IN THE SPOOKLIGHT: CHAMBER OF HORRORS (1966)

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“Beware the fear flasher! And the horror horn!”

If you’ve seen CHAMBER OF HORRORS (1966), you know what these words refer to, a gimmick used in this 1966 film to warn its audience of upcoming scenes of violence that were so horrific that you just had to turn away!

Except that they weren’t. None of the violence is shown on camera. Shhh!!!

When I was a kid, CHAMBER OF HORRORS showed up on television quite a bit, both during the day and in the wee hours of the night. It was one of my favorite horror movies back then, and it still is today, even with its silly fear flasher/horror horn gimmick, where the picture would freeze, and the screen would flash red while a loud sound effect blasted. Even as a little kid, I never averted my eyes, so I saw pretty quickly that this was just a gimmick, and the violent murders were not shown. But I still loved it!

CHAMBER OF HORRORS was actually meant to be the pilot for a TV series called “House of Wax” in which the proprietors of the wax museum, the dashing Anthony Draco (Cesare Danova), the very British and intellectual Harold Blount (Wilfred Hyde-White), and the diminutive dwarf Pepe (Jose Rene Ruiz, or as he was billed in the film, Tun Tun), who were all also amateur detectives, would solve various crimes. In this movie, the villain is Jason Cravatte (Patrick O’Neal, in a devilishly scene-stealing performance) who chops off his own hand to escape the police and returns to Baltimore months later to seek revenge on those who sentenced him to prison, including our hero, Anthony Draco.

The film received a theatrical release rather than play on television because it was considered too gruesome for TV back then, How times have changed!

CHAMBER OF HORRORS is wonderfully atmospheric, and while it takes place in 19th century Baltimore, it has the look and feel of a Hammer Film. And while the murders aren’t shown on camera, they are lurid and creative, as Cravatte purchases a series of unique attachments for his missing hand, including a hook, an axe, and even a gun. Yup, Cravatte is an imaginative killer and even whistles while he works in this dark little thriller with a good sense of humor.

Most of the humor comes from Patrick O’Neal’s performance, in a role which would have suited Vincent Price quite nicely. O’Neal is terrific here, and while he did appear in other villainous roles, mostly on television, it’s a shame he didn’t star in more horror movies. He’s really, really good, and for my money, he’s the best part of this movie.

Cesare Danova is the handsome hero, and the film does a nice job pitting the two leads against each other. I mentioned Hammer Films, and there’s a Peter Cushing/Christopher Lee vibe throughout, as Danova’s Draco is in pursuit of O’Neal’s Cravatte but remains one step behind the killer, until the film’s final reel, which plays out in exciting fashion as the two battle it out on the floor of the wax museum.

Speaking of the museum, CHAMBER OF HORRORS utilizes many of the same wax museum sets used in the Vincent Price movie HOUSE OF WAX (1953).

Wilfred Hyde-White and Tun Tun are also very entertaining as the two other members of the crime solving team. It’s a shame this movie didn’t catch on and spark the TV series, as it would have been a lot of fun. Not really sure what happened, because supposedly CHAMBER OF HORRORS did very well and made a lot of money back in 1966.

Future M.A.S.H. star Wayne Rogers is also in the cast as police sergeant Jim Albertson, and he turns in a memorable performance. The leading lady is Laura Devon, who plays Marie Champlain, a young woman hired by Cravatte to lure his intended victims to their doom.

There are a lot of neat scenes in CHAMBER OF HORRORS, directed by Hy Averback, including the opening scene where Cravatte forces a trembling minister to perform a marriage ceremony between Cravatte and a woman he murdered; the confrontation between Cravatte and Sgt. Albertson, and the climactic battle between Cravatte and Draco.

Stephen Kandel wrote the screenplay based on a story by Ray Russell. It has an exciting plot, contains memorable and oftentimes humorous dialogue, and also creates neat characters.

The film has an atmospheric and energetic music score by William Lava.

CHAMBER OF HORRORS may not have spawned a follow-up TV series, or gone on to be a classic of the genre, but it is more than just a gimmick movie, in spite of the fear flasher/horror horn. It’s a damn fine horror movie, one of the more atmospheric thrillers from the 1960s not made by Hammer Films.

It was one of my favorite horror movies as a kid. It remains so today.

Looking for a museum to visit? Check out CHAMBER OF HORRORS. But remember, when you see the fear flasher and hear the horror horn, look away! Yeah, I know. There’s nothing to look away from. But it still makes for a bloody good time!

—END—

IN THE SPOOKLIGHT: THE RETURN OF DRACULA (1958)

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I’ve always had a soft spot for THE RETURN OF DRACULA (1958), a low-budget black and white Dracula movie starring the unheralded Francis Lederer as the Count.

There’s a lot that’s significant about this no frills black and white Dracula movie from the 1950s.

First of all, it was the first standalone Dracula movie to hit theaters in nearly fifteen years, as the last time Dracula appeared alone in a horror movie was in Universal’s SON OF DRACULA (1943), in which the Count was portrayed by Lon Chaney Jr., and he was called Count Alucard in the film, which never really came out and said if the character Chaney was portraying was Dracula’s son or Dracula himself. It was left open to interpretation. The film implied it was the original Dracula, but its title was SON OF DRACULA.

After SON OF DRACULA, John Carradine took over the role, but he was sharing screen time with the Wolf Man and the Frankenstein Monster in HOUSE OF FRANKENSTEIN (1944) and HOUSE OF DRACULA (1945). Bela Lugosi returned to play the Count three years later in the horror comedy ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948).

So, when Francis Lederer played Count Dracula in THE RETURN OF DRACULA, it had been a while since audiences had seen a movie about Dracula, especially a serious one where Dracula was the only monster in the film, and those movies had all been made by Universal and had followed the same formula. So, there’s a lot that was fresh about THE RETURN OF DRACULA. And Francis Lederer, a well-known Czechoslovakian actor who never became a major star but still made a lot of movies over the decades and who wasn’t known for making horror movies, actually makes a very successful and rather frightening Dracula, albeit all in the most subtle of ways. In fact, I actually prefer Lederer’s performance as Dracula in this movie over John Carradine’s performances in the two aforementioned Universal Dracula movies above.

Lederer with his accent and cold, calculating, and dominating personality, makes for a commanding king of the undead.

And while part of THE RETURN OF DRACULA was refreshing, since it was not part of the Universal monster universe, another part was very familiar, because the plot of THE RETURN OF DRACULA borrows heavily from Alfred Hitchcock’s classic thriller SHADOW OF A DOUBT (1943). In that film, a teenage girl begins to suspect that her favorite uncle, played by Joseph Cotten, is really a murderer wanted by the police. Here in THE RETURN OF DRACULA, the teenage girl learns that her favorite cousin is really Count Dracula!

THE RETURN OF DRACULA, which takes place in the 1950s and so it was a contemporary setting for its time, opens with an atmospheric scene where vampire hunter John Merriman (John Wengraf) leads a group of vampire hunters into a crypt in Transylvania where they plan to drive a stake through Dracula’s heart. When they open his coffin, they discover his body is no longer there.

The action then switches to a train where we see Dracula (Francis Lederer) murder a passenger, and then he assumes his identity. He makes his way to the United States, to California, and there he pretends to be cousin Bellac, the eccentric artist who likes to sleep all day and go out at night at odd hours. Fortunately for Dracula, no one in Bellac’s California family knows what he looks like, since it’s his first time travelling to the United States. He’s welcomed into the family, and the teenage daughter, Rachel (Norma Eberhardt) takes a particular interest in her cousin, since she also wants to be an artist.

All is well, until people start dying. Well, Dracula has to eat, after all! These deaths attract the attention of our hero John Merriman from the opening sequence, and he makes his way to California in pursuit of the undead Count.

While there is nothing spectacular about THE RETURN OF DRACULA, the film does have some notable scenes, including a decent stake-in the heart scene, and as I said, Francis Lederer makes for a really effective Count Dracula.

This movie may have gone on to become something more than just a refreshing low budget Dracula movie, if not for another Dracula movie which was released just one month after this one, a “little” movie by Hammer Films, called HORROR OF DRACULA (1958). Of course, HORROR OF DRACULA, the first Dracula movie in color, took the world by storm, and made international stars out of Christopher Lee, playing an athletic and violent Dracula, and Peter Cushing, playing an equally athletic and heroic Van Helsing. The film revolutionized the horror movie industry, and made a movie like THE RETURN OF DRACULA, seem pale and lethargic by comparison. Hammer went on to make seven more Dracula movies, six with Christopher Lee, and a multitude of vampire movies. THE RETURN OF DRACULA was largely forgotten.

Which is too bad since it really is a decent Dracula movie.

It’s also interesting to note that THE RETURN OF DRACULA contains a somewhat violent staking scene, much more explicit than anything Universal ever showed, and that it pre-dated HORROR OF DRACULA, which is the movie that is credited with adding more violence to horror movies. Of course, the blood and gore in HORROR OF DRACULA is much more explicit than anything shown in THE RETURN OF DRACULA, and all of it was in color! Also, the film’s hero, John Merriman, played by German actor John Wengraf, is much younger than the older “professors” who were the heroes in the Universal Dracula movies. Merriman is a nice precursor to Peter Cushing’s younger interpretation of Van Helsing in HORROR OF DRACULA.

THE RETURN OF DRACULA was directed by Paul Landres, who also directed another interesting black and white vampire movie from the 1950s, THE VAMPIRE (1957), a film which had more of a Dr. Jekyll and Mr. Hyde plot, with the scientist in that movie turning into a vampire. Landres does a nice job with THE RETURN OF DRACULA. For a low budget black and white movie, the scare scenes work rather well.

Pat Fielder wrote the effective screenplay, and she also penned Landre’s THE VAMPIRE, as well as another 1950s horror classic, THE MONSTER THAT CHALLENGED THE WORLD (1957). She does a great job with the characterizations here in THE RETURN OF DRACULA, and the scenes between Dracula and Rachel are among the best in the movie.

Francis Lederer, who in a very subtle and understated way is quite scary as Dracula, would reprise the role in an episode of NIGHT GALLERY, “A Question of Fear/The Devil is not Mocked” (1971).

Forever overshadowed by Hammer’s HORROR OF DRACULA, and rightly so, because HORROR is clearly the superior film, nonetheless THE RETURN OF DRACULA is a Dracula movie that is well worth a look and certainly should not be forgotten.

This holiday season, return to a time just before the Hammer Dracula explosion, when an unassuming Dracula puts the bite on 1950s small town America, but instead of indulging in mom’s apple pie, he’s taking a nibble on young teenage throats.

A RETURN TO MAYBERRY, this ain’t!

—END—

PICTURE OF THE DAY: THE BRIDES OF DRACULA (1960)

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Hammer’s THE BRIDES OF DRACULA (1960), is often cited, and rightly so, as one of the most atmospheric vampire movies ever made.

It’s also one of Hammer’s best, and that’s saying a lot, since Christopher Lee doesn’t appear in this Dracula movie, and that’s because when Hammer decided to make a sequel to HORROR OF DRACULA (1958), Lee wasn’t interested in reprising the role for fear of being typecast (he would change his mind six years later) and so Hammer wrote a new story featuring a disciple of Dracula, and they brought back Peter Cushing to once again play Dr. Van Helsing.

But the true star of THE BRIDES OF DRACULA just might be director Terence Fisher who does some of his best work for Hammer right here in this movie, at least in terms of atmosphere. In terms of shock and fright, Fisher scored highest with THE CURSE OF FRANKENSTEIN (1957) and HORROR OF DRACULA (1958). His later work for Hammer while always visually impressive, often wasn’t that scary, since admittedly Fisher wasn’t trying to make horror movies but rather tell stories with horror elements. This may have been the reason some of his later films, like THE CURSE OF THE WEREWOLF (1961), and PHANTOM OF THE OPERA (1962) didn’t do all that well at the box office.

But Fisher is at his best here with THE BRIDES OF DRACULA, as there are plenty of thunderstorms, creepy graveyards, an elegant castle, deadly vampire bats, and with Peter Cushing in the cast, some guaranteed exciting vampire battle action sequences. Another thing that Fisher always did well in these movies was use color to his advantage, often filling the screen with shades of green, red, orange, and even purple.

Look at the composition in the photo above, of a scene early in the movie, inside the tavern when the villainous Baroness Meinster (Martita Hunt) arrives to abduct the unsuspecting Marianne (Yvonne Monlaur). You can easily recognize the effective use of red, purple and black, a combination of lighting, costumes, and sets. The set design is superb.

The red color in the back, highlighted by the red on Baroness Meinster’s clothes, and the purple light on the floor and to the right, give the scene a colorful composition of horror. Terence Fisher does this a lot in his movies, from the copious use of green in the lab scenes in THE REVENGE OF FRANKENSTEIN (1958), to the use of red, green, blue, yellow, and purple in THE CURSE OF FRANKENSTEIN (1957). If you watch a Hammer Film directed by Terence Fisher, you are sure to spot creative use of color and light.

As seen in today’s Picture of the Day from THE BRIDES OF DRACULA, this gem of a vampire movie is imbued with detailed set design and costumes that make it look like a much more expensive film than it really was.

Sometimes watching Fisher’s work is like looking at a painting.

When people say THE BRIDES OF DRACULA is one of the most atmospheric vampire movies ever made, they’re right, and most of the credit belongs to director Terence Fisher.

Take one last look at the photo above. A nice long look.

Yup. That’s art in horror.

That’s also why Hammer horror is a thing. While their horror movies worked on so many levels, they were almost always impressive to look at.

Hope you enjoyed today’s Picture of the Day.

As always, thanks for reading!

—Michael

IN THE SPOOKLIGHT: THE MUMMY’S TOMB (1942)

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This is a reprint from 2013:

 With apologies to Michael Myers, Kharis the Mummy just might be the scariest monster who can’t outrun a turtle ever to lumber across a movie screen!  And he’s never been more frightening than in today’s SPOOKLIGHT feature, THE MUMMY’S TOMB (1942).

THE MUMMY’S TOMB has always been my favorite Kharis MUMMY movie.  The make-up here on Kharis by Jack Pierce, the man who created most of the iconic Universal monsters, including Boris Karloff’s Monster in FRANKENSTEIN (1931), is by far the best MUMMY make-up of the Kharis series.  

It’s also my favorite due to nostalgic reasons, as I owned an 8mm Castle Films copy of it when I was a kid.  The film also boasts the most exciting ending of any MUMMY movie, period.

Kharis the Mummy was featured in four Universal Mummy movies, and in the Hammer Films remake THE MUMMY (1959) starring Peter Cushing and Christopher Lee as Kharis, but it was Lon Chaney Jr. who played the definitive Kharis, appearing in three Universal Mummy movies, the first being THE MUMMY’S TOMB.

THE MUMMY’S TOMB opens with a comprehensive synopsis of the previous film in the series, THE MUMMY’S HAND (1940), so if you’ve missed this first movie, no need to worry!  The initial ten minutes of THE MUMMY’S TOMB brings you up to speed on previous events quite nicely.  You can almost hear the voice-over narration, “Previously on THE MUMMY’S HAND.”

Stephen Banning (Dick Foran) the main character from THE MUMMY’S HAND recounts his adventures in that first movie to his son John (John Hubbard) and his future daughter-in-law Isobel (Elyse Knox), and his story is shown via flashbacks.  Little does Stephen know that over in Egypt the high priest he thought he killed, Andoheb (George Zucco) still lives, albeit he’s now an old man, as thirty years have passed since the events of THE MUMMY’S HAND.  Hmm.  With this timeline, shouldn’t THE MUMMY’S TOMB be taking place in 1970?  Where are all the hippies?

Andoheb now turns over the Mummy-caring duties to his young protégé, Mehemet Bey (Turhan Bey) because Kharis the Mummy didn’t die either.  Not only is Kharis still alive, but he’s put on some weight!   Has he been eating too many tanna leaves?  No, he’s just being played here by the husky Lon Chaney Jr. rather than Tom Tyler, who played him in THE MUMMY’S HAND.

Chaney has been criticized over the years for being too big and thick to look like an authentic Mummy, but I’ve always liked this look, as it made him scarier.  I mean, Chaney isn’t flabby and overweight.  He’s solid and huge, like he could crush a man with his fists.

Mehemet Bey brings Kharis to the United States, to Massachusetts to be exact, to hunt down and kill the members of the Banning family.  

And that’s pretty much it in terms of plot.  The screenplay by Griffin Jay and Henry Sucher is pretty standard.

The strength of THE MUMMY’S TOMB is not its plot but its visuals.  The movie contains some really neat scenes, and Kharis has never looked creepier.  Shots of Kharis closing in on his victims still make me shudder, and some of the murder scenes in this one are downright brutal.  Director Harold Young, not known for his genre work, really deserves a lot of credit for making a very chilling monster movie.

Young also makes good use of shadows here.  Many times we see Kharis only through his shadow.  In fact, when Kharis creeps across the countryside at night, he is unseen except for his shadow which falls upon several unsuspecting townsfolk.  The shadow is used so frequently I’ve often wondered if the shooting script was entitled THE SHADOW OF THE MUMMY.

There’s a curious moment in the movie in the scene where Kharis attacks Babe (Wallace Ford), another character from THE MUMMY’S HAND.  After Babe shouts out Kharis’ name, Kharis’ lips move as if he’s saying something in response.  It looks almost as if a scene of dialogue has been cut from the film.  I’ve never read anything to support such a cut, and it wouldn’t make sense in terms of the story anyway, since Kharis had his tongue cut from his mouth in the previous film, and is mute.  But if you watch this scene, you definitely will see Kharis’ mouth move, and a cut does appear to have taken place right at this moment.  Interesting.

The ending is exceedingly memorable.  The torch-wielding villagers, in a chase scene reminiscent of the ending to FRANKENSTEIN (1931)- in fact, some of the footage from FRANKENSTEIN is used here— chase Kharis, who’s carrying an unconscious Isobel, and trap him inside a large house.  John Banning, the sheriff, and another man run inside the house to rescue Isobel.  The climactic battle on the second story porch between John, the sheriff and Kharis, while the villagers fling burning torches from below, is pretty exciting.  I can’t think of another MUMMY movie that has a better ending than this one.

The cast is standard, and other than Lon Chaney Jr. as Kharis, no one really jumps out at you.  However the beautiful Elyse Knox who plays Isobel is notable because she’s Mark Harmon’s mother.  Ms. Knox only recently passed away, in 2012 at age 94.

Lon Chaney Jr. actually does a stand up job as Kharis the Mummy.  Chaney played all four main movie monsters:  The Wolf Man, the Mummy, Dracula, and the Frankenstein Monster.  While he’s most famous for his portrayal of Larry Talbot aka the Wolf Man, and rightly so, his three performances as Kharis the Mummy are more effective than his work as either Dracula or the Frankenstein monster.

He makes Kharis damned scary.  His look is such that when he enters a room, he almost paralyzes his victims with fear, which is a good thing for him, because with his limp, he’s not going to catch anybody.  You can outrun Kharis running backwards.  But Kharis always seems to corner his victims, and once he’s blocked the exit, his prey is as good as dead.

Very few of the old Universal monster movies are frightening.  I would argue that THE MUMMY’S TOMB featuring Lon Chaney Jr. as Kharis the Mummy is one of the scariest.  

I dare you to watch it alone this summer without having nightmares of Kharis the Mummy breaking into your bedroom in the middle of the night.  

Over there, by the wall!  Is that the Mummy’s shadow I see?  

—END—

IN THE SPOOKLIGHT: SCREAM AND SCREAM AGAIN (1970)

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For the first time ever, starring in the same movie together, on the big screen, it’s Vincent Price, Christopher Lee, and Peter Cushing!

The movie? SCREAM AND SCREAM AGAIN (1970).

Imagine being able to make that claim. Now imagine botching things so badly, making a movie so awful, that barely anyone today even knows this film exists, let alone that it starred Price, Lee, and Cushing.

The movie? SCREAM AND SCREAM AGAIN.

Years ago, when I first watched SCREAM AND SCREAM AGAIN, I hated it. And why shouldn’t I have? The movie boasts Price, Lee, and Cushing, but they are hardly in this one at all. The film runs 95 minutes, and the total screen time for all three actors combined is just about 20 minutes! Price is in the film the most, and his character has the biggest connection to the main plot. He and Lee do share one brief scene together, right near the end, but Lee is hardly in the film, and Cushing has only one brief scene.

Then there’s the plot, which makes so little sense it’s ridiculous. Vincent Price is on record in later interviews as saying he never understood the script. He’s not alone.

For someone who was used to Hammer Films which gave Peter Cushing and Christopher Lee the signature roles of their careers, and the Roger Corman Edgar Allan Poe films which starred Vincent Price and largely defined Price’s career, to sit down and watch something like SCREAM AND SCREAM AGAIN was an insult. What. A. Waste.

But hold the negative review! Why? Because a funny thing has happened over the years.

SCREAM AND SCREAM AGAIN, has… dare I say it?… aged well.

There’s something unique about the time period between 1965 and 1975, which places SCREAM AND SCREAM AGAIN smack dab in the middle, where life wasn’t the way it was before or since, and the arts during that decade were different, and so looking at a film like SCREAM AND SCREAM AGAIN today, it stands out because it is so unlike the structured Hammer Films and Roger Corman movies which came before it. It’s very similar to how Hammer’s own DRACULA A.D. 1972 (1972) has aged so well. There’s a newfound appreciation for the oddball groovy style of both these movies that didn’t exist before.

So, I gotta say, watching SCREAM AND SCREAM AGAIN here in 2022, I…. oh boy… actually really liked this movie!

Okay. It still has its ridiculous plot. And Price, Lee, and Cushing are nowhere to be found for the most part, but knowing this going in, and knowing that they’re just going to show up briefly and add what they do to the insanity of this wild, wild plot, is kind of a fun thing.

So, about that plot. Ready? There are multiple storylines going on, and none of them are laid out all that clearly, but that’s okay, because it’s 1970, and that’s how things were. The main plot is about a vampire killer on the streets of London who sexually assaults women and then drains them of blood. He’s also incredibly powerful and would have fit in quite nicely in THE NIGHT STALKER (1972) universe in Las Vegas giving Darren McGavin’s Carl Kolchak a hard time. It’s also interesting to note that the superhuman vampire who outmuscles squads of police officers and scales the side of a massive hill a la Spiderman predates THE NIGHT STALKER by two years!

Here, his name is Keith, and he’s played by Michael Gothard, who would go on to play another strong silent killer in the Roger Moore James Bond flick FOR YOUR EYES ONLY (1981). Hot on this killer’s trail is Detective Bellaver (Alfred Marks) and his squad of Scotland Yard’s finest, and if there’s anyone who is at all close to being a main character here, it’s Bellaver. Alfred Marks delivers a strong performance as the wise-cracking no-nonsense detective who seems like he would be at home having his own 1970s cop TV show. Tonight it’s BELLAVER, followed by COLUMBO at 9 and KOJAK at 10. He gets some of the best lines in the movie, and he’s actually really, really good. Unfortunately, he’s not Price, Lee, or Cushing, but he is still really, really, good.

Meanwhile, in an undisclosed fascist country, which resembles Nazi Germany, a crackpot of a leader Konratz (Marshall Jones) is busy killing off all his superiors so that he can become top dog on the food chain. He seems to possess a supernatural power for killing.

Then there’s Dr. Browning (Vincent Price) who in his secluded mansion is performing mysterious experiments involving removing the limbs of his patients while they’re still alive, and a la Dr. Frankenstein creating beings piece by piece who have not yet lived.

What do these three plots have in common? Nothing! Actually, that’s not true. They are tied together, and before this one ends, the film does attempt to make sense of it all, and it largely succeeds, although you have to scratch your head for nearly 90 minutes wondering what the f*ck is going on??? But, it seems our maniac friend Konratz is hiring the good Dr. Browning to create superhumans for him, one of which, Keith, has been on the loose in London draining women of their blood.

Far out man. Like, groovy!

And SCREAM AND SCREAM AGAIN is far out. Like waaay far out. Like past Neptune far out!

For Price, Lee, and Cushing fans, Price fares the best and actually has a few good lines, and of the three horror icons is the only one who gets to really strut his stuff on screen, even if it’s only briefly. Christopher Lee spends his time as Fremont, a top man in the British government, talking on the phone and looking worried. He does show up at the end and has the pleasure of delivering the final plot twist, as if this unstructured script really needs another direction! And, sadly, Peter Cushing has only one scene, to be a victim, done in by the overly ambitious Konratz.

The crazy far out script was written by Christopher Wicking, who also wrote the screenplay for Hammer’s last Mummy movie, BLOOD FROM THE MUMMY’S TOMB (1972), which is also kind of far out, as well as the screenplay for TO THE DEVIL A DAUGHTER (1976), Hammer’s last horror movie until 2008, which is really far, far out! So, he has lots of experience with this kind of thing.

Gordon Hessler directed SCREAM AND SCREAM AGAIN. Hessler also directed Vincent Price and Christopher Lee in THE OBLONG BOX (1969), a film I like much more than SCREAM AND SCREAM AGAIN. Probably Hessler’s best movie would be THE GOLDEN VOYAGE OF SINBAD (1973), featuring the special effects of Ray Harryhausen.

In spite of its ludicrous and choppy plot, SCREAM AND SCREAM AGAIN does enjoy some neat scenes. There are a couple of really well-done police chases, featuring Detective Bellaver and his Scotland yard crew in hot pursuit of the vampiric Keith. Whenever Vincent Price is onscreen, he provides a vibe in the movie that only Price can, and it’s a shame he’s not the actor who is anchoring this one.

Christopher Matthews as a young doctor snooping around on his own trying to learn the secret of what Price’s Dr. Browning is up to also enjoys some quality scenes. Matthews played Paul in SCARS OF DRACULA (1970), the most violent of the Christopher Lee Dracula films, and he was one of the better parts of that one, until he makes the mistake of discovering Dracula’s coffin.

Unfortunately, the plot involving Konratz and his fascist cronies stands out like a convoluted contrived plot device that seems phony and out of place. It’s the weakest part of the movie. Interestingly enough, in the novel The Disoriented Man by Peter Saxon, on which the screenplay is based, it was a group of aliens who were hiring out Dr. Browning’s handiwork, not dictators in the making. Aliens might have made more sense.

But if it’s sense you’re looking for, you’ve come to the wrong place. You won’t find any in SCREAM AND SCREAM AGAIN.

You also won’t find much of Price, Lee, or Cushing. Sadly, they would appear all together in only one more movie, HOUSE OF THE LONG SHADOWS (1983), which while giving them much more screen time and plenty of scenes together, isn’t any better of a movie than SCREAM AND SCREAM AGAIN.

But SCREAM AND SCREAM AGAIN has aged rather well. It’s still a convoluted confusing mess, but somehow with the passage of time it’s become more fun.

This winter, if you’re looking to liven things up a bit, check out SCREAM AND SCREAM AGAIN.

You’ll be screaming all right, loudly, at your TV, but not for the reasons you expect.

—END–

IN THE SPOOKLIGHT: BLUEBEARD (1944)

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John Carradine appeared in many of Universal’s classic monster movies from the 1930s and 1940s. He played Dracula in HOUSE OF FRANKENSTEIN (1944) and in HOUSE OF DRACULA (1945), and he played prominent supporting roles in such chillers as THE MUMMY’S GHOST (1944) and THE INVISIBLE MAN’S REVENGE (1944), as well as appearing in a whole host of others, with some of these roles uncredited, like his brief moment in THE BRIDE OF FRANKENSTEIN (1935) as one of the men who discovers the Monster (Boris Karloff) in the home of the blind man.

And while Carradine did eventually achieve the same fame as his notable co-stars Boris Karloff, Bela Lugosi, and Lon Chaney Jr., he did so mainly as a character actor rather than as the lead. Even as his long and varied career continued onto the next generation of horror stars, where he co-starred with the likes of Vincent Price, Christopher Lee, and Peter Cushing, he still rarely played the lead role.

Over a career which spanned six decades, Carradine amassed an amazing 354 screen credits. On both TV and in the movies, he was everywhere from the 1930s through the 1980s. But it was a rarity to find Carradine in a lead role.

One time that he did get the opportunity to play a starring role and carry a movie on his own is with today’s film, BLUEBEARD (1944).

In BLUEBEARD, John Carradine plays Gaston Morel, a Parisian puppeteer, who seems friendly and harmless enough, but in reality, he’s the infamous Bluebeard serial killer stalking the streets of Paris, violently strangling young women to death. As I said, it’s a rare treat to see Carradine in a lead role. Here as the haunted and tortured Bluebeard, he’s never been scarier! It’s a terrific performance by Carradine. In fact, he considered it his favorite.

BLUEBEARD was directed by Edgar G. Ulmer, the man who directed the classic Boris Karloff/Bela Lugosi thriller, THE BLACK CAT (1934). Like with THE BLACK CAT, there are plenty of innovative camera angles and shots, and also like the Karloff/Lugosi masterpiece, nearly the entire film has background music playing throughout.

Better yet, the murders are chilling and frightening, a testament to how one can create fear without showing graphic scenes of violence.

The screenplay by Pierre Gendron, based on a story by Arnold Lipp and Werner H. Furst, tells the story of puppeteer Gaston Morel who hires women to work with him, paints their portraits, and when he tires of them, he strangles them to death. He then gets rid of the paintings by having a private dealer sell them to buyers who only display them privately, keeping Gaston’s connection to the murders out of the public eye. This private dealer has no issue with Gaston being a murderer, as long as he makes money off the paintings. It’s a lurid plot with modern day overtones, as the way Morel manipulates and then harms women, eventually murdering them, as well as the way his fellow male art dealer dismisses the murders as if these women don’t matter, is symbolic of modern day male predators.

After his latest murder, Gaston meets artist Lucille Lutien (Jean Parker) who like other women, is fascinated with the puppeteer and agrees to design some new puppets for him. Hot on Gaston’s trail is Inspector Jacques Lefevre (Nils Asther) who finally catches a break when by chance he happens to see one of the paintings of the murder victims. He then focuses his investigation on trying to learn the identity of the artist.

BLUEBEARD is an atmospheric, gritty, and genuinely frightening thriller that in spite of its low budget really packs a punch. It’s also a golden opportunity to catch John Carradine in a starring role. He’s excellent as the conflicted puppeteer Gaston Morel. He’s also damned scary!

It’s a shame Carradine didn’t play more leads like this, although he appeared in so many movies in so many supporting roles he certainly made his mark in the movies and for horror fans, his name is up there with the greats like Karloff, Lugosi, Chaney, Price, Lee, and Cushing. And rightly so.

But those guys pretty much always had starring roles. Carradine achieved the same success primarily as a character actor.

Maybe it was because I watched it late at night. Or maybe it’s the fine work of John Carradine and director Edgar G. Ulmer. All I know is, when it was over, I was creeped out way more than I expected. For a black and white 1940s horror movie to get under my skin like that, that’s saying something.

So check out BLUEBEARD. With his terrific performance as Gaston Morel, John Carradine will get under your skin too. In fact, you may even notice your neck starting to feel a bit sore…

—END—

GUNPOWDER MILKSHAKE (2021) – Stylish, Imaginative Netflix Movie One of the Best Action Flicks of the Year

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If you like stylized violence, fight scenes with dazzling choreography, and a plot that features kick-ass women giving it back to an army of bad guys, chances are you will really enjoy GUNPOWDER MILKSHAKE (2021), a new action movie starring Karen Gillan and Lena Headey, now available on Netflix.

I know I certainly did.

When she was just eight years-old, Sam (Karen Gillan) was abandoned by her hitman mother Scarlet (Lena Headey), and wanting to be just like her mother, she grows up to be an assassin as well, working for “the Firm,” her contact being the man her mother trusted to watch over her, Nathan (Paul Giamatti). When a man unwisely steals from the Firm, Sam is hired to kill him and retrieve the money. She finds him and puts a bullet in him, but as he is dying, he reveals that the reason he stole the money is his eight year old daughter Emily (Chloe Coleman) is being held for ransom by a group of thugs.

Against her better judgment, Sam brings the man to a doctor to try to save him, while bringing the money to the thugs to rescue his daughter. She rescues Emily, but in the ensuing gun battle, the money is lost in an explosion. When she reveals this to Nathan, he relays to her that he can no longer protect her. He tells her that on her previous assignment she inadvertently killed the son of Jim McAlester (Ralph Ineson), a powerful mobster, and McAlester now wants her dead. Because the Firm is unhappy with Sam for not returning her money, they will not protect her.

So, Sam finds herself fighting for her own life and protecting Emily’s. She seeks out the help of her mother’s former assassin friends, Madeleine (Carla Gugino), Florence (Michelle Yeoh), and Anna May (Angela Bassett), who work in the library as “librarians.” They agree to help Sam, and since Scarlet is being played by Lena Headey, you just know that at some point she is going to return to help her daughter, which she does, setting the stage for an all out shoot-em-up hand-to-hand combat finale that is as explosive as you can get.

There are a lot of reasons I really enjoyed GUNPOWDER MILKSHAKE, but chief amongst them is its style. The action scenes here are expertly choreographed by director Navot Papushado, and not only that, but they are insanely creative and humorous. I was laughing out loud for a lot of these intense action sequences.

Take for example, the four thugs who kidnapped Emily. They are all wearing monster masks: Dracula, the Frankenstein Monster, the Wolf Man, and the Mummy. So, it’s a hoot seeing these guys make a mad dash to escape in their getaway car wearing these masks, just as it is in the ensuing shoot out with Sam. Watching Dracula, the Frankenstein Monster, the Wolf Man, and the Mummy toting guns and acting like goons in a Quentin Tarantino movie had me laughing out loud. And when Dracula and Sam fight to the death, she grabs a shank and drives it through his chest, and before you can say “Christopher Lee,” blood gushes from his chest and mouth. It’s that type of movie.

Or consider this scene where three hitmen get a second chance to kill Sam when after she beats the living crap out of them, they go to the same doctor who treats her, and he tells them she’s on her way back there. But before this, they had been generously partaking in the doctor’s laughing gas, so now you have three assassins who are preparing to seek vengeance and finish the job, while laughing uncontrollably. The doctor jabs Sam with a drug that makes her arms go limp. So what she does is have Emily tape a knife to one hand and a gun to the other, and she goes out into the hall to battle the three laughing assassins sitting in a swivel chair which she uses to spin around wildly so that her arms can fly horizontally, enabling her to use the knife and the gun. It’s a crazy scene, and it all works so well.

Or the car chase afterwards where Sam still can’t use her arms so Emily has to drive.

The action scenes do not disappoint. The film is R rated, and so there is copious bloodshed and violence, all of it stylized and choreographed. None of it all that believable, but in this case that’s not a detriment.

GUNPOWDER MILKSHAKE compares favorably to a movie I reviewed last week, JOLT (2021) which starred Kate Beckinsale. They both share similar themes and styles. GUNPOWDER MILKSHAKE has the better action scenes and the better script, and simply enjoys a higher level of creativity and oomph that JOLT had.

Karen Gillan is excellent as Sam and easily carries this movie in the lead role. While ultimately the fun over-the-top action sequences aren’t believable, Gillan certainly is as Sam. I easily believed she was a kick-ass assassin. Maybe it’s because she’s had some practice, as she plays Nebula in the Marvel GUARDIANS OF THE GALAXY and AVENGERS movies.

Lena Headey is also very good as Sam’s mom Scarlet, but she makes less of an impact since she’s not in the movie as much. Headey of course these days is most known for playing Cersei Lannister on GAME OF THRONES (2011-2019).

I also really enjoyed Chloe Coleman as Emily, as she and Gillan share a nice camaraderie together.

It was also fun watching Carla Gugino, Michelle Yeoh, and Angela Bassett as the three “librarians.” All I can say is, I want to visit their library!

Ralph Ineson makes for a dastardly heavy as Jim McAlester. He’s not on screen all that much, but when he is, he says and does all the things that a villain should say and do. Michael Smiley also makes his mark as Dr. Ricky, the weasel of a medical man who turns on Sam and tries to get her killed.

Speaking of that sequence, Ivan Kaye as the leader of the three “laughing” assassins enjoys some precious moments in the insanely wild battle to the death with Sam.

And Paul Giamatti does what he always does as Nathan, which is, turn in a solid performance. Nathan is an interesting character. Sworn to protect Sam, he kinda drops the ball because he doesn’t really have the balls to stand up to the firm, yet behind the scenes he still attempts to help Sam, and as a result, there’s still an odd bit of affection between Sam and Nathan.

The screenplay by director Navot Papushado and Ehud Lavski is a good one. The dialogue is sharp throughout, and the story is imaginative and playful.

I’m sure there are those who will take offense at a plot where the good guys are all women, and the villains are all men, but they should get over it. GUNPOWDER MILKSHAKE works well for exactly that reason! And as someone who has been watching movies for decades, I applaud more movies that feature more women characters, especially lead characters. It’s about friggin time!

GUNPOWDER MILKSHAKE is one of the best action movies of the year. The action sequences in this movie are among the most stylized and imaginative I’ve seen in a while, and they belong in the same conversation with sequences from films like ATOMIC BLONDE (2017) and EXTRACTION (2020).

So head on out to your local diner, grab a booth, order a milkshake for two, and enjoy! Just leave your guns at the door. They’re not allowed. Unless of course you order a gunpowder milkshake.

—END—

The Horror! May Means Happy Birthday to Cushing, Lee, and Price

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Peter Cushing and Christopher Lee in HORROR EXPRESS (1972)

I often like to post tributes in May to horror icons Peter Cushing, Christopher Lee, and Vincent Price, as all three of these actors had birthdays in the fifth month of the year, Cushing on May 26, and both Lee and Price on May 27.

This year I’d like to have some fun with their genre of choice, horror! These three actors terrorized movie audiences from the 1950s through the 1980s, with Price actually starting way before that, in the 1940s, and while Lee continued to make movies all the way into the 2000s. The big screen may not see the likes of these three gentlemen ever again.

Each one has their devoted fans with their own ideas as to who is their personal favorite. For me, it’s Peter Cushing, but that doesn’t take away from my admiration and affection for Lee or Price.

For the sake of this column, they are all equally influential.

So, instead, as we celebrate their birthdays here in May 2021, we’ll look at some numbers.

For example, of the three, who made the most horror movies?

By my count, the prize goes to Christopher Lee for appearing in the most horror movies, 57!

Here’s the breakdown:

Christopher Lee: 57

Peter Cushing: 46

Vincent Price: 34

But who caused the most horror on screen? That’s debatable, but we can look at who starred in the most movies with the word “horror” in the title!

Again, the prize goes to Christopher Lee who made five movies with the word “horror” in the title. Strangely, Vincent Price never appeared in a movie with “horror” in the title.

Christopher Lee: 5. HORROR OF DRACULA (1958), HORROR HOTEL (1960), HORROR CASTLE (1963), DR. TERROR’S HOUSE OF HORRORS (1965), HORROR EXPRESS (1972)

Peter Cushing: 3. HORROR OF DRACULA (1958), DR TERROR’S HOUSE OF HORRORS (1965), HORROR EXPRESS (1972),

Vincent Price: 0.

Okay, so what about terror? Who instilled the most terror? Well, again, let’s look at the numbers. Let’s see who made the most movies with the word “terror” in the title? This time the prize goes to Peter Cushing, who starred in three movies with “terror” in the title.

Peter Cushing: 3. DR. TERROR’S HOUSE OF HORRORS (1965), ISLAND OF TERROR (1966), THE BLOOD BEAST TERROR (1968),

Christopher Lee: 2. THE TERROR OF THE TONGS (1961), DR. TERROR’S HOUSE OF HORRORS (1965),

Vincent Price: 2. – TALES OF TERROR (1962), THE COMEDY OF TERRORS (1963).

Vincent Price in TALES OF TERROR (1962).


So, there you have it. I hope you enjoyed this playful tribute to these three icons of horror. Of course, the best way to celebrate their birthdays is to watch one of their movies. So, on that note, I won’t keep you any longer.

Thanks for reading!

—Michael

LEADING LADIES: SUZAN FARMER

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Welcome back to LEADING LADIES, that column where we look at lead actresses in the movies, especially horror movies.

Up today is an actress mostly known to horror fans for one major horror movie. The actress is Suzan Farmer, and the movie is DRACULA: PRINCE OF DARKNESS (1966), Hammer Films’ second Dracula movie starring Christopher Lee, and the direct sequel to their mega-hit HORROR OF DRACULA (1958).

In DRACULA: PRINCE OF DARKNESS, the undead count is resurrected when his servant murders an unsuspecting guest at the castle and uses the man’s blood to rescuscitate his vampire master. Suzan Farmer plays one of the guests, Diana, who’s married to the brother of the slain sacrificial victim. It’s a memorable performance in a movie that has continued to age well over the years, and is held in much higher regard today than it was upon its initial release back in 1966, when it was widely viewed as an inferior sequel to HORROR OF DRACULA.

Here is a partial look at Suzan Farmer’s career:

THE SUPREME SECRET (1958) – Tess – Farmer’s movie debut in 1958 at the age of 15.

THE CRIMSON BLADE (1963) – Constance Beverley – High seas adventure which takes place in 1648 and also stars Lionel Jeffries, Oliver Reed, June Thorburn, and Hammer regulars Michael Ripper and Duncan Lamont.

THE DEVIL-SHIP PIRATES (1964) – Angela – Hammer pirate adventure written by Jimmy Sangster and directed by Don Sharp. Starring Christopher Lee, Andrew Keir, Duncan Lamont, and Michael Ripper.

DIE, MONSTER, DIE! (1965) – Susan Whitley – Farmer plays the daughter of a wheelchair-bound Boris Karloff. She’s stuck in the castle while Karloff conducts bizarre experiments, all the while her boyfriend Stephen (Nick Adams) tries to convince her to leave daddy and get the heck out of there! Based on H.P. Lovecraft’s “The Colour Out of Space.” Also starring Freda Jackson and Patrick Magee.

DRACULA: PRINCE OF DARKNESS (1966) – Diana- My favorite Suzan Farmer role and performance. A big reason for this is she’s in some of the best scenes in the movie, certainly the best Dracula scenes. The scene where Dracula (Christopher Lee) attacks her from an open window, and later when he slits open his chest and invites her to drink his blood, are two of the more memorable sequences in the film. Farmer also enjoys playful chemistry with Francis Matthews, who plays her husband Charles. Their dialogue together resonates throughout the movie, and they really do seem like a young married couple very much in love. Farmer also dubbed the high-pitched screams for co-star Barbara Shelley.

RASPUTIN: THE MAD MONK (1966) – Vanessa – Shot simultaneously with DRACULA: PRINCE OF DARKNESS, using many of the same sets and cast, including Christopher Lee, Barbara Shelley, Francis Matthews, and Farmer.

PERSECUTION (1974) – Janie Masters – Farmer’s last movie credit is in this thriller starring Lana Turner as an evil mom tormenting her adult son played by Ralph Bates and his family. Also starring Trevor Howard, Patrick Allen, and Ronald Howard.

LEAP IN THE DARK (1980) – Grace- Farmer’s final screen credit was in an episode of this horror anthology TV series.

Indeed, after 1966, the majority of Farmer’s screen appearances were on the small screen on various TV shows.

Suzan Farmer passed away on September 17, 2017 at the age of 75 from cancer.

I hope you enjoyed this brief partial look at the career of Suzan Farmer. She made a lasting impression with only a few appearances in horror films in the 1960s, especially in the Hammer Film DRACULA: PRINCE OF DARKNESS. Speaking of DRACULA: PRINCE OF DARKNESS, with the recent passing of Barbara Shelley, and six months earlier of Philip Latham who played Dracula’s loyal servant Klove, all the major cast members from that classic Dracula movie are now gone, sadly.

Here’s a toast to them, a wonderful cast in a classic Dracula movie.

Please join me again next time for the next LEADING LADIES column, where we’ll look at the career of another leading actress in the movies, especially horror movies.

As always, thanks for reading!

—Michael

MONSTER MOVIES: THE FRANKENSTEIN MONSTER – The Universal & Hammer Frankenstein Series

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I’ve loved horror movies all my life.

But long before I called them horror movies, I referred to them as Monster Movies. As a kid, it was rare that I would say “I’m going to watch a horror movie.” Instead, it was “time to watch a monster movie!”

Part of this may have been the influence of reading the magazine Famous Monsters of Filmland, and enjoying all of Forry Ackerman’s affectionate coverage of movie monsters. But the other part certainly was most of the time I was watching movies that had monsters in them!

And so today, I’d like to celebrate some of these monsters, specifically the Frankenstein Monster. Here’s a look at the Frankenstein Monster in the two most important Frankenstein film series, the Universal and Hammer Frankenstein movies, and I rank each Monster performance with the Monster Meter, with four brains being the best and zero brains being the worst. Okay, here we go.

The Universal series:

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The Monster (Boris Karloff) in FRANKENSTEIN (1931)

FRANKENSTEIN (1931) – The Monster – ?- Sure, he was listed in the credits this way, but we all know by now that it was Boris Karloff playing the monster in this original shocker by Universal studios. It was the role that made Karloff a household name, and rightly so. It still remains my all-time favorite Frankenstein Monster performance. Karloff captures the perfect balance between an innocent being recently born with the insane violence of an unstoppable monster. There are several sequences in this movie where Karloff’s Monster is so violent and brutally powerful it still is frightening to watch.

Monster Meter: Four brains.

 

THE BRIDE OF FRANKENSTEIN (1935) – The Monster – Karloff. This time he was so famous that his name was listed in the credits as only Karloff, but again, it was Boris Karloff playing the role of the Monster in a movie that many critics hail as the best of the Universal Frankenstein movies. It’s certainly more ambitious than FRANKENSTEIN. And Karloff does more with the role, as the Monster even learns how to speak. I still slightly prefer FRANKENSTEIN, but I will say that Karloff’s performances in these two movies are probably the most powerful performances of the Monster ever put on film.

Monster Meter: Four brains.

 

SON OF FRANKENSTEIN (1939) – The Monster – Boris Karloff. The third and last time Karloff played the Monster was the least effective. While the film is elaborate and features big budget sets and a stellar cast that also includes Basil Rathbone, Bela Lugosi, and Lionel Atwill, this film begins the sad trend in the Universal Frankestein movies where the Monster simply didn’t do as much as he did in the first two movies. Here, he’s a patient on a slab for most of the film, and once he becomes active, he’s a far cry from the Monster we saw in the first two movies. He doesn’t even speak anymore.

Monster Meter: Three brains.

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The Monster (Lon Chaney Jr. ) in THE GHOST OF FRANKENSTEIN (1942)

 

THE GHOST OF FRANKENSTEIN (1942) – The Monster – Lon Chaney Jr. As much as I like Lon Chaney Jr., I don’t really like his interpretation of the Monster here. He takes over the role from Boris Karloff, and although he means well, he just doesn’t possess Karloff’s instincts. The attempt is made to make the Monster more active again, but Chaney simply lacks Karloff’s unpredictable ferocity and sympathetic understanding. I will say that this is the one time where Chaney disappoints as a monster, as he of course owned Larry Talbot/The Wolfman, made an effective Dracula in SON OF DRACULA (1943), and I thought played a very frightening Kharis the Mummy in his three MUMMY movies.

Monster Meter: Two brains.

 

FRANKENSTEIN MEETS THE WOLF MAN (1943) – The Monster- Bela Lugosi. Lugosi turned down the role in 1931 because the Monster had no dialogue, a decision that haunted the rest of his career, as the film instead launched the career of Boris Karloff who went on to largely overshadow Lugosi as the king of horror over the next two decades. This should have been an awesome role for Lugosi. It made perfect sense story wise, for at the end of the previous film, THE GHOST OF FRANKENSTEIN, the brain of the manipulative Ygor (Lugosi) was placed inside the Monster. In FRANKENSTEIN MEETS THE WOLF MAN, the Monster was supposed to speak with Ygor’s voice, and be blind, but all his dialogue was cut as were references to the Monster’s blindness. The story goes that because of World War II, Universal balked at having a Frankenstein Monster talking about taking over the world. The sad result was the film makes Lugosi’s performance look silly, as he goes about with his arms outstretched in front of him, walking tentatively. He was doing this of course because he was blind! But the film cut all references to this, and the audience had no idea at the time what the heck was up with Lugosi’s Monster.

Monster Meter: Two and a half brains.

 

HOUSE OF FRANKENSTEIN (1944) – The Monster – Glenn Strange – Strange takes over the Monster duties here, in Universal’s first monster fest, also featuring Lon Chaney Jr. as the Wolf Man, and John Carradine as Dracula. Boris Karloff returns to the series here as the evil Dr. Niemann. Strange is an okay Monster, but he doesn’t have a whole lot to do.

Monster Meter: Two brains.

 

HOUSE OF DRACULA (1945) – The Monster – Glenn Strange – Strange returns as the Monster in Universal’s second Monster romp.

Monster Meter: Two brains.

 

ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948) – The Monster – Glenn Strange – The third time is the charm for Glenn Strange as he gives his best performance as the Monster in this Abbott and Costello comedy which in addition to being hilariously funny is also one of Universal’s best Monster movies! The Monster even talks again! Notable for Bela Lugosi’s return as Dracula, and also once more features Lon Chaney Jr. as the Wolf Man. Look fast for Chaney as the Frankenstein Monster in the sequence where he tosses the nurse out the window, as he was filling in for an injured Glenn Strange at the time!

Monster Meter: Three brains.

 

The Hammer series:

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The Creature (Christopher Lee) in THE CURSE OF FRANKENSTEIN (1957)

THE CURSE OF FRANKENSTEIN (1957) – The Creature – Christopher Lee. The Hammer Frankenstein series, unlike the Universal series, focused on Victor Frankenstein, played by Peter Cushing, rather than on the Monster. Each Hammer Frankenstein flick featured a different Monster. Poor Christopher Lee received no love back in the day, and his performance as the Creature was widely panned by critics. But you know what? Other than Karloff’s performance in the first two Universal films, Lee delivers the second best performance as a Frankenstein creation! Lee’s Creature is an insane killer, and darting in and out of the shadows, he actually has more of a Michael Meyers vibe going on in this film than a Boris Karloff feel. With horrifying make-up by Philip Leakey, it’s a shame that this Creature only appeared in this one movie. On the other hand, it kinda makes Lee’s performance all the more special. It’s one not to miss!

Monster Meter: Three and a half brains.

 

THE REVENGE OF FRANKENSTEIN (1958) – The Monster/Karl – Michael Gwynn. This sequel to THE CURSE OF FRANKENSTEIN is one of the most intelligent Frankenstein moves ever made. It has a thought-provoking script and phenomenal performances, led by Peter Cushing, reprising his role as Baron Victor Frankenstein. The only trouble is this one forgot to be scary. Plus, the Monster, played here by Michael Gwynn, pales in comparison to Lee’s Creature in the previous film.

Monster Meter: Two brains.

 

THE EVIL OF FRANKENSTEIN (1964) – The Creature – Kiwi Kingston – The Hammer Frankenstein movie most influenced by the Universal series, with the make-up on Australian wrestler Kiwi Kingston reminiscent of the make-up on the Universal Monster. Not a bad entry in the series, but not a very good one either. This one has more action and chills than REVENGE, but its plot is silly and no where near as thought-provoking or as adult as the plots of the first two films in the series.

Monster Meter: Two brains.

 

FRANKENSTEIN CREATED WOMAN  (1967) – Christina – Susan Denberg – The Creature in this one is as the title says, a woman, played here by Playboy model Susan Denberg. A good looking— no pun intended— Hammer production that is largely done-in by a weak script that doesn’t make much sense when you really think about it. The best part of this one is the dynamic between Peter Cushing’s Baron Frankenstein and Thorley Walter’s Doctor Hertz, who capture a sort of Sherlock Holmes/Dr. Watson vibe in this one.

Monster Meter: Two brains.

frankenstein must be destroyed freddie jones

His brain is in someone else’s body. Dr. Brandt/Professor Richter (Freddie Jones) seeks revenge against Baron Frankenstein (Peter Cushing) in FRANKENSTEIN MUST BE DESTROYED (1969).

FRANKENSTEIN MUST BE DESTROYED  (1969) – Professor Richter- Freddie Jones – By far, the darkest and most violent of the Hammer Frankenstein movies, and certainly Peter Cushing’s most villainous turn as Baron Frankenstein. For a lot of fans, this is the best of the Hammer Frankenstein series. It also features a neat script involving brain transplants, and Freddie Jones delivers an exceptional performance as a man whose brain has been transplanted into another man’s body. The scene where he returns home to try to convince his wife, who believes her husband is dead after seeing his mangled body, that he is in fact her husband, that his brain is inside another man’s body, is one of the more emotional scenes ever put in a Frankenstein movie. This one didn’t perform well at the box office and is said to have been director Terence Fisher’s biggest disappointment, as he believed this was a superior film and would be a big hit. The years have proven him right, but at the time, it was not considered a successful Hammer Film. Christopher Lee once said in an interview that he believed this film flopped because it didn’t really have a monster in it, and that’s what fans really wanted. I believe Lee’s observation to be correct.

Monster Meter: Three brains.

 

THE HORROR OF FRANKENSTEIN (1970) – The Monster – David Prowse – Hammer decided to remake THE CURSE OF FRANKENSTEIN with Ralph Bates playing Victor Frankenstein and David Prowse playing the Monster. Unfortunately, this is the worst of the Hammer Frankensteins by a wide margin. David Prowse would go on of course to play Darth Vader in the STAR WARS movies.

Monster Meter: One brain.

 

FRANKENSTEIN AND THE MONSTER FROM HELL (1974) – The Monster – David Prowse. Peter Cushing returns as Baron Frankenstein for the last time in what is essentially a poor man’s remake of THE REVENGE OF FRANKENSTEIN. Prowse plays a different Monster than the one he played in THE HORROR OF FRANKENSTEIN, and by doing so, he becomes the only actor to play a monster more than once in a Hammer Frankenstein Film. This one is all rather mediocre, and since it’s the final film in the series, it’s somewhat of a disappointment as it’s a weak way to finish a superior horror franchise.

Monster Meter: Two brains.

 

And there you have it. A look at the Frankenstein Monster in the Universal and Hammer series.

Thanks for reading!

—Michael

Books by Michael Arruda:

DARK CORNERS, Michael Arruda’s second short story collection, contains ten tales of horror, six reprints and four stories original to this collection.

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Waiting for you in Dark Corners are tales of vampires, monsters, werewolves, demonic circus animals, and eternal darkness. Be prepared to be both frightened and entertained. You never know what you will find lurking in dark corners.

Ebook: $3.99. Available at http://www.crossroadspress.com and at Amazon.com.  Print on demand version available at https://www.amazon.com/dp/1949914437.

TIME FRAME,  science fiction novel by Michael Arruda.  

How far would you go to save your family? Would you change the course of time? That’s the decision facing Adam Cabral in this mind-bending science fiction adventure by Michael Arruda.

Ebook version:  $2.99. Available at http://www.crossroadpress.com. Print version:  $18.00. Includes postage! Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

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Michael Arruda reviews horror movies throughout history, from the silent classics of the 1920s, Universal horror from the 1930s-40s, Hammer Films of the 1950s-70s, all the way through the instant classics of today. If you like to read about horror movies, this is the book for you!

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com.  Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, first short story collection by Michael Arruda.  

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Print cover
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Ebook cover

Michael Arruda’s first short story collection, featuring a wraparound story which links all the tales together, asks the question: can you have a relationship when your partner is surrounded by the supernatural? If you thought normal relationships were difficult, wait to you read about what the folks in these stories have to deal with. For the love of horror!

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com. Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.