TALES THAT WITNESS MADNESS (1973) & FROM A WHISPER TO A SCREAM (1987)

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Freddie Francis’ Tales That Witness Madness, made for World Film Services in 1973, is clearly patterned after the Amicus horror anthologies. Of course, what better way to emulate the competition than to acquire the man who directed nearly half of the Amicus franchise, along with several of that studio’s top draw actors?

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The setup is simple and familiar enough: Donald Pleasance is the resident psychiatrist of an asylum, giving friend Jack Hawkins (in his final film) a tour of the grounds. Along the way, he tells the stories of four inmates.

In “Mr. Tiger,” Russell Lewis’ imaginary feline pet beast takes a sour view of his master’s verbally abusive parents. Just how imaginary the tiger is questioned after some clawing on the door and blood splattering on Oedipal walls.

A time traveling bicycle is at the malevolent heart of “Penny Farthing.” It stars Peter McEnery as an antique shop owner and Suzy Kendall as his wife. Soon, they discover the bike is literally antique and … we’re so sorry, Uncle Albert.

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“Mel” stretches credibility when Michael Jayston is more interested in an oddly shaped tree than he is in oversexed wife Joan Collins in something pink from Frederick’s of Hollywood. It’s the most remembered segment for a reason—it’s a camp hoot, with Collins channeling her inner jealous diva. The tree tries to upstage the human competition, which is not an easy task against Joan in a flimsy nightie, wielding an axe.

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Into the woods

A spot on review of Claus Guth’s staging of “Don Giovanni.”

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Claus Guth’s 2008 Salzburg production of Don Giovanni divided the critics along entirely predictable lines.  It’s a very unusual treatment of Don Giovanni but the concept is stuck to with real consistency and it works to create a compelling piece of music theatre.  The treatment on video too is not straightforward and, in a sense, the DVD/Blu-ray version is as much the work of Brian Large as it is of Claus Guth.

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1972 EXPLOITATION TRIPLE FEATURE: DRACULA A.D. 1972, VAMPIRE CIRCUS, AND THE THING WITH 2 HEADS

1972  is perhaps the most prolific year in the most prolific decade of horror and exploitation films. It’s also the year for what may be the quintessential midnight cult move: John Waters’ Pink Flamingos, now enshrined as one of the 366 weirdest movies of all time. Blood Freak, which is the first and only “Christian” movie to date about a turkey serial killer, is another Certified Weird 1972 exploitation picture. Competing with Freak fro sheer awfulness was Don Barton’s Zaat(AKA Blood Waters of Dr. Z), which went onto “MST3K” infamy.

In its Blu-ray presentation, Mario Bava’s maligned Baron Blood has proven better than its reputation, despite a miscast Joseph Cotten in the title role. Like most of Bava, it’s stylishly irresistible. The 1972 Amicus omnibuses Asylum and Tales From The Crypt both starred Peter Cushing, and were critical and box office successes. Ben, Dr. Phibes Rises Again, and Beware The Blob were all inferior sequels—which is saying a lot in the case of an original monster who was just moving silly putty. Jess Franco tackled the two big undead kahunas (with plenty of added sex) in The Erotic Experiences of Frankenstein and Daughter of Dracula. The Count rose yet again in Count Dracula’s Great Love, starring Paul Naschy. Future King of Cartoons (William Marshall) and director William Crain fused horror with blacksploitation for the first time in Blacula. It was a enough of a box office success to warrant  (superior) sequel in 1973. Unfathomably busy, Cushing and Christopher Lee teamed up for Freddie Francis’ underrated Creeping Flesh, Gene Martin’s cult favorite Horror Express, Peter Sasdy’s misfire Nothing but the Night, and the Hammer opus Dracula AD 1972 (directed by Alan Gibson).

Widely scorned, Dracula A.D. 1972 reunited Cushing’s Van Helsing with Lee’s bloodsucker in a modern setting, even though Dracula himself is confined to a Gothic church. It’s one of  Tim Burton’s favorite movies. The contemporaneous critical backlash was mostly justified. Lee, probably the best cinematic Count, is reduced to second vampire-in-waiting. But as an artifact of its time, Dracula A.D. 1972 is not entirely without virtue, enough to explain Burton’s affection.

It opens in the previous century with Dracula and Van Helsing locked in mortal combat aboard a stagecoach, which crashes, causing the vampire to be impaled on the spokes of the coach’s wheel. As Dracula attempts to free himself, a battered and bleeding Van Helsing interferes, driving the spokes in deep enough to snuff out the life of his nemesis before dying himself. Witnessing the scene is a Dracula disciple who, of course, leaves with the vampire’s relics (handy for later resurrection). Despite the preposterous   accidental impalement, it’s a red-blooded, Gothic prologue that is followed by 1972’s swinging hippies.

Initially sounding more like old fuddy-duddy Edward Van Sloan than Peter Cushing, Lorimer Van Helsing, grandson of Abraham, lectures his granddaughter Jessica (Hammer babe Stephanie Beacham) all about the wrong crowd and premarital sex. Pooh-poohing gramps, Jessica heads straight for the wrong crowd, which includes bad seed Johnny Alucard (Christopher Neame). His name, of course is a leftover gag from the 1943 Universal bomb Son of Dracula (starring a woefully miscast Lon Chaney, Jr.) Silly character name aside, Neame, once past the groovy scene (and pointless rock numbers) is creepily charismatic as the actual antagonist performing a Satanic ritual, during which he sacrifices Laura (Hammer babe #2 Caroline Munro) to resurrect the Prince Of Darkness. Throwing in a dash of pseudo-Satanism was no doubt influenced by the flood brought on by 1968’s Rosemary’s Baby and seems an odd fit. Regardless, the ceremony is stylishly fleshed out in a ruined abbey.

The film then takes a sharp turn when focusing on the modern ruffian Alucard, who now takes over lead cruising-vampire role to exact revenge on the Van Helsing bloodline, while Dracula hangs out in the church, a symbol with little to do. It’s an old dilemma when a major character has so much baggage attached to him (or her) that filmmakers are afraid to take risks and have to create a second, more elastic character to have fun with (e.g., “naughty” Donald Duck being created to contrast with the stiff Mickey Mouse). Scotland Yard calls in expert Van Helsing for help, after bodies start piling up (imagine that). Cushing’s energizer bunny finally kicks in for a duel to the death with a turtlenecked bloodsucker and a bathtub, although the second accidental dispatch might tempt one to dismiss the film as Gothic slapstick or, perhaps, a precursor to Fright Night (1985).

Confined to his safe Gothic setting, Lee’s Dracula disappointingly never actually sees 1972, but he does get to engage in a spirited showdown with Cushing’s Van Helsing fourteen years after their last go at it.

The mod dialogue and slang in the early party scene is unbearable, embarrassingly dating the film. Curiously, much criticism was also leveled against Michael Vicker’s horn score, which is so idiosyncratic that it aids the film. An attempt is made to offset the flaws with three stylish action sequences, an older but still-animated Cushing and Lee, newcomer Neame as a coffee-house vampire, and of course, dual Hammer sex symbols Beacham and Munro. It all adds up to the most bipolar of the Hammer Dracula series, at least until the same team returned for the even queerer 1973 followup The Satanic Rites of Dracula.

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PIERRE BOULEZ AND THE LUCERNE FESTIVAL ACADEMY: INHERITING THE FUTURE OF MUSIC

This two hour plus dvd of the 85 year old Boulez at the Lucerne Festival Academy is well filled. Documentary footage of master classes, rehearsals and spoken intros from Boulez are mixed with performance footage of Debussy’s cubist “Jeux,” Boulez’ own “Notations,” and “Repons,” (we desperately need a film of the full performance) Stravinsky’s “Rite,” Stockhausen’s ‘Gruppen,” and a student composition. This serves as an excellent primary introduction to Boulez the teacher and Boulez the communicator. He clearly and rightfully has the intense respect of his students, whom he (sometimes humorously) interacts with, giving lie to the silly myth that he is merely a stuffed-shirt academic. The students at Lucerne are, indeed, inheriting a lifetime’s worth of aesthetic dedication.

The filmmakers follow Boulez’ cue, structuring the film itself with commendable lucidity and professional visuals. It helps tremendously that the Lucerne summer festival provides beautiful location footage. Although Boulez remains an ambiguous personality, he is devoted to what he loves and, in his advanced years, he remains remarkably active in order to ensure the survival of contemporary music. Only the most jaded viewer will be unimpressed. Equally valuable is some of Boulez’ recollections on peers such as Bruno Maderna.

A delightful and valuable example of music on film that is not only an apt homage to an unquestionably great composer, conductor, and teacher, but also a homage to the younger musicians following the lead of the veteran avant-gardist. Boulez seems in no hurry to slow down and we can only hope that he will have many active years ahead of him.

*review from 2012.  Pierre Boulez died, at the age of 90, in January 2016. This was one of the final filmed documents of his work.

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1971 EXPLOITATION TRIPLE FEATURE: TOMBS OF THE BLIND DEAD, WEREWOLVES ON WHEELS, AND WILLARD

1971 began with one of the most stylish horror films ever produced:  The Abominable Dr. Phibes, a near-perfect collaboration between director Robert Feust and star Vincent Price. Al Adamson produced a “masterpiece” of a very different kind with Dracula vs. Frankenstein, featuring the most (unintentionally) frightening performance of poor Lon Chaney Jr’s career and the most hilariously inept portrayal ever of the Transylvanian vampire count (by “Zandor Vorkov”). Director Eddie Romero and “star” John Ashley teamed up for bothBeast of Blood and Beast of the Yellow Night, which may be as unimaginative as they sound, but would make a worthwhile, howling triple feature with Adamson’s opus.

 Jean Rollin was still gifting the world lesbian vampires with Caged Virgins (AKA Requiem For A Vampire) and The Shiver Of The Vampires. Following suit were Stephanie Rothman with The Velvet Vampire, Ray Austin’s The Virgin Witch (starring twins Anne and Vicki Michelle), and Jess Franco with the bluntly titled Vampyros Lesbos and She Killed In Ecstasy, both starring the tragically short-lived cult figure Soledad Miranda. Not to be outdone, Hammer Studios contributed to the thriving same-sex bloodsucker subgenera with Ingrid Pitt as a “Calgon Take Me Away” Countess Dracula (directed by Peter Sasdy), and with Lust for a Vampire (directed by Jimmy Sangster and starring Yutte Stensgaard). Neither of these were as explicit as they promised and probably should have been. Considerably better was another Hammer opus with identical siblings (Playboy playmates Mary and Madeleine Collinson): Twins of Evil, stylishly directed by John Hough and featuring a superb authoritarian performance by Peter Cushing.

However, it was Harry Kumel’s Belgian Daughters of Darkness, starring Delphine Seyrig and Danielle Ouimet, that made the biggest impact, becoming an international cult hit that is still referenced today. Of course, hetero bloodsuckers were not be left out and had their moment under the sequel moon in The Return of Count Yorga (directed by Bob Kelljan and starring Robert Quarry), which failed to repeat its predecessor’s success. Night of Dark Shadows by Dan Curtis improved on the previous years effort, despite an absent Jonathan Frid. Oddly, it was the Japanese who were perhaps most suited to Transylvanian folklore in 1971 with Lake of Dracula(directed by Michio Yamamoto).

 

Amando de Osario charted unexpected territory with his zombie monks in Tombs of the Blind Dead, the first of his Blind Dead series (he had previously made the unrelated vampire opus, Fangs Of The Living Dead, in 1968). Although short on actual plot, it’s arguably Osorio’s finest moment. Scenes of the blackened, dead Templars rising from their graves (resurrected by Satan) and mounting horses (juxtaposed to Anton Abril’s highly effective, eerily faint score) to ride into the slaughter (filmed in slow motion) are spine tingling.

These are zombies of a different sort who raise their swords to slash at victims, before draining their blood. Scenes of the Spanish Inquisition, failed crusades, misogynistic torture of women, and lesbianism are surprisingly low-key, and often poetically surreal. Although Osorio’s influences (including Mario Bava’s color palette) are in full evidence, his is a strongly original film, almost painterly. Decaying abbeys and a potential victim standing motionless to avoid the army of blind marauders evoke a sense of dread. Even a massacre on a train is artfully restrained.

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AMICUS ANTHOLOGIES (1965-1974), PART TWO

Tales from the Crypt (1972, directed by Freddie Francis and written by Milton Subotsky) is the first of two anthologies directly adapted from Amicus’ spiritual inspiration, EC Comics.

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A group of five explorers encounter a crypt keeper (no, not that one, but rather  Ralph Richardson as a hammy monk) in an underground cavern. Each are shown the fate that awaits them.

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“And All Through the House” taps into Francis’ best qualities, making for an excellent opening segment. While her daughter is sleeping fitfully upstairs waiting for Saint Nicholas to arrive on Christmas Eve, Joan Collins is smashing a poker over her husband’s skull so she can collect his insurance money.

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Meanwhile, an inmate has escaped from a nearby asylum, dressed as Santa Claus, and someone is going to open the door. Collins is, naturally, perfectly cast as a bitch from hell in the guise of a sex bomb.

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The dialogue is pared down to bare minimum, making this a visual segment, alight in Christmas colors and blood, and choreographed to holiday music. It’s the original Silent Night, Deadly Night.

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“Reflection Of Death” is the weakest link here, about an adulterer (Ian Hendry) who leaves his wife and kids and suffers the consequences when his car crashes. Its twist ending is disappointingly inevitable, but Francis (barely) holds our attention with some innovative POV perspectives.

“Poetic Justice” features a superb, moving performance from Peter Cushing as Grimsdyke. He’s one of those despicable poor people: you know the ones who are always looking for free stuff, health insurance, and government handouts, just like the ones Jesus used to kick in the ass. Although a little senile, he’s kindhearted, loved by the neighborhood children, and communicates with his deceased wife (who is poignantly represented by a portrait of Cushing’s actual late wife). He’s also hated by his neighbors, especially the greedy, uptight James Elliott (Robin Phillips), who drives Grimsdyke to suicide and… this may be the first and only film of a zombie with an elegiac heart, forced to rip out the heartless. Cushing channels his grief to craft what may be his finest character acting.

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“Wish You Were Here” is a pallid reworking of “The Monkey’s Paw,” and delivers a “moral lesson” about being careful what you ask the genie for and how you ask it. Neither Richard Greene (as a zombie) nor Barbara Murray can salvage it.

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“Blind Alleys” features Patrick Magee delivering a strong performance as a blind nursing home resident revolting against dictatorial director Nigel Patrick, who is so adept at patriarchal evil that we can’t wait for his comeuppance, which comes in a wham bang finale.

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Although all of the Amicus anthologies had been profitable, Tales from the Crypt was their biggest box office hit (no doubt in part due to the built-in fanbase of EC Comics), so much so that instead of waiting a few years, the studio immediately went into production of…

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AMICUS ANTHOLOGIES (1965-1974), PART ONE

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With Dr. Terror’s House of Horrors (1965, directed by Freddie Francis and written by Milton Subotsky) Amicus Productions (spearheaded by Subotsky and Max Rosenberg, who previously produced for Hammer and was a cousin to Doris Wishman) established itself as a vital competitor to Hammer Studios. Rather than imitating Hammer’s modernization of Gothic classics, Amicus developed its niche in the omnibus film. It was successful enough to be in full-fledged production for a decade, establishing a reputation as the go-to studio for horror anthologies. This, their introductory portmanteau film, clearly influenced by EC Comics, sets a pattern of to-be-expected unevenness. Still, Amicus installs themselves as a horror studio to be reckoned with, sparing no expense in procuring Hammer’s top actors: Peter Cushing (who would  star in all but one of the Amicus anthologies) and Christopher Lee. For its wraparound segment, Dr. Terror’s House of Horrors opens to the duo (among other passengers) on a train. Dr. Schreck[1] (Cushing, saddled with a terrible German accent and glued on brows) pulls out a deck of tarot cards. “Pick a card, any card, and tape it three times,” Schreck tells his fellow passengers. Each participant will hear of a fate that may await them. Among the passengers is Christopher Lee who will, of course, factor into one of the five narratives.

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In “Werewolf,” Neil McCallum is an architect renovating an old dark house, which turns out to be cursed. The title monster is featured in this pedestrian tale of ancestral revenge with a “twist.”

With Alan Freeman  (better known as the U.K D.J. for “Pick of the Pops”) served up as a snack for a venus fly trap,”The Creeping Vine,” thankfully doesn’t take itself so seriously. It is refreshingly lightheaded hokum.

“Voodoo” is the worst of the lot; badly dated in its stereotypes, with Kenny Lynch belting out a stolen voodoo tune.

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“Disembodied Hand,” has elitist art critic Franklin Marsh (Lee) driving artist Eric Landor (Michael Gough) to suicide. Landor’s severed hand returns to exact revenge on the mean critic. It’s in the spirit of The Beast with Five Fingers, among others, and chock-full of two-dimensional caricatures of both artists and critics. It holds no surprises, but with Lee and Gough engaged in a bit of whistling-while-they-work fun, it’s easily the best episode.

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“Vampire” feature a young Donald Sutherland who discovers he is married to… a vampire! It barely raises a pulse.

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Seen today, Dr. Terror’s House of Horrors is more camp than horror, and its appeal is one of genre nostalgia. Still, the phenomenal box office success of Dr. Terror green-lighted a second portmanteau film in 1967, entitled Torture Garden (directed by Freddie Francis and written by Robert Bloch). It contains no torture nor any garden. Burgess Meredith (in a preposterous  disguise, reminding us of the Penguin) is Old Nick himself, going by the pseudonym of Dr. Diablo and moonlighting as a carnival barker who promises a tortuous exhibit that can reveal the future. “You’ll shake, you’ll shiver, but it’s all good fun,” Diablo hammily tells his patrons. Unfortunately, only one of the four tales lives up to that promise.

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“Enoch,” is the opening narrative. Michael Bryant’s inheritance money (from an uncle who took his time dying) is going to be spoiled by a mean ol’ puddy tat with a lot of doubloons.

“Over Hollywood” has Beverly Adams discovering the fountain of youth in Hollywood with robotic consequences.

“Mr. Steinway” might be seen as a poor precursor to Stephen King’s “Christine,” replacing a killer car with a killer piano. It’s as absurd as it sounds.

The first three segments are sloppily written and executed with little enthusiasm; each progressively worse, but the final segment single-handedly salvages the anthology.

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“The Man Who Collected Poe” finds Jack Palance (playing against type) as an Edgar Allan Poe-obsessed geek who may have found his soulmate in fellow fanatic Peter Cushing. However, somebody’s got something—or someone—hidden in the basement and … somebody’s got the fever, which leads to a fiery finale. Cushing and Palance clearly enjoyed playing opposite one another and their chemistry, along with clever writing, making one wish the previous segments had been as enjoyable.

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1970’s The House That Dripped Blood (directed by Peter Duffell and written by Robert Bloch) is a considerable improvement over its predecessors. Duffell lacks the visual astuteness of Freddie Francis, but he has superior stories to work with and a top notch cast. The connecting theme is the titular house, which has a bit of baggage left over from all who have resided there.

In “Method For Murder,” Denholm Elliott is a horror author who writes a character that becomes a tad too three-dimensional, much to his wife’s peril.

“Waxworks” stars Cushing as an uptight retired stockbroker and lifelong bachelor who visits a wax museum, only to see a figure of a woman whom he once was in love with. Obsession and unrequited love naturally go hand-in-hand, or head-on-plate.

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In “Sweets to the Sweet,” Nyree Dawn Porter is hired to tutor a young, motherless child  (Chloe Franks) who is unloved by her cold-hearted father, Christopher Lee. Without giving too much away, let’s just say the underlying theme is one few filmmakers would dare tackle today.

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“The Cloak” is the most famous of the four episodes, remembered fondly for its absurd humor. It stars John Pertwee (best known for his portrayal of Dr. Who) as an actor who mantles the cloak of a purported actual vampire. Hammer favorite Ingrid Pitt bares her fangs and, of course, a bit more.

All four episodes feature strong acting, which is a rarity in contemporary horror and should be a model for genre filmmakers. Elliot’s restrained performance in “Method For Murder” is admirable enough to forgive the predictable “twist.” The stylish “Waxworks” features an equally stylish performance from Cushing, although narratively it is the thinnest episode. “Sweets to the Sweet” is psychologically intense with three powerhouse performances, making it the strongest entry. Although John Pertwee is a bit on-the-sleeve in “The Cloak,” his performance suits the tone; but, he’s no match for Pitt.

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1970 EXPLOITATION TRIPLE FEATURE: EQUINOX, THE VAMPIRE LOVERS, AND TROG

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The 1970s were probably the most prolific decade in production of exploitation and horror films. The decade started off with Gordon Hessler’s mediocre Cry of the Banshee, co-starring Vincent Price and Diana Rigg. Daniel Haller’s adaptation of The Dunwich Horror was also surprisingly uneven, despite its well-received source material. Hammer Studios was still in full throttle, although its output increasingly met with mixed reviews and decreasing box office. Peter Sasdy’s Taste the Blood of Dracula was considered by many to be the last decent Hammer take on the infamous Count. Roy Ward Baker’s The Scars of Dracula was universally panned by critics. Scars‘ star Christopher Lee then made a stab at the character for a different studio in Jess Franco’s [1] Count Dracula, which co-starred  Klaus Kinski and Herbert Lom. Noticeably shot on a lower budget, Franco’s Draculawas deemed a faithful adaptation of the novel, but a noble misfire. Franco and Lee also teamed up for The Bloody Judge, which was a second-rate rehash of Michael Reeves’ final film, Witchfinder General.

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Michael Armstrong’s Mark of the Devil, starring Herbert Lom and Udo Kier, was another offshoot of the late Mr. Reeves’ swan song, with the addition of graphic torture, and it’s reputation as one of the most revolting grindhouse films ever made still holds strong nearly a half century later. Piers Haggard’s Blood on Satan’s Claw was the third Witchfinder General copycat in one year. It disappeared quickly (rightfully so). At the opposite end of the spectrum is the camp-fest fundamentalist Christian exploitation Cross and the Switchblade, which aptly cast the whitest white man who ever lived—Pat Boone—as Hoosier Pentecostal preacher David Wilkerson, going to the ghetto to convert gang member Nicky Cruz (Erik Estrada). It was such a hit with the fundie circuit that they even produced a cross-promotional comic book that was littered throughout church pews to take home and keep “if you got saved.”

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The primary influence on Sam Raimi’s The Evil Dead (1981), the microbudget horror Equinox has a substantial cult following, enough to receive the Criterion Collection treatment. Equinox is a holy grail for lovers of  backyard filmmaking, and is almost as famous for its making of narrative. The story began with three teenagers, David Allen, Dennis Muren, and Mark McGee, who got together and made a monster movie. Discovering the likes of Willis O’Brien and Ray Harryhausen through the pages of Forrest J. Ackerman’s influential “Famous Monsters Of Filmland,” aspiring stop-animation animator Allen placed a personal ad in a 1962 issue of FM, inviting lovers of King Kong to correspond. Muren, whose monster memorabilia collection had been featured in an earlier article of the magazine, was the first to respond, followed by McGee. Shortly after that initial introduction, the three were meeting regularly for screenings and discussions of creature features and experimenting with 16 MM shorts. In 1965 Muren received money from his grandfather to make Equinox.

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Influenced primarily by Jacques Tourneur’s Curse of the Demon (1957), the film also pays homage to Don Siegel’s Invasion of the Body Snatchers (1956), Robert Gordon’s It Came from Beneath the Sea (1955), and Don Chaffey’s Jason and the Argonauts (1963). The cast includes Muren’s grandfather as a hermit who is trampled on by Allen’s stop-motion demon, the Taurus. Ackerman has a voice cameo via a tape recorder playing in the hospital. Pulp fantasy author Fritz Leiber (once an apprentice to H.P. Lovecraft) plays Professor Waterman, who is in possession of a medieval book, which contains a gateway to another dimension called the Equinox. The movie begins on a picnic when David (Edward Connell) and Susan (Barbara Hewitt) discover Waterman’s book and unintentionally summon forth a demon.

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There are two versions of Equinox. In the original, the narrative is ambiguous and really just an excuse to unleash stop-motion monsters (courtesy Allen and Jim Danforth). In the second version, Jack Woods, credited as a co-director with McGee and Muren, over-explains everything to the point of tedium. Although neither cut is a long-lost masterpiece, the original, pre-tampering version is definitely superior. But it’s the winning extras in the Criterion Collection disc that are the highlight, spinning a narrative of fan love for the genre, paid homage by commentary from the surviving principals.

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Equinox has some “American dream” success stories: Muren went on to become an Oscar-winning visual effects artist for Industrial Light and Magic, and worked on Willy Wonka And The Chocolate FactoryFlesh Gordon, the original Star Wars trilogy, Close Encounters of the Third Kind, the television series “Battlestar Galactica,” E.T.The AbyssGhostbusters IITerminator 2, Jurassic Park,  A.I., HulkWar of the Worlds, and Star Wars: The Force Awakens, among many others. David Allen also had a successful career, working on Flesh GordonThe HowlingQThe Hunger, Young Sherlock HolmesGhostbusters II, Willow, Puppetmaster, and Honey I Shrunk The Kids, before dying prematurely in 1999. McGee had a career in B-movies, and Woods went on to work in sound.

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PETER CUSHING SIX PACK: THE HOUND OF THE BASKERVILLES, FLESH AND THE FIENDS, THE SKULL, TWINS OF EVIL,THE CREEPING FLESH, AND THE GHOUL

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Although Peter Cushing passed this mortal coil in 1994, he made a recent, posthumous appearance—albeit a digital one—in what is probably his most famous non-Hammer role as Grand Moff Tarkin in Star Wars: Rogue One. His debut film performance was, aptly enough, for Universal horror icon James Whale in Man in the Iron Mask(1939), but it wasn’t until Terence Fisher’s 1957’s Curse Of Frankenstein for Hammer Studios that Cushing secured his iconic niche. Unlike the Universal Frankenstein series, Fisher focused on the doctor himself, as opposed to the monster. With his frosty blue eyes, silver-tongued elocution, and gaunt frame, bringing a fervent athleticism to his early performances, Cushing was ideally cast.

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Echoing John Huston’s brilliant deduction that Humphrey Bogart’s villainous screen qualities could be transposed to that of a protagonist in The Maltese Falcon, Terence Fisher next cast Cushing as the quintessential Van Helsing in Horror Of Dracula (1958). These dual roles, Frankenstein and Van Helsing, cemented Cushing as a horror genre star. It was typecasting that kept his services in demand, and for which he was grateful.

PETER CUSHING CHRISTOPHER LEE ANDRE MORELL FRANCIS DE WOLFF MARLA LANDI 'THE HOUND OF THE BASKER VILLES' HAMMER FILMS 1958 Dir TERENCE FISHER PETERCUSHINGBLOG.BLOGSPOT.COM

He also made an excellent Sherlock Holmes in Fisher’s 1959 version of The Hound of the Baskervilles, again cast opposite Lee. It’s possibly the best screen adaptation of Sir Arthur Conan Doyle’s famous novel, and one of Hammer studio’s finest hours. Cushing brings an irreproachable, authentically physical fire-and-ice quality to the role. The film is relatively faithful to the novel, which will surprise those expecting Fisher to transform it into a horror opus—although it has his trademark red-blooded pacing and brooding atmosphere. Lee, as Sir Henry, may not be as exquisitely cast, but brings flair to the character. Someone must have forgotten to tell Fisher, Cushing, cinematographer Jack Asher, set designer Bernard Robinson, and composer James Bernard that this was an overly familiar story, because they approach it with a refreshing sense of discovery. Lee recalls his genuine affection for his late co-star in an interview included on the DVD. Unlike their Universal Horror predecessors Boris Karloff and Bela Lugosi, Cushing and Lee became best of friends. Co-starring opposite each other in twenty-four films, their chemistry was undeniable, and although they did substantial solo work, their names are practically synonymous.

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Cushing was cast as the infamous Dr. Knox for Britain’s Shepparton Studio in Flesh And The Fiends(1960, written and directed by John Gilling). Similar to his Victor Frankenstein, Cushing’s Knox is obsessed by his work. His is an icy, stern, brash, one-eyed doctor, but not without a degree of introspective sympathy, in sharp contrast to the deplorable Burke and Hare (as portrayed here by George Rose and Donald Pleasance). As with many “mad doctor” films, Knox is driven to immoral extremes by a medically regressive climate. The cast, which includes an early performance by Billie Whitelaw (best known as the literal nanny-from-hell in The Omen), is uniformly excellent. The production values surpass even the early Hammer entries; surprisingly, it’s also far more risqué. Gilling’s direction is assured,with an eye for detail, particularly (and admirably) gutter detail. Not so much horror as history, it’s a seriously underrated gem featuring a striking performance from Cushing.

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1969 EXPLOITATION TRIPLE FEATURE: SCREAM AND SCREAM AGAIN, IT’S ALIVE, AND SATAN’S SADISTS

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After the success of 1968’s The Conqueror Worm (AKA The Witchfinder General, with a deliciously evil Vincent Price), director Michael Reeves was assigned dual films: The Oblong Box and Scream and Scream Again. Unfortunately, shortly after pre-production work on The Oblong Box , Reeves died at the age of 25 from an accidental, lethal mix of alcohol and barbiturates, putting an end to a promising career. The film must have seemed cursed, because scripter Lawrence Huntington also died. Gordon Hessler replaced Reeves and Christopher Wicking replaced Huntington. Given Reeves’ high critical standing, Hessler was immediately criticized as being unable to fill the late director’s shoes. While there’s little doubt that Reeves’  idiosyncratic style would be impossible to imitate, he was unenthusiastic about the assignment to begin with. Thus, whether he could have made a better film is pure speculation. Despite starring Vincent Price and Christopher Lee, The Oblong Box can hardly compete with Roger Corman‘s AIP Poe series, but it does have an ambitious, somber, gothic style of its own and is well photographed by John Coquillon.

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Of more interest is a genuine oddity in the AIP canon: Scream and Scream Again, which also starred both Price and Lee along with Peter Cushing (in what amounts to a cameo) and the same writing/directing team of Wicking and Hessler. Released in the U.K in 1969 and stateside 1970, Scream and Scream Again is one of the queerest horror science fiction extravaganzas committed to celluloid, which may explain why Fritz Lang proclaimed it among his favorite films. Wicking’s screenplay is an ambitiously brazen adaptation of Peter Saxon’s “The Disoriented Man.” Given that Hessler is a minor cult filmmaker, Scream and Scream Again is, likewise, a film with a minor cult reputation, one that deserves a broader audience. Although imperfect, it is creepy and perverse enough to be of interest to weird movie lovers who crave a challenge.

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The fragmented plot (one of several) opens with a jogger in the park, keeling over from what appears to be a heart attack. He wakes up in a hospital bed to a nurse who won’t speak to him. After she leaves, the jogger finds that his leg has been amputated. He screams.

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The corpse of a rape victim is discovered with two puncture wounds on her wrist.

In an unnamed European totalitarian state, a humanoid Gestapo soldier (a lurid Marshall Jones) murders his superior by squeezing his shoulder.

The jogger wakes up to find his second leg amputated. He screams again.

Inspector Bellever (Alfred Marks) of Scotland Yard sets up a sting to catch a serial killer (Michael Gothard) whose M.O. is biting women’s  wrists and draining their blood after raping them. Bellever uses a policewoman as bait, with fatal results. A long, captivating chase follows and, after the modish killer in a convertible is caught and handcuffed to the back of a car, he severs his own hand and another chase follows the trail of blood.

The jogger wakes up to find an arm amputated. He screams again.

Vincent Price shows up as a mad scientist who specializes in “organ transplants” and happens to have a vat of acid.

A fascistic superior (Cushing) lectures the Gestapo soldier about his torture methods, which is followed by another shoulder squeeze.

The jogger awakes to find his other arm amputated. He screams again.

Price returns to an operating table, meets a British Intelligence officer (Lee), and that vat of acid comes in handy.

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And so it goes. For most of the duration of the film, the vignettes seem completely unrelated, but there’s a fascist spy ring afoot, paranoid conspiracies about super humans, and a potential alien takeover of the government. There’s no real star, but Marks (who is quite good) has the most screen time. Price and Lee lend little more than marquee value, although Price does get an over-the-top scene for the film’s conclusion and, for once, his hamminess is apt. While the finale is a tad too neatly wrapped, for the first 90 minutes of its 95 minute running time, one doesn’t know quite what the hell to make of this seemingly erratic mess. It’s equal parts science fiction, espionage thriller, and traditional mad scientist horror yarn, evoking Lang’s Mabuse but with a late 60s disco number performed in a seedy club thrown in for good measure. Well photographed (by Coquillon), kinetically paced, strikingly bloody, and awash in enigmatic energy, Scream and Scream Again is impressive for its adventurously bizarre composition. Although uneven and saddled with a ho-hum title, it’s as difficult to dismiss this authentic original as it is to embrace it.

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