'The Hoodlum' gets what he deserves

The Hoodlum (1951)
Starring: Lawrence Tierney, Edward Tierney, Marjorie Riordan, Allene Roberts, Lisa Golm and Stuard Randall
Director: Max Nosseck
Rating: Five of Ten Stars

After gaining an early parole from prison, career criminal Vincent Lubeck (Tierney) goes to work for his brother's gas station. But instead of reforming, he returns to his life of crime in ways even worse than before... starting with the rape of his brother's girlfriend and culminating in an armored car heist.


"The Hoodlum" is a fairly decent "crime doesn't pay" movie where the utterly contemptable main character gets exactly what's coming to him by the end. It also features a nicely staged heist bit with a tense get-away sequence.

Unfortunately, the fimmakers blow the ending by slathering on an excessive amount of melodrama and by offering up a deus ex machina development to keep the Good Brother from making a life-altering choice. By shying away from the ending they were on track for, the writers passed up a perfect opportunity to make up for the gooey melodrama and to lift this movie to a higher level than run-of-the-mill.

Abbott and Costello do the Dark Continent

Africa Screams (1949)
Starring: Bud Abbott, Lou Costello, Hillary Brooke, and Shemp Howard
Director: Charles Barton
Rating: Six of Ten Stars

After dimwitted but kindhearted bookseller Stanley Livingston (Costello) is mistaken by a scheming con-woman Diane Emerson (Brook) as an Africa expert, he is brought on an African safari that supposedly is hunting for a rare giant ape, but in actuality is searching for a secret tribe of cannibals deep within the African jungle who are rich in diamonds. With Stanley's greedy co-worker Buzz (Abbott) along for the ride, much confusion, double-crossing, and slapstick routines with lions, crocodiles, and giant apes (well, a guy in a monkey suit pretending to be a giant ape) ensue.

"Africa Screams" is a funny, fairly average Abbott & Costello vehicle. Abbotts routines with Shemp Howard (of Three Stooges fame, appearing here as perhaps the most effeminate manservant ever put on screen) are highlights of the film. It remains a solid effort up to the very end, where it erupts into a wild chase scene--with cannibals, crooks, and various kinds of apes and monkeys all chasing Stanley and each other around the set while Buzz tries to make his getaway with a bag of large diamonds--that comes to a sudden halt and leaves a number of plot-threads dangling. Now, I don't expect nice little story packages from an Abbott & Costello film, but the fate of a number of characters is left unresolved, and I would have liked to see a little more in the way of wrap-up.

"Africa Screams" is recommended for Abbott & Costello fans, so long as you go in knowing it's not their best effort. However, if you're one of those oversensitive types who take offense at racism whenever possible, you might want to leave this one alone. (I already mentioned the cannibals, so I think you can guess why I'm warning you.)

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'The Devil's Hand' isn't worth holding

The Devil's Hand
(aka "The Devil's Doll" and "The Naked Goddess") (1961)
Starring: Robert Alda, Linda Christian, Neil Hamilton and Ariadna Welter
Director: William Hole, Jr.
Rating: Three of Ten Stars

Good-guy Rick Turner (Alda) is lured into a Satanic cult by telepathic temptress Bianca (Christian). When he discovers the cult is responsible for his fiance's heart-trouble via a voodoo curse, Rick must choose between the cult and true love. But the voodoo-doll making cult leader, Frank (Hamilton), has ways he believes will keep Rick with the devil worshippers.


"The Devil's Hand" has some interesting aspects, and some potentially interesting plot developments (the journalist who has infiltrated the cult, the cult's ability to infitrate hospital staff, the true sorcery involved--even if Frank uses stage magician tricks to have the demon god "pass judgement" during ceremonies), but none of these are really explored.

For the most part, this is a woodenly acted melodrama where the charcters are motivated to take actions for no reason other than the script says they must... except for the black cultists; the one beating the voodoo drum and the one who simply HAS to dance whenever the beat is on. Clearly, they're motivated by natural rythm. (And even taking into account this film dates from 1961, the racist stereotype was grating here, particularly since the cult is established to be worldwide, what with Bianca encountering it in Tibet).

I say just let your fingers walk right by "The Devil's Hand".

Lovers of westerns need this book!

Showcase Presents: Jonah Hex (DC Comics, 2005)
Writers: Joe Albano and Michael Fleisher ("Billy the Kid" and "Jonah Hex" stories); Robert Kanigher ("Outlaw" stories)
Artists: Tony DeZuniga, George Moliterni, Jose Luis Garcia Lopez, Gil Kane, et.al.
Rating: Ten of Ten Stars

"Showcase Presents: Jonah Hex" is a massive, 500-page collection of some of the finest western comics ever published. Dating from the early 1970s, a time during which DC Comics was being wildly experimental with what they were presenting in their non-superhero titles, the bulk of this book consists of the earliest appearances of the title character, the hideously scarred Civil War veteran-turned-coldblooded bounty hunter whom many believed was more demon than man.


Appearing in western anthology title "All-Star Western" (which was eventually renamed "Weird Western Tales"), the Jonah Hex series took its cues partly from the Spaghetti Westerns of the late Sixties, although the level of violence that scripters Joe Albano and Michael Fleisher presented in these stories made even the bloodiest shootouts in Sergio Leone movies seem like just another day at the kiddy pool. Likewise, the villains that Jonah Hex stalked (and was often himself stalked by) were probably among some of the worst psychos to appear in comics until everyone decided that grim and gritty was hip in the late 80s (10-15 years after Jonah started blowing away bad guys in the windswept American West). Even more interesting to me is the fact that the Hex stories manage to be both grittier and more mature that much of what was printed when such things were in vogue. And Albano, Fleisher, the artists, and editor Joe Orlando did it all while working within the strictures of the Comics Code.

The Jonah Hex character is a fascinating one. His sense of justice, devotion to setting wrongs right, unwavering code of personal honor, and Southern gentlemanliness stands in stark contrast to his appearance, to the way virtually everyone sees him, and almost everyone he comes across, be they good, evil, or merely hapless bystanders. A recurring scene in the stories is the illustration of Hex's table-manners... you'll note that he always uses a knife and fork, and that the napkin is in his lap while dining. There are also several times where his personal honor and unstated quest to put the world a-right gets him into trouble--like when he mistakes others as kindred souls.


Early Jonah Hex appearances aren't the only stories contained in the book. Two other quirky western series are presented in their entirety within this volume's pages, both appearing in the pages of "All-Star Western" before the debut of Jonah Hex.

First, there is "Outlaw", a series by comics master Robert Kanigher. It wasn't his strongest creation--and the wrap-up seems sudden and contrived--but it featured gorgeous art by Gil Kane and Jim Aparo, so it's well-worth a look. Second, there is the quirky "Billy the Kid" series by Joe Albano and Tony DeZuniga. It's not the Billy the Kid you expect, and I think this particular gunslinger probably had the worst kept secret in the Wild West. (Come to think of it... a team-up between Jonah Hex and Billy the Kid would have made for an interesting story. Maybe they'll do it in the new series, and maybe that'll make it actually worth reading.)

A second volume of Jonah Hex stories was slated a couple of years ago, but then pulled from the schedule. That's disappointing. I hope the promise of a Jonah Hex movie will result in more massive collections of Hex reprints. Seeing "Scalphunter" collected in the same fashion would also be welcomed by me.

Picture Perfect Wednesday:Pat Clark, American Native

Authentically politically incorrect.

Tarzan's recycled TV adventures marred by lazy editng

Tarzan and the Trappers (1958)
Starring: Gordon Scott, Rickie Sorenson, Lesley Bradley, Maurice Marsac, Sol Gorse, William Keene and Eve Brent
Directors: Charles F. Haas and Sandy Howard
Rating: Four of Ten Stars

Tarzan (Scott) stops a brutal trapper (Bradley) who has been raiding his jungle, and later finds himself the subject of a hunt staged by the trapper's vengeful brother (Gorse).

"Tarzan and Trappers" consists of two (or perhaps even parts of three) episodes of an unsold TV series, which explains not only a bizarre grouping of story threads--the first half of the movie sees Tarzan fighting one group of villains while the second half of the movie introduces a whole new set of bad guys who come in as result of his actions on the first half--but also a weird sense of chronology where on one hand it's seems clear that the main events of the movie are separated by days or weeks (and that the second half even takes place over at least two days), yet the film's denouement implies that the trappers Tarzan fought in the first half of the film were captured and convicted in the morning, the revenge plot is hatched and executed in the afternoon, and Tarzan is home for the special dinner promised to him by Jane at the film's beginning.

This chronological confusion comes about due to the slipshod way the episodes were edited together. The denouement from the first episode (the first half of the movie) was moved to the very end--the first part of the movie COULD have been a very busy, very long day--even though it really doesn't connect at all with the events of the second film. The package would have been far better served if they producers had excised all references to the dinner Jane was making, or if they had left the two episodes intact, with the first denouement where it belonged.

As far as the acting goes, everyone does a decent job in this film. Gordon Scott makes a fine Johnny Weismuller copy, although while Eva Brent certainly is pretty in her small role as Jane, she doesn't have Maureen O'Sullivan's screen presence.

Check out 'The Invisible Woman' (if you can see her)

The Invisible Woman (1940)
Starring: Virginia Bruce, John Barrymore, John Howard, Charles Ruggles, Charles Lane, Donald McBride, Oskar Homolka and Shemp Howard
Director: A. Edward Sutherland
Rating: Seven of Ten Stars

A runway model (Bruce) volunteers to test an invisibility machine so she can get back at her abusive boss. Things get complicated when gangsters decide they want the machine for their own purposes.


"The Invisible Woman" was touted as a sequel to Universal's 1933 sci-fi thriller "The Invisible Man"--the first sequel, in fact. However, it has nothing in common with that movie... other than the word "invisible" in the title.

This film is a light comedy with some screwball elements and slight romantic touches. Everything is played for laughs and the film is perhaps even funnier now because of some of the outdated social attitudes on display in the film. (At the time, the solution to dealing with the problem of having to pick up a passed out naked woman was the source of humor, but today it's the fact that both John Barrymore and John Howard's characters were too gentlemanly to touch her bare skin is the funny part.)

"The Invisible Woman" is a charming piece of fluff featuring a fast-paced script and a cast of fine comedic actors. It's the odd (wo)man out in Universal's "The Invisible Man Legacy Collection", but it still adds value to the set. (Click here to read reviews of all the movies included in "The Invisible Man Legacy Collection" at The Universal Horror Archive.)