A Study in Classic Horror- REVENGE OF THE CREATURE (1955)

In some ways I’ve been dreading reviewing this one, because the only time I’ve seen it before Mike Nelson and his robot pals were heckling it on Mystery Science Theater 3000, and that may have clouded my perception of it. After a second viewing I’d say it’s not a bad film, but it’s certainly not a great one either. It’s kind of like the second Jurassic Park movie, which really didn’t work for me either. It’s about finding an excuse to get your monster to civilization so it can wreak havoc on a grander scale, but when you really get right down to it, it’s just more of the same.

The man versus nature theme worked so much better in Creature From the Black Lagoon. In that one, you could make the argument that the Gill Man is a sort of protector of his little part of the world that has remained untouched by humanity, even if he does have an inexplicable interest in human females. In this sequel he simply becomes a savage beast in captivity that turns on his captors. One tiny line about his DNA being closer to man than fish is about all the film does to further his saga, it may offer an explanation for his pursuit of the film’s blonde bombshell, and it might even set up events for the third movie, but apart from that it quickly becomes a rather generic monster movie.

Another sad fact about this sequel was the filmmaker’s need to tweak what was already a great costume. In my Black Lagoon review I talked about the near believability of the costume design, but here the eyes look a bit more rubbery and bubbles from the back of the Gill Man’s head betray the suit’s breathing apparatus.

But my biggest problem with Revenge is John Agar. I just find him so unappealing. In other entries I’ve talked about the forced romances in the old horror and sci-fi films, and I think this one has the most forced of all. Lori Nelson even seems to play the earliest scenes of romance as if Agar’s advances are unwelcome, yet they’re still engaged before the film’s last act. Their paring could not have been any less believable had Agar said, “We seem to be the two leads in this picture, we may as well be a couple.”

I’ve got one more film to go in the Gill Man’s saga, but based on this one, it’s hard to place high hopes on it, especially since I’ve already seen pictures of what becomes of his look in that one. Hopefully, I’m wrong and the script will make up for it.

This week’s supporting features:

Tom and Jerry in Puss Gets the Boot (1940)

The Our Gang short Free Eats (1932) featuring the debut of George “Spanky” McFarland

Next Time:

The Hunchback of Notre Dame (1923) starring Lon Chaney, Patsy Ruth Miller, and Norman Kerry

We Are ALL Geeks!

For those of you who don't know I work in the exit shop of a theme park ride that sells those photos they take of you at key moments of the ride. A couple of weeks ago, I had a customer buying a photo who informed me that she was only buying it because of her shirt. I glanced down and saw that you could clearly see "Carolina" across the front of the shirt. My own thought was "you have the shirt, why especially do you need this picture of the shirt?, but hey, if you're happy..." We finished the transaction, I handed her her photo, and as she turned to leave she said "Go Gamecocks!" and departed. Now I'm not a sports fan in the slightest, but I do know that the Gamecocks are a collegiate football team in South Carolina, still I thought this was an odd way to end a brief conversation with someone you've never met before. Obviously this is a person who invests a great deal of her enthusiasm into her sports team, but I wondered what her reaction would be to a group of fans at a sci-fi convention dressed as Klingons or Imperial Stormtroopers. Would she stare in baffled amazement? Would she sneer with superiority and label them "geeks"? I wonder does, she realize that she is also, in fact, a geek? I'm sure she doesn't label herself as such, she's a "sports fan", but what is a sports fan, but someone who geeks on sports? I actually get a glimpse at what it looks like when these two aspects of fandom intermingle almost every year at Dragon Con in Atlanta, Georgia when the convention and a big bowl game both fall on Labor Day weekend. It's an odd sight, but somehow they co-exist in the same space for a few hours. There is even a little overlap. The truth is we all geek on something. I can't say I have ever witnessed a guy in a Jedi robe say "May the Force be with you" to a waitress who's just taken his order, but I have seen comic fans engage in behavior that is just as awkward to witness in public, as that of the Gamecocks lady.
I was in another position once where I volunteered to work a table at a convention for a pair of local museums who each had science-fiction themed exhibits. Some of the museum personnel were new to the con experience and were behaving as if they'd been deposited in the middle of a leper colony. I found myself in the position of having to defend fandom in general, which I'll admit was challenging at times, particularly with the guy in the poorly constructed costume who carried a picture of the character he dressed as to hand out so you could see what he was really going for. I tried to point out that they weren't just "being weird", they were exhibiting their individuality, their creativity and their skills. Yet for all my efforts these two girls still left that day still feeling they were somehow superior to all of the "geeks" they had witnessed, despite the fact that one of them became really excited when she got a picture of the back of Billy Dee Williams' head, or that another was at extreme sport competitions with boyfriend every other weekend. (Celebrity geek. Extreme sports geek.)
I'm not trying to claim that we pop-culture geeks are necessarily better than any other kind of geek, although I could do without those situations at parties where other guys think the only way to initiate a conversation with other males is to mention the latest athletic competition. It just amazes me that the different groups are unable to recognize their similarities. I mean which is geekier? The shirtless beer-gutted guy painted head-to-toe in his team colors, or the guy in the Superman costume with a decidedly un-Supermanish physique? Tough call; let's put them in a room and let them debate. I'm sure it would be more entertaining than any of the current Republican debates.

In Memoriam - 2011

I'm never quite satisfied with any of the "in memoriam" lists, so I've decided to start my own. So these are the notable people we lost in 2011 whose time on this planet left some impression, big or small, on me. Of course, like all the other lists, it doesn't include everybody, so feel free to remark on anyone you'll miss in the comments.

Pete Postlethwaite, actor
February 7, 1946 - January 2, 2011







Anne Francis, actor
September 16, 1930 - January 2, 2011






Gerry Rafferty, singer-songwriter
April 16-1947 - January 4, 2011

Peter Yates, film director
July 24, 1929 - January 9, 2011

Susannah York, actor
January 9, 1939 - January 15, 2011

Charlie Callas, comedian / actor
December 20, 1924 - January 27, 2011

John Barry, film composer
November 3, 1933 - January 30, 2011

Bill Justice, animator
February 9, 1914 - February 10, 2011

Kenneth Mars, actor
April 4, 1935 - February 12, 2011






Dwayne McDuffie, comic book writer / animator
February 20, 1962 - February 21, 2011







Nicholas Courtney, actor
December 16, 1929 - February 22, 2011







Michael Gough, actor
November 23, 1916 - March 17, 2011





Elizabeth Taylor, actor
February 27, 1932 - March 23, 2011

Sidney Lumet, film director
June 25, 1924 - April 9, 2011

Arthur Marx, writer
July 21, 1921 - April 14, 2011

Elisabeth Sladen, actor
February 1, 1946 - April 19, 2011








Jackie Cooper, actor
September 15, 1922 - May 3, 2011









Arthur Laurents, stage and screen writer / stage director
July 14, 1917 - May 5, 2011

Dolores Fuller, actor / songwriter
March 10, 1923 - May 9, 2011

Jeff Conaway, actor
October 5, 1950 - May 27, 2011

Wally Boag, performer
September 13, 1920 - June 3, 2011

James Arness, actor
May 26, 1923 - June 3, 2011

Roy Skelton, actor
July 20, 1931 - June 8, 2011

Clarence Clemons, musician
January 11, 1942 - June 18, 2011

Fred Steiner, film and television composer
February 24, 1923 - June 23, 2011

Peter Falk, actor
September 16, 1927 - June 23, 2011







Gene Colan, comic book artist
September 1, 1926 - June 23, 2011

Würzel, musician
October 23, 1949 - July 9, 2011

Sherwood Schwartz, television producer
November 14, 1916 - July 12, 2011






Tom Aldredge, actor
February 28, 1928 - July 22, 2011







John Howard Davies, television producer
March 9, 1939 - August 22, 2011

Charles S. Dubin, television director
February 1, 1919 - September 5, 2011

Cliff Robertson, actor
September 9, 1923 - September 10, 2011

Tom Wilson, cartoonist
August 1, 1931 - September 16, 2011

Earl Kress, animation writer
August 22, 1951 - September 19, 2011

Charles Napier, actor
April 12, 1936 - October 5, 2011







Steve Jobs, businessman / inventor
February 24, 1955 - October 5, 2011

Leonard Stone, actor
November 3, 1923 - November 2, 2011

Sid Melton, actor
May 22, 1917- November 2, 2011

Bil Keane, cartoonist
October 5, 1922 - November 8, 2011

John Neville, actor
May 2, 1925 - November 19, 2011






Ken Russell, film director
July 3, 1927 - November 27, 2011









Alan Sues, actor
March 7, 1926 - December 1, 2011

Jerry Robinson, comic book artist
January 1, 1922 - December 7, 2011

Harry Morgan, actor
April 10, 1915 - December 7, 2011










Bert Schneider, film and television producer
May 5, 1933 - December 12, 2011

Joe Simon, comic book writer
October 11, 1913 - December 14, 2011







Eduardo Barreto, comic book artist
1954 - December 15, 2011

Nicol Williamson, actor
September 14, 1936 - December 16, 2011

A Study in Classic Horror- BLACK FRIDAY (1940)

Yes, I confess. I watched this on Black Friday. I couldn’t resist, but I think it’s a much better way to spend the day after Thanksgiving than braving the stores.

Yet again, this is a film that gets lumped in with the many horror films to star Boris Karloff and Bela Lugosi, but in this case it’s more of a crime thriller with some Jekyll-and-Hyde-type science-fiction elements. In fact, even though those giants of the horror genre get top billing, the standout performance is really that of Stanley Ridges.

Karloff plays Dr. Ernest Sovac, who, when his friend Professor George Kingsley (Ridges), receives a deadly brain injury in an accident, saves his life by transplanting part of the brain of gangster Red Cannon, another victim in the accident, into Kingsley’s skull. Sovac’s intentions are good initially, but when he learns that Red had a hidden fortune, greed sets in, and he begins tampering with Kingsley’s mind to bring the Cannon personality to the forefront, hoping he can learn the whereabouts of the missing loot.

Karloff turns in another good performance, as a much more subdued and benign mad scientist than we’ve been seeing. Lugosi’s role, I’m afraid, is little more than a glorified cameo, and here’s where things get a little odd behind the scenes. Apparently, Karloff was originally tapped to play Kingsley and Cannon, while Lugosi would have played Dr. Sovac. Rumor has it that Karloff didn’t feel he was up to the duality of the role, so he took on Sovac and Lugosi ended up in the much smaller part of Eric Marnay, the second in command of Cannon’s gang. In comes Ridges who plays the duality so completely I admit it took some time for me to realize the two very different personalities were not played by separate actors. Costume and make-up helped accent the difference, but a lot of the credit goes to Ridges’ vocal work and the way he carried himself physically. This could have ended up a entirely different film had the original casting remained intact. I have to wonder about if the rumor is true about Karloff’s decision. I’ve seen him play quite a diverse range of characters, yet similarly in Abbott and Costello Meet Dr. Jekyll and Mr. Hyde, Karloff plays only Jekyll while another actor plays Hyde. Ridges holds his own with Karloff quite well. Perhaps if he’d lived longer he would have achieved notoriety on par with that of his costars.

One other interesting thing that went on behind the scenes: in what was probably a publicity stunt, Bela Lugosi supposedly underwent hypnosis for a scene in which he appears to suffocate. This may have been a ploy to make up for the fact that his role was so small despite his billing. You can see how it was used to promote the film in the trailer from my last entry.

Overall, I enjoyed it, though the brain transplant plot device did severely challenged my suspension of disbelief, but as such pseudo-science is common in these movies, it was easy to forgive.

This week’s supporting features:

Goofy in Tennis Racquet (1944)

The Our Gang short Readin’ and Writin’ (1932)

I’m taking a break for the holidays. I should be back on track by mid-January, returning with:

Revenge of the Creature (1955) starring John Agar, Lori Nelson, Ricou Browning, and Tom Hennesy

A Study in Classic Horror- THE BLACK CASTLE (1952)

This is the third film I’ve watched from The Boris Karloff Collection box set that doesn’t really qualify as horror, not that I’m complaining, just a little memo to the people over at Universal’s home video department who promised it would contain Karloff’s “most frightening roles”. The Black Castle is more of an adventure film, belonging more with the likes of The Three Musketeers and The Man in the Iron Mask than Frankenstein and Dracula. I think, though, the producers wanted to convince audiences they were coming to a horror film. Apart from casting two horror icons and opening music that seems to suggest that spooky things are on the way, there’s a number of horror clichés scattered throughout. There’s an alligator pit, the threat of being buried alive, and even an opening graveyard scene serenaded by a howling wolf.

But once the opening framing sequence in the cemetery ends, the adventure plot quickly unfolds. Sir Ronald Burton (Richard Greene) disguised as Richard Beckett investigates the disappearance of two friends, last seen in the castle of the sinister Count von Bruno (Stephen McNally). Matters become complicated when Burton falls in love with the Count’s wife (Rita Corday) and has to add a rescue from a loveless marriage to his mission. It’s a simple plot, and probably not the most original, but it’s well executed and has a pretty solid cast that also includes character actor Henry Corden who would go on to be the second actor to voice Fred Flintstone.

I am somewhat puzzled as to how Boris Karloff and Lon Chaney Jr. were reduced to supporting roles at this stage in their careers, but they are good performances. Karloff plays the Count’s good-hearted personal physician. It’s always nice to see Karloff as one the good guys, and the role has some dimensions, as his sense of self-preservation is greater than his sense of justice. Chaney’s role is downright mystifying. He’s convincing as a hulking mute servant, but it’s a role that could have been played by almost any beefy actor, it’s as if he’s only there to add one more name actor to the cast.

So, not horror, but still an enjoyable ride. Two more movies to go in the box set, I’m not sure what they’ll turn out to be, but I look forward to finding out.

This week’s supporting features:

Bugs Bunny in Buckaroo Bugs (1944)

The Our Gang short Dogs Is Dogs (1931)

Next week:

Black Friday (1940) starring Boris Karloff, Stanley Ridges, Bela Lugosi, and Anne Nagel

A Study in Classic Horror- THE MUMMY’S HAND (1940)

Is this Hollywood’s first attempt at rebooting a franchise? I’m sure many who haven’t seen The Mummy’s Hand and the three Mummy films that followed it assume they are sequels to the 1932 Boris Karloff vehicle, when it is, in fact, its own series. Yet, it’s clearly conceived to build on people’s memories of the first film. The origin of Kharis, the mummy of the latter films is virtually identical to that of Karloff’s Imhotep, so much so that his origin flashback is presented with the same footage from the earlier film.

The Mummy’s Hand is enjoyable enough, even if it is a bit uneven. (Which so far seems to be a consistent characteristic of the Mummy films.) It can’t seem to make up its mind on whether it wants to be a horror, comedy, or adventure film, but at least it has a capable cast of character actors. Dick Foran and Peggy Moran establish the chemistry they will carry over into Horror Island the following year, while Wallace Ford and Cecil Kellaway make for entertaining comic foils. George Zucco is a formidable villain, and Tom Tyler is creepy enough as Kharis the mummy, even if I question the decision to black out his eyes. I’ve seen photographs of him in full mummy make-up and his own gaze is formidable enough without special effects.

The plot is rather simple, and probably launches the cliché we’ve come to associate with mummy movies: Desecrating an ancient Egyptian tomb leads to becoming the victim of that tomb’s mummified guardian. Though I never realized that a catalyst in the form of a fanatical religious cult was needed in order to restore life to the guardian, for the mummy cannot walk unless disciples of the cult give him a dose of serum derived from tanna leaves. It seems to me the cult’s value of ancient tombs over human life requires a high level of devotion, but I suppose such fanaticism can be found in modern religions to this very day.

The Mummy’s Hand reliance on comic relief can be rather jarring at times. I found it particularly odd for Ford and Kellaway to be amusing themselves with card tricks mere moments after the death of a colleague, but sometimes that’s just the way of Hollywood. It’s going to be a while before I get to Abbott and Costello Meet the Mummy, but I’ll be certain to draw on memories of this film when I write my entry for it, because I could easily see the script for Hand working as a piece for Bud and Lou with only the slightest of tweaking.

This week’s supporting features:

The Silly Symphony The Skeleton Dance (1929)

The Our Gang short Shiver My Timbers (1931)

In two weeks:

The Black Castle (1952) starring Boris Karloff, Lon Chaney Jr., Richard Greene, Stephen McNally and Rita Corday

A Study in Classic Horror- DRÁCULA (1931)

I’m afraid I didn’t like it. Sorry to start this entry off so bluntly, but I know I’m going to take some flack for my opinion, so I thought it best to get it out in the open early. I know a great many people hold Universal’s Spanish language version of Dracula, shot on the same sets with a translation of the same script, in high regard, some even find it superior to the Lugosi version. It just turns out I’m not among them. I made an effort; I really went in wanting to like it, but it just wasn’t to be. Have my love of Lugosi and the higher profile of the other version become so elevated in my psyche that this one couldn’t possibly eclipse it? Perhaps, to a degree. After all, when we hear a new version of a popular song we tend to favor the original version that we fell in love with, but I think it was more than that.

Let me start by going over what I did like about the film. There were some good performances. Pablo Álvarez Rubio certainly made a good Renfield, although he took the character in a much more extravagant direction than Dwight Frye. Lupita Tovar made for an enjoyable Eva (this film’s version of Mina). And Carlos Villarías makes an adequate Count, even if I did think he looked like the son of Bela Lugosi and Christopher Lee with a dash of Nicholas Cage thrown in, still I found him lacking in the Lugosi charm. But casting-wise I felt most of the good performances were made by the tourists and villagers at the beginning of the film, and I particularly liked the wide-eyed frightened helmsman, who becomes the last victim on the cargo ship.

Production-wise, I appreciated some of the script elements retained in this version that were cut from the Lugosi version. It was nice to see exactly how the housekeeper escaped a possible attack from Renfield, and I was glad to see closure brought to the Woman in White subplot, even if it did come at an awkward time dramatically.

I did find it strange that there is footage of the brides of Dracula used from the English version that doesn’t match at all the brides we see a few minutes later, but I can forgive that. We’ll just say the Count has six brides in this version.

No, my biggest problem with Drácula was the pacing. This version is thirty minutes longer than the English version, and it feels like it. One might argue that it’s due to the aforementioned script elements that they kept, but no, it’s mostly due to the director’s slow pans and his need to show every single step as someone crosses a room. This is the same way the Ed Woods of the world pad out a film. Couple that with Eduardo Arozamena’s very stilted way of delivering his lines, and this makes for one very slow moving film. There were also some strange choices made when it came to the composition of some shots, particularly one where several of the actors are obscured by a sofa. On the whole, I found it very hard to remain engaged.

So, let the dissension begin. I was looking for discussion and debate when I decided to take this project to the Internet, so I’m looking forward to hearing what others have to say. I may not have liked it, but I look forward to hearing why others do.

To end on a high note though, there’s a nice anecdote connected with the film in Michael Mallory’s book that I can’t resist repeating here: Apparently, Lupita Tovar got the role of Eva because Universal executive Paul Kohner had fallen madly in love with her and she was to return to Mexico. Creating projects for young Spanish-speaking actors was apparently his ploy to keep her in Hollywood. Apparently, it worked. They were married in 1932 and remained so until his death in 1988. Incidentally, she’s still with us today at age 101, and the DVD I watched, features an interview with her from five years ago, still looking rather lively for a lady in her upper 90s.

This week’s supporting features:

Porky Pig in Paying the Piper (1949)

The Our Gang short Big Ears (1931)

Next week’s film:

The Mummy’s Hand (1940) starring Dick Foran, Peggy Moran, Wallace Ford, and Tom Tyler