Actress Heather Angel is is a very attractive easter bunny in this 1933 publicity still. (It was acquired from this picture blog.)
I hope all my readers have a nice and peaceful Easter holiday.
Wednesday, March 31, 2010
Picture Perfect Wednesday: The Easter Angel
Actress Heather Angel is is a very attractive easter bunny in this 1933 publicity still. (It was acquired from this picture blog.)
I hope all my readers have a nice and peaceful Easter holiday.
Monday, March 29, 2010
'Tyranny Rex' is a fun read
Tyranny Rex
Writer: John Smith and Chris Standley (with Steve Dillon)
Art: Steve Dillon and Will Simpson
Rating: Eight of Ten Stars
Tyranny Rex is a sexy Sauran, a human-appearing reptillian species. She is a celebrity performance artist and "trouble-shooter" who moves back and forth across the boundaries between legal and illegal as she sees fit. She is wanted for crimes and random mayhem in some starsystems, while she is just wanted in others.
The "Tyranny Rex" graphic novel reprints the earliest "Tyranny Rex" stories from the long-running British sci-fi comic magazine "2000 AD." They feature an equal mix of humor and action, and they're all fun reads, as Tyranny moves from making illegal clones of classic rock stars, protects Vid-stars from psychotic fans, and defending her body-sculptures from psychic cowboys. Although the book seems to end Tyranny's story quite nicely, the character appeared in several additional installments of the comic series, as well as a few short stories by creator John Smith.
The "Tyranny Rex" graphic novel might be a bit hard to find, but if you can get a copy, I think you'll be entertained. You might want to look particularly hard for it if you're a Steve Dillon fan, as the first half of the book is illustrated by him, and they are full of the sort of gross physcial humor and comedic violence that he has become known for through titles published at Marvel Comcis and the DC Comics imprint Vertigo. (This is early Dillon art, so his style is still a bit rough, but he was good even back in the late 1980s, the period from which these "Tyranny Rex" stories date.)
Writer: John Smith and Chris Standley (with Steve Dillon)
Art: Steve Dillon and Will Simpson
Rating: Eight of Ten Stars
Tyranny Rex is a sexy Sauran, a human-appearing reptillian species. She is a celebrity performance artist and "trouble-shooter" who moves back and forth across the boundaries between legal and illegal as she sees fit. She is wanted for crimes and random mayhem in some starsystems, while she is just wanted in others.
The "Tyranny Rex" graphic novel reprints the earliest "Tyranny Rex" stories from the long-running British sci-fi comic magazine "2000 AD." They feature an equal mix of humor and action, and they're all fun reads, as Tyranny moves from making illegal clones of classic rock stars, protects Vid-stars from psychotic fans, and defending her body-sculptures from psychic cowboys. Although the book seems to end Tyranny's story quite nicely, the character appeared in several additional installments of the comic series, as well as a few short stories by creator John Smith.
The "Tyranny Rex" graphic novel might be a bit hard to find, but if you can get a copy, I think you'll be entertained. You might want to look particularly hard for it if you're a Steve Dillon fan, as the first half of the book is illustrated by him, and they are full of the sort of gross physcial humor and comedic violence that he has become known for through titles published at Marvel Comcis and the DC Comics imprint Vertigo. (This is early Dillon art, so his style is still a bit rough, but he was good even back in the late 1980s, the period from which these "Tyranny Rex" stories date.)
Saturday, March 27, 2010
Coming Soon:
The 65th Anniversary of Nazi Defeat
The 65th Anniversary of Nazi Defeat
2010 makes 65 years since Adolf Hitler and Nazi Germany were defeated and consigned to history's garbage dump. Between April 5 and May 7, I will be celebrating this milestone with reviews across my various blogs, with this one getting a wealth of reviews of movies dating from those days, reviews of war comics from the 1960s and 1970s, and images on Picture Perfect Wednesdays.
If you've got a review blog and would like to mark the passing of one of the most evil regimes the world has ever known with reviews and posts, send me a link to your blog and I will post it at "Cinema Steve." The same is true of any specific posts you make. Just send an email with links to stevemillermail@gmail.com with "Nazis Quit" in the header.
Meanwhile, you can check already-posted reviews of films spotlighting the German Ubermenchen (that somehow still managed to get their asses kicked by us mud people) by clicking here.
Friday, March 26, 2010
'Day of the Nightmare' is full of twists
Day of the Nightmare (1965)
Starring: Beverly Bain, Cliff Fields, John Ireland and John Hart
Director: John A. Bushelman
Rating: Four of Ten Stars
As her artist husband (Fields) grows more aloof, Barbara (Bain) starts to grow concerned for the health of her marriage. She soon has bigger things to worry about, as he first becomes a murder suspect... and then she immediately thereafter almost is stabbed to death by his supposed victim.
"Day of the Nightmare" features the foundation of a decent thriller, with a story constructed with enough intelligence to know not to bother concealing something which is obvious to alert audience members almost immediately (Barbara's husband is a Norman Bates-style maniac and the "murder victim" is actually his second personality), but it's done in by languid pacing and terribly undramatic camerawork and lighting. The film called for deep shadows and quirky camera angles, but instead we get cinematography that would have been better suited for an industrial educational film.
The acting is also mostly mediocre, with John Ireland (as a homicide detective looking for a murder victim that doesn't exist) seeming tired and bored and Cliff Fields (as the hubby leading more than just one double life) seeming like he needed to take a few more acting lessons.
The one exception is Beverly Bain. Whether she is portraying Barbara as the perfect early 1960s American housewife, as trying to come grips with the possibility her husband has killed his mistress, or fleeing an insane, knife-wielding cross-dressing phantom, she gives a performance far better than anything else in the film. This is her only film credit, which is a shame. There is quite a bit of talent on display here. (But no flesh; she is the only attractive female in the movie who doesn't appear topless.)
But Bain's performance alone is not enough to save this film. She, combined with the well executed story, will carry you through it, but the weak acting and inappropriate tone of the cinematography, put this movie firmly in the category of Bad.
Starring: Beverly Bain, Cliff Fields, John Ireland and John Hart
Director: John A. Bushelman
Rating: Four of Ten Stars
As her artist husband (Fields) grows more aloof, Barbara (Bain) starts to grow concerned for the health of her marriage. She soon has bigger things to worry about, as he first becomes a murder suspect... and then she immediately thereafter almost is stabbed to death by his supposed victim.
"Day of the Nightmare" features the foundation of a decent thriller, with a story constructed with enough intelligence to know not to bother concealing something which is obvious to alert audience members almost immediately (Barbara's husband is a Norman Bates-style maniac and the "murder victim" is actually his second personality), but it's done in by languid pacing and terribly undramatic camerawork and lighting. The film called for deep shadows and quirky camera angles, but instead we get cinematography that would have been better suited for an industrial educational film.
The acting is also mostly mediocre, with John Ireland (as a homicide detective looking for a murder victim that doesn't exist) seeming tired and bored and Cliff Fields (as the hubby leading more than just one double life) seeming like he needed to take a few more acting lessons.
The one exception is Beverly Bain. Whether she is portraying Barbara as the perfect early 1960s American housewife, as trying to come grips with the possibility her husband has killed his mistress, or fleeing an insane, knife-wielding cross-dressing phantom, she gives a performance far better than anything else in the film. This is her only film credit, which is a shame. There is quite a bit of talent on display here. (But no flesh; she is the only attractive female in the movie who doesn't appear topless.)
But Bain's performance alone is not enough to save this film. She, combined with the well executed story, will carry you through it, but the weak acting and inappropriate tone of the cinematography, put this movie firmly in the category of Bad.
Wednesday, March 24, 2010
Picture Perfect Wednesday:
Louise Brooks, Classic Bird
Louise Brooks, Classic Bird
Louise Brooks was a fashion trend-setter in the 1920s, with her bobbed hairstype being widely imitated after she began appearing in film. Often, when someone says "flapper style," they are picturing Louise Brooks.
Brooks only appeared in a couple dozen features. Some sources say her career suffered because she refused to bend to the will of the studio system. Other sources say that her career was damaged by working in European for a couple of years during the late 1920s. Others claim that the fact she posed for a number of nude photos as a young dancer--a choice that Brooks later said had been a tremendous mistake. Finally, her death of career is attributed to her involvement with the Philo Vance Picture "The Canary Murder Case."
Starring William Powell as Philo Vance and Brooks as a blackmailing nightclub singer who ends up murdered, it was originally shot as a slient movie in 1928, but Paramount executives decided to rework the film as a talkie and called the actors back to loop their lines. When Brooks refused to cooperate, it gave her a bad reputation and she never worked for a major Hollywood studio again.
"The Canary Murder Case" was a hit, even if Brooks didn't receieve a career boost from it. However, some great publicity stills for the film exist, featuring the lovely Louise Brooks as the nefarious and ill-fated Canary.
Brooks only appeared in a couple dozen features. Some sources say her career suffered because she refused to bend to the will of the studio system. Other sources say that her career was damaged by working in European for a couple of years during the late 1920s. Others claim that the fact she posed for a number of nude photos as a young dancer--a choice that Brooks later said had been a tremendous mistake. Finally, her death of career is attributed to her involvement with the Philo Vance Picture "The Canary Murder Case."
Starring William Powell as Philo Vance and Brooks as a blackmailing nightclub singer who ends up murdered, it was originally shot as a slient movie in 1928, but Paramount executives decided to rework the film as a talkie and called the actors back to loop their lines. When Brooks refused to cooperate, it gave her a bad reputation and she never worked for a major Hollywood studio again.
"The Canary Murder Case" was a hit, even if Brooks didn't receieve a career boost from it. However, some great publicity stills for the film exist, featuring the lovely Louise Brooks as the nefarious and ill-fated Canary.
Tuesday, March 23, 2010
Beware the secretary too good to be true....
The Inner Circle (1946)
Starring: Warren Douglas, Adele Mara, William Frawley and Virginia Christine
Director: Phil Ford
Rating: Five of Ten Stars
When a mysterious veiled woman frames private detective Johnny Strange (Douglas) for the murder of a much-loathed radio reporter, his equally mysterious secretary (Mara) is ready with just the right lie to clear him. But Lt. Webb of the homicide department (Frawley) isn't buying it, and Johnny has to race against time to find the real killer.
"The Inner Circle" is a light-weight, slightly goofy mystery film that's the cinematic equavelent of an apple--it's a quick, inoffensive snack. Average acting, simple script, and an okay mystery plot (that keeps it together to the end, but then falls apart), it's not a bad way to spend an hour, but it's not an experience you'll remember. The most interesting thing about it is William Frawley as a sort-of proto-Columbo whose main investigative technique seems to be to annoy suspects into confessing.
Starring: Warren Douglas, Adele Mara, William Frawley and Virginia Christine
Director: Phil Ford
Rating: Five of Ten Stars
When a mysterious veiled woman frames private detective Johnny Strange (Douglas) for the murder of a much-loathed radio reporter, his equally mysterious secretary (Mara) is ready with just the right lie to clear him. But Lt. Webb of the homicide department (Frawley) isn't buying it, and Johnny has to race against time to find the real killer.
"The Inner Circle" is a light-weight, slightly goofy mystery film that's the cinematic equavelent of an apple--it's a quick, inoffensive snack. Average acting, simple script, and an okay mystery plot (that keeps it together to the end, but then falls apart), it's not a bad way to spend an hour, but it's not an experience you'll remember. The most interesting thing about it is William Frawley as a sort-of proto-Columbo whose main investigative technique seems to be to annoy suspects into confessing.
Monday, March 22, 2010
'Voodoo Man' is full of stars and weirdness
Voodoo Man (1944)
Starring: Michael Ames, Louise Currie, Wanda McKay, Bela Lugosi, George Zucco, John Carradine, Henry Hall and Ellen Hall
Director: William Beaudine
Rating: Five of Ten Stars (if meant to be a serious movie); Seven of Ten Stars (if meant to be a spoof)
Women are vanishing along a lonely stretch of highway... and the latest victims are a brides maid and a bride-to-be (McKay and Currie). Can a Hollywood screenwriter (Ames) rise to the challenge and face the real-life menace of the Voodoo Man (Lugosi) and minions (which include Zucco and Carradine)?
There are some movies that are so bad they become good. "Voodoo Man" may be one of those. In fact, it's so strange and over-the-top that I'm not sure it was ever intended to be taken seriously; the numerous in-jokes sprinkled throughout the film--starting with the main character being a writer for Banner Productions (the company that produced the film), with a boss named S.K. (Sam Katzman was the chief executive and lead producer at Banner) and the many sly references to other successful zombie movies of the day, such as the Lugosi-starring "White Zombie" from a decade earlier and the 1943 hit "I Walked With a Zombie". Then there's the absolute goofiness of George Zucco's gas station-owning voodoo priest, a character that even within the bizarre reality that exists within every Monogram picture is so outrageous that I can't believe he was supposed to be taken seriously. And then there's the absolutely ineffectual "hero" of the picture, the screenwriter who spends the film's climactic moments unconcious while the sheriff and his dimwitted deputy save the day.
Also, thinking of the film as more of a spoof than a serious attempt at making a horror movie also makes Zucco and John Carradine look a little less pathetic in the picture. By pathetic, I'm not referring to their performances, but to the fact they are playing the characters they do. If the film was intended to be a serious movie, then I feel sad for the state of both their finances that they were reduced to playing a cartoon character in a silly hat (Zucco) and a dimwitted pervert who walked like he had just crapped his pants (Carradine). How desperate must they have been to not walk away from parts like that, even if they had iron-clad, multi-picture contracts with Monogram-related production entities--could Carradine's theater projects REALLY have been that in need of money that he had to stoop this low? If treated as a serious movie, Carradine and Zucco both give performances that mark low points in their careers and that their families should STILL be embarrassed about. However, if they are playing in a comedy, then they're not half bad. (And whether a serious movie or not, Carradine's character undoubtedly found a place among the beatniks a few years later... that cat can beat the drum, man.
Whether a comedy or not, Bela Lugosi is the solid core of the film, an absolute straight man at the heart of the silly weirdness of the rest of the movie. Yeah, he may be a mad scientist who dresses funny for voodoo rituals, but the scene where the mumbo-jumbo briefly pays off by reviving his braindead wife's soul is a genuinely touching and ultimately heartbreaking moment that is worthy of more serious drama. (In fact, Lugosi is the only reason I'm even wavering in my belief that this is a comedy. In films like "Scared to Death" and "You'll Find Out", he is clearly playing in a comedic style, but here he is at his most dramatic and serious.
Also, whether this is a comedy or not, it is quite the star-studded feature and that alone makes it worth checking out for fans of old movies, especially if you have a taste for the quirky. Not only do you have Lugosi, Zucco and Carradine, but you are also treated to performances by the very lovely Wanda McKay and Louise Currie. Both were regular leading ladies and supporting actresses in low-budget thrillers and comedies during the 1930s and 1940s, and with McKay in particular one has to wonder why she never managed to make it to "the big time". She is every bit as attractive and talented as any number of ladies appearing in Universal, RKO and MGM B-movies of the time... and she even has a few A-listers beat.
Moreso than usual, I'd love to hear your take on this film. Is it a comedy or just a complete misfire in the horror department? What do you think?
If you decide to check out "Voodoo Man", I recommend you get the edition released by Mike Nelson's "Riff Trax"/Legend Films edition. It contains the movie and an optional second audio track where the three stars of "Mystery Science Theater 3000" engage in mockery and commentary as funny as anything they did in the old days. After some dissapointing efforts from them as "The Film Crew," they seem to have gotten their groove back. (And if you do get this version, make sure to let the menu screen play a while. There's a great song inspired by "Voodoo Man" that plays. It's almost worth the price of admission by itself.)
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Starring: Michael Ames, Louise Currie, Wanda McKay, Bela Lugosi, George Zucco, John Carradine, Henry Hall and Ellen Hall
Director: William Beaudine
Rating: Five of Ten Stars (if meant to be a serious movie); Seven of Ten Stars (if meant to be a spoof)
Women are vanishing along a lonely stretch of highway... and the latest victims are a brides maid and a bride-to-be (McKay and Currie). Can a Hollywood screenwriter (Ames) rise to the challenge and face the real-life menace of the Voodoo Man (Lugosi) and minions (which include Zucco and Carradine)?
There are some movies that are so bad they become good. "Voodoo Man" may be one of those. In fact, it's so strange and over-the-top that I'm not sure it was ever intended to be taken seriously; the numerous in-jokes sprinkled throughout the film--starting with the main character being a writer for Banner Productions (the company that produced the film), with a boss named S.K. (Sam Katzman was the chief executive and lead producer at Banner) and the many sly references to other successful zombie movies of the day, such as the Lugosi-starring "White Zombie" from a decade earlier and the 1943 hit "I Walked With a Zombie". Then there's the absolute goofiness of George Zucco's gas station-owning voodoo priest, a character that even within the bizarre reality that exists within every Monogram picture is so outrageous that I can't believe he was supposed to be taken seriously. And then there's the absolutely ineffectual "hero" of the picture, the screenwriter who spends the film's climactic moments unconcious while the sheriff and his dimwitted deputy save the day.
Also, thinking of the film as more of a spoof than a serious attempt at making a horror movie also makes Zucco and John Carradine look a little less pathetic in the picture. By pathetic, I'm not referring to their performances, but to the fact they are playing the characters they do. If the film was intended to be a serious movie, then I feel sad for the state of both their finances that they were reduced to playing a cartoon character in a silly hat (Zucco) and a dimwitted pervert who walked like he had just crapped his pants (Carradine). How desperate must they have been to not walk away from parts like that, even if they had iron-clad, multi-picture contracts with Monogram-related production entities--could Carradine's theater projects REALLY have been that in need of money that he had to stoop this low? If treated as a serious movie, Carradine and Zucco both give performances that mark low points in their careers and that their families should STILL be embarrassed about. However, if they are playing in a comedy, then they're not half bad. (And whether a serious movie or not, Carradine's character undoubtedly found a place among the beatniks a few years later... that cat can beat the drum, man.
Whether a comedy or not, Bela Lugosi is the solid core of the film, an absolute straight man at the heart of the silly weirdness of the rest of the movie. Yeah, he may be a mad scientist who dresses funny for voodoo rituals, but the scene where the mumbo-jumbo briefly pays off by reviving his braindead wife's soul is a genuinely touching and ultimately heartbreaking moment that is worthy of more serious drama. (In fact, Lugosi is the only reason I'm even wavering in my belief that this is a comedy. In films like "Scared to Death" and "You'll Find Out", he is clearly playing in a comedic style, but here he is at his most dramatic and serious.
Also, whether this is a comedy or not, it is quite the star-studded feature and that alone makes it worth checking out for fans of old movies, especially if you have a taste for the quirky. Not only do you have Lugosi, Zucco and Carradine, but you are also treated to performances by the very lovely Wanda McKay and Louise Currie. Both were regular leading ladies and supporting actresses in low-budget thrillers and comedies during the 1930s and 1940s, and with McKay in particular one has to wonder why she never managed to make it to "the big time". She is every bit as attractive and talented as any number of ladies appearing in Universal, RKO and MGM B-movies of the time... and she even has a few A-listers beat.
Moreso than usual, I'd love to hear your take on this film. Is it a comedy or just a complete misfire in the horror department? What do you think?
If you decide to check out "Voodoo Man", I recommend you get the edition released by Mike Nelson's "Riff Trax"/Legend Films edition. It contains the movie and an optional second audio track where the three stars of "Mystery Science Theater 3000" engage in mockery and commentary as funny as anything they did in the old days. After some dissapointing efforts from them as "The Film Crew," they seem to have gotten their groove back. (And if you do get this version, make sure to let the menu screen play a while. There's a great song inspired by "Voodoo Man" that plays. It's almost worth the price of admission by itself.)
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