Apocalypse Corman! (or 'Three actors, three days, and three bucks')

Last Woman on Earth (1960)
Starring: Betsy Jones-Moreland, Antony Carbone, and Robert Towne
Director: Roger Corman
Rating: Two of Ten Stars

A crooked business man (Carbone), his wife (Jones-Moreland), and his young attorney (Towne) through a fluke survive a mysterious disaster that kills every living thing on the surface of Earth's northern hemisphere, perhaps in the entire world. They attempt to forge a life on the now deserted planet, but how long can two men tolerate each other with just one woman between them? Not very long.

There isn't much more to this film that that paragraph. If I told you that one man kills the other, and the remaining couple lives happily ever after, I wouldn't be spoiling the film, because that's the outcome that's set up early on, and it's an outcome that's never in any doubt.

The cinematography and acting is serviceable for a film which was probably written on the back of cocktail napkins, for which much of the dialogue was probably ad-libbed (the only explanation I can think of for inexplicably repeated lines within the same scene), and which was only made because "Creature from the Haunted Sea" wrapped a few days early and director/producer wanted to squeeze as much work out of the cast and crew he had brought to Puerto Rico as possible.

But for a movie that was probably made in a single-digit number of days, it isn't all bad. The characters are interesting in a community theater one-act play sort of way, and the story moves along at a quick pace. While there isn't a whole lot that happens in this film, you can still watch it and not get bored. Antony Carbone is particularly interesting as the crooked business man, mostly because you know that he's going to kill someone before the film's over. The only question is who.

That's not to say that it's necessarily worth watching unless you're interested in what an "artsy" Corman film might look like, or if you want to check out the humble beginnings of the writer of "China Town". But in the final analysis, this is yet another Roger Corman production where the poster art is more interesting than the film itself.

'Revolt of the Zombies' is a non-event

(I like the poster though.)

Revolt of the Zombies (1936)
Starring: Dean Jagger and Dorothy Stone
Director: Victor Halperin
Rating: Two of Ten Stars

At the height of World War I, a French officer (Jagger) brings to his generals the ultimate weapon: the secret to creating impervious zombie soldiers! Unfortunately, before the Cambodian monk can be made to share this secret with the Europeans, he is murdered by a sinister enemy agent. A military expedition is sent to the darkest heart of Cambodia's jungles to see if the secret can be recovered.

"Revolt of the Zombies" actually has a really interesting plot at its heart. Too bad the filmmakers completely botched this movie, with awful dialogue and pacing that is at once too slow and too fast--important events happen off-screen and are then relayed to the viewers by the characters in boring exposition. Worse, the movie ultimately chickens out in regards to both its use of zombies in the story AND in regards to what seemed to have been its message about the negative impact of European colonialism with an "absolute power corrupts absolutely." What's more... there ain't no damn zombie revolt in the film (but that's because there aren't any real zombies, either).

I probably would have shrugged my shoulders at this one--it's just another low-budget, crappy horror film--but it was made as a follow-up to the fabulous "White Zombie." I expected more of "Revolt of the Zombies" because "White Zombie" is a dyed-in-the-wool classic horror film, one of the best zombie movies ever made (and perhaps even the *first* zombie movie ever made), and it was as low-budget as "Revolt."




Click here to read my review of "White Zombie" at The Bela Lugosi Collection.

Vincent Price is 'The Last Man on Earth'

The Last Man on Earth (aka "The Night Creatures", "Wind of Death", and "Night People") (1964)
Starring: Vincent Price, Franca Bettoia, Emma Danieli and Giacomo Rossi-Stuart
Director: Sidney Salkow (or Ubaldo Ragona, depending on the source)
Rating: Eight of Ten Stars

Dr. Robert Morgan (Price) spends three lonely years battling undead monsters after a mysterious plague that kills most people while causing others to rise as vampires sweeps the world. He starts to uncover signs that someone else is battling the vampires, and soon afterwards he meets Ruth (Bettoia), a fellow survivor. But is Ruth what she seems, or are the vampires getting smarter and is she part of an elaborate trap?


"The Last Man on Earth" is a fantastic horror film. It is creepy up to the very last moment, and it creates its sense of horror, dread, and even sorrow without resorting to gory violence or even obscenity.

Price is excellent in a rare part as someone who is a thoroughly sympathetic character who does everything in the film with the very best of intentions. The supporting cast are okay, but they are really just there for Price to play off.

This is a movie that's well worth the time it'll take you to see it... and it's a movie that all those oh-so-clever filmmakers out there who are churning out horror and suspense films with lame (and even movie-destroying) twist endings need to see. "The Last Man on Earth" offers a twist and then a twist on that twist, and both make the movie a stronger story.

Carniverous plant life has never been funnier

Little Shop of Horrors (1960)
Starring: Jonathan Haze, Jackie Joseph, Mel Welles, Dick Miller, Tammy Windsor, Toby Michaels, and Jack Nicholson
Director: Roger Corman
Rating: Eight of Ten Stars

When the nebbish flowershop employee Seymore (Haze) creates a brand-new kind of plant as an expression of his love for fellow employee Audrey (Joseph), their boss Mushnik (Welles) is delighted that business starts booming after curious passer-bys stop in to see the plant. However, it soon becomes apparent that Seymore has created a monster--a talking plant with telepathic powers and a taste for human flesh!


"The Little Shop of Horrors" is a bizarre, chaotic, strange, and thorougly entertaining comedy. The jokes, nonsensical situations, and oddball characters keep coming non-stop, and along the way, Corman and crew mananges to parody cop dramas, monster movies, romance films, and even swashbuckler movies. The film unfolds almost like a dream, so random are some of the characters and dialogue exchanges, yet it all comes together in a film that exudes a great surreal atmosphere.

This may look like the low-budget movie that it is, but it was made with a crew that understood the limitations they were working under. It's also blessed with a fun script, and a cast of entergitic actors with fine comedic timing--I particularly love the three leads (Haze, Welles, and Joseph), Miller (as the "flower eater"), and the two girls buying flowers for a parade float. This is one of Corman's very best, and I think it's a flm worth seeing for anyone who loves kooky comedies... because this is one of the kookiest!

'Dead Men Walk' is so-so chiller

Dead Men Walk (1943)
Starring: George Zucco, Mary Carlisle, and Nedrick Young
Director: Sam Newfield
Rating: Five of Ten Stars

Elwyn Clayton (Zucco) is a devoted Satanist who is murdered by his twin brother Lloyd (also Zucco), who wants to rid the world of this evil wearing his face. Although Lloyd successfully covers up the murder, he soon finds himself stalked by his dead brother who has been resurrected by the Dark Powers as a vampire. Worse, Elwyn intends to drain the life from Lloyd's beautiful ward, Gayle (Carlisle) before visiting his undead revenge upon his brother.


"Dead Men Walk" is a just about as typical a vampire movie as you'll ever see. Everything in it is pretty much as you would expect. So long as you're not hoping for anything original, it's a fairly entertaining B-movie.

The best part of the film is the climax where Lloyd battles Elwyn and his hunchbacked minion as a house burns down around them. Again, it's not anything you haven't seen before, but it's nicely staged.

'Attack of the Giant Leeches' is boredom

Attack of the Giant Leeches (1959)
Starring: Ken Clark, Jan Shepard, Yvette Vickers, Bruno VeSota and Gene Roth
Director: Bernard L. Kowalski
Rating: Three of Ten Stars

A small town located on the edge of a swamp and inhabited primarily by unpleasant hicks is menaced by giant leeches. Will the studly game warden (Clark)--one of three citizens with a double-digit IQ--save the day?

"Attack of the Giant Leeches" is one of those movies where the various characters can't get eaten by the monsters soon enough. This is partly because they're portrayed by second-rate actors delivering badly written dialogue, but also because the film is just plain boring.

The movie reaches its high point when the local shopkeeper (Bruno VeSota) chases his wife (the town slut, played by Yvette Vickers) into the swamp after catching her with one of her lovers. There's some genuine tension and suspense in that scene, and it's the only bit that materializes in the entire movie.


(Later scenes might have had some suspense to them, but it's ruined by the fact the "giant leeches" are obviously plastic and their suckers look more like eyes than suckers. They effect is not one of horror but one of goofiness.)

There is one important lesson to be taken from this film: If you think you are hearing an angry leopard or wildcat while wandering through a swamp, it's probably just the mating cry of a giant leech.

I suppose, in fairness, I should acknowledge the fact that the movie lets us oogle a sexy chick getting dressed as her slobby husband oogles her getting dressed. I guess that's a little bit of entertainment value right there.



(Although it did make me wonder: Do most women really put their shoes on before they've even finished putting on the rest of their clothes? It seems like they always do it that way in the movies....)

Great remake project for Roman Polanski?

Tormented (1960)
Starring: Richard Carlson, Susan Gordon, Lugene Sanders, and Juli Reding
Director: Bert I. Gordon
Rating: Four of Ten Stars

Tom Stewart (Carlson), a third-rate ladies' man, lands himself a beautiful girl with more money than brains (Sanders) and is about to tie the knot; However, he first has to dispose of his former girlfriend, Vi (Jeding). Unfortunately for Tom, he failed to realize that hell hath no fury like a woman scorned, whether she's alive or dead... and he soon finds himself haunted by Vi's floating head and other random detached body parts.

The "hero" of this film is perhaps the singularly most unlikable character I've ever been expected to feel sympathy for in a movie. Not only is Tom rotten to the core, but I get this child-molester vibe off him whenever he's around his fiance's little sister. (Of course, part of that is because he thinks she may know that he killed Vi and he's working hard to gain her trust, and eventually he tries to do the ultimate slimeball thing and kill the little kid, but there's still that vibe...)

The greatest problem with this film, and it's only partially because of its low budget, is the way things that are supposed to be scary--like when Vi's ghost manifests--are laughable. The overall flatness of the acting is also a crippling factor. Carlson does a good job as the ultimate scumbag, and little Susan Gordon gives a surprisingly good performance for a child actor... particularly when one considers that she probably got the part first and foremost by being the director's daughter.

The film does have some interesting visual flourishes, and there are several suspenseful scenes that take place in an old lighthouse. In fact, all the movies suspenseful scenes take place in the old lighthouse; whenever we get away from that location, things tend to drag a bit--except when Carlson is giving off "dirty old man" vibes around Gordon. The horror is strong at that point, whether the setting is the lighthouse or not.

The basic idea of this film--which crosses a film noir sort of attitude with a ghost story--is one that appeals to me. The execution here is sorely lacking, however.


Someone should ask Roman Polanski if he has seen this flick. I'm sure he'd have all kinds of sympathy for Tom if he did. He might even want to option a remake and relive the excitement of his youth by having Tom feed Sandy roofies and then rape her before deciding she knows too much and must die.

Ginger Rogers is excellent in this obscure thriller

A Shriek in the Night (1933)
Starring: Ginger Rogers, Lyle Talbot, Purnell Pratt, Harvel Clark, Lillian Harmer, Louise Beaver, and Arthur Hoyt
Director: Albert Ray
Rating: Seven of Ten Stars

A series of murders take place in an upscale apartment building, and reporters Pat Morgan (Rogers) and Ted Kord (Talbot)--working for rival newspapers but involved in a romantic relationship--are hot on the trail of the killer, or killers. Morgan happened to be working on an investigative piece about one of the victims, so she is in a perfect place to help both her career and the police... so long as she doesn't end up a murder victim herself.


"A Shriek in the Night" is, for the most part, a fairly typical early 1930s low-budget mystery, with dimwitted maids, cranky police detectives (although in this one the detective is not incompetent, just cranky), and wise-cracking reporters running circles around everyone and ultimately providing the clues needed to solve the mystery. The acting is above average here, and the characterizations of the two reporters and the police detective are also a bit more intelligent and three-dimensional than is often the case in these movies. (The comic relief maids are still as annoying as ever; if this is what American-born house-servants were like, it's no wonder we took to importing illegal aliens to turn down our beds and clean our homes!)

What really sets the film apart from others like it is its villain, and a surprisingly chilling sequence where he prepares to burn Pat Morgan alive. This character feels in many ways like an ancestor to the mad killers who came into vogue during the 1970s, and which continue to slash, strangle, and mutilate their way across the movie screen to this very day.

Another thing I found interesting in this film is how different Ginger Rogers' character was from the one she played two years later in "The Thirteenth Guest".

Many actors and actresses that appeared in these B-movies gave pretty much the same performance in movie after movie--for instance, there's very little difference between the smart-ass character Lyle Talbot plays here and the one he played in "The Thirteenth Guest." I haven't seen enough of Rogers' performances to really know why there is this difference--was she lucky enough to have a chance to show different facets of her acting ability, or did she make each part she played different somehow?--but it was an unexpected surprise.

Those of you out there with more than just a passing interest in suspense and horror movies may want to check this film out for its very modern, proto-"maniac killer" character/sequence. Those of you who just enjoy this style of movies--mysteries that get solved by wise-cracking reporters who take nothing seriously--should also check it out. It's a fun way to spend an hour.

The monster without a face haunts 'Nightmare Castle'

Nightmare Castle (aka "The Faceless Monster", "Night of the Doomed" and "Lovers From Beyond the Tomb") (1965)
Starring: Barbara Steele, Paul Muller, Lawrence Clift, and Helga Line
Director: Mario Caiano
Rating: Seven of Ten Stars

After psychopathic 19th century mad scientist Stephen Arrowsmith (Miller) tortures to death his unfaithful wife (Steele), and her lover, he uses her blood and a process he's developed to restore youth and beauty to his own mistress, Solange (Line). He later marries his first wife's mentally unstable half-sister, Jenny (also Steele) to retain control of the fortune that had been willed her... and to ultimately driver her insane and murder her for a fresh supply of blood for Solange's beautification treatments. He even cleverly invites Jenny's long-time doctor, Dereck Joyce (Clift) to stay at the castle, so there will be a witness to Jenny's unfortunate, tragic undoing. But even before Arrowsmith can put his evil schemes into motion, Jenny starts having strange visions and dreams, and Dr. Joyce becomes convinced that some outside force is wrecking havoc on her mind, and that these forces are ghosts haunting the castle. Has the first Mrs. Arrowsmith come back from the dead for revenge, to protect her half-sister, or both? Or is there a more rational answer to the unfolding events?


The above summary of "The Faceless Monster" (more often seen under the title "Nightmare Castle") may sound like its loaded with spoilers, but there's nothing there that doesn't come to light in the first half hour or so of this very creepy gothic horror flick.

Decently acted, well-photographed, decently staged, and full of shocking violence and interesting twists, the film suffers slightly from too leisurely a pace during its middle section, and from a villain whose motivations seem to change more often than most people change their underwear: He's motivated by greed... no, he's motivated by a devotion to science... no, he's motivated by love for Solange... no, he's motivated by spurned love for Muriel, the unfaithful woman he beat, electrocuted, and burned to death... no, he's motivated by... oh, who the hell knows?! Perhaps this is one character where just noting that he's a murderous madman is all the information you need, and it works perfectly, something that is rarely the case in fiction and films. Stephen Arrowsmith appears to be pure evil, and he's evil because he can be, with no need for justification or rationalizations. I still wonder if things in the nightmare castle might not have been a bit more horrifying if Arrowsmith had been better defined.

While Barbara Steele manages to enrich just about every film she's been in, I'm not sure I put as much stock in her dual role as half-sisters Muriel and Jenny as I've seen some reviewers do. The parts reveal the limitation in her talents rather than show her strengths. Steele simply does not have the range and flexibility to change between characters by shifting her facial expressions and gestures, something that's absolutely essential in a film of this kind, with situations like the one Jenny and Muriel are in during the film's second and third acts.

All my complaining aside, "The Faceless Monster"/"Nightmare Castle" is a fine gothic horror movie with a deliciously evil villain and some great ghostly twists (the final 10-15 minutes are truly grand, in a twisted way).

'The Mad Monster' isn't mad enough to bother with

The Mad Monster (1942)
Starring: George Zucco, Johnny Downs, Glenn Strange, and Anne Nagel
Director: Sam Newfield
Rating: Three of Ten Stars

After being mocked by his collegues and pilloried in the press for his outlandish theories, Dr. Lorenzo Cameron (Zucco) retreats to an isolated estate to continue his experiments. Unfortunately, Cameron's theories--that if he injects a serum created from wolf's blood into a human, that human will turn into a violent wolfman--were workable, and he he uses them to turn his simple-minded gardener (Strange) into a tool of revenge against those who destroyed his career.


"The Mad Monster" has one of the strongest openings of the many old-time mad scientist movies that I've seen. The complete and utter madness of Cameron is established effectively as he discusses his scientific discoveries in an increasingly heated fashion with four men who appear and dissapear from chairs around the table he is at. It's a scene that's well-written, well-staged, and well-acted.

Unfortunately, everything that follows is badly written, poorly staged (with the exception of where the wolfman kidnaps and kills a little girl (!)), and over-acted--even George Zucco who often hammed it up in films like, this is so far over the top that one can't help but groan at the performance. (Only Anne Nagel, who plays Cameron's daughter, doesn't embarrass herself... but that might be due to the fact that she her role really doesn't require much in the way of acting from her.)

The final blow to this movie is the wolfman make-up, as the creature looks more like a beatnik or a hippie than a menacing monster. Rediculous is too mild a term to describe what it looks like.

While "The Mad Monster" is worth seeing by fans of the "mad scientist on a rampage" horror subgenre for its opening scene, there really isn't enough here to make it worth seeking out on its own. However, it's included in a number of those low-cost DVD multi-packs, and if there are other movies in a set that interest you, then this makes for a nice bonus.

'House on Haunted Hill' is home to campy fun

House on Haunted Hill (1959) Starring: Vincent Price, Carol Ohmart, Elisha Cook, Carolyn Craig, David Long, Alan Marshal, and Julie Mitchum 

Director: William Castle 

Rating: Seven of Ten Stars 

 Eccentric millionaire Frederick Loren (Price) and his wife Annabelle (Ohmart) invite five cash-strapped strangers to spend the night with them in "the world's only truly haunted house"; if they stay locked in house from midnight to sunrise, they (or their heirs, should they not survive), will earn $10,000 each. Once the seven people are sealed in the house, the killing starts. Is it the ghosts, or are the visitors to the House on Haunted Hill being stalked by someone of flesh-and-blood?

"House on Haunted Hill" is a movie that scared the bejeezus out of me when I first saw it as a little kid... and as a kid, the twist-ending seemed like the coolest thing ever. When I saw it again as an adult, I didn't find it scary anymore, but I did find it entertaining and fun. This may not be much of a horror movie, but it is great fun to watch, particularly since the film is self-consciously cliched and over-the-top--with the aforementioned twist-ending being the most spectacular example of this. 

 The five principal players in the film all portray stock horror/thriller characters--Price is the suave yet slightly batty millionaire; Ohmart his scheming, two-timing, greedy wife; Long is the heroic, square-jawed man of action; Craig is the damsel who is always screaming in terror and always in distress; and Cook is the doom-saying coward--and they all seem to be having lots of fun with their parts. The ghostly activities in the house don't make a whole lot of sense--nor are any of them even possible in the light of some facts we learn at other times in the film--if you think about them, but there's a sort of wink-and-nod atmosphere throughout that it really doesn't matter.

"House on Haunted Hill" is good, cheesy fun...and that seems to be exactly what the filmmakers were shooting for when they made it. If you like haunted house movies, you may enjoy this one. Just realize that it doesn't take itself all that seriously. (It's a film that young kids may find thrilling and scary--the giant vat of acid in the basement seemed particularly cool to me as a kid--but adults will spend their time viewing it smiling.)

 

A couple of intense moments highlight the otherwise boring 'Dementia 13'

Dementia 13 (1963)
Starring: Luana Anders, William Campbell, and Patrick Magee
Director: Francis Coppola
Rating: Four of Ten Stars

After her husband dies of a heart attack, Louise (Anders) covers up his death and travels to Castle Halloran, his family's ancestral estate in Ireland, where her strange inlaws live. Here, she enacts a scheme to gain the trust of her mentally unstable mother-in-law and get a piece of the family fortune. Her plan is working well...until the crazed axe murderer shows up and starts hacking people to bits. Which member of the creepy family in Castle Halloran has an axe to grind with the rest of them?


Much like "Psycho" starts out seeming to be one kind of crime drama and then veers suddenly in another direction and turns into a completely different sort of crime drama, so does "Dementia 13" transform from a slow-moving, mildly interesting gothic thriller into a precursor for slasher-flicks like the "Halloween" and "Friday the 13th" series. (The scene where the axe murderer is after Lady Halloran, and virtually demolishes a shack to get at her, would fit right into just about any slasher flick.)

"Dementia 13" is about average for a Roger Corman-produced low-budget quickie. The acting is pretty bad all around, although Magee is fun as the creepy family doctor, and Anders has an interesting look about her and is good at seeming sinister without trying. (She also has some of the creepiest scenes in the flick. The sequence of her in the pond is very well done; it is actually the film's highpoint.)

The attempts at scares are pretty feeble and universally badly executed, and aside from the aforementioned scenes with the axe murderer hacking his way into a shack, and the one where the scheming daughter-in-law is diving in the castle's pond, virtually no suspense or tension ever really gets going in the flick. To some extent, the bad soundtrack music can be blamed for that, as it is overly loud and dramatic at all wrong times, distracting more than adding to the film. However, the fault lies mostly with the fact that there simply is nothing scary about the scenes.

"Dementia 13" is worth watching if you're out of other things and interested in seeing the building blocks that led to the slasher flicks of the 1980s, or if you're a huge Francis Ford Coppola fan. This was his directorial and scripting debut, and it was before he became so huge a sensation that only three names could properly describe him!

Another cancer cure worse than the disease....

Atom Age Vampire (1960) 

Starring: Alberto Lupo and Susan Loret 

Director: Anton Giulio Majano 

Rating: Three of Ten Stars 

 Professor Levin (Lupo) has developes a cure for cancer that also regenerates cells to remove scar tissue. Unfortunately, the effect is short-term, and he has not yet found a way to quickly make more of his wonder drug. So, in order to keep a one-time horribly disfigured ex-dancer (Loret) whom he helped from reverting to her former state, he drinks another of his inventions and turns into a hideous, super-strong killer and runs around ripping glands out of young women and implanting them in the stripper as a stop-gap measure.

 

I'm not sure where the vampires enter into "Atom Age Vampire" as this weak Italian mad scientist movie is more of a "Dr. Jekyll and Mr. Hyde" tale... just it's Dr. Hyde and Mr. Hyde, as Levin is a pretty repulsive character even before he starts downing the Mad Science Potion. 

 This movie is a nice addition to a Bad Movie Night line-up, but otherwise isn't really worth your time.

 

One of the finest thrillers ever made

The Amazing Mr. X (aka "The Spiritualist") (1948)
Starring: Turhan Bey, Lynn Bari, and Cathy O'Donnell
Director: Bernard Verhaus
Rating: Nine of Ten Stars

Greiving widow Christine Faber (Bari) finds herself haunted by her husband's ghost. In a fortuitous coincidence, Christine meets Alexis (Bey), a psychic who offers to help her contact her husband's spirit put it to rest. But Christine's younger sister (Cathy O'Donnell) and Christine's would-be new paramour thinks that the meeting with Alexis was too fortuitous, and they suspect that perhaps he is part of a scam to defraud the emotionally frail Christine of her inheritance. Meanwhile, the haunting grows more intense, and the ghost seems to want to drag Christine to a watery grave....




This 1948 B-movie is an excellently made thriller. It is well acted, well filmed, moves briskly, and keeps the viewer engaged with clever plot-twists and a couple of nicely done double-reversals of expectations. There are films with perhaps twenty times the budget of "The Amazing Mr. X" that aren't half as successful at telling the kind of story that this film features--which, I admit, was pretty well-worn even in 1948. Modern filmmakers trying their hands at thrillers with supernatural overtones would do well to study this film, as it shows exactly how that kind of film is made.

Don't let the cheesy title fool you. This is a top-notch thriller that's well worth a look by any lover of the genre.

'The Industructable Man' is low point for Lon Chaney Jr

The Indestructable Man (1956) Starring: Lon Chaney Jr, Casey Adams, and Marian Carr 

Director: Jack Pollexfen 

Rating: Four of Ten Stars 

 After executed killer and armored car robber Charles "Butcher" Benton (Chaney) is accidentally revived, made bullet-proof, and given super-strength by a researcher experimenting on cadavers, he sets out to get revenge on his former partners in crime. Along the way, he butchers anyone who gets in his way. "The Industructable Man" is 45 minutes of excitement stretched out to 70. And it's done with cheap sets, cheap special effects, and cheap actors. It also does it with a cheap script by a pair writers who don't quite know the rules of storytelling. 

The writers set up a situation where the vengeful "Butcher" might seem to kill our burlesque-dancing heroine (Carr) and then do nothing with it--and dammit, if there's a rifle over the fireplace in the first act, it needs to be fired by the third! 

 Another drawback with this film is the frequent close-ups of Lon Chaney's eyes. He looks like a broken-down drunk in the long shots, but the extreme close-ups of his wet, quivering eyes with bags under them almost as large as the eyeballs themselves does drives home the image. I'm sure the filmmakers had envisioned a sense of menace in those eyes... but all they really say is "Hey buddy, can you spare a dime?" 

 The one thing the film has going for it is its deadpan, "Dragnet"-style cops and narration. Nothing seems to faze these guys... or get in the way of their romancing exotic dancers at drive-in burger joints.

Lugosi is the dark, beating heart of 'The Invisible Ghost'

Invisible Ghost (aka "The Phantom Killer") (1941)
Starring: Bela Lugosi, Clarence Muse, John McGuire, and Polly Ann Young
Director: Joseph H. Lewis
Rating: Four of Ten Stars

Charles Kessler (Lugosi) is a widely admired man who, known only to his faithful manservant Evans (Muse) and his daughter Virginia (Young) suffers minor bouts with insanity during which he thinks he is still living with his beloved wife, who vanished years ago. However, Kessler's insanity is far deeper and far deadlier than anyone imagines; his wife seemingly appears outside his window at night, and the sight of her sends him into a trance during which he committs horrendous strangulation murders. When Virginia's fiance (McGuire) is executed for one of the murders, his twin brother Paul (also McGuire) arrives in town intent on finding the true killer.


"The Invisible Ghost" is another one of those films where I can see lots of potential that buried under a badly written script. The idea of a decent man so filled with grief and rage that he goes into murderous trances is pretty neat, but in this case the question of exactly how crazy Kessler is undermind within the first ten minutes of the film. (There's a "big revelation" that should have been saved for much later on.) Further, the dialogue (and its delivery) feels more suitable for a stage play than a movie... and it's delivered by actors whose performances mostly leave a lot to be desired.

The two exceptions to my negative comments about the actors are Clarence Muse and Bela Lugosi.

In the case of Muse, he plays Kessler's butler and manservant, but he projects an intelligence, dignity, and sensitivity that is lacking in just about every other character in the film; he's also the one actor who never comes across as unintentionally funny in the film... his laugh lines are true laugh lines, and they're delivered with excellent timing.

Lugosi also gives an engaging performance. Although the man seemed to lack the ability to pick decent projects to perform in, he often managed to make the most of the roles he did. In this case, he shows his acting ability by going through several emotions, and even completely transforming himself by doing nothing but changing his facial expressions. On the downside of his performance in "The Invisible Ghost", Lugosi is unintentionally HILARIOUS when Kessler enters his murderous trances. It takes some of the horror and tragedy away from the story when giggling viewers are trying to decide what Kessler resembles most in his murderous state: Kharis the Mummy without his bandages, or a spastic retard shuffling home after riding the short bus.

One strong aspect of the film that I must mention is that it is beautifully lit. The technical crew who worked on it really knew their stuff--the many candle-lit scenes are very well-handled with spotlights that properly follow the actors carrying the candleholders, and lighting is used consistently with great effect to underscore the drama and tension. Further, there's some very creative camerawork on display. (On the downside, the drama and tension is undermind by a truly awful score and the aforementioned bad acting.)

I think "The Invisible Ghost" is worth watching for Muse and Lugosi's performances, but the bad definately outweighs the good.

'The Corpse Vanishes' will make you appreciate your family

The Corpse Vanishes (aka "The Case of the Missing Brides") (1942)
Starring: Luana Walters, Bela Lugosi, Elizabeth Russell and Angelo
Director: Wallace Fox
Rating: Six of Ten Stars

Certifiable madman and scientific genius Prof. Lorenz (Lugosi) is placing beautiful, virgin brides into deathlike states at the altar with specially created orchids. He then steals the bodies and drains glandular fluids from them to create a concoction that keeps is even crazier wife looking youthful. His scientific fountain of youth is threatened when society columnist and wanna-be hardnosed reporter Patricia Hunter (Walters) grows suspicious and pays him a visit at his isolated home. Will she bring in the scoop of the year, or will she herself become a victim?

"The Corpse Vanishes" is a pretty standard mad scientist vs. plucky girl reporter lightweight horror movie... except for the bizarre group of characters that make up Lorenz's household.

From Lorenz's wife (who sleeps in a coffin for no apparent reason) to the house-keeper (a doomsaying withered old hag), her bestial son (who likes fondling the comotose brides Lorenz brings home, not to mention our heroine when she stays the night at the house), to her midget son (who serves as valet, butler, and Lorenz's chief henchman), to Lorenz himself (who at one moment refers to them as his "strange family" and the next moment is threatening to kill them... not to mention the whole abducting of brides thing), this is the weirdest household this side of the Manson Family.

No matter how freaky your family is, if you watch this film before going to celebrate a holiday with them, you will be able to say to yourself, "Eh... they could be worse."

Aside from the Lorenz household, everything else is pretty much stock here--including our heroine and the bland love interest she picks up--but the fast-paced story keeps things lively and moving.

Lugosi gives a standard performance. Although he has quite a bit of screen time, he doesn't have alot do to, except to be a centerpiece around which other, stranger characters orbit.

'The Monster Walks' is a mediocre early talkie

The Monster Walks (1932)
Starring: Rex Lease, Sidney Bracy, Mischa Auer, Vera Reynolds and Willie Best ("Sleep 'n' Eat")
Director: Frank Strayer
Rating: Five of Ten Stars

The night following the death of Earlton Manor's master, those gathered for the reading of his will are menaced by a killer who seems to move unseen through the sprawling house's shadow-filled rooms. Will Dr. Clayton (Lease) discover the identity of the killer in time to save the prime target, his fiance, Ruth (Reynolds)?


A slightly dull example of the "Dark Old House" mystery films that flourished in the early days of the talkies, "The Monster Walks" has a couple of respectable twists and tense moments. It's not the strongest example of this faded film sub-genre, but it's decent enough.

I wonder: Is this one of the first examples of an ape being the possible killer in a mystery film? It seems like by the late 30s, every fourth low-budget thriller or comedy featured an ape (or a guy in a gorilla suit). Is this where the trend started? (One of the sources of dread of the film is a large, violent chimp that's kept in a cage in the house's basement.)

Lugosi and forgotten comedy team monkey around in 'The Gorilla'

The Gorilla (1939)
Starring: The Ritz Brothers, Lionel Atwill, Anita Louise, Bela Lugosi, Patsy Kelly, and Edward Norris
Director: Alan Dwan
Rating: Four of Ten Stars

When millionaire Walter Stevens (Atwill) receives a death threat from a vicious murderer and extortionist known as The Gorilla on the very eve his beautiful niece Norma (Louise) and her boyfriend (Norris) are returning to the States, he hires a trio of private detectives (The Ritz Brothers) to protect him and his family. Unfortunately, these detectives couldn't find their way around a well-lit, empty room, so things get hairy when The Gorilla strikes. They get even hairier when a REAL gorilla invades the house.



When I first put this movie in my DVD player, the opening credits took me by surprise. These days, it is being marketed as a Bela Lugosi movie (in so far as it was included in a ten-movie pack of Lugosi films), but when it was first released, the star attraction was a comedy team known as the Ritz Brothers and it was a vehicle first and foremost for them.

As a comedy, "The Gorilla" doesn't quite work, and it works even less as an intended showcase for the Ritz Brothers. Their "stupid detectives" schtick quickly becomes more annoying than funny, and the funniest bits are actualy performed by Patsy Kelly (the household's maid who wants nothing more than to quit) and Bela Lugosi as a creepy butler who seems to have the power to appear and dissapear at will. (This seems to be a minor theme in Lugosi flicks, as he plays a character with a similar talent in "Black Dragons"). It works when played for laughs, like it is here, but it is incredibly annoying when it is featured in a serious drama, like the awful "Black Dragons" was intended as.

As a mystery, the film is somewhat more entertaining. If one can tolerate the antics of the Ritz Brothers, there's actually a clever little story with some neat twists and turns and a Big Reveal that is actually somewhat surprising. (The fact that the gorilla suit featured is better than aveage also helps.)

Of primary interest, I think, is the fact that this film has ended up as an exhibit of the fleeting nature of fame. As mentioned above, I was a bit surprised when I learned this film was a vehicle for a comedy team I'd never even heard of. I did some research, and it seems that the Ritz Brothers may have bene more popular than the Marx Brothers at one time...yet the former are totally forgotten. Similarly, Lugosi and Atwill were big names in their day, but they too have sunken into obsurity. (Hardcore horror fans know Lugosi because he did "Dracula", but Atwill? Only real film geeks have even the slightest inkling about the full output of either actor. Yet, in the 30s and 40s, their names were major draws.)

"The Gorilla" is also worth watching because viewers will once again see that Lugosi was a far better comedic actor than he has ever been given credit for. His part is small here, but he shows perfect comedic timing in every scene he's in. It really is too bad that his career track was such that he didn't get to make more comedies.

In final analysis, howevery, "The Gorilla" is really only of interest to the biggest movie geeks among us... and possibly the truly hardcore fans of Bela Lugosi's work. The rest can safely pass this one by; it's not particularly bad, but it's also not very noteworthy.

(As for the Ritz Brothers, it seems their Main Funny was to be found in musical routines... of which they do none in "The Gorilla". Maybe this film is a case of the wrong vehicle for a particular group of performers. If the Ritz Brothers really were any good, it's a shame their movie legacy doesn't reflect that. This was just one or two films they starred in.)

One of the better 'bad monster movies' you'll ever laugh at

Creature from the Haunted Sea (1961)
Starring: Anthony Carbone, Robert Towne, and Betsy Jones-Moreland
Director: Roger Corman
Rating: Four of Ten Stars

When a general flees Castro's revolution with most of the Cuban treasury, he hires notorious gangster Renzo Capetto (Carbone) to bring him and his aides to safety. Capetto intends to kill his charges and keep the gold for himself, but his plans go awry thanks to a tough-talking U.S. government agent who has infiltrated his gang (Towne), persistant bearded agents of Castro, and a sea-creature that starts killing before Capetto can get around to it.


I came to this movie without any idea of what to expect other than a made-on-the-cheap monster movie. But even before the pre-credit sequence--where a man having his tennis shoes shined and then is chased by killer beatnicks with murderous intent--I knew I was in for something strange. When the tough-talking, film-noir narrator introduced hims as having infiltrated Capetto's gang undercover, but assured us that his "real name is Agent XK150" I realized that I was in for a comedy ala "Little Shope of Horrors" or "A Bucket of Blood."

"The Creature from the Haunted Sea" is a strange, nonsensical litle movie that is performed by a collection of decent to average no-name actors who spout bizarre lines with great conviction and zeal. The movie spoofs monster flicks, spy flicks, pirate movies, gangster movies, and probably one or two genres I missed. The film is very disjoined, and I'm not sure this is intentional at times, but I loved the sort of freewheeling nature of the film and the way it kept getting stranger and stranger as it progressed. (It could have done with a few more appearances by the title creature--despite the utterly awful and giggle-inspiring design)and by the hot chicks living on the island where our cast of weirdos get stranded, though.)

This is by no means a great movie, but it has a certain charm about it. It is included in a wide range of different DVD multi-packs, and its presence should be at least partly a reason to pick one up. It's a strange little film that brighten the proceedings at any Bad Movie Party.

I've placed a link to an edition that includes both the original film and a colorized version, because I am increasingly fascinated by the way films are changed--usually not for the better--when the colorization process is applied. Don't get me wrong, I am NOT some purist that will rattle on about the integrity of a director's vision--I will put good money on many directors during the 1950s and 1960s shooting in black and white because their budgets didn't allow for color film--but most directors and their cinematographers understood how to make the most out of the black and white medium and their scenes are lit and filmed to make the most of it. In the vast majority of cases, colorization drains visual excitement from a film rather than adding to it.

Then again, I'm a guy who enjoys black and white movies so I could be biased. Anyone else have thoughts on the matter? Especially if you've seen the colorzied version of "Creature from the Haunted Sea"?)