Wednesday, September 14, 2011
Tuesday, September 13, 2011
'The Snorkel': Low-key thriller with nice pay-off
The Snorkel (1958)
Starring: Peter Van Eyck, Mandy Miller, Betta St. John, William Franklyn, and Gregoire Aslan
Director: Guy Green
Rating: Seven of Ten Stars
Paul Decker (Van Eyck) constructs the perfect locked-room murder by drugging his wife and filling the sealed room with gas while he hides under the floor breathing through a snorkel connected to fresh air via tubes in the outside wall. He remains hidden until the body has been discovered and taken away, and with everyone believing he is across the border on business, he seems to have the perfect alibi. Everyone that is, except for his teenage step-daughter Candice (Miller) who is convinced he murdered her. Although no adults believe her, Candice continues to push and investigate on her own, and soon Decker realizes he must eliminate her, too.
"The Snorkel" is a mystery in the vein of the "Columbo" television series, in the sense that the audience is shown how the murderer sets up his "perfect crime" and the subsequent enjoyment comes from watching his said perfection be picked apart and his crimes ultimately coming to light due to something he overlooked or an attempt to stop whoever it is who is investigating him from succeeding.
Like a "Columbo" episode, the murderer here is such a vile individual that viewers can't wait to see him exposed--there's every indication that this is his second murder as part of a long-term plan to gain access to his wife's fortune, and he is so base and arrogant that his wife isn't even buried before he starts putting the moves on Candice's hot young governess (Betta St. John)--but unlike on "Columbo" we're not given insight into the entire method by which Decker commits his crime, but the film lets viewers work it out at the same time Candice does.
And that's the point where the film starts to get really fun, the point where Decker realizes that he needs to get rid of Candice, but also the point where he starts being too smart for his own good.
The film's closing minutes represent a near-perfect ending. Candice turns key parts of Decker's scheme on him, with the help of a little bit of coincidence, and sets him up for a heaping helping of poetic justice... a great pay-off for the hour's time during which we've watched Decker ooze his way across the screen with an ever-growing wish for the ability to reach into the film and beat him to a pulp.
With a script that moves so fast that we can barely notice its populated by two-dimensional characters; great performances by Peter Van Eyck, as a slimy villain you'll love to hate, and Mandy Miller, in one of her 'wounded kitten'-type roles that she so excelled at; and director Guy Green who brings across Candice's pursuit for truth with such conviction that viewers will be with her all the way, but will also wonder if her fanaticism isn't evidence that she's not just a child but also more than just a little crazy, "The Snorkel" is an excellent film from a nearly forgotten chapter in the history of Hammer Studios... from a time when they were more known for their thrillers than their technicolor Gothic horror romps.
Check it out. It's one of six undeservedly obscure films presented in the "Icons of Suspense" DVD collection.
Starring: Peter Van Eyck, Mandy Miller, Betta St. John, William Franklyn, and Gregoire Aslan
Director: Guy Green
Rating: Seven of Ten Stars
Paul Decker (Van Eyck) constructs the perfect locked-room murder by drugging his wife and filling the sealed room with gas while he hides under the floor breathing through a snorkel connected to fresh air via tubes in the outside wall. He remains hidden until the body has been discovered and taken away, and with everyone believing he is across the border on business, he seems to have the perfect alibi. Everyone that is, except for his teenage step-daughter Candice (Miller) who is convinced he murdered her. Although no adults believe her, Candice continues to push and investigate on her own, and soon Decker realizes he must eliminate her, too.
"The Snorkel" is a mystery in the vein of the "Columbo" television series, in the sense that the audience is shown how the murderer sets up his "perfect crime" and the subsequent enjoyment comes from watching his said perfection be picked apart and his crimes ultimately coming to light due to something he overlooked or an attempt to stop whoever it is who is investigating him from succeeding.
Like a "Columbo" episode, the murderer here is such a vile individual that viewers can't wait to see him exposed--there's every indication that this is his second murder as part of a long-term plan to gain access to his wife's fortune, and he is so base and arrogant that his wife isn't even buried before he starts putting the moves on Candice's hot young governess (Betta St. John)--but unlike on "Columbo" we're not given insight into the entire method by which Decker commits his crime, but the film lets viewers work it out at the same time Candice does.
And that's the point where the film starts to get really fun, the point where Decker realizes that he needs to get rid of Candice, but also the point where he starts being too smart for his own good.
The film's closing minutes represent a near-perfect ending. Candice turns key parts of Decker's scheme on him, with the help of a little bit of coincidence, and sets him up for a heaping helping of poetic justice... a great pay-off for the hour's time during which we've watched Decker ooze his way across the screen with an ever-growing wish for the ability to reach into the film and beat him to a pulp.
With a script that moves so fast that we can barely notice its populated by two-dimensional characters; great performances by Peter Van Eyck, as a slimy villain you'll love to hate, and Mandy Miller, in one of her 'wounded kitten'-type roles that she so excelled at; and director Guy Green who brings across Candice's pursuit for truth with such conviction that viewers will be with her all the way, but will also wonder if her fanaticism isn't evidence that she's not just a child but also more than just a little crazy, "The Snorkel" is an excellent film from a nearly forgotten chapter in the history of Hammer Studios... from a time when they were more known for their thrillers than their technicolor Gothic horror romps.
Check it out. It's one of six undeservedly obscure films presented in the "Icons of Suspense" DVD collection.
Friday, September 9, 2011
Space Girl Adventures, Part Six
 |
| By Chrissie Zullo |
by Travis Charest
Part Six
To Be Continued....
 |
| By Ethan Van Sciver |
 |
| By Stephane Roux |
Wednesday, September 7, 2011
Tuesday, September 6, 2011
Introducing Miss Lace of 'Male Call'
Well, the drawing is by Milton Caniff of "Terry and the Pirates" fame, and the lovely lady in question is Miss Lace. She appeared in a WWII-era strip, "Male Call", that Caniff created initially for the weekly newspapers published on Army bases and in camps, but it also appeared on the comics pages of civilian newspapers.
Don Markstein has written a brief history of the strip, which you can read by clicking here.
Meanwhile, here are a few of Caniff's strips to brighten your day. (I've got about a dozen of my favorites that I'll be posting over the next couple of weeks.)
By the way, the strip detailing the as-of-yet unnamed Miss Lace's arrival at the Army Base is a reference to the fact that the strip initially starred Burma, a ditzy blonde from Caniff's "Terry and the Pirates" strip. However, Caniff had not received permission from the syndicate that owned the "Terry" strip, so he had to replace her with a different character to keep "Male Call" going.
As always, click on the individual cartoons for larger, more easily read versions.
Monday, September 5, 2011
'Horrors of Spider Island' is horrible
Horrors of Spider Island (aka "The Spider's Web", "It's Hot in Paradise", and "Girls of Spider Island") (1962)
Starring: Alex D'Arcy, Helga Franck, and a bunch of washed-up dancers and wanna-be porn actresses.
Director: Fritz Boettger
Rating: Two of Ten Stars
An impresario (D'Arcy) and his Girl Friday (Franck) are on their way to Singapore with a recently hired troupe of obnoxious, bitchy strippers and chorus girls when their plane crashes. They take refuge on a desolate south sea island, where the heat makes the girls strip down to bare essentials, where they are menaced by a goofy-looking spider puppet, and where their fearless leader (who's named Gary) is soon transformed into a hideous half-man, half-spider creature. And that's when things get REALLY boring.
I understand there's an "adults only" version of this film that was released, That's not the version I saw. Maybe nudity makes it more interesting, although I sincerely doubt that. Aside from being boring and full of unsexy sexiness, this film features such slipshod use of stock footage that even Edward D. Wood, Jr would grab director Fritz Boettger by the lapels and scream, "What in God's name were you doing man?!" For example, the doomed plane that carries Gary and the babes to Spider Island starts as a two-engine jet, becomes a four-engine plane while in the air, and transforms into a completely different kind of plane (a bomber, I think) as it crashes.
The only horror you'll find in this film is the realization you will never get the 80 minutes you spend watching it back.
Starring: Alex D'Arcy, Helga Franck, and a bunch of washed-up dancers and wanna-be porn actresses.
Director: Fritz Boettger
Rating: Two of Ten Stars
An impresario (D'Arcy) and his Girl Friday (Franck) are on their way to Singapore with a recently hired troupe of obnoxious, bitchy strippers and chorus girls when their plane crashes. They take refuge on a desolate south sea island, where the heat makes the girls strip down to bare essentials, where they are menaced by a goofy-looking spider puppet, and where their fearless leader (who's named Gary) is soon transformed into a hideous half-man, half-spider creature. And that's when things get REALLY boring.
I understand there's an "adults only" version of this film that was released, That's not the version I saw. Maybe nudity makes it more interesting, although I sincerely doubt that. Aside from being boring and full of unsexy sexiness, this film features such slipshod use of stock footage that even Edward D. Wood, Jr would grab director Fritz Boettger by the lapels and scream, "What in God's name were you doing man?!" For example, the doomed plane that carries Gary and the babes to Spider Island starts as a two-engine jet, becomes a four-engine plane while in the air, and transforms into a completely different kind of plane (a bomber, I think) as it crashes.
The only horror you'll find in this film is the realization you will never get the 80 minutes you spend watching it back.
Saturday, September 3, 2011
It's Godzilla's betentacled cousin!
It Came From Beneath the Sea (1955)
Starring: Kenneth Tobey, Faith Domergue, Don Curtis, and Chuck Griffiths
Director: Robert Gordon
Rating: Six of Ten Stars
A giant octopus-like sea monster rises from the deepest canyons of the Pacific Ocean to attack experimental nuclear submarines and the San Francisco waterfront.
A bit slow-moving by modern standards, this is nonetheless a fine example of the "giant sea-monster runs amok due to the radiation from atomic bomb tests" that was kicked off by "The Beast from 20,000 Fathoms" and "Gorjira" (aka "Godzilla").
The main attraction of the film is, of course, the rampaging creation, which is "octopus-like" because it actually only has six arms. It's not bad as far as these movies go, particularly during the sequence where it's tearing down the Golden Gate Bridge. According to movie legend, the notoriously budget-conscious producer Sam Katzman only gave animator Ray Harryhausen enough time and money to build a six-armed creature. (I suspect there are many execs at present-day Warner Bros., Disney, Universal, and Sony Pictures [formerly Columbia] who would give their right arms for someone like Katzman or Mario Bava to come back from the dead and share their methods for making good looking movies on the cheap with the current crop of big spending producers and directors.)
As for the human cast, the acting and characters are typical for a 1955 sci-fi flick. The most interesting character in the film, especially considering its vintage, is Dr. Lesley Joyce, played by Faith Domergue. While early in the film she seems to be mooning over her male scientific colleague and rival early in the film, and ultimately shifts her affections to a submarine commander, unlike most women characters of this period finding a hubby and giving up her career in exchange for staying home and having kids and mixing his martinis at night. Domergue's character is strong-willed without being shrewish and career-oriented without being frigid--as her final lines of the film drive home when she puts off a romantic advance by Kenneth Tobey's naval officer by stating that they can continue when she's back from her long-time planned scientific expedition to the Nile river.
Although the budgetary constraints are occasionally evident--I really think Katzman and Gordon's vision for the Golden Gate bridge sequence mixing live action actors with animated monster mayhem outstripped the money and time at their disposal--this is still a film that's well worth the time of anyone who enjoys 1950s sci-fi flicks.
Starring: Kenneth Tobey, Faith Domergue, Don Curtis, and Chuck Griffiths
Director: Robert Gordon
Rating: Six of Ten Stars
A giant octopus-like sea monster rises from the deepest canyons of the Pacific Ocean to attack experimental nuclear submarines and the San Francisco waterfront.
A bit slow-moving by modern standards, this is nonetheless a fine example of the "giant sea-monster runs amok due to the radiation from atomic bomb tests" that was kicked off by "The Beast from 20,000 Fathoms" and "Gorjira" (aka "Godzilla").
The main attraction of the film is, of course, the rampaging creation, which is "octopus-like" because it actually only has six arms. It's not bad as far as these movies go, particularly during the sequence where it's tearing down the Golden Gate Bridge. According to movie legend, the notoriously budget-conscious producer Sam Katzman only gave animator Ray Harryhausen enough time and money to build a six-armed creature. (I suspect there are many execs at present-day Warner Bros., Disney, Universal, and Sony Pictures [formerly Columbia] who would give their right arms for someone like Katzman or Mario Bava to come back from the dead and share their methods for making good looking movies on the cheap with the current crop of big spending producers and directors.)
As for the human cast, the acting and characters are typical for a 1955 sci-fi flick. The most interesting character in the film, especially considering its vintage, is Dr. Lesley Joyce, played by Faith Domergue. While early in the film she seems to be mooning over her male scientific colleague and rival early in the film, and ultimately shifts her affections to a submarine commander, unlike most women characters of this period finding a hubby and giving up her career in exchange for staying home and having kids and mixing his martinis at night. Domergue's character is strong-willed without being shrewish and career-oriented without being frigid--as her final lines of the film drive home when she puts off a romantic advance by Kenneth Tobey's naval officer by stating that they can continue when she's back from her long-time planned scientific expedition to the Nile river.
Although the budgetary constraints are occasionally evident--I really think Katzman and Gordon's vision for the Golden Gate bridge sequence mixing live action actors with animated monster mayhem outstripped the money and time at their disposal--this is still a film that's well worth the time of anyone who enjoys 1950s sci-fi flicks.
Friday, September 2, 2011
Wednesday, August 31, 2011
Picture Perfect Wednesday:
You Know Your Ballet Stinks...
You Know Your Ballet Stinks...
Tuesday, August 30, 2011
'Never Take Sweets from a Stranger'
is an undervalued gem from Hammer Films
Never Take Sweets from a Stranger (aka "Never Take Candy from a Stranger") (1960)
Starring: Janina Faye, Patrick Allen, Gwen Watford, Allison Leggatt, Frances Green, Bill Nagy, and Patrick Aylmer
Director: Cyril Frankel
Rating: Eight of Ten Stars
After his daughter (Faye) is victimized by a pedophile, a school principal (Allen) finds himself faced with indifferent law enforcement and fearful citizens of the small town he lives in... because the man who abused his daughter is the patriarch of the rich family who unofficially runs the community.
If you're prone to write off Hammer Films as merely the creators of old horror movies and cheap thrillers, you need to see this movie. It's the one of the most realistic treatments of a child molestation case to ever be put on film, with its portrayal of people willing to allow a known pedophile prey on their children in order to preserve their jobs and reputations, and with its portrayal of the difficulty the justice system can face when attempting to address criminals like this--especially when they hire ruthless attorneys with morals not much different than their own.
Painfully and frighteningly realistic--and perhaps even depressingly so, as not much seems to have changed when it comes to the world turning a blind eye toward and making excuses for rich and powerful pedophiles--this is a film that builds steadily and relentlessly toward a shocking finale... which must have seemed even more-so to audiences in 1960 when this film was first released. Great performances from child actress Janina Faye and Patrick Aylmer go a long way to making this movie as great as it is--Faye is perfect as girl around which the story swirls, coming across as believable and realistic throughout; while Aylmer manages to portray menace and outright evil in his scenes without uttering a word. The talent of these two performers is what makes the climax of the film as harrowing as it is... especially once it becomes clear that the filmmakers are going to break one of the biggest film taboos of all and that a little child will be dead by the hands of a human monster before the end credits roll.
Although this is probably not one of Roman Polanski's favorite films--not only does it deal with the damage pedophiles can do to victims (even when they don't rape them, like he does) the pedophile here is ultimately brought to justice--it is worth seeing by anyone who can appreciate a well-made drama.
Starring: Janina Faye, Patrick Allen, Gwen Watford, Allison Leggatt, Frances Green, Bill Nagy, and Patrick Aylmer
Director: Cyril Frankel
Rating: Eight of Ten Stars
After his daughter (Faye) is victimized by a pedophile, a school principal (Allen) finds himself faced with indifferent law enforcement and fearful citizens of the small town he lives in... because the man who abused his daughter is the patriarch of the rich family who unofficially runs the community.
Painfully and frighteningly realistic--and perhaps even depressingly so, as not much seems to have changed when it comes to the world turning a blind eye toward and making excuses for rich and powerful pedophiles--this is a film that builds steadily and relentlessly toward a shocking finale... which must have seemed even more-so to audiences in 1960 when this film was first released. Great performances from child actress Janina Faye and Patrick Aylmer go a long way to making this movie as great as it is--Faye is perfect as girl around which the story swirls, coming across as believable and realistic throughout; while Aylmer manages to portray menace and outright evil in his scenes without uttering a word. The talent of these two performers is what makes the climax of the film as harrowing as it is... especially once it becomes clear that the filmmakers are going to break one of the biggest film taboos of all and that a little child will be dead by the hands of a human monster before the end credits roll.
Although this is probably not one of Roman Polanski's favorite films--not only does it deal with the damage pedophiles can do to victims (even when they don't rape them, like he does) the pedophile here is ultimately brought to justice--it is worth seeing by anyone who can appreciate a well-made drama.
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