Monday, June 19, 2017


The latest issue of Richard Klemensen's LITTLE SHOPPE OF HORRORS magazine (issue #38) is dedicated to a complete examination of the 1973 television production of FRANKENSTEIN: THE TRUE STORY. The issue features Sam Irvin's incredibly detailed account of the making of the film, including several interviews with members of the cast & crew. The magazine also has a stunning array of artwork inspired by the production, from such talents as Mark Maddox, Bruce Timm, and Neil Vokes. It is one of the best issues of LSOH ever.

When I heard that LSOH was going to do a special issue on FRANKENSTEIN: THE TRUE STORY. I decided I should watch the film myself. I had never seen it, but I was aware of it--it was mentioned in almost all of the monster movie books I had read as a kid. Those books didn't seem to impressed with it--the consensus was that it certainly wasn't the "true story" according to Mary Shelley's novel. I acquired the film on DVD from Edward R. Hamilton Booksellers for only $5. This DVD contains the complete original three-hour presentation of the film, in two parts. I watched the DVD a few months ago, and viewed it again after completely reading LSOH #38.

Producer Hunt Stromberg Jr. planned for FRANKENSTEIN: THE TRUE STORY to be a mammoth, ambitious project. The script was written by acclaimed playwright Christopher Isherwood and his partner Don Bachardy, and Stromberg tried to get as much big name on and off screen talent for the film as he could. Sam Irvin relates all of this in LSOH #38 including the various (and noteworthy) names attached to the production at one time or another. The result is that FRANKENSTEIN: THE TRUE STORY winds up being unlike any other Frankenstein film--or any other horror film, for that matter. It's definitely unlike any other TV movie I have ever seen. The budget for FRANKENSTEIN: THE TRUE STORY was huge--so huge that the movie makes the Hammer Gothic theatrical movies made at the same time seem tawdry by comparison. The production design, the English locations, the costumes, the esteemed cast--this is more of an event instead of a Frankenstein movie.

Because it is so unique, and so unlike anything I have seen before, it is hard for me to put it into context with other Frankenstein adaptations. I can't compare it with another horror film--heck, I can't even compare it with any other TV movie or mini-series.

The film was originally broadcast on the NBC Television network in two parts. Part One begins in the early 1800s, as young doctor Victor Frankenstein (Leonard Whiting) witnesses the accidental drowning of his younger brother William. (This sequence is handled so quickly and abruptly that it dilutes the impact it is supposed to have on Victor.) Frankenstein is so unnerved by this incident he determines to continue his medical studies, with the ultimate goal of bringing life from death. The young man meets the misanthropic Dr. Henry Clerval (David McCallum), and the pair are soon constructing their own grand experiment--a perfect body to give life to. Frankenstein's loyalty to Clerval disappoints his fiancee Elizabeth (Nicola Pagett). Clerval introduces Frankenstein to a former "colleague", a mysterious older man named Dr. Polidori (James Mason). Before Victor and Clerval can finish their experiment, Clerval dies--which leads Victor to put Clerval's brain into their creation and give it life.

The Creature (Michael Sarrazin) is so handsome that Victor describes him as "beautiful". Victor teaches the Creature basic social skills, and even dresses him up and takes him to the opera. But Victor soon finds out that the Creature is slowly reverting back to its once-dead form. The Creature's fine features are now deteriorating, and Victor now no longer wants to have anything to do with him. The Doctor apparently can't help his creation, and he can't put it out of it's misery. The saddened and hurt Creature throws himself off of a cliff into the sea....but he survives.

Part Two has the Creature wandering in a forest and coming upon an old blind man (Ralph Richardson). The Creature befriends the blind man, and pays visits to the man's cottage, but manages to avoid being seen by the blind man's beautiful granddaughter Agatha (Jane Seymour) and her husband. The Creature observes Agatha from afar, and falls in love with her. When the Creature is revealed to Agatha and her husband, tragedy ensues--the husband, treating the Creature as a monster, attacks him and is killed, and Agatha, while fleeing in terror, is run over by a horse-drawn carriage. The heartbroken Creature takes Agatha's body to the old house where he was created by Victor. Dr. Polidori has taken over the place, and he coerces the now married Victor into helping create a new creature using Agatha's body. This new experiment, called Prima (also played by Seymour), is alluring, but heartless. Victor and Polidori try to destroy the Creature, but fail--and the being barges in on Prima's debut party into society and literally rips her head from her body. In the aftermath Victor and Elizabeth flee on a ship to America--but Polidori and the Creature are on board as well. The enraged Creature kills Polidori and causes the crew to leave on lifeboats, leaving only himself, Victor, and Elizabeth on the ship. The Creature steers the vessel north to the Arctic, where he and his creator meet their fate.

At three hours long, FRANKENSTEIN: THE TRUE STORY presents the viewer with a lot of material. It's a sprawling story that needs more than one viewing to appreciate it. It incorporates several elements from the Shelley novel, but also many incidents from the early classic Frankenstein films made by Universal in the 1930s. Michael Sarrazin is a magnificent Creature, and you can't help feel sorry for him. Frankenstein is proud of him when he is first "born", but he treats him like a dress-up doll. As soon as the Creature begins to lose his looks, Victor basically abandons him (you don't need to know that the producer and screenwriters of this film were gay to figure out the subtext here). Sarrazin is helped out by a excellent makeup design from Harry Frampton.

Leonard Whiting doesn't get much of a chance to shine as Victor Frankenstein, but that's not the actor's fault. As I see it, Victor in this story comes off as weak and indecisive. Whether he is working with Henry Clerval or Polidori, Victor definitely acts like the junior partner. His scientific accomplishments seem more the result of luck and his associates' knowledge than of his own doing. (To be fair, it has to be said that the Dr. Frankenstein portrayed in Mary Shelley's novel isn't the most dynamic guy in the world either.) Instead of a brilliant and ground-breaking scientist. Victor in this tale is a young man way over his head. Even his wife Elizabeth has more gumption than he does (Nicola Pagett is very good in what is usually a boring role). Whiting as Victor reminds me of those handsome young actors who played the assistants to Peter Cushing's Baron in the Hammer Frankenstein films.

The fantastic triple cover for LITTLE SHOPPE OF HORRORS #38, by Mark Maddox

James Mason as Polidori dominates every scene he is in--he makes every line of dialogue he utters sound like a droll witticism. (When there is a scene with just Victor and Polidori, poor Leonard Whiting doesn't stand a chance.) Polidori's adventures with Prima are intriguing, but they also put Victor and the Creature off to the sidelines. Jane Seymour makes a huge impression as the strangely beguiling Prima, and her destruction at the hands of the Creature is without doubt the most thrilling moment of the story. (In the DVD I have of the film, there's nothing gory about it, but I'm still amazed this was allowed to air on early 1970s American network TV.)

Hunt Stromberg Jr. went out of his way to cast several star cameos--among the names he gathered were Agnes Moorehead, Michael Wilding, and John Gielgud. It's great to watch these legends at work, but as with the Prima scenes, the cameos have a tendency to distract from the main characters.

FRANKENSTEIN: THE TRUE STORY has many outstanding individual moments. The creation sequences are unlike any shown in a Frankenstein film. The Creature comes to life from solar power--no dark & stormy night here. Prima seems to be created through Oriental mysticism instead of science--this sequence is highlighted by colorful chemicals and lava lamp-type effects. The climax of the story is superb, featuring a violent storm and finally an ice-caked ship stuck in the eerie frozen wastes of the Arctic (the production design here is magnificent). Director Jack Smight does a fine job, and he's immeasurably helped by crack cinematographer Arthur Ibbetson. Producer Stromberg wanted a bigger name than Smight as director, but that probably wouldn't have been to his liking--as Sam Irvin makes very clear, Hunt Stromberg Jr. was the main creative force behind the production.

FRANKENSTEIN: THE TRUE STORY is an unusual film, and a intriguing one. I think the project would have been better served with a shorter, more concise script--or maybe it needed to be longer to adequately explore all the many pathways the story takes. (A shorter version of the film was released overseas as a theatrical feature--I've never seen it but it has been generally dismissed by critics.) Edward R. Hamilton is still selling it at $5, and it is worth adding to any classic horror film fan's collection. It is also worth picking up a copy of LITTLE SHOPPE OF HORRORS #38 and delving into Sam Irvin's authoritative account of the making of the film--an account which is plenty thrilling and adventurous itself.

Sunday, June 18, 2017


Before Adam West became Batman, he appeared in a number of roles that were typical for a young, handsome actor in the early 1960s. West showed up in several TV shows and played many second male lead parts in theatrical films. One of his most notable performances in his pre-Batman period has him alongside the Three Stooges in THE OUTLAWS IS COMING, released in 1965.

THE OUTLAWS IS COMING is a Western spoof and the very last theatrical feature in which the Three Stooges starred in. West plays Kenneth Cabot, who works for a nature magazine in 1871 Boston. Cabot is sent out West to discover why so many buffalo are being killed. Cabot is a timid sort, so the Stooges are sent along to accompany him. (The fact that the Stooges have to help Cabot out tells you all you need to know about the man's personality.)

The destruction of the buffalo is tied to a plot to cause various Indian tribes to go on the warpath, thus allowing Western desperadoes to take advantage of the situation. The meek Cabot is named Sheriff of Casper, Wyoming as a joke, but with the help of the Stooges and the gorgeous Annie Oakley (Nancy Kovack), the bad guys are stopped and the Indians are pacified.

THE OUTLAWS IS COMING is one of the better full-length Stooges films made during the team's Joe DeRita period. (In my opinion, the best Three Stooges theatrical feature is THE THREE STOOGES MEET HERCULES.) The full-length Stooges films can in no way match the manic intensity of the team's short subject work in the 1930s and 1940s. The shorts only averaged about 15 to 18 minutes long, and characterization and plot took a back seat to wild gags and slapstick. The full-length features had to have more of a story, and other characters that the Stooges could interact with. The violent slapstick was toned down, due to the fact that the Stooges weren't getting any younger (Moe was in his late 60s), and parents groups were complaining over the Stooges' physicality being showcased for kids on TV throughout America. The addition of Joe DeRita as Curly Joe also affected how the films turned out, since DeRita wasn't anywhere near as outlandish as Curly or Shemp.

Norman Maurer (who happened to be Moe's son-in-law) was the producer & director of THE OUTLAWS IS COMING. Maurer also worked on the story with long-time Stooges gagman Elwood Ullman. The two men brought more satire and visual humor to OUTLAWS instead of the usual slapping and punching. The movie makes references to such early 1960s pop-culture items as the Beatles, GUNSMOKE, and THE MUSIC MAN. The group of bad guys called in to deal with Adam West's character includes such Western legends as Wyatt Earp, Bat Masterson, and Jesse James. The movie puts forth the idea that these paragons of the frontier turned to good because the Stooges forced them to! (There's no real climatic shootout because the Stooges have stuck the gunslingers' pistols inside their holsters with industrial-strength glue.) The Western legends were played in this film by a group of TV hosts that played Stooges shorts on programs across the U.S., a canny bit of cross promotion.

The Three Stooges with Adam West

There's still some slapstick in THE OUTLAWS IS COMING--the Stooges have their own misadventures with the industrial-strength glue, and yes, there is a pie fight at the end. The Stooges do dress up as Indians, and while some may look upon the scenes with the tribes as politically incorrect, they're basically harmless (Henry Gibson gets a lot of laughs as a hip-talking brave).

As for Adam West, he's stuck playing a milquetoast, but it has to be said that he does it very well. At least his Cabot doesn't come off as so pathetic that the audience dismisses him. West can't help but be upstaged by the Three Stooges, but what really hurts him is that his leading lady winds up stealing the film. Nancy Kovack makes a huge impression as the brash Annie Oakley. Not only is she a stunning woman, she brings a lot of sass and personality to the role. It is Annie Oakley who secretly does all of Cabot's "trick" shooting--the relationship between Annie and Cabot resembles that between Bob Hope and Jane Russell in the PALEFACE movies. Annie also has a crush on Cabot (though why she would is a mystery). Whenever Nancy Kovack shows up in movies like JASON AND THE ARGONAUTS or DIARY OF A MADMAN, you can't take your eyes off her (at least I can't). She deserves more attention from Old Movie Weirdos.

Nancy Kovack as Annie Oakley

THE OUTLAWS IS COMING is a nice little Western spoof. Stooges fans will appreciate it the most. It doesn't have the amount of big laughs that a typical Stooges short would have, but it is pleasantly amusing. Usually the "normal" leading man & lady of a full-length Three Stooges feature wind up being forgettable, but that's not the case here. Adam West and Nancy Kovack give THE OUTLAWS IS COMING an extra special ingredient.

Thursday, June 15, 2017


Does WONDER WOMAN "save" the DC Cinematic Universe? Let's say it's a step in the right direction. It's a good movie, but in my opinion, not a great one. The main character is more impressive than the film itself.

Gal Gadot is without doubt the best thing concerning WONDER WOMAN. I'll even go as far to say that she gives the most appealing and charismatic portrayal of a major DC Comics heroic character since Christopher Reeve in the very first SUPERMAN. After years and years of seeing DC movies featuring actors who were unsuited for their roles (Christian Bale, Ryan Reynolds, Henry Cavill, etc.), it's refreshing to have one of the company's most legendary figures capably filled on the big screen.

Unfortunately Gadot has to share a lot of screen time with Chris Pine (who at least isn't as annoying as he is as the fake Captain Kirk). One of the things that hurts WONDER WOMAN is that it is an origin story, and I've always felt that those tales hold the characters back. We see Amazon Princess Diana's childhood on the secret island of Themyscira, and her abrupt introduction to the outside world of men through American intelligence agent Steve Trevor (Pine). Diana enters the "normal" world right at the climax of World War I, where evil Germans (of course) are hatching a scheme to release a super gas and change the tide of the conflict, while killing millions.

The real origins of the comic book Wonder Woman came out of World War II. I assume that the World War I angle was chosen for the film so people wouldn't be reminded of the first Chris Evans CAPTAIN AMERICA movie. But you can't help but be reminded of that Marvel feature while viewing WONDER WOMAN. The character of Thor also came to my mind--both Thor and Wonder Woman are the children of gods, and both of them struggle to deal with the quirks and foibles of humankind. The setting of WWI is very unusual for a summer geek flick--the story even showcases a real historical person in the figure of German General Erich Ludendorff. (This made me wonder--if Ludendorff has any living relatives or descendants, will they start showing up at Comic Cons and rake in appearance fees??)

Director Patty Jenkins does an okay job, but the movie has a lot in common with most 21st Century action features--a desaturated color scheme, a two hour-plus running time, and fight scenes dominated by MATRIX-style slow-motion movements. Once again, we have a group of villains who are underwhelming--and yes, the main bad guy gets to shoot out tendrils of energy from his fingertips at the end. I have to reiterate that I liked the movie--it's just that I've seen so many of these things that they all start to run together. When you've sat through dozens of scenes of CGI bodies flying up in the air and hitting the pavement over and over again, the effect of all that begins to wane.

I'm well aware of the fact that many folks out there want WONDER WOMAN to succeed in the hope that it will further certain causes and issues they care about. When I write a post about a particular film, I'm not interested in being politically correct--I'm attempting to articulate how I personally felt about the film. WONDER WOMAN is a good movie, especially from a DC standpoint, but I wouldn't call it one of the greatest comic book films ever made. The character of Wonder Woman--and Gal Gadot--deserves to be in a film that doesn't have the baggage of an origin story or an unnecessary leading man.

Saturday, June 10, 2017

Adam West (1928-2017)

The passing of Adam West marks the passing of a childhood hero of mine. It was as a very young kid that I first started watching the 1960s BATMAN TV show. I was absolutely mesmerized by it. I hadn't begun reading comic books yet, but I didn't need to--the BATMAN TV show was a real-life comic book. To this day the show is still more accurate to the DC Comics Batman books than any of the later theatrical films. It may come off as campy--but it is the world of Batman.

Untold numbers of folks, like me, were introduced to the character of Batman through the TV show. As a little kid, I took the show seriously. I would even get scared at the end of the episodes when Batman was stuck in one of those crazy death traps. Adam West was Batman. He wasn't campy or silly to me--he was what I thought a good guy should be. To my eight-year old self, he was the ultimate superhero. Whenever West showed up on another TV show playing a "normal" character, I would watch that show, hoping that somehow he'd "turn" into Batman--and wind up being invariably disappointed when he didn't.

Later on I would watch BATMAN with a different point of view. I still didn't look upon it as a joke, however. The show was a major part of my childhood, and a major influence on what I appreciated in filmed entertainment. As an actor Adam West went through some hard times in the 1980s and 1990s, but I always looked upon him with respect and admiration.

Thankfully, as Geek Culture began to take hold in the 21st Century, West went through something of a rehabilitation. Several people who grew up watching the Adam West Batman began to make TV shows and films themselves, and the actor became sort of a father figure to the Geek community. West carved out another pop-culture role for himself by doing voice work on the animated series FAMILY GUY, and the long-overdue release of the BATMAN TV show on home video gave him plenty of chances to shine in the spotlight. West became accepted as a legend, an icon...and to many people, the true Batman.

I had one chance to meet Adam West--he was scheduled to appear at a comic con a few years ago in Chicago that I attended, but he was unable to come due to illness. (Kind of like my non-meeting of Carrie Fisher last year.) I never did get to meet him, and I certainly didn't know him personally--but I still felt I had a connection with him. That may sound silly to some, but there are performers, who, due to the circumstances and the timing of when we see them, make a profound impact on our lives. Adam West made a profound impact on mine. I happened to view the BATMAN TV show at the right age (just like STAR WARS came out at the exact proper moment for me). Adam West's portrayal of Batman shaped my perspective on what a true hero should be.

Today all over social media tributes to Adam West are pouring in. How many of us can say that we will leave such a positive effect when we leave this world? BATMAN may have been a campy TV show, but the fact that Adam West has inspired so many warm feelings from so many people is extraordinary. There have been many other actors who have played Batman. Adam West was Batman.

Monday, June 5, 2017

The Dean Martin Centenary Blogathon: BANDOLERO!

Dean Martin was one of the greatest all-around entertainers of the late 20th Century. He was a success on the big screen, on television, and of course as a recording artist. To pick just one of his films to write a blog post about it kind of limits the man. Nevertheless that's what I'm about to do with my look at the 1968 Western BANDOLERO! from 20th Century Fox.

Why BANDOLERO!? Simple. When I think of Dean Martin's movie career, I think of his Westerns. For me Dean's greatest film role was as Dude in the iconic RIO BRAVO. Martin went on to appear in several more Westerns--he has more titles on his resume in that genre than many stars more associated with it. Most of Martin's Western characterizations are basically variations on Dude--men who have a bad reputation, are a bit untrustworthy, and are somewhat cynical. Yet they also have a roguish charm, and they can be depended on when the chips are down. Martin's cowboys also were not exactly on the right side of the law most of the time, yet they never came off as evil.

Those descriptions fit Dee Bishop, the character Dean plays in BANDOLERO! The film starts out with Dee and his gang attempting to rob a bank in Val Verde, Texas, in 1867. There's nothing unusual in a Western film beginning with a bank robbery--but this one is foiled by straight-arrow sheriff July Johnson (George Kennedy). Dee and his gang are thrown in jail, and they are all sentenced to hang due to a Val Verde citizen being killed during the holdup. The citizen is a rich rancher named Stoner, and his gorgeous Mexican wife Maria (Raquel Welch) is now the wealthiest woman in the territory.

Dee's brother Mace (James Stewart) hears about the capture of the Bishop gang, and happens upon the hangman heading to Val Verde to perform the executions. Mace disguises as the hangman, and helps Dee and his gang escape. As the sheriff and most of the town's men chase after Dee, Mace takes advantage of the situation to rob the bank. Dee and the gang kidnap Maria and head into Mexico, where they are joined by Mace. The sheriff, with a posse, continues the pursuit--he has a huge crush on Maria, and hopes that now she's a widow he will have a chance to be with her.

As the two groups travel farther south, they venture into bandolero territory--a desolate region dominated by bandits who will kill anyone for anything. Dee and his group stop at a deserted Mexican town, where Sheriff Johnson catches up with them. Before the sheriff can take them back, bandits attack, and the motley groups have to join forces and fight for their lives.

BANDOLERO! was directed by action veteran Andrew V. McLaglen (son of famed character actor Victor). McLaglen spent a lot of time on the film sets of John Ford, and he was heavily influenced by the great filmmaker. McLaglen's work is nowhere near the level of Ford's, but he did know how to make an entertaining tale. McLaglen did share one thing with Ford--he knew how to use a great location, and BANDOLERO! has several (the movie was shot on different locations in Texas, Arizona, and Utah). The film isn't a great Western, but it is a very good one--it's the type of movie you watch on a lazy rainy Saturday afternoon. After the opening bank robbery, the film is dominated by James Stewart's humorous play-acting as the hangman. One starts to think that the story is going to be rather lighthearted--but as the characters get farther into Mexico, things get darker. McLaglen had a very traditional, understated directorial style, and at times the movie seems to just amble along. But what makes it noteworthy is the fantastic cast. Any movie with names like Stewart, Martin, and Welch is going to be worth seeing, but there's a great supporting group here as well, with names such as Denver Pyle, Dub Taylor, and Harry Carey Jr.

Believe it or not, it is George Kennedy who steals the film (his sheriff has as much screen time as the three leads). Kennedy plays an upright, honest, "ordinary guy" who pines for Maria, and risks his life and those of his men to get her back, despite the fact he probably realizes he has no chance with her. Stewart and Martin have the showiest roles as the Bishop brothers, but it is Kennedy who the audience remembers after the film is over.

Raquel Welch doesn't have all that much to do here--her future Westerns 100 RIFLES and HANNIE CAULDER would give her a bigger showcase. Her Maria isn't all that broken up over her husband's death--she explains to Mace that Stoner literally bought her from her poor Mexican family. She also tells another character in the film that she was a whore at the age of 13 and her family of 12 never went hungry. Apparently this background is one of the reasons why Maria starts falling for Dee during the last part of the film. This relationship doesn't really have enough time to develop, and is one of the weak points of the movie.

James Stewart is wonderful as always. Stewart had worked with McLaglen and screenwriter James Lee Barrett several times before, and one gets the feeling McLaglen let Stewart do whatever he wanted acting-wise. The idea of Stewart and Martin being brothers is about as far-fetched as Martin and John Wayne being brothers in THE SONS OF KATIE ELDER, but the two men work well together. Their brother-to-brother conversations are major highlights of the story, the most memorable one being their discussion on how many Indians there are in Montana. It's too bad Stewart and Martin never made another film together, especially another Western.

Great Japanese poster for BANDOLERO!

And as far Dino himself? Many have said that Dean Martin did nothing but play Dean Martin, and there is some truth to that. But Martin did have an incredible natural performing ability, and a performer has to use whatever gifts he or she has. Dean Martin had the knack of appearing as if he wasn't really acting, or singing, or being witty--he just seemed to do it, and be totally smooth while doing it. What makes Martin's Dee a little bit different than most of his other Western roles is that Dee has a bit of an edge to him. His usual cockiness is toned down here--after all, Dee is on the run for most of the story. Dee is also a man who realizes that he's wasted most of his life, especially when he comes across his older brother. Throughout the film Mace constantly tries to get Dee to change his ways, and Martin's pained expression shows that Mace has made his point. I wouldn't say that this is a performance of great psychological depth, but Martin does more than enough to reveal that Dee is haunted by his actions. By the way, there's a great on-set story about BANDOLERO!. At one point Raquel Welch went up to James Stewart and Dean Martin and started asking about her character's motivation. After the discussion, as Welch walked away, Dean turned to Jimmy and asked, "What's she talkin' about??"

It's interesting that Dean Martin was so successful in the Western genre. It would seem that a man who was the personification of 1960s playboy cool might look ridiculous on a horse, but Martin never seems out of place in any of his Westerns, which is more than can be said for his good friend Frank Sinatra. Martin may have looked like he wasn't doing much of anything, but he always gave the audience its money's worth. BANDOLERO! isn't one of the greatest Westerns ever, and it has a surprisingly downbeat ending, but you'll always have a good time watching it--just like you'll have a good time experiencing anything Dean Martin put his considerable talents to.

Saturday, June 3, 2017


It's low-budget old monster movie time again, courtesy of Producers Releasing Corporation, better known as PRC. The film is THE MAD MONSTER (1942), starring the great George Zucco. It also features Glenn Strange, best remembered for his portrayal of the Frankenstein Monster in Universal chillers of the mid-1940s. In THE MAD MONSTER, Strange plays a werewolf--and a takeoff on Lon Chaney Jr's Lennie character to boot.

Many Poverty Row horrors waste a lot of running time before getting interesting, but THE MAD MONSTER starts off at full throttle. In the first ten minutes of the story, we see Dr. Lorenzo Cameron (George Zucco) inject the blood of a wolf into his country-bumpkin handyman Petro (Glenn Strange). Petro soon turns into a wolf man (the transformation sequence is very impressive for a low budget movie such as this), and Dr. Cameron becomes exultant. Zucco's eyes nearly pop out of his head as he starts railing about how his "scientific breakthrough" will create an army of wolf men that no enemy country will have the power to stop! Yes, it appears Dr. Cameron is just trying to do his part for the war effort! (Did Cameron ever try to tell FDR about his plans?) Cameron then really lets loose, beginning an argument with a group of scientific colleagues that have dismissed his theories. The thing is, only Cameron and the Wolf-Petro are in the basement laboratory--the wacky Doc is debating with foes who are not actually there (they are presented on-screen as transparent figments of Cameron's imagination). This opening is the best sequence in the film.

Because he has been disgraced by the scientific community, Cameron has rented an old house out in the country to continue his experiments. With him is his daughter Lenora (played by Anne Nagel, who already had Scream Queen status due to her appearances in Universal's BLACK FRIDAY and MAN MADE MONSTER). Lenora is mystified at why her father has moved to this desolate spot, and at what he is exactly doing (considering that George Zucco is her father, she ought to know the guy is up to no good). Cameron continues to inject the unknowing Petro with wolf's blood, and the half-witted he-wolf soon begins to transform on his own. One night while wondering about the nearby swamps, Wolf-Petro sneaks into a family's shack and kills their young daughter. This alerts the authorities, and gets the attention of Lenora's boyfriend Tom, who is a snoopy reporter (every Poverty Row horror has to have at least one).

Cameron has more important things on his mind, such as a plan to use Petro to wipe out his scientific rivals once and for all. The Doctor puts his nefarious scheme in motion, but Tom and the authorities start getting more suspicious. Lenora finds her way into her father's secret laboratory and comes across Wolf-Petro. A raging storm outside lets loose a bolt of lightning which strikes the house and causes a fire (divine retribution, perhaps?). The now-uncontrollable Petro attacks and kills Cameron as the house burns down around them. Tom and Lenora escape to safety.

THE MAD MONSTER was obviously influenced by Universal's hit THE WOLF MAN, which was still in theaters as THE MAD MONSTER was being produced. But I also think another Universal film, MAN MADE MONSTER, was a huge influence as well. In that one, Anne Nagel was also the leading lady, and she felt sorry for Lon Chaney Jr's none-too-bright Dynamo Dan, who in turn had a crush on her. A similar situation arises in THE MAD MONSTER--Nagel is kind to Petro, who happens to be sweet on her (it needs to be pointed out that Petro makes Dynamo Dan look like a nuclear scientist). Throw in the fact that when Petro is "normal", he acts very much like Lon Jr's interpretation of Lennie in OF MICE AND MEN, one could say that THE MAD MONSTER owes a great deal to Lon Chaney Jr's then-recent burst of stardom.

There's only one full-out wolf transformation sequence in the entire film--the one in the opening sequence. I'm sure this was done because of the budget, but director Sam Newfield does come up with some novel ways to present the wolf version of Petro. At one point Petro is sitting down, while wearing a wide-brimmed hat. He appears to doze off, and when he raises his head, he's fully transformed, the hat having hidden the need to use special effects. In another sequence, Petro is riding in a car driven by one of Dr. Cameron's scientific rivals, and when the man happens to glance over, Petro is transformed and ready to strike. The makeup used on Glenn Strange was created by Harry Ross, and of course it is not in the same class as Jack Pierce's iconic Wolf Man creations for Universal. Ross's makeup doesn't hold up very well the more you get a good look at it, but I think it does work within the context of the film.

There are a number of elements which make THE MAD MONSTER a cut above the usual low-budget chiller made during this period. One is the atmospheric mist-shrouded swamp settings in which the wolfish Petro rambles about--usually in a Poverty Row horror the story takes place in the interior of a big house, and that's nearly all we see. Petro's killing of a young child is disturbingly unusual, especially for a film of this vintage. Director Newfield handles it rather effectively--we see the young girl playing with a ball in her bedroom, while in the background the transformed Petro sneaks in through the window. We next see the ball bouncing into another room, then the girl's mother running into the bedroom and screaming. We are never shown the actual killing, or the girl's body--but that makes the act more unexpected and haunting.

George Zucco was one of the greatest movie mad scientists of all time, and he gives his role in THE MAD MONSTER way more intensity and passion than it probably deserves. Listening to Zucco's silken, authoritative voice spout out recriminations against his scientific rivals is a monster movie geek's treat. Without the brilliant presence of someone like George Zucco, these types of films would be hard to get through. Was an actor of his talent and stature wasting his time on such material as this? Maybe, but it is films like THE MAD MONSTER that have made Zucco a cult legend, while many of his contemporaries who appeared in more supposedly prestigious fare are almost forgotten. (By the way, Zucco sports a toupee in this movie.)

Anne Nagel, as mentioned, was on familiar ground here. There really isn't much to the character of Lenora--she's attractive and has a pleasant personality, but she doesn't get much to do. One thing that surprised me was the fact that she doesn't put on a nightgown and get carried off by Petro! Johnny Downs actually gets top billing as Tom, even though he doesn't show up until about a half-hour into the film. (It's a shame that Zucco didn't get top billing.) As I've stated several times before, the "David Manners" type of role in a classic horror film is the worst one to play for any actor. Downs isn't as annoying as most B movie reporters, and here, that's a problem--if he were as obnoxious as say, Wallace Ford, he'd at least be memorable.

Seeing Glenn Strange play a wolf man before his turn as the Frankenstein Monster should be on any old movie buff's bucket list. I think Strange overdoes it a bit as "normal" Petro (you wonder whether he was trying to be funny or just pathetic). He certainly has the bulk to be a movie monster, and he does look creepy when he's stalking through the mists. As Wolf-Petro he does have a tendency to say "AAARRHHH" a lot, which makes you wonder if he's playing a wolf man or a pirate. The tragedy angle of poor, put-upon Petro, especially in his relationship with Lenora, could have been developed more.

I have to say that THE MAD MONSTER ranks up among the best of the Poverty Row horrors made in the 1930s-1940s. I'd even venture to state that it's more impressive than some of Universal's lesser chillers made during the same period. It has a great mad doctor performance by George Zucco, some atmospheric scenes, and a few unusual & notable elements. I'd love to see it be restored and released on home video by a company such as Kino or Olive, with commentary by either Greg Mank or Tom Weaver (most of the information in this post was gleaned from the works of both of those men).

Tuesday, May 30, 2017


Spending most of this month writing posts about STAR WARS has made me think about films and TV shows that were inspired by George Lucas' blockbuster. Many of these productions are almost forgotten today, and none of them achieved anywhere near the success that STAR WARS did. As a young geeky kid in the late 1970s, I tried seeking them out. I was so obsessed with STAR WARS, I was willing to sit through almost anything that had spaceships and robots in it.

This means I watched TV shows like BATTLESTAR GALACTICA and BUCK ROGERS IN THE 25TH CENTURY. I lost interest in both of them after their first seasons--the only thing I really remember about BUCK ROGERS is Erin Gray's skintight outfits. I even watched a show called QUARK, which was something of a science-fiction spoof and starred Richard Benjamin. I certainly didn't understand it, but it did have spaceships and robots.

It took me a few years to get around to most of the big-screen STAR WARS rip-offs, due to the fact that my parents almost never took me to see movies in a theater. (Their stance on cinema attendance was, "Why pay to go see it when it'll be shown on TV eventually??") When I did finally see these sci-fi spectacular wannabes, I would invariably be disappointed. Many have commented on how simple George Lucas' tale supposedly is--but that apparent simplicity seemed to have been beyond the reach of the many producers, directors, and writers who tried to vainly cash in on it.

Due to the complex nature of their productions, it took a while for most of the STAR WARS wannabes to make it to the theaters. 1979 was the big year for the revitalized big-budget Hollywood science-fiction film, what with titles such as ALIEN, STAR TREK--THE MOTION PICTURE, and the Disney company's entry into the sweepstakes, THE BLACK HOLE. I tried watching THE BLACK HOLE on TV years ago, and I don't even think I finished it. I decided to view it again, and find out how it compares to STAR WARS today.

THE BLACK HOLE features a exploratory space vessel called the Palomino, which is heading back to Earth. The five-person crew comes across a (surprise) black hole, and a supposedly-lost spaceship called the Cyngus. The giant craft seems to have only one human survivor aboard--its commander, the brooding Dr. Reinhardt (Maximilian Schell). The Doctor explains to the crew of the Palomino that he is determined to explore the black hole, and that he has also created several robots to run his ship. The crew of the Palomino, and their own "cute" robot, called Vincent, have their suspicions. The explorers find out that most of Reinhardt's robots are actually remnants of the original crew of the Cyngus. The explorers try to escape, but Reinhardt manages to send the Cyngus into the black hole.

THE BLACK HOLE is a very schizophrenic film. On one hand it tries to be a "serious" science-fiction story, what with Reinhardt's obsession with the black hole, and an ending that tries to emulate 2001: A SPACE ODYSSEY. But this is a Disney film, after all, and the character that gets the biggest showcase in the story is good-guy robot Vincent. Vincent is short, squat, and cylindrical, like R2-D2, but he has a prissy English voice like C-3PO (courtesy of Roddy McDowall). Vincent also has a design that makes it look like it sports cartoonish eyes--which means that every time you see it, you think of a kids toy instead of a functioning mechanism. Later in the film we are introduced to an older version of Vincent's type called Bob, voiced by Slim Pickens. Bob is beat-up, dented, and his "eyes" look as if he's getting ready to cry--he appears even more ridiculous than Vincent does. Whatever serious intent THE BLACK HOLE tries to have goes out the window when these two are front & center--and they are in the film a majority of the time.

As for the human characters, they are even less interesting than the robots. The crew of the Palomino--the Captain (Robert Forster), first officer (Joseph Bottoms), two scientists (Anthony Perkins & Yvette Mimieux) and a journalist (Ernest Borgnine)--are totally interchangeable. You couldn't imagine any other actors in the main roles of the STAR WARS cast, but the leads in THE BLACK HOLE could be played by any other performer, no matter what the gender. We barely get to know anything about the main characters, and they are all given some rather generic dialogue. Yvette Mimieux's character gets a few details--she has a psychic link to Vincent (which is never explained), and we learn that her father served on the Cyngus. Both of these elements, however, never develop into much of anything. What's really sad is how the movies wastes two fine character actors in Anthony Perkins and Ernest Borgnine. One would expect that two old pros like them would get a number of chances to ham it up in a movie like this, but Perkins plays his role so vacantly that I expected he would turn out to be a robot. As for Borgnine, I assumed that he would be the "ordinary Joe" guy, the one that the audience could relate to, the one that would be trading barbs with the robots--but he doesn't do any of those things, he's just kind of there.

Maximilian Schell easily has the showiest role as Dr. Reinhardt. From the very first time we meet him, you know he's the bad guy--he's got wild hair, a wild beard, and he's overtly "foreign" (at least in the typical movie sense). Like a lot of things in this movie, Schell's determination to enter the black hole is never really explained. Schell's Reinhardt is very reminiscent of Captain Nemo (which is fitting for a Disney film), and I have to say he also reminded me of Dr. Morbius from FORBIDDEN PLANET. In that movie Dr. Morbius had Robby the Robot, and in THE BLACK HOLE Dr. Reinhardt has a very Darth Vader-like robot called Maximilian (I assume the name was just a coincidence). Maximilian is made out to be a bad dude, but he winds up being a dud (he gets defeated by the "cute" Vincent!). Reinhardt also has a squad of robot soldiers who also bear a slight resemblance to Vader. Unfortunately they shoot like Imperial Stormtroopers (wouldn't a robot soldier have perfect aim?) and their movements are very clunky--they move like a five year old kid trying to imitate a robot. The idea that Reinhardt has turned his former crew into robot zombies is an intriguing one, but it isn't taken advantage of enough (was Disney afraid that this plot aspect might be too scary?).

The real star of THE BLACK HOLE is the Cyngus (see picture above), a magnificently designed ship that seems to have a limitless interior. The special effects in this film are first rate--Disney apparently wanted to hire Industrial Light & Magic to handle the FX work, but they wound up starting their own effects house instead. Visually, THE BLACK HOLE is stunning--but the same cannot be said for the characters or the story. The film does have an outstanding music score from the legendary composer John Barry. While doing research on THE BLACK HOLE I came across the opinion that the movie should be watched with just sound effects and music only--and I would have to agree with that.

THE BLACK HOLE was Disney's most expensive movie up till that time, and it was also the first PG rated film from the company. When it came out I remember it had a huge publicity campaign behind it. The movie was not a smash at the box office and from today's perspective it's easy to see why. Instead of a fun thrill ride like STAR WARS, the movie has a coldness to it, with stiff characters and a very ambiguous ending (I won't give it away for those who have not seen it,,,but when you do, you'll probably say "Huh??"). The mixture of esoteric science-fiction and goofy robots was a strange one. Take away the superb FX and John Barry's impressive music and one is left with the equivalent of a mediocre Star Trek episode. The movie does have a very small cult following, and there has even been talk of a remake. A film like THE BLACK HOLE just reminds me of how special the original STAR WARS was, and how the ingredients that made it special are not so easy to put together again.

Wednesday, May 24, 2017

40 Things I Love About STAR WARS

In honor of the 40th Anniversary of the original STAR WARS, here are 40 things I love about the movie. These are listed in no particular order, except for No. 1.

40. The way everyone pronounces Alderaan a different way--it's either Alder-RON or Alder-RAN.
39. The R2 unit decked out in New York Jets colors that we saw at the Rebel Base on the Yavin moon.
38. The three drunk Jawas sitting out in front of the Mos Eisley cantina.
36. The opening sequence. Still gives me chills every time I see that Star Destroyer fly over.
35. The sound of the lightsabers.
34. The fact that Han shot first.
33. Carrie Fisher's attempt at a English accent during certain parts of the film.
32. The Millennium Falcon.
31. How whiny Luke sounds throughout the movie.
30. Darth Vader's personal TIE fighter.
29. "That's no's a space station."
28. The way our heroes are totally dry about a minute after getting out of the trash compactor.
27. Every single note of John Williams' score.
26. "Evacuate!!?? In our moment of triumph!!??"
25. Hyperspace.
24. Gaffi sticks.
23. "When I left you, I was but the learner. Now I am the master."
22. A long time ago in a galaxy far, far away...
21. Vader putting Admiral Motti in his place.
20. The end credits font.
19. The fact that Darth Vader wears a cape, even though it is totally unnecessary.
18. The two stormtroopers bull%^&*$#@+ while Obi-Wan is turning off the tractor beam.
17. Porkins....never forget his sacrifice.
16. There's about a thousand stormtroopers in this movie, and 99% of them are basically useless.
15. The uniform of the TIE fighter pilots.
14. "Boring conversation anyway..."
13. The Imperial Star Destroyer.
12. The idea that, in this movie at least, there is sound in space.
11. "Aren't you a little short for a stormtrooper??"
10. The way Han rolls his eyes when he first meets C-3PO.
9. The way Alec Guinness pauses when Luke asks him, "How did my father die?"
8. "These aren't the droids you're looking for."
7. Every member of the Empire is an arrogant white guy.
6. The seats the Rebel pilots are sitting in during the briefing on how to destroy the Death Star look as if they come from a junior high school.
5. Princess Leia's lip gloss.
4. Gold Leader's speaking pattern.
3. The scene where Luke stares out at the twin suns of Tatooine.
2. The fact that I have contributed immensely to George Lucas' personal fortune.
1. And the No.1 thing I love about STAR WARS is....I love EVERYTHING about STAR WARS!

Sunday, May 21, 2017

THIS TWEETING IS POINTLESS! Announcing The Star Wars 40th Anniversary Tweetathon!

Thursday, May 25, is the exact 40th anniversary of the original theatrical release of STAR WARS. How can we celebrate such a momentous occasion? One way is to hold a Tweetathon--which means everyone gets out their personal home video copies of STAR WARS, starts them all at the same time, and goes on twitter and makes all sorts of brilliant comments while the movie is playing.

This Tweetathon is being co-hosted by my good friend, independent filmmaker Joshua Kennedy. I can assure you that Josh feels the same way about STAR WARS as I do--the both of us could probably tweet ever single line of dialogue, in order, without watching the movie. Josh and I have held a Tweetathon before--we covered THE GORGON, and I think about two or three people participated. Hopefully the 40th anniversary of STAR WARS will attract more attendees.

I assume that nearly everyone has STAR WARS on DVD or Blu-ray--and if you don't, what is wrong with you?? For the purposes of this Tweetathon, I am going to be playing the Blu-ray version of STAR WARS that was released in 2011. I realize that this is not the version of the film that came out 40 years ago. I do have that version on DVD--when the Star Wars Trilogy was re-released on home video in 2006, the original theatrical versions of the films were included as a "bonus". I know that many folks do not have these DVDs, which is why I'll be playing the Special Edition of the film. I'd like to get as many people involved as possible, so whatever version of the film you have, you are more than welcome to join in.

The start time for this Tweetathon will be 8 PM, American Eastern Standard Time, on Thursday, May 25. The hashtag we will be using on our tweets will be #SW40. Josh's twitter handle is @JoshKennedy39, and mine is @cushinglee. If you have any questions or suggestions about the Tweetahon, please leave a comment below.

I'm really excited about this project--I think I can speak for Josh when I declare that this movie has had more influence on us than any other type of filmed production. So please join us on twitter for the 40th anniversary of the greatest movie ever made--and may the Force be with you.

Saturday, May 20, 2017


THE INDIAN FIGHTER (1955) is a Cinemascope Western starring Kirk Douglas, with a fantastic cast of supporting actors--Walter Matthau, Lon Chaney Jr., Alan Hale Jr., Hank Worden, Elisha Cook Jr., and several other faces that will be familiar to fans of American retro television. Kino has just released the movie on Blu-ray. I had never seen it before, and while it's more of a B type of Western, it does have its moments.

Lon Chaney Jr. and Kirk Douglas

Kirk Douglas plays Johnny Hawks, a frontier scout in the post-Civil War American West. Johnny tries to keep the peace between a band of Sioux Indians and the settlers at a nearby fort. Johnny attempts to lead a wagon train through Sioux country, but he's distracted by the Sioux Chief's beautiful daughter (Elsa Martinelli) and foiled by a couple of vicious scalawags (Walter Matthau and Lon Chaney) who are after gold.

THE INDIAN FIGHTER was directed by Andre De Toth, who is best known for helming the 3D classic HOUSE OF WAX. De Toth did make a number of very good Westerns, including a few with Randolph Scott. He uses the Cinemascope format very well, and makes excellent use of the movie's Oregon locations. The story moves along quickly, and a "Indians attacking the fort" sequence at the end of the film is impressively mounted.

Kirk Douglas is intensely energetic as usual, leaping on and off of horses, and of course, fighting Indians (at one point he takes part in a Native American version of a joust). It's a bit hard, though, to really like Douglas' character because of the way he "romances" Elsa Martinelli's native girl. He basically assaults her--and she responds to it, bringing up all sorts of unpleasant connotations. It doesn't help that the Italian Martinelli seems more like a peasant girl from Rome instead of a true Native American. The beginning of the film features Martinelli skinny-dipping, with Douglas looking on approvingly.

This is Walter Matthau's second film, and he's very devious as the "brains" between him and his partner, Lon Chaney Jr. Lon plays another of his brutish simpleton roles (at least this time he gets some dialogue). The story puts the blame on Matthau and Lon Jr. for all the trouble--they are the ones who get the Sioux riled up by trying to find gold on native land. 21st Century viewers may be dismayed by non-Native American actors "playing injun", but this movie is a lot more sympathetic toward the Sioux than one would expect from the title. This was the first production made by Kirk Douglas' own company, and his ex-wife Diana Douglas has a role as a settler interested in Johnny Hawks.

Kino presents THE INDIAN FIGHTER in anamorphic 2.35:1 widescreen. The movie looks very good. The major extra is an audio commentary from Toby Roan. He gives out many production factoids about the film and the actors, but not much critical analysis (there's also a lot of silent stretches).

I would say that THE INDIAN FIGHTER is an above-average Western, but not a great one. The movie's best attributes are the glorious locations photographed in Cinemascope. The script has a lot of cliches, but a few interesting touches as well (Ben Hecht, of all people, is one of the credited writers). It's the type of movie best appreciated by film buffs.

Tuesday, May 9, 2017

What Do You Call STAR WARS?

What do you call STAR WARS? What I mean do you refer to the 1977 film that was originally released by that name?

The reason I ask this is that I have noticed more and more people on social media call the film "A New Hope" or even "Episode IV". When STAR WARS is shown over broadcast television, my onscreen cable guide refers to it as "STAR WARS: A NEW HOPE". Technically, the movie's "official" name is now STAR WARS EPISODE IV: A NEW HOPE.

But that's not the name of the movie I saw back in 1977.

There wasn't any "Episode IV: A New Hope" before the opening crawl of the original STAR WARS. That was added when the movie was re-released in 1981. THE EMPIRE STRIKES BACK was the first Star Wars film to receive an episode number. Apparently George Lucas wanted to put the Episode IV sub-title on the original Star Wars, but Fox executives were worried that moviegoers would be confused and wonder about the first three episodes.

Now, from my personal experience, I don't remember anyone referring to the Star Wars films by episode number in the 1980s. STAR WARS was just called STAR WARS, EMPIRE was EMPIRE, etc.. Of course there was only three movies to deal with back then (it's hard to imagine now, but there was a time when folks were wondering if there would ever be another Star Wars film made). Social media didn't exist, but magazines like STARLOG did, and they never used the episode numbers.

It's my recollection that major use of the episode numbers came into being when the Special Editions of the Star Wars films were released in 1997. That's when the A NEW HOPE title started to gain traction, and when Lucasfilm began to heavily use it, The Star Wars prequels officially integrated the episode numbers into their titles--if you look at the original theatrical poster for THE PHANTOM MENACE, it is called STAR WARS EPISODE I--THE PHANTOM MENACE.

I've never gotten into the swing of using the episode numbers. I say ATTACK OF THE CLONES, not Episode II. If someone says to me, "I really can't stand Episode VI", I have to think about what movie that person is referring to. Adding an episode number to an already existing title seems a bit unwieldy to me, and calling a movie "Episode Something" seems generic.

The real reason I don't use "A New Hope" is that my favorite movie of all time--the one I first saw in 1977--wasn't called that. It was called STAR WARS, and that's the title I'll always use. Mind you, I'm not saying that my opinion is the right one--you can call the movie ERNEST VS. BLACULA for all I care. It's just my personal preference.

I would assume that younger Star Wars fans are more apt to use the episode numbers or the A NEW HOPE title. Most of the "kids" have probably never seen the original version of STAR WARS (which is a shame). Their version of STAR WARS is the Special Edition. The subtitle EPISODE IV: A NEW HOPE has been used frequently their entire lives, and I'm sure most of them believe that is the proper name. The thing is, I feel the special edition of STAR WARS is a different film from the original. So maybe it is proper to refer to the Special Edition as A NEW HOPE.

But if that is true, then George Lucas just didn't rework scenes from one of the most famous movies of all time--he managed to change its title. As a old horror/science fiction film fan, I'm used to movies with multiple titles--but this is something totally different. I can't think of any other hugely successful movie that has been called a alternate title decades after its original release. I understand this was the filmmaker's decision, and I'm not questioning the right of that decision. I'm merely pointing out, from a film buff's perspective, how unusual that is. You couldn't imagine say, GONE WITH THE WIND or THE GODFATHER having an alternate title.

I was hoping, since this year marks the 40th anniversary of the original theatrical release of STAR WARS, that the 1977 version of the film would finally be released on Blu-ray. It doesn't look like that's going to may not ever happen. That means the Special Edition of that film is going to wind up being the only edition. And the A NEW HOPE title is going to be considered the true title.

If you want to call the movie EPISODE IV: A NEW HOPE, that's fine. I choose not to call it that. Am I being silly in my decision? Maybe. But when a movie like STAR WARS has had such a major impact on one's life, that person tends to have strong feelings about it. Besides, I could get really anal and start using BLUE HARVEST instead of RETURN OF THE JEDI.

*What do you call STAR WARS? Leave comments below.

Sunday, May 7, 2017

THE VAMPIRE BAT--Looking Better Than Ever On Blu-ray

THE VAMPIRE BAT (1933) has long been a staple of public domain home video. The fact that it features stars such as Lionel Atwill, Fay Wray, Melvyn Douglas, and Dwight Frye has given several fly-by-night companies the incentive to slap a copy of it onto a videotape or a disc. Those cheap versions are now rendered obsolete by a new Blu-ray of the movie from The Film Detective, restored from 35mm elements preserved by the UCLA Film & Television Archive.

Saying "it's like seeing it for the very first time" may seem like hyperbole, but in this case it is true. This presentation of THE VAMPIRE BAT blows away anything else available. The picture is sharper and more defined, and the black & white contrast is excellent. This Blu-ray isn't 100% visually perfect--this is a 80+ year old movie, after all--but that's alright, because it does not have the overly processed look of some restored older titles. The sound quality is also improved slightly. During the part of the story where Dwight Frye's creepy Herman is chased by torch-wielding villagers, the torches have been tinted a fiery orange (apparently this was done on some prints of THE VAMPIRE BAT in 1933). It is an intriguing, eerie effect, and at least there is some historical justification for it.

Watching this Blu-ray gave me a better appreciation for director Frank Strayer's camera set-ups. The movie still has a low-budget sensibility to it--it was produced by a company called Majestic instead of a major Hollywood studio--but it plays a bit better in this restored print. The improved visuals still do not cover up some plot problems. Even though the movie is only 63 minutes long, it's not until the very end that Lionel Atwill and Fay Wray are allowed to go into full-blown mad doctor and scream queen mode. Most of the film follows Dwight Frye's red herring Herman ("BATS...SOFT!"), and Maude Eburne, who plays Fay Wray's comic relief spinster Aunt, gets way too much screen time. (If you're the type of film buff who is annoyed by Una O'Connor, Maude Eburne will really drive you nuts.) Most old monster movie fans tend to overlook the flaws of THE VAMPIRE BAT and look upon it fondly, probably because they are so familiar with it. (If you'd like to read more about my thoughts on the film, please check out my February 2016 blog post for "The Mad Scientist Blogathon", in which I wrote about Lionel Atwill's performance.)

I have to point out that this Blu-ray disc is Made-On-Demand, instead of a regularly pressed one. (I experienced no playback problems with my copy.) The back cover of the disc package says that this Blu-ray is Region Free. The Film Detective has provided two bonus features, one of them being a very short interview with Gregory Hesselberg, the son of Melvyn Douglas. The other is an audio commentary by cult independent film producer Sam Sherman. Sherman proves that he is a knowledgeable film buff, and he does offer up a few interesting nuggets of info, but his talk is very rambling, and it strays away from the movie several times. A Greg Mank or a Tom Weaver would have been better. Ironically, Weaver himself recently posted on the Classic Horror Film Board that it wouldn't have been worth featuring either Mank or him on this Blu-ray, because there's isn't anything new that can be said about THE VAMPIRE BAT. Personally, I think Mank or Weaver could have easily spent 63 minutes successfully discussing the film.

THE VAMPIRE BAT isn't on the level of most of the Universal Monster Classics made during the same time period, but the cast and subject matter make it worthwhile viewing for those who are fans of retro horror films. The main treat of this Blu-ray is seeing it in a fine, restored print.

Saturday, May 6, 2017

If STAR WARS Had Been Made By Hammer Films.....

.....the cast list might have looked like this.

Luke Skywalker--Simon Ward
Princess Leia--fill in the name of your favorite Hammer Hottie
Han Solo--Oliver Reed
Obi-Wan Kenobi--Andre Morell
Grand Moff Tarkin--Peter Cushing
Darth Vader--Christopher Lee
C-3PO--Francis Matthews
R2-D2--Skip Martin
Uncle Owen--Michael Ripper
Aunt Beru--Freda Jackson
Chewbacca--Kiwi Kingston
Greedo--Marne Maitland
Mos Eisley cantina bartender--Duncan Lamont
Wedge--Richard Pasco
Biggs--John Carson
Admiral Tagge--George Woodbridge
Admiral Motti--Michael Gough
Red Leader--Charles Lloyd Pack
Gold Leader--Peter Madden
Porkins--Francis De Wolff
Stormtrooper who bumps his head--Barry Andrews

Friday, May 5, 2017

If STAR WARS Had Been Made In The 1960s.....

.....the cast list might have looked like this.

Luke Skywalker--Robert Redford
Princess Leia--Natalie Wood
Han Solo--Steve McQueen
Obi-Wan Kenobi--Ralph Richardson
Grand Moff Tarkin--Lee Van Cleef
Darth Vader--Christopher Lee
C-3PO--Roddy McDowall
R2-D2--Michael Dunn
Chewbacca--Ted Cassidy

Thursday, May 4, 2017

If STAR WARS Had Been Made In The 1950s.....

.....the cast list might have looked like this.

Luke Skywalker--Paul Newman
Princess Leia--Debbie Reynolds
Han Solo--Kirk Douglas
Obi-Wan Kenobi--William Powell
Grand Moff Tarkin--James Mason
Darth Vader--James Arness
C-3PO--Clifton Webb
R2-D2--Peter Lorre
Chewbacca--Tor Johnson

Wednesday, May 3, 2017

If STAR WARS Had Been Made In The 1940s.....

.....the cast list might have looked like this.

Luke Skywalker--Van Johnson
Princess Leia--Ida Lupino
Han Solo--Humphrey Bogart
Obi-Wan Kenobi--Walter Huston
Grand Moff Tarkin--Claude Rains
Darth Vader--Lon Chaney Jr.
C-3PO--Edward Everett Horton
R2-D2--Mickey Rooney
Chewbacca--Glenn Strange

Tuesday, May 2, 2017

If STAR WARS Had Been Made In The 1930s.....

.....the cast list might have looked like this.

Luke Skywalker--James Stewart
Princess Leia--Myrna Loy
Han Solo--Clark Gable
Obi-Wan Kenobi--Lionel Barrymore
Grand Moff Tarkin--Basil Rathbone
Darth Vader--Boris Karloff
C-3PO--Franklin Pangborn
R2-D2--Billy Barty
Chewbacca--Noble Johnson

Monday, May 1, 2017


The 1959 Italian science fiction/horror film CALTIKI THE IMMORTAL MONSTER may not be magnificent, but the Arrow Blu-ray of this title certainly is. Jam packed with relevant extras, CALTIKI gets the type of treatment that most mainstream box office hits do not rate.

CALTIKI was a collaboration between two famed cult filmmakers: Riccardo Freda and Mario Bava. The movie's direction is officially credited to Freda, but he left before the end of production, and Bava took over. As director of photography and creator of special effects, Bava's contribution to the film was probably more than Freda's in any event. CALTIKI is a low-budget monster flick, but a master of the fantastic like Bava makes much more out of it than a viewer would expect.

The story of CALTIKI is set in Mexico, where a scientific expedition investigating Mayan ruins has inadvertently unearthed a gruesome creature called "Caltiki" after a Mayan Goddess. Caltiki resembles a slimy mass of pulsating flesh, and it has the ability to divide and grow to enormous proportions. Dr. John Fielding (John Merivale), the leader of the expedition, discovers that fire is the only force that can defeat Caltiki....but can he save his wife and child in time?

CALTIKI is a wild fusion of giant monster sci-fi and Lovecraftian cosmic horror. Radiation plays a part in Caltiki's reign of terror, as it usually does in this type of story, but the idea that the creature has lived for eons, and may have been the reason for the destruction of the Mayan race, brings a mythic tone to the proceedings. The movie is very reminiscent of similar films such as THE QUATERMASS XPERIMENT, X THE UNKNOWN, and of course THE BLOB. I also believe that THE CREATURE FROM THE BLACK LAGOON--in which a group of white English-speaking scientists disturb a legendary monster residing in a hidden Latin American grotto--may have been an inspiration for CALTIKI as well. Bava's sublime black & white photography also brings a touch of Universal Gothic, as does Roberto Nicolosi's music.

CALTIKI is rather gory compared to other films of its type made during the same period. The monster literally shreds human beings to the bone, and it turns one of the members of the expedition, played by Gerard Haerter, into a human monster. The actual Caltiki was made of tripe, and as it slithers and writhes its way through the film, there's a disturbing aspect to it. The movie has a few drawbacks--even at only 76 minutes, there's more than a few scenes that feel like padding. The dialogue (in both English and Italian versions) is very clunky, and leading actors John Merivale and Didi Sullivan are somewhat bland (Didi is rather attractive). Gerard Haerter can't help but steal the film from all the other human performers, since he has the showiest role. The real star of CALTIKI is without doubt Mario Bava. The practical effects he whipped up for this film may seem quaint to audiences of today, but when one takes into consideration what he had--and didn't have--to work with, Bava has to be looked upon as a true creative genius of cinema.

Arrow Video brings us a fantastic, sharp as a pin print of CALTIKI (with Italian credits), presented in 1.66:1 anamorphic widescreen. CALTIKI is one of those features that seemed to be only available on YouTube or grey market home video, so Arrow's version has to be considered the definitive one. The movie has both Italian and English voice tracks, along with English subtitles. A full-frame presentation of the film is included, along with an alternate U.S. credit sequence, and a original U.S. trailer.

Arrow gives us two audio commentaries from writers Troy Howarth and Tim Lucas. Two commentaries may seem like overkill, and there is some overlap between the discussions....but both talks are welcome and informative. Both men have written books about Mario Bava, and they are both experts on Italian fantastic cinema. Listening to both commentaries will give one just about all the information that is needed about CALTIKI. There's also a short interview with the prolific Kim Newman, who places CALTIKI in context with other fantastic films of the 1950s. Luigi Cozzi gives a short discussion on the film, and Stefano Della Casa briefly talks about Riccardo Freda. A 36-page booklet is included, which has essays about CALTIKI by Kat Ellinger, Roberto Curti, and Tim Lucas, and stills and poster art from the film. As usual with Arrow releases, a DVD version of CALTIKI is part of the package, along with a reversible cover sleeve.

Arrow has pulled out all the stops for this disc. Some may ask, "Is a movie like CALTIKI worth it?" I say, "Why not?" For me, inside knowledge on a production like CALTIKI is far more interesting than the typical fluff pieces trotted out for the average modern-day blockbuster. I have a feeling this Blu-ray is going to wind up on my annual top five list at the end of the year.

Sunday, April 30, 2017

WOMAN OF THE YEAR On Criterion Blu-ray

One of the greatest romantic comedies of all time gets the Criterion treatment. WOMAN OF THE YEAR (1942) is the very first collaboration between screen legends Spencer Tracy and Katherine Hepburn, and many believe it is the best.

When one watches WOMAN OF THE YEAR, it's hard to believe that Tracy & Hepburn had never even met one another before they appeared in this film. Their chemistry together is perfect, and they work so naturally together you'd think they had been doing it for years. They remained an on and off screen couple until Tracy's death in 1967.

It doesn't take an intellectual with a film studies degree to articulate why Tracy & Hepburn were one of the best movie couples. The Midwestern-born, plain-spoken Tracy and the East Coast high-brow Hepburn were the ultimate example of opposites attract. Spencer Tracy is one of my favorite actors, but I have to admit that I've never been a huge Katherine Hepburn fan. I've always respected her acting talent, which was considerable....but she was too theatrical for me, too contrived, too....Hepburnish?? But Tracy made Hepburn appealing, and Hepburn made Tracy seem romantic. Tracy was also a strong enough personality to put Hepburn in her place, and Hepburn was a strong enough personality to give it right back to him.

The storyline for WOMAN OF THE YEAR seems fairly generic today--regular guy sportswriter and internationally renowned political columnist fall in love, and deal with the realities of being together. Literally hundreds of other movies and sitcoms have used the same premise since. It's what Tracy & Hepburn--and director George Stevens--do with the material that separates it from the many imitations that would follow. The comic timing in this film is amazing. Tracy's facial reactions are on a level with those of Oliver Hardy.

If there is a detriment to WOMAN OF THE YEAR, it may be the climax, which has Hepburn disastrously trying to prove she can be a "proper" wife to Tracy. I'm sure many viewers today with a certain political agenda might grit their teeth while watching the ending. Many of the extras on the Blu-ray point out that this climax was filmed to replace another sequence because a number of female members in the test audiences felt Hepburn needed to be knocked off her high horse. I find the ending funny, but I think it kind of misses the point--Hepburn's character's problems at being a wife have little to do with whether she can cook.

What makes Criterion's Blu-ray of WOMAN OF THE YEAR a must-buy are the numerous extras included. The disc features two full-length documentaries: GEORGE STEVENS: A FILMMAKER'S JOURNEY, and THE SPENCER TRACY LEGACY: A TRIBUTE BY KATHERINE HEPBURN. I feel A FILMMAKER'S JOURNEY is worth the price of the Blu-ray alone--it is one of the best examinations of a classic American movie director's career I have seen. THE SPENCER TRACY LEGACY is important because it was hosted and narrated by Hepburn, and it showcases many film clips from throughout Tracy's film career.

The disc also has new interviews with George Stevens biographer Marilyn Ann Moss, George Stevens Jr., and writer Claudia Roth Pierpont, who discusses Katherine Hepburn. There's also a 1967 audio interview with George Stevens, and the liner notes feature an essay by Stephanie Zacharek.

Friday, April 28, 2017


Among the latest of Arrow Video's fantastic releases is the 1967 Euro Western DJANGO, PREPARE A COFFIN, starring Terence Hill as the title character.

The original DJANGO, directed by Sergio Corbucci, was such a success in Europe that dozens of films followed which used (or more accurately, ripped off) the Django name. DJANGO, PREPARE A COFFIN is somewhat of an "official" Django movie--Franco Nero, who first played the character, was going to reprise the role, but he left to appear in the film adaptation of CAMELOT. Nero was replaced by Italian actor Mario Girotti, who used the name Terence Hill. Hill would later become far better known as Trinity in a number of comedic Spaghetti Westerns. (I honestly didn't know anything about DJANGO, PREPARE A COFFIN before it was announced Arrow was putting it out on Blu-ray--so I was amazed to learn that Terence Hill had played two iconic characters of the Euro West.)

Terence Hill bore a resemblance to Franco Nero, and he wears basically the same type of costume Nero wore in the first DJANGO. Hill's DJANGO isn't as morose as Nero's, but the original DJANGO is one of the bleakest movies ever made. DJANGO, PREPARE A COFFIN has the character being set up and robbed by a ruthless politician's gang while accompanying a gold shipment. Django's wife is killed in the melee, and he's left for dead. (It's never made clear if the events of this film happen before or after the first DJANGO--it could essentially just be an early version of a reboot.)

Five years later Django is working as a hangman in the same territory. The men he is hired to execute have been set up by the same gang that attacked Django. Django fakes the executions, and uses the men he has saved from the gallows to take part in his revenge against those who have wronged him. The men in Django's new gang, however, are just as brutal and vicious as the people who set them up, and the usual Spaghetti Western double-dealings and back-stabbings ensue, with another gold shipment involved in the mix. Django does get to use his famous machine gun in the climax, which is fittingly enough set in a graveyard.

DJANGO, PREPARE A COFFIN isn't as violent as the original DJANGO (few films are), but it still has plenty of brutality. Django gets beaten and tortured (most Euro Western "heroes" do), and his gang spends plenty of time and energy bringing vengeance to others. Director Ferdinando Baldi does an okay job, but he's no Sergio Leone (or Corbucci, for that matter). DJANGO, PREPARE A COFFIN is not so much a great Spaghetti Western as it is a representative one. The one element it has that sticks out the most for me is Django's use of a gang--most leading characters in this genre are out-and-out loners. The fact that the gang causes him more trouble than they're worth shows that you can't trust anyone in a Euro Western (Django, of all people, should know this rule). Hill will forever be known for his lighthearted antics as Trinity, but he makes a very good "regular" action movie star. Horst Frank plays the politician behind everything, and he's nowhere near as outlandish as most Spaghetti Western villains. The movie does have a fine score by Gianfranco Reverberi.

Arrow Video has released DJANGO, PREPARE A COFFIN on Blu-ray in 1.66:1 anamorphic widescreen. The image is a bit soft, and like a lot of other Spaghetti Westerns made during this period, the picture has a yellowish tint to it. It's doubtful, though, that this movie could look any better than Arrow's presentation. English and Italian soundtracks are provided in Mono, along with English subtitles. The main extra on the disc is a short interview with Euro Western expert Kevin Grant, who talks about the film and explains the history of the Django character. A very ragged-looking trailer is included, in which the film is named VIVA DJANGO. A 15-page booklet is included, which has an essay about the film's production history by film historian Howard Hughes, and stills from the movie. Arrow's release also has a DVD version of the movie. As usual with Arrow product, the title sleeve has reversible artwork.

DJANGO, PREPARE A COFFIN is not a great Western, or even a great Spaghetti Western, but it is entertaining and interesting for those who favor the genre. Seeing Terence Hill play Django before he played Trinity is at least worth a look for cult movie fans. Once again I have to commend Arrow Video for doing excellent work on a title that would usually be relegated to public domain purgatory.

Monday, April 24, 2017


Soon after his game-changing portrayal of Dracula in Hammer's HORROR OF DRACULA, Christopher Lee played another vampire role--in an Italian comedy. Filmed in 1959 under the original title of TEMPI DURI PER I VAMPIRI, the movie was known in America as UNCLE WAS A VAMPIRE.

For Christopher Lee fans, UNCLE WAS A VAMPIRE is something of a revelation. Lee definitely isn't playing Dracula--the bloodsucker in this film has the florid name of Baron Roderigo de Braumfurten. But Lee's appearance in this film is almost exactly what he would look like in the many Dracula films he made for Hammer in the 1960s-1970s. Baron Roderigo has a red-lined cape, which Lee would have in the later Dracula films. Roderigo's hairstyle in also very much in line with what Lee's Dracula would sport. Roderigo is a bit paler and thinner than the Hammer version of Dracula, but for me he looks almost exactly like Lee did in DRACULA, PRINCE OF DARKNESS (1966).

Roderigo also resembles Lee's Dracula in other ways. Many of Lee's facial reactions, his physical mannerisms, and his body language in UNCLE WAS A VAMPIRE would show up again in the Hammer Draculas. The way Roderigo shoves someone out of his way, the way he closes a door in haste, the way he reacts to a cross--all these actions will be familiar to anyone who has viewed Lee's "official" Dracula movies. Seeing Lee going through all these motions in this context is rather strange--it's like discovering a lost Hammer film.

UNCLE WAS A VAMPIRE also anticipates the later Hammer Draculas in the way in which Lee is used. Baron Roderigo doesn't have a lot of screen time, and when he is not onscreen, his presence is sorely missed. Lee is the sole reason to watch UNCLE WAS A VAMPIRE. There are some beautiful women present, including Susanne Loret, the hottie from ATOM AGE VAMPIRE, but the comedy aspect of the story is very tepid.

The movie begins with an atmospheric sequence in which a horse-driven hearse (much like the ones used in Hammer movies) rides through a forest resembling Black Park. But this isn't the 19th Century--the story quickly shifts to present-day Italy, where the forlorn Baron Oswaldo (Renato Rascel) has just sold his castle to a group that plans to turn it into a resort hotel. Oswaldo has to use the money from the sale to pay off back taxes, leaving him broke--so he becomes a lowly bellhop. Oswaldo soon receives a letter from a mysterious uncle, informing him of an upcoming visit. It's Baron Roderigo, who, unaware of the sale of the castle, plans to use it for his new home. Oswaldo quickly learns that his Uncle is a vampire, and attempts to ward him off, but he's bitten--and the milquetoast nephew starts biting every female in the castle, sending them into swoons of ecstasy. All is resolved in the climax--even Baron Roderigo gets a happy ending.

The biggest problem with UNCLE WAS A VAMPIRE is that it just isn't all that funny (at least from my outlook). The version of this film I watched was dubbed in English, so maybe the comedy might have come across better in a subtitled cut, but I doubt it. Renato Rascel is very low-key as Oswaldo--a Lou Costello type would have worked better in the role. Rascel is so short, even the women in the film tower over him, so his vampiric state comes off as a kid dressing up for Halloween. (It doesn't help that the vampire Oswaldo kind of looks like Joe Pesci.) The comedy in UNCLE WAS A VAMPIRE is on the level of a 1960s TV sitcom, more silly than funny. During Rascel's antics, I kept waiting for Christopher Lee to show up again.

Christopher Lee and Renato Rascel

For what it's worth, Lee does play Roderigo straight, much in the way Bela Lugosi and Co. acted in ABBOTT & COSTELLO MEET FRANKENSTEIN. Due to his towering screen presence, Lee commands every scene he's in (not that he has much competition with the rest of the cast). Director Stefano Vanzina does give Lee some atmospheric moments. Oswaldo's castle was an actual location, and seeing Lee skulk about it in the night, instead of the usual Hammer sets, is a true highlight. Unfortunately, as in many of his European film appearances, Lee is dubbed in the English version by someone who uses a generic "spooky" voice backed by an echo chamber.

It would be nice to see an uncut restored version of UNCLE WAS A VAMPIRE with subtitles. I don't think it would make the movie significantly better....but it would help. If you are a major Christopher Lee fan, and have not seen UNCLE WAS A VAMPIRE, you really need to. It qualifies almost as a "lost" Lee vampiric performance. It has many similarities with some of Lee's Hammer Draculas--too many scenes not relevant to the story, beautiful women to look at (if you're so inclined), and not enough Lee. It's not a great piece of work, but Lee made many films that were far worse.

Friday, April 21, 2017

Yvonne Monlaur (1939-2017)

I felt I just had to write a blog post on the passing of French actress Yvonne Monlaur. She played the role of Marianne Danielle in the Hammer Film Gothic masterpiece THE BRIDES OF DRACULA, one of my favorite movies of all time. She also appeared in two other famous classic horrors--CIRCUS OF HORRORS and another Hammer production, THE TERROR OF THE TONGS.

During the height of her career Monlaur was constantly compared to screen sex goddess Brigitte Bardot. In her three horror films, however, Monlaur projected a naive innocence--she was more a maiden in need of rescue. Her character in THE BRIDES OF DRACULA is a sweet, trusting individual, a young girl so overwhelmed by the dark situations she experiences that she becomes easy prey for the handsome vampire Baron Meinster. The color cinematography of Jack Asher and the typically gorgeous Hammer costumes (nightgowns included) made Monlaur look spectacular. Director Terence Fisher made much use of Monlaur's beautifully expressive eyes (if there was any actress who could do a perfect wide-eyed horrified stare, it was Yvonne). Untold numbers of monster movie fans fell for Yvonne while watching BRIDES, and all of them wanted to see her saved by Peter Cushing's intrepid Dr. Van Helsing. Monlaur's damsel in distress characterization may be seen as politically incorrect in the age of social media demand of "strong" female roles, but it was perfect for the world of Gothic horror cinema.

There's also a special reason why Monlaur's role in THE BRIDES OF DRACULA is important. There's a Hammer fan theory that Marianne and Van Helsing get together as an actual couple after the events of BRIDES. In later Hammer Dracula films, we meet Van Helsing's modern direct descendant, so he had to have hooked up with someone. There's also the fact that at the end of the film, Van Helsing and Marianne are locked in an embrace. Whenever I watch BRIDES I always feel that there is a subtle attraction between Van Helsing and Marianne, so it makes sense that Monlaur's character had a far bigger role in the Hammer universe.

I, and my good friend, independent filmmaker Joshua Kennedy, had the great honor of meeting Yvonne Monlaur at the October 2014 Monster Bash Conference in Mars, Pennsylvania. My first impression of her was how small in stature she was....but she was also a kindly person, and she was very nice to Joshua and I. She even spoke French to us (we both got a kick out of that). When she spoke to us about Peter Cushing, she had so much admiration for him, she looked as if she was going to cry. Later on at the Bash, she participated in a Q & A forum, and she told a number of stories about her life and career. She seemed to enjoy herself at this event.

Meeting Yvonne Monlaur at the October 2014 Monster Bash

It was a huge deal for me to meet this woman--as I've stated before, THE BRIDES OF DRACULA is one of my favorite movies of all time. It's my favorite Hammer film, my favorite Peter Cushing performance....and Yvonne Monlaur was the leading lady in it. She was the true definition of a classic Scream Queen, and she will always live on in the hearts of Monster Movie Geeks everywhere.

Thursday, April 20, 2017


YouTube Monster Theater continues with my recent viewing of SEDDOK--"L'EREDE DI SATANA"...a movie better known under its U.S. title, ATOM AGE VAMPIRE.

An Italian production from 1960, SEDDOK is one of those "Obsessed Doctor Who Will Do Anything To Restore The Beauty Of A Woman" stories, in the same vein as EYES WITHOUT A FACE, THE AWFUL DR. ORLOF, and CORRUPTION. Like those other films, SEDDOK has a seamy undercurrent. It starts out with a striptease at a nightclub performed by the gorgeous Jeannette (played by Susanne Loret). Jeannette's ship officer boyfriend Pierre (Sergio Fantoni) disapproves of her dancing, and the two argue. Jeannette angrily drives home, and wrecks her car, causing hideous burns on her face. Jeannette believes she has nothing left to live for, but a mysterious woman named Monique (Franca Parisi) visits her in the hospital. Monique convinces Jeannette to visit the secluded home of a Professor Levin (Alberto Lupo) and undergo radical treatment. The Professor is able to restore Jeannette's face, but the effects are only temporary. The Professor, who has become infatuated over Jeannette, turns himself into a horrid monster in order to kill other women that will provide the source needed for a total cure.

This movie, under the title ATOM AGE VAMPIRE, has become something of a camp cult classic. It has all the ingredients to be an effective classic chiller, but it falls short of the mark. Susanne Loret is certainly attractive, but there's a coldness to her beauty, and her character comes off as whiny and self-absorbed. She does look great in a nightgown, though. (You just knew she was going to be wearing one in this type of movie.) Professor Levin seems to fall for Jeannette the very first time he sees her, and it's hard to understand why he would kill for her, especially since the young woman does not reciprocate his feelings. Besides, Levin's assistant Monique (who is very easy on the eyes herself) pines for the Professor. Monique winds up being the first victim to Levin's scheme to revive Jeannette's beauty, a plot element that I think was a mistake. Instead of killing off Monique so early in the tale, she should have been allowed to live (at least till the climax). This would have increased the dynamic between Levin, Monique, and Jeannette, and given more emotional weight to the story. Monique's absence leaves Levin to his own devices....all he has to judge him is a mute sad-eyed servant, who at least has a major role in the end. (Once again, I have to ask....why do so many supposedly brilliant scientists wind up with such lousy help??)

Susanne Loret

The Professor is so undone by his killing of Monique that he decides to turn himself into a monster--he feels that this will enable him to take other lives. This brings a "Jekyll & Hyde" element to the story, and since Levin goes out at night and targets ladies of the evening, there's a "Jack the Ripper" aspect as well. The Professor's monstrous state is more goofy than unsettling, but at one point during his first transformation a bit of stop-motion animation is used--an inventive idea. Alfredo Lupo is okay is Levin, but the part needs a Lugosi, or a Carradine, or an Atwill to make it flourish. (It would be very easy to believe that Lionel Atwill would go on a murder spree so he can operate on a stripper.)

The print of SEDDOK that I viewed on YouTube ran about 103 minutes (in Jonathan Rigby's book EURO GOTHIC, the movie's full running time is listed as 107 minutes). The version of this film known as ATOM AGE VAMPIRE runs 80-some minutes. I have to say that the cut-down version might be better. 100+ minutes is very long for this type of movie. Much of the second half of SEDDOK is bogged down by police procedure--old monster movie fans know that whenever an inspector shows up to investigate whatever strange killings are going on, it's time to get some snacks or head to the bathroom. Director Anton Guilio Majano does an adequate job, but the real visual highlights come from the black & white photography of Aldo Giordani. SEDDOK needs a Mario Bava or--dare I say it?--Jess Franco at the helm. Those two directors (among others) would have given the production an extra oomph. By whatever name you call it, SEDDOK/ATOM AGE VAMPIRE reminds me of several other much better horror/science fiction films.