appearances that included a supporting role in Alfred Hitchcock’s North by Northwest (1959). Later, he had famous roles in the television series Mission: Impossible and mid-70s British sci-fi series Space: 1999.

Landau was born in Brooklyn, New York, in 1928. His family was Jewish; his father, an Austrian-born machinist, scrambled to rescue relatives from the Nazis. Aged seventeen, Landau began to work at the New York Daily News, where he spent the next five years as an editorial cartoonist until his decision to focus on acting. By the 1950s, he was working regularly on TV in series such as The Outer LimitsThe Twilight Zone and The Alfred Hitchcock Hour.

Landau’s first appearance in a horror film was in the obscure TV movie The Ghost of Sierra de Cobre (1964), notable mainly for it being scripted and co-directed by Psycho writer Joseph Stefano. Terrified of being buried alive by mistake, a woman puts a phone in her crypt to be able to call home if she needs help. She dies and nothing happens. One day, the phone suddenly rings. Paranormal investigator Nelson Orion (Landau) is brought in to investigate.

In a 1966 episode of The Man from U.N.C.L.E., Landau was up against Robert Vaughn and David McCallum playing Count Zark, a Thrush agent, who operates from Transylvania and has developed a worldwide menace involving bats nicknamed ‘Operation Nightflight’. Evil Zark’s castle even had a moat filled with piranhas! With Landau in full-on heavy accented Lugosi mode, it must be assumed that Tim Burton or one of his associates may have recalled this deliberately OTT performance when casting for Ed Wood (1994), not that they mentioned it publicly.

A 1979 television version of Edgar Allan Poe‘s The Fall of the House of Usher gave Landau the opportunity to ham it up as none other than Roderick Usher himself. As if naturally, this romp led to a slew of early 1980s horror/sci-fi roles in low budget but fun alien invasion movies Without Warning (1980, with Jack Palance), The Return (1980) and The Being (1980 but released 1983), plus slasher Alone in the Dark (1982, alongside Donald Pleasence and Jack Palance, again).

Rounding out the 1980s, Fred Olen Ray cast Landau in his science fiction action movie Cyclone. But it wasn’t all ‘B’ movies, critically acclaimed roles in Tucker: The Man and His Dreams (1988) and Woody Allen’s Crimes and Misdemeanors (1989) led to an upsurge in Landau’s career that culminated in the aforementioned performance as Bela Lugosi in Tim Burton’s Ed Wood. Landau studied Lugosi’s career extensively and excelled as the drug-addled Hungarian horror icon (“This is the most uncomfortable coffin I’ve been in!”).

Five years later, Burton’s Sleepy Hollow provided the actor with an uncredited cameo appearance, as a nod to his earlier lauded performance, and he voiced Mr. Rzykruski in the same director’s animated and exquisite Frankenweenie (2012).

Adrian J Smith, Horrorpedia

Wikipedia | IMDb



Scared Stiff (USA, 1953)

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Scared Stiff is a 1953 American musical comedy film directed by George Marshall from a screenplay by Herbert Baker and Walter DeLeon (The Cat and the Canary), loosely based on the 1909 play The Ghost Breaker by Paul Dickey and Charles W. Goddard. It stars Dean Martin and Jerry Lewis.

The team’s ninth picture, Scared Stiff is essentially a remake of Paramount’s previous effort, The Ghost Breakers (1940), also directed by George Marshall. The studio had also filmed two versions in the silent era The Ghost Breaker (1914) directed by Cecil B. DeMille and The Ghost Breaker (1922) starring Wallace Reid.

Mary Carroll (Lizabeth Scott) inherits her family’s ancestral home, located on a small island off Cuba, and, despite warnings and death threats, decides to sail to Havana and take possession of the reputedly haunted castle. She is joined by nightclub entertainer Larry Todd (Martin) who, believing he has killed a mobster, flees New York with a friend, Myron (Lewis).

Once on the island the three enter the eerie castle and, after viewing the ghost of one of Mary’s ancestors and fighting off a menacing zombie, find the key to the castle’s treasure…

Reviews:

Scared Stiff goes on far too long – it takes over 90 minutes before we get to the island, with the plot being dragged out by an interminable series of musical numbers and much runnings around hotels and ships at sea. It is also lazily developed – it reaches the end without ever explaining whether the hauntings are real or not.” Richard Scheib, Moria

” …besides the opening number with Dean Martin, Lewis is incorporated into all the other songs, so there’s no avoiding him. There’s a bit of nice atmosphere in the haunted house scenes, but compare the zombie here with Noble Johnson’s great zombie from the Bob Hope version, and you can’t help but come up disappointed.” Dave Sindelar, Fantastic Movie Musings and Ramblings

“Both the original film and this later iteration essentially function as vehicles for their stars, and suffer from rather lame, unnecessarily complex screenplays — but Scared Stiff, unfortunately, is even more awkwardly paced than its predecessor, taking 80 long minutes to finally bring the protagonists to their spooky destination…” FilmFanatic.org

” …mostly sticks to the original except for the addition of several bad song and dance numbers and even worse comedy routines.” Peter Dendle, The Zombie Movie Encyclopedia

“George Marshall directs it all with an appropriate light touch.” John Stanley, Creature Features

“Oddly enough, a comedy highlight in the picture is handled by uncredited Frank Fontaine, playing a drunk who thinks Martin is a ventriloquist when he is caught talking to Lewis, hidden in a trunk at dock side. The comedy team is in its element in the story’s slap-stick harum-scarum.” Variety, December 31, 1952

Buy on DVD: Amazon.com

“True enough, Mr. Lewis does shiver and jump in the most extravagant ways when stranded alone in the recesses of the haunted castle to which he and Mr. Martin are led by Lizabeth Scott […] However, these vigorous pretensions of terror and agony appear decidedly labored and mechanical in this scratchily put-together film.” Bosley Crowther, The New York Times, July 3, 1953

Cast and characters:

  • Dean Martin as Larry Todd
  • Jerry Lewis as Myron Mertz
  • Lizabeth Scott as Mary Carroll
  • Carmen Miranda as Carmelita Castinha
  • George Dolenz as Mr. Cortega
  • Dorothy Malone as Rosie
  • William Ching as Tony Warren
  • Paul Marion as Ramon Cariso / Francisco Cariso
  • Jack Lambert as Zombie
  • Tony Barr as Trigger
  • Leonard Strong as Shorty
  • Henry Brandon as Pierre
  • Frank Fontaine as the drunk on the pier

Wikipedia | IMDb

Posted in memoriam to Jerry Lewis. His comedy routines weren’t to everyone’s liking but he pleased many people, especially his loyal fans.


Terror from the Year 5000 (USA, 1958)

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‘From time unborn… a hideous she-thing!’

Terror from the Year 5000 is a 1958 American science fiction horror film written, produced and directed by Robert J. Gurney Jr.  It is based (uncredited) on the short story ‘Bottle Baby’ by Henry Slesar. It stars Joyce Holden, Ward Costello and Frederic Downs.

Editor Dede Allen went on to have a noteworthy career editing mainstream Hollywood hits such as The Hustler, Bonnie and Clyde, Little Big Man, SerpicoDog Day Afternoon, and Reds.

American International Pictures released the film in the US as a double feature with The Screaming Skull. In the UK, it was released in a BBFC censored ‘X’ certificate version by Anglo Amalgamated as Cage of Doom.

Working in the privacy of his Florida island estate, nuclear physicist Professor Howard Erling constructs a machine that breaks the time barrier. With his assistant Victor, Howard conducts a number of experiments and successfully transports a small statue from the future.

Concerned over the vast amounts of energy needed to conduct the experiments and realizing that their unique work needs formal verification from another professional, Howard calls a halt to the research, despite Victor’s protests. The statue is then sent to premiere archeologist Robert Hedges, who runs a carbon dating test on it and discovers it comes from the year 5,000 A.D….

Reviews:

“This movie has a lot of problems: it’s cheaply shot, it’s not directed particularly well, the acting is quite poor at times, and the soundtrack has too many moments that sound like they were lifted from sitcoms. What it does have is an interesting story and some very nice touches and ideas here and there…” Dave Sindelar, Fantastic Movie Musings and Ramblings

“Some intriguing ideas are there, but the budget and crew (including most of the actors), are just not up to pulling it off. The acting ranges from wooden (Downs), to eccentric (at one point Costello, for no explicable reason, skips merrily part way down a corridor), to quite good (starlet Joyce Holden’s career in B movies and TV started and ended in the ’50s).” Brian Schuck, Films from Beyond the Time Barrier

The Terror From the Year 5000 herself also wows us with her mysterious powers of the future when she steals the face of a visiting nurse and then proceeds to hypnotize Victor with her silver fingernails! Top it all off with a scene of Hedges yawning while the professor yammers on about something and bring it all to a thought-provoking conclusion…” MonsterHunter

“The ‘mutant’ from the future was rather silly […] and what was the whole point of Angelo peeping on Claire? Did I miss something there? I must admit that I’ve never seen somebody hypnotize another by waving their sparkled fingernails in front of them. This film could have been a whole lot better with crisper direction and a tighter plot.” The Monster Shack

“Robert J. Gurney, Jr seems greatly obsessed with seeing Joyce Holden undressing (at least as much as the censorship of the day allowed him to get away with) – into her bathing costume behind some bushes, down to her petticoat to get into bed in silhouette behind the blinds of a window, as well as the servant Angelo (Fred Herrick) peeping in and later being found by Ward Costello looking at dirty magazines in his room.” Richard Scheib, Moria

” …the film doesn’t know what to do with its own ideas. The meandering and talky screenplay is most concerned with verifying the fact that the time machine works and with establishing a love triangle. Contemporary viewers must have squirmed in their seats wondering if the “terror” would ever show.” David Elroy Goldweber, Claws & Saucers

Buy: Amazon.co.uk | Amazon.com | Amazon.ca

“The film is crudely photographed, with no noticeable interest in continuity and little attempt at convincing settings.” BFI Monthly Film Bulletin

Terror is only adequate in terms of production; a few of the actors do fairly good work; there’s a hangdog air to the whole movie. Most audiences probably found it of little interest, but I don’t think it deserves to be completely overlooked. It has some imagination in its conception and enterprise in its execution.” Bill Warren, Keep Watching the Skies! American Science Fiction Movies of the Fifties

“…intriguing, if clumsily mounted Science Fiction thriller.” Phil Hardy (editor), The Aurum Film Encyclopedia: Science Fiction

Cast and characters:

  • Ward Costello as Dr. Robert Hedges (Star Trek: The Next GenerationBloody Birthday)
  • Joyce Holden as Claire Erling (The Werewolf)
  • Frederic Downs as Prof. Howard Erling (Bug; Night Gallery; The Addams Family)
  • John Stratton as Victor
  • Salome Jens as Future Woman / Nurse (Star Trek: Deep Space Nine; Tales from the Crypt; House of Evil; Seconds)
  • Fred Herrick as Angelo
  • Beatrice Furdeaux as Miss Blake
  • Jack Diamond as First Lab Technician
  • Fred Taylor as Second Lab Technician
  • Bill Downs as Dr. Blair
  • William Cost as Joe the Bartender

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Filming locations:

Dade County, Florida, USA

Trivia:

The working title was The Girl from 5000 A.D.

Offline reading:

Faster and Furiouser: The Revised and Fattened Fable of American International Pictures – Mark Thomas McGee, McFarland, USA, 1996

Buy Faster and Furiouser from Amazon.com | Amazon.co.uk | Amazon.ca

Wikipedia | IMDb

Image credits: MonsterHunter

This is the 5,000th entry on Horrorpedia


The Vampire’s Coffin – Mexico, 1958

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The Vampire’s Coffin – original title: El ataúd del Vampiro – is a 1958 Mexican supernatural horror film directed by Fernando Méndez (The Living Coffin; Black Pit of Dr. M; The Vampire; et al) from a screenplay by Ramón Obón (The She-Wolf100 Cries of Terror; The World of the Vampires), based on a story by Raúl Zenteno (The Man and the Monster). It stars Abel Salazar, Ariadna Welter and Germán Robles.

Dr. Marion (Carlos Ancira) employs a criminal (Yerye Beirute) to remove the coffin of vampire Count Lavud (Germán Robles) from a crypt. At the doctor’s hospital, a wooden stake is removed from the Count’s heart, and he is soon stalking nurse Martha (Ariadna Welter)…

Reviews:

“Abel Salazar is given more to do this time and he makes good use of his ample amount of screen time. The character Marta almost seems like a different person now that is nothing more than the typical girlfriend role. Once again the best part of the film is watching actor Germán Robles as Count Karol de Lavud.” Michael Den Boer, 10K Bullets

” …director Fernando Méndez handles things quite nicely with a lot of stunning shadowy photography, cobweb-ridden sets, and blankets of fog lingering almost constantly. The great Azteca studios gives both films a an air of pure gothic […] moving the action to such places as a lofty theater and a waxworks museum…” George R. Reis, DVD Drive-In

” …the film has its share of terrific set pieces, particularly when Lavud chases a dancer (and coded prostitute?) through the empty city streets, with the vampire’s enormous shadow threatening to swallow her whole.” Stuart Galbraith IV, DVD Talk

Main cast:

  • Abel Salazar
  • Ariadna Welter
  • Germán Robles
  • Yerye Beirute
  • Alicia Montoya
  • Guillermo Orea
  • Carlos Ancira
  • Antonio Raxel

Release:

CasaNegra released the film on DVD with The Vampire (1957) on October 31st, 2006.

IMDb


War of the Colossal Beast – USA, 1958

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War of the Colossal Beast is a 1958 science fiction horror film written, co-produced and directed by Bert I. Gordon (Empire of the Ants; Necromancy; The Cyclops; et al) and produced by Carmel Productions and distributed by American International Pictures (AIP). It continued the storyline of the 1957 movie The Amazing Colossal Man, although it was not marketed as a direct sequel and featured a different cast.

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Upon hearing of several recent robberies of food delivery trucks in Mexico (including an overly long sequence involving a hysterical delivery boy), Joyce Manning, Army officer Lt. Col. Glenn Manning’s sister (though in The Amazing Colossal Man, his fiance said he had no surviving family), becomes convinced that her brother survived his fall from the Boulder Dam at the end of the first film. Along with Army officer Major Mark Baird and scientist Dr. Carmichael, she goes to Mexico to look for him.

It is discovered that Manning, now having grown to sixty-feet tall after being exposed to plutonium radiation, survived his fall from the Boulder Dam at the end of the previous movie, but he has gone insane and part of his face was left disfigured following his confrontation with the Army there, turning him into a zombie-like creature.

Not only has the plutonium radiation mutated him into a sixty-foot disfigured freak, it also has conferred other benefits; drastically reducing his vocabulary to an oddly disturbing goose-like honk and only eating loaves of infected bread (by the truckload).

Manning is captured, drugged by the Army and taken back to America but he again escapes and goes on a rampage through Los Angeles and ending at the Griffith Park Observatory.

Eventually, Joyce makes him snap to his senses, just as he is about to hurl a coach-load of children to their doom. The ending sees Glenn in an unfortunate tangle with some electricity pylons and is almost exactly like the death of the 50-ft Woman.

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Review:

A definite improvement on The Amazing Colossal Man, the first signs of interest is sparked by a markedly more gloomy title. A beast he is, with half his face disfigured by wounds inflicted by the army in the first movie, although only crudely applied, the makeup is surprisingly effective. Even more alarming is the unearthly roar he bellows throughout – whisper it – it’s almost frightening.

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Sally Fraser’s appearance as his sister is obnoxiously simpering but she looks great, having previously starred in It Conquered the World and Giant From the Unknown (what is it with her and big blokes?), though the film’s main attraction is played by two-hit wonder Duncan ‘Dean’ Parkin, whose only other role, ironically, was as the monster in The Cyclops from the same year.

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The film is riddled with bizarre dialogue; Sally describes her brother as ‘a guy who grew 10 feet a day, maybe you heard of him’ – ‘oh yes, the colossal man!’ responds a quick-learning Major. Later, another army clot asserts, ‘giants can run quick – they have long legs’. At a mere 69 minutes long, the film is still padded to the hilt with not only a clunky script but a lengthy flashback to the original film, seemingly unconcerned with the fact that the monster is played by someone else entirely.

The film’s ending will certainly wake you up if you were flagging, suddenly switching from black and white to garish Technicolor, as creature features dramatically stumble into the space age. War of the Colossal Beast is hugely flawed but most entertaining and with one of the most overlooked monsters of sci-fi horror films.

Daz Lawrence, HORRORPEDIA

Cast and characters:

  • Duncan “Dean” Parkin as Lt. Colonel Glenn Manning/Colossal Man
  • Sally Fraser as Joyce Manning
  • Roger Pace as Major Mark Baird
  • Russ Bender as Dr. Carmichael
  • Rico Alaniz as Sgt. Luis Murillo
  • Charles Stewart as Captain Harris
  • George Becwar as John Swanson
  • Roy Gordon as Mayor
  • Robert Hernandez as Miguel
  • George Milan as General Nelson
  • Cathy Downs as Carol Forrest (archive footage)
  • William Hudson as Dr. Paul Linstrom (archive footage)
  • Larry Thor as Major Eric Coulter (archive footage)

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Jack the Ripper – UK, 1959

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‘This lady of the night has taken her last walk!’

Jack the Ripper is a 1959 British horror thriller film produced, photographed and directed by Robert S. Baker and Monty Berman (producers of The Flesh and the Fiends; The Trollenberg Terror; Blood of the Vampire) from a screenplay by Jimmy Sangster (The MummyDracula; The Curse of Frankenstein), based on a storyline by Peter Hammond and Colin Craig.

The Mid-Century Film production is loosely based on Leonard Matters’ theory that Jack the Ripper was an avenging doctor. It stars Lee Patterson, Eddie Byrne, Betty McDowall and Ewen Solon.

As in Matters’ book, The Mystery of Jack the Ripper, the killer murders prostitutes to avenge the death of his son. However, Matters used the ploy of the son dying from venereal disease, while the film has him committing suicide on learning his lover is a prostitute.

The British ‘X’ certificate release was cut by the BBFC when finally passed on 20/03/1959. As was the practice at the time, it had initially been submitted during scripting in December 1957, for BBFC advice as to what would be permitted. Berman and Baker shot more explicit scenes featuring nudity for the Continental version. Although shot in black and white, the film has brief red colour shots of blood during the Ripper’s demise in a lift shaft.

The original version has an orchestral score by Stanley Black (War-Gods of the Deep) but the US release features a jazzier soundtrack by Jimmy McHugh and Pete Rugolo, arranged and conducted by the latter.

In London, 1888, Jack the Ripper is on his killing spree. Scotland Yard Inspector O’Neill (Byrne) welcomes a visit from his old friend, New York City detective Sam Lowry (Patterson), who agrees to assist with the investigation.

Sam becomes attracted to modern woman Anne Ford (McDowall) but her guardian, Dr. Tranter (Le Mesurier), doesn’t approve. The police slowly close in on the killer as the public becomes more alarmed…

Reviews:

” …while it’s certainly not the definitive version of this ghastly tale, it’s isn’t a bad little movie, either.” Dave Becker, 2,500 Movies Challenge

” …Sangster weaves enough local colour into the story to present what feels to be a reasonable depiction of 1880s London, with one glaring exception. The producer insisted on having an American leading man so the screenplay introduces a NYPD detective on leave in foggy London and assisting the local bobbies ‘with this Ripper business’.” John Hamilton, X-Cert: The British Independent Horror Film 1951 – 1970

Buy: Amazon.com | Amazon.co.uk

” …those looking for a reenactment of the Ripper events had best turn elsewhere. As a fictionalized version of true events, it is entertaining enough, though.” Dave Sindelar, Fantastic Movie Musings and Ramblings

“The film showcases many other standby motifs, including a stodgy police investigation (which takes centre stage here, unfortunately), gurning elderly extras lined up at a soup kitchen, fulsome Can-Can dancers waggling their extravagantly frilled posteriors in the camera’s eye, and a very British form of misogynist sexual disgust taken to the psychopathic extremes.” Jonathan Rigby, English Gothic

Buy: Amazon.com | Amazon.co.uk | Amazon.ca

“This Jack The Ripper portrays the increasing panic over the murders, while the identity of the murderer plays out as a whodunnit, with a wealth of suspects. The scarred, hunchback hospital porter limping around wielding a scalpel didn’t fool me though. Presumably Blood of the Vampire, from the previous year, had set a trend for ugly, lunatic hunchbacks.” Black Hole

“Although it takes a few liberties with the history and states a few theories that were never proven as fact, Jack the Ripper is one fun ride through the bloody streets of the past.” James Jay Edwards, Film Fracture

” …the script is aided by Stanley Black’s eerie score and Baker and Berman’s simple but effective trick of tilting the camera by an angle of 30° to herald the onset of each assault. These encounters are crafted to make the most of the opportunities for shuddersome effect.” Denis Meikle, Jack the Ripper: The Murders and the Movies

Buy: Amazon.co.uk | Amazon.com | Amazon.ca

“In the stentorian tones typical of the new Victorian melodrama, the coroner declaims that the London police are “incompetent, inadequate and inept.” He may have aimed his verdict at the law enforcers, but visitors to neighborhood theatres this week are likely to give his words a broader interpretation. That coroner would have made a good film critic.” Eugene Archer, The New York Times, February 18, 1960

Cast and characters:

  • Lee Patterson … Sam Lowry – The Spaniard’s Curse
  • Eddie Byrne … Inspector O’Neill – The Mummy (1959)
  • Betty McDowall … Anne Ford – The Omen (1976)
  • Ewen Solon … Sir David Rogers – Doctor Who; Journey to the UnknownThe Curse of the Werewolf; The Stranglers of BombayThe Hound of the Baskervilles
  • John Le Mesurier … Dr. Tranter – Eye of the DevilThe Hound of the Baskervilles; Mother Riley Meets the Vampire; Dark IntervalEscape from Broadmoor
  • George Rose … Clarke
  • Philip Leaver … Music Hall Manager
  • Barbara Burke … Kitty Knowles
  • Anne Sharp … Helen
  • Denis Shaw … Simes – The Mummy (1959)
  • Jack Allen … Assistant Commissioner Hodges
  • Jane Taylor … Hazel
  • Dorinda Stevens … Margaret
  • Hal Osmond … Snakey the pickpocket
  • George Street … Station Sergeant
  • Olwen Brookes … Lady Almoner
  • Charles Lamb … Stage Door Keeper
  • Jennifer White … Beth
  • Cameron Hall … Hospital Porter Hodges / Dr. Tranter’s Door Keeper
  • Alan Robinson … Coroner
  • Anthony Sagar … Drunk at Murder Scene
  • John Mott … Singer
  • Lucy Griffiths … Salvation Army Woman
  • Ballet Montparnasse … Themselves

Filming locations:

Shepperton Studios, Shepperton, Surrey, England, UK

Release:

American film distributor Joseph E. Levine bought the US rights for £50,000. He bragged he spent $1 million on promoting the movie and earned $2 million in profit on it. However, according to Variety, Jack the Ripper earned rentals of $1.1 million in North America on initial release.

Also known as:

  • Eine Stadt sucht einen Mörder (Austria)
  • Jack, o Estripador (Brazil)
  • Lääkärin salaisuus (Finland)
  • Jack l’éventreur (France)
  • Jack lo squartatore (Italy)
  • El destripador de Londres (Mexico)
  • De vrouwendoder (Netherlands)
  • Eine Stadt sucht einen Mörder (West Germany)

Wikipedia | IMDb | Image credits: Black Hole

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