Murder in the Museum (1934)
Starring: John Harron, Henry B. Walthall, Phyllis Barrington, Donald Kerr, Steve Clemente and Joseph W. Girad
Director: Melville Shyer
Rating: Six of Ten Stars
When a city councilman is murdered while on a fact-finding mission to a local "museum of oddities", the police commisioner (Girard) emerges as the most likely suspect. However, crimebeat reporter Jerry Ross (Herron) sets out to prove his innocence in order to impress tthe commisioners niece (Barrington), a beautiful young lady he's taken an interest in.
"Murder at the Museum" is a nicely executed who-dunnit with an unusual and unpredictable setting of a Skid Row freak show. Everyone in the establishment has a dark history with secrets, but which of the them had enough darkness in their background to murder the holier-than-thou crusading councilman? And how was the crime committed?
In addition to its convincingly drawn seedy sideshow setting, the film is blessed with a fast-moving plot, well-crafted dialogue and a cast of talented actors. The characters are all engaging and interesting and the usual annoying traits of the stock character of the wise-cracking reporter who outsmarts the police are not quite as nerve-grating as they often are, both due to the writing and to the inherent charm of actor John Harron.
There is one odd bit in the film that made me curious about where Monogram Pictures might have received funding for the film. Smoking is a part of every day life, so characters smoking in a film do not cause me to throw hysterical fits the way it does some people, but there's a scene in the film that feels like it should be in a cigarette commercial. It is so strange and so out of place that I can't help but wonder if it's there at the demands of an investor. (I can't really say more about the scene without giving away part of the movie, but if you see the film you'll know exactly what I'm referring to.)
As far as I've been able to determine, "Murder at the Museum" is only available on DVD from Alpha Video, and the print they used had some unfortunate damage to it... like the key couple of seconds missing where a masked killer is throttling the life out of Jerry Ross. It's not unusual for old films from long-gone studios to be in bad shape, but it's something I feel obligated to point out when it disrupts the flow of the story.
The Giant Gila Monster (1959) Starring: Don Sullivan, Fred Graham, Lisa Simone, Shug Fisher, Don Flournoy and Bob Thompson Director: Ray Kellogg Rating: Four of Ten Stars
A marauding lizard the size of a battleship starts wrecking trains and eating people in a small Texas town. Can the kindhearted but slightly inept sheriff (Graham) and the clean-cut, hardworking leader of the local gang of teenaged hot-rodders (Sullivan) stop the monster before it's too late? (Well, before it's too late for anyone NOT yet eaten by it.)
No one will mistake "The Giant Gila Monster" for even the "The Giant Claw", but as far as low budget 1950s monster flicks go, it's not that bad. In fact, I might even go so far as to say that it's gotten a bad rap to some extent.
The script and the film's pacing is tighter and the characters better developed than what you find in most films like this. The film gets straight to the point, and it moves through the story steadily until the climax, with no filler or pointless side trips. (Well, other than the three songs performed by our singing teenaged hero while strumming his ukulele. Those could have been shortened somewhat and the film would have been stronger for it.)
Actually, it's the more well-rounded characters that truly set this film apart for others similar to it. There's more to the film than a simple monster bash, as we actually have subplots and characters showing thoughts and emotions beyond what is necessary for a perfunctory monster bashing story. We have the obnoxious rich guy's concern for his missing son and the illustration of how he uses his power in a desperate attempt to locate and control him; we have the almost impossibly clean-cut teenaged hero's efforts to support his family and his polio-stricken sister while still maintaining his hot rod and being the cool kid with his friends AND trying to start a career as a singer; and we have the sheriff who struggles to balance law and order with a self-appointed role as shepherd of the small Texas town he serves.
There's also some very well done miniature sets used to create the illusion of a rampaging giant lizard, sets matched carefully to their real-world counterparts and filmed with great skill. The end result is actually better than what you find in many movies from this period and even up until recent years, prior to the advances in digital animation.
All the good parts of the film can't quite make up for its weaknesses, weaknesses born from the low budget and which are painfully obvious.
There is not a single scene where any character in the film is shown in a shot with the giant lizard--such trick photography or the cost of building a giant lizard tail, paw, or head was clearly beyond the means of director Kellog and his crew. And there is a train-wreck scene that begs to show panicked survivors scrambling away from the monster. Similarly, there are repeated references to nearby oil fields, but the monster never goes and trashes them, another sign of budget constraints, I assume. And these same budget problems lead to a very unimpressive demise for the creature, despite the fact it involves a car crash AND a fiery explosion.
All in all, not a terrible movie, but still one that doesn't quite live up to what it could have been.
Guest in the House (aka "Satan in Skirts") (1944)
Starring: Anne Baxter and Ralph Bellamy
Director: John Brahm
Rating: Six of Ten Stars
Douglas (Bellamy) invites the ill fiance (Baxter) of his brother to spend the summer with him and his family at their house on the New England coast, so the fresh air and relaxation can speed her recovery. The twisted, mentally unstable woman is soon secretly manipulating everyone in the household, turning them against one another, all so she may possess the house and Douglas for herself.
"Guest in the House" is a slow-burn melodrama where the viewers watch one evil, mentally deranged woman gradually destroy the love between members of a happy home (where even the servants and employees are treated as though they are part of the family). Although some of her manipulations are so clumsy and should have been easy for the other characters to see through (and thus the believability of the story is strained a bit), it is engrossing to watch Baxter's character gradually poison the mood in the house and increasingly isolate Douglas from everyone else by sowing doubts and suspicion.
I did find myself wondering, however, if Anne Baxter had more than one facial expression and vocal intonation in her bag of acting tools. It seemed like she wore same expression for most of the film (except for the occasional smile) and it wasn't until the final scenes that she seemed to be doing anything but running lines.
Anne Baxter aside (and it's a big thing to set aside, as she's the film's co-star), the rest of the cast performed nicely. Bellamy seemed slightly miscast, but he played the part as the kindhearted, somewhat oblivious artist, husband, and father. The staging and lighting of the scenes was also nicely done. In fact, it's only the entirely too slow of the movie's first hour that lands the film at the low end of average as far as my rating goes.
This drawing originally appeared as a splash page for Japanese writer/artist's classic police comedy comic book "You're Under Arrest!"
"You're Under Arrest!" remains my favorite Kosuke Fujishima creation. Sadly, a complete English translation of the series was never published, and I doubt we'll ever see one. If we do, it will be a sloppily done one, since they've long since stopped doing proper translations of Japanese comics. (And a "proper" translation involves mirroring and rearranging the art... English is NOT read from right to left and comic book fans are letting themselves be ripped off by accepting the shoddy and lazy efforts being put forth by publishers. Can't blame the publishers, though... if readers are willing to pay for crap, then that's what they deliver.)
You can read all about the main characters of "You're Under Arrest!" by clicking here. The link goes to a section of my website where I posted an adaptation of the comic book to the "Big Eyes, Small Mouth" roleplaying game system.
Japanese writer/artist Rumiko Takahashi has been referred as the 'Queen of Romantic Comedy.' This is a title that works such as "Ranma 1/2" and "Maison Ikkoku" proves that she richly deserves.
I've referred to Takahashi in articles as one of the greatest living comic book creators in the world. In this post, I review two volumes of short stories where she shows her range as a story-teller, especially when it comes to telling stories that aren't usually presented in the sequential art medium.
Rumic Theatre (American Edition published by Viz Media) By Rumiko Takahashi Rating: Ten of Ten Stars
Rumic Theatre is a collection of six of the finest Rumiko Takahashi stories that I've read so far. As always, the characters are likable and engaging, the tender moments touching, and the comedy top-notch. All of the elements that her fans love are displayed here, but we also find that she is capable of creating far more sedate stories than usually flow from her pen.
All the tales in Rumic Theatre are more down-to-earth than Takahashi's usual output, dealing primarily with the trails and tribulations of everyday people--all of whom are characterized in a believable and three-dimensional fashion--but that typical Takahashi magic is still very clearly evident on every page. What's more, the art in this collection is among the best she's produced.
My personal favorites in this collection are 'The Tragedy of P,' (which revolves around a pet penguin in an apartment building where animals are absolutely not allowed), 'Hidden in the Pottery (where reality, perception, and the dangers of gossip are examined), and 'Extra-large Happiness' (where a young wife sees her future happiness endangered by a gremlin that only she can see). The remaining stories are also of high quality, but the characters and situations in the three mentioned above are the ones that moved me the most.
Even those who don't typically appreciate the 'standard' style of Japanese comics should consider buying this book. If you appreciate the art of comic books for more than just slam-bang superheroics, you won't be dissapointed.
One or Double (American Edition published by Viz Media) Story and Art: Rumiko Takahashi Rating: Eight of Ten Stars
One or Double is a collection of short tales that don't fit into any of Rumiko Takahashi's ongoing series. Unlike the first volume, which contained mostly recent stories, this one seems to cover a range of years, judging from the art styles. They're not all winners, but over all this book is yet more solid evidence that Takahashi is a master of the graphic story telling medium. Whether you're a fan of "manga" or not, there's no denying that she's a skilled artist and writer who deserves the accolades and success she has enjoyed.
Most of the standout stories in the book are, sports-themed. 'Excuse Me for Being a Dog!,' (a young boxer turns into a dog whenever he gets a bloody nose) 'Winged Victory,' (the tale of a rugby team that's lost 999 games in a row and the ghost who watches over it), 'The Grandfather of All Baseball Games' (a young man plays hardball with his obnoxious grandfather), and the title story (in which a kendo instructor is put in the body of the club's pretty manager) all use sports either as the backdrop or motivation for the story and its characters. The characters in these stories are Takahashi at her most charming.
'The Diet Goddess' (about a girl who buys a dress with the intention of losing enough weight to look good in it) and 'Happy Talk' (about an adoptee who embarks on a search for her biological mother) are two slice-of-life stories ala the majority of the shorts from the first 'Rumic Theater' volume, and the 'Maison Ikkoku' series. Again, Takahashi presents us with charming characters the reader can't help but care about, in stories both funny and touching.
Dissapointments in the book include 'To Grandmother's House We Go' (about a pair of hardluck cases who try to collect the large birthright of a deceased friend for themselves) and 'Reserved Seat' (a curious tale about a rock singer who is haunted by his grandmother and Tarakazuka). The first story is simply too short and it feels rushed on every level--the ending feels particularly unsatifactory--while the second is the only Takahashi story I've read where I felt no sympathy or good will toward any of the characters present in it.
Finally, there's 'Shake Your Bhudda,' a tale that is to very early Takahashi. It's clear she was still mastering her craft when it was created, and there's very little to recommend this tale. In fact, I feel the book might have been better served if it had been left out all together.
In the Event of a Zombie Attack (2008) Starring: Claire Cassidy, Telisa Steen, Dennis Hoffer, and Nicholas Stender Director: W.L. Wittstruck Rating: Six of Ten Stars
"In the Event of a Zombie Attack" is a cute short film made up of vignettes designed to look like old education films designed to inform the audience about how to survive should they find themselves in the middle of a "Night of the Living Dead"-type situation.
The first of these shorts features a stereotypical, droning 1950s educational film scientist (portrayed by Claire Cassidy) explaining why flesh-eating zombies exist, how they multiply, and how to avoid being attacked by them. The second has a survialist (portrayed with great zeal by Telisa Steen) explaining the ins and outs and proper etiquette of surviving as society crumbles under the onslaught of zombies. In both of these shorts, a pair of campers appear as object lessons to illustrate the points being made, along with a couple of animated segments drawn by the creator of the concept behind the film, Jeff Freels. All the elements add up to a very funny spoof of educational films and zombie movies alike.
Interspersed during and between the educational segments are advertisements for products from a certain well-diversified large company that may or may not also be the ones responsible for whatever toxic waste it is that is causing zombies to rise. Just because they're an evil megacorp that crossmarkets their cigarette brand during an ad their Zombie Chunks kid's cereal doesn't mean their sponsorship of the "In the Event of a Zombie Attack" educational films means anything other than their being responsible members of the community! (The ads for the various Ziggurat Chemicals products are almost funnier than the main features themselves.)
All the various bits that make up "In the Event of a Zombie Attack" add up to a unique and amusing viewing experience. Plus, the film conveys some very important information. (My favorite zombie survival tip? "Decent, Respectable Grooming Habits May Just Save Your Life!")
For more information about this film and tips on how YOU can survive a zombie attack, visit the website by clicking here.
The Glass Tomb (1955)
Starring: John Ireland, Eric Pohlman, Geoffrey Keen, Sidney Taffler, Lian Redmond, Honor Blackman and Sid James
Director: Montgomery Tulley
Rating: Four of Ten Stars
A sideshow promoter (Ireland) comes under suspicion of being a killer-for-hire when the lover of a backer of his latest show is murdered. He is eventually cleared... but only because other murders occurr.
"The Glass Tomb" is a movie that feels like its script was the product of the writer combining material cut from other projects and then spending an afternoon or two doing some half-assed rewrites in an attempt to make a coherent whole.
It swings back and forth between being a thriller and a murder mystery. Is it a thriller about an innocent man caught in a love triangle he's not even aware of? Is it a thriller/mystery about an innocent man being set up by his best friend to take the fall for a murder he's planned? Is it a murder mystery about why third-rate British carnies and dance hall performers are being whacked?
Although the murderer's identity is revealed to the audience about halfway through the movie, some of the scenes proceed as if the murderer's ID is still supposed to be a surprise to us. (And even if we HADN'T known the killer's ID, the characters should have figured it well before we did, because it's not that hard if anyone in the film had been immune from Stupid Character Syndrome.)
"The Glass Tomb" has the further problem that none of the characters are well-developed enough for the viewer to feel particularly attached to anyone, nor even fully understand what role they play in the story. This causes the film to completely fail as a thriller and to fizzle as even a Columbo-esque mystery. This underdevelopment of characters is perhaps the film's greatest flaw, particularly when it comes to the central character and his family. He seems very interested in keeping them separate from his showbusiness and circus life, yet we never fully understand why. A little more insight in this area in particular could have helped up the tension when his wife comes under threat.
There are actually plenty of good story ideas in "The Glass Tomb". If only the writer, producers and directors had picked one or two of them to focus on and left the rest for other projects, this might have been a decent film. As it is, it's a film that even the most ardent genre fan can ignore.
Ring of Terror (1963)
Starring: George E. Mather, Esther Furst, Norman Ollsted, Lomax Study and Austin Green
Director: Clark L. Paylow
Rating: 0 of Ten Stars
A dippy graveyard caretaker (Green) relates a deadly dull tale of a medical student (Mather) who experiences the ultimate terror... and offers the viewers the experience of ultimate boredom.
"Ring of Terror" is a film with NOTHING to recommend it. From its cast of "college students" (who are being played by actors in their late 30s or early 40s, yet who are talking and acting as though they are in the late teens or early 20s, and thus making the viewer feel deeply embarrassed on their behalf... the lover's lane make-out scene is particuarly painful) to the utter lack of talent shown by anyone in the film's cast or crew, there is simply nothing good here. It's as if a group of actors whose career pinnacle had been roles in those lame public health/educational films from the 50s wrote a script outline on a napkin from the strip-club they were working at, rented a camera, and ad-libbed an atrocity of movie-making.
I've seen better acting at the first rehearsals for high school plays, and I've written better stories on a moment's notice. Don't waste your time with this one.
If you want to check out this movie just to verify I'm not exaggerating, I suggest you get the DVD multipack I've linked to below. That way, you're not out much cash AND you've gotten yourself a couple of decent films at the same time.
Trivia: Director Clark Paylow was an associate producer on Steven Spielberg's hit sci-fi film "Close Encounters of the Third Kind."
Murder on the Campus (aka "On the Stoke of Nine") (1933)
Starring: Charles Starrett, Shirley Grey, Edward Van Sloan, Ruth Hall, and J. Farrell MacDonald
Director: Richard Thorpe
Rating: Six of Ten Stars
When a student is found shot to death high atop a locked bell tower at the center of a busy college campus, ace reporter Bill Bartlett (Starrett) is intrigued, but still thinks it's just another story. When his girl friend Lillian (Grey) emerges as the only suspect, however, he joins forces with criminologist and science professor Edwen Hawley (Van Sloan) to solve this perfect murder and find the real culprit.
After a shakey start (with some pretty lame acting by Starrett and Grey), "Murder on the Campus" comes together as a fine little murder mystery. It is particularly excellent, because it's one of those films that "plays fair" with the audience--if you're paying attention while watching, you can figure out Whodunnit as the hero does, perhaps even before.
Mostly decently acted and well-written, this film is a nice little gem that I recommend to fans of classic mysteries. The ending isn't quite what I would have expected--nor does it sit completely well with me--but it's in keeping with the rest of the film, so it's not all bad. (I guess this means that the film has a strong main body that starts and ends weakly. Still, it's worth checking out.)
Night Monster (aka "House of Mystery")
Starring: Don Porter, Irene Hervey, Ralph Morgan, Doris Lloyd, Fay Helm, Leif Erickson, Bela Lugosi, Robert Homans, Nils Asther Francis Pierlot, Frank Reicher, Lionel Atwill and Janet Shaw
Director: Ford Beebe
Rating: Seven of Ten Stars
A wealthy, embittered cripple (Morgan) invites the doctors he blames for his state (Atwill, Peirlot and Reicher) to his mansion in order to witness the miracle he hopes will cure him: A swami (Asther) has discovered a way to use mindpower to materialize matter from thin air, and he believes this method can be used to give him new limbs. Other house-guests include a mystery writer friend to the crippled man(Porter) and a psychologist (Hervey) visiting to help his troubled younger sister (Helm) with her mental problems. When a murderer that seems to materialize and dematerialize at will starts killing members of the household staff and guests, everyone one and anyone can be the next victim... or possibly even the killer.
"Night Monster" is a mystery film with horror overtones that is as crowded with plots as it is with characters. The writers and director do a better job keeping all the threads flowing than is the case in many films similar to this, making good use of all characters and managing to not tangle the plots too badly. The filmmakers even manage to throw in enough red herrings and plausible suspects that the true nature and identity of the killer isn't certain to viewers until the Big Reveal at the end of the movie. (The only suspect that never seems likely is the bulter played by Bela Lugosi, even if I'm sure the director was expecting viewers to automatically assume he was nefarious because it's Bela Lugosi.)
The film is also impressive for the dark mood that pervades it. While there are a couple of "comic relief characters" in the film, they are more subdued than is often the case if movies of this vintage, and their buffoonery is deployed to augment the darkness of the film rather than dispel or undermine it... like where they find the body of one of the victims. The expressions of cowardice are comical, but they enhance the grim mood of the film rather than lighten it.
Each of the murders (or close brushes with the killer) are also very expertly presented. As is to be expected, we never see any actual killings, or even dead bodies, but we don't need to because the scenes are so expertly staged. Even more powerful is when the mysterious killer prowls the marshes around the mansion--the otherwise ever-present sound of croaking frogs suddenly ceases. The silence is even more unnerving than the screams of the victim that soon follow.
This is not a perfect film, however, and the filmmakers don't quite manage to keep all the balls in the air for its full running time, as they stumble badly when it comes to the third act. As it comes to its fiery conclusion, the filmmakers start to lose track of the characters and subplots, with Bela Lugosi's character vanishing from the scene entirely and a bit of involvement of the deus ex machina that makes the attentive viewer wonder why a certain character could have let things get so far out of hand and/or didn't speak up sooner. However, these are problems that won't come to mind until after the film is over, and until they do, you will be in for a very enjoyable ride.
Reportedly, Alfred Hitchcock believed "Night Monster" was an important film as it was being made. If he was basing his opinion on footage as it was assembled into the final product, I can see why he might say that. It is a film made up of some very finely crafted parts, even if there ultimately seems to be a piece or two missing.
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