A Shakespeare Trio the Sixth

 

A Shakespeare Trio the Sixth

by Kristin Battestella

This trio of Bard influenced dramas and documentaries is all about older analysis, reflection, and even some mistakes.

All is True – Director Kenneth Branagh (Wallander) stars as William Shakespeare alongside Judi Dench (Goldeneye), Ian McKellan (Lord of the Rings), and Hadley Fraser (Coriolanus) in this 2018 biopic recounting The Bard's final years. Opening title cards detail the 1613 burning of the Globe Theatre and how Shakespeare never wrote again, but Branagh is almost unrecognizable as Shakespeare returns to the green countryside with autumn leaves and sun kissed silhouettes. There is no action here as the conversations and country pace are reflective rather than London bustle. Twenty years he's been more about town than at home, so his wife puts Bill in the best bed for the guests. Awkward dinner scenes, tense will stipulations, and gardening struggles mirror the family disconnect as Shakespeare's attempts to apply his imagination to household references don't quite work. He and Anne are honest about their children's troubles yet they themselves are distant. She reminds him that he spent so much time putting words into people's mouths that he forgot what's unsaid matters. Not to mention she's pretty angry over his love poetry and wonders if he ever considered her reputation amid his visions of their late son Hamnet. He can converse with men of distinction despite lingering embarrassment over his upbringing and paying for a fake coat of arms, but Shakespeare provided wealth, fame, comfort, and fortune for his family – so why are they so bitter? The Bard didn't realize the rest of his family had stories to tell, but couldn't, and once the truth about Hamnet is addressed, they can heal complete with a charming explanation about that second best bed left to his wife in his will. Unfortunately, the uneven time between his daughters and their creep husbands detracts from the internal Shakespeare analysis. Even if some of their scandals are factual, their drama is here for its Puritan harshness, and the lookalike tut tutting townsfolk are also unnecessary. It's tough for us to believe Shakespeare was disrespected and belittled by small people when no external angst is needed. Such strife is just an excuse for The Bard to whip 'em with his words while his illiterate family learns to read and write to prove they love him. The Hamnet supposition also drags on even after Bill has supposedly accepted his daughters, making three years seem like three months because every plot comes back to this deceased ideal. Contrived liberties may irritate purists when the introspective legacy, attention to Tudor detail, Jacobean furniture, and Puritan garments are better. Usually we give Branagh his Shakespeare indulgences, but an outside eye not so beloved of the Bard would have smoothed the unevenness here. The cast is superb – Dench is thirty years older than her onscreen husband when Hollywood would have cast a thirty year old – and the longest scene is a twofer with McKellan's Earl of Southampton waxing on their read between the lines love and the forever young words that last long after the family line ends. Despite unnecessary intrusions, this is a perfectly period swansong meant for mature Shakespeare viewers.

Shakespeare's Heroes and Villains – Steven Berkoff (Octopussy) performs and analyzes iconic Bard figures in this fun 2019 one man presentation. Rousing Henry V monologues and London cityscapes capture the viewer's attention much more than a talking heads documentary by letting us in on the show. Berkoff's angry at diminishing changes in the text, intrusive technologies, and modern liberties that miss the point of the words. Trust the language and the speeches are enough to immerse the audience in the suspension of belief. A deliciously intimate Iago soliloquy reveals his small minded, mediocre jealously, and we can often recognize his pleasure from displeasure in ourselves. Richard III, on the other hand, is a clever villain. Berkoff compares his intelligent orchestration and sadistic motivations to not just Hitler, but Trump as fear and power make a poor substitute for real emotions. Today, we don't think we need love thanks to the internet and pornography, but wealth and corruption can't fill the vacuum created by an absence of compassion. Such disturbing characters are fun to play, but it's also difficult to wash away such darkness when you leave the boards. Rather than purely scholarly analysis, it's interesting to see the characterization through the craft. How do you add your own innovated nuance when the audience already has Olivier's take in mind? Of course, wannabe baddie Macbeth just can't get the job done thanks to the lingering loyalty holding him back. Shakespeare is shockingly succinct for his day in Lady's Macbeth's unsex me wish – the removal of her nourishing femininity makes her the male impregnating our subservient, festering thane with killer notions. Coriolanus listens to his mother and it gets him got and Oberon is going to get what he wants from Queen Tatiana even if he makes Puck do the dirty work. Berkoff concludes with his own Shakespeare experience, first as something difficult and irrelevant in his youth then later still boring compared to big Hollywood opportunities. The poetic, stirring imagery, however, brought him to the realizations and self expression to be had amid the layered pentameter. Film has its tricks but pure theatre has nothing but the actor and the playwright's words. Although the time dedicated to our heroes and villains is unequal, the mix of famous and lesser known balances out thanks to the food for though interpretations and unique perspectives. Even if you disagree with Berkoff's take, this is an entertaining gateway to some of Shakespeare's juiciest characters; an inspiration for all ages to research further and a great supplement for the at home classroom to compare and discuss.

An Unfortunate Skip

Romeo and Juliet – A cringe on both your houses! George Cukor (Let's Make Love) directs Norma Shearer (The Barretts of Wimpole Street) and Lesley Howard (Gone with the Wind) in this black and white 1936 two hour Shakespeare adaptation immediately hampered by its company of oldsters pretending to be adolescent lovers run afoul. The title card introductions also feel like silent film holdovers, however the who's who family rivalries add to the medieval mood alongside trumpets, tights, wimples, feathers, banners, tunics, tassels, fur collars, cloaks, and gems. Juliet's hair and gowns certainly take some interwar liberties, but convenient family crests and shields remind us who is who during the dares, sword fights, and rumbles in the cobblestone streets. Some of the boasting is meant to be bemusing, but most of it is over the top with fainting women, gasp there be Capulets, spitting, and it's the Montagues, our foe! The sizing each other up clout is also moot because we know it's not going to mean anything in the fatal end, and the toy wooden swords stabbing under the arm are stage fighting apparent. Although we do get to see Basil Rathbone (Comedy of Terrors) and his rapier in action, it's a mistake to intercut his skill with up close soft shots instead of using the fight to its fullest. Much of the side story angst and set up, however, could be excised. Despite their stage training, the stars are reciting juvenile, enchanted dialogue rather than really acting alongside a typically hysterical nursemaid and Andy Devine (Stagecoach) as unnecessary comic relief. The tale here is condensed yet overly romanticized with rowdy filler and poor John Barrymore (Dr.Jekyll and Mr. Hyde) looks more like a horny old man instead of a rebellious teen. The balcony scene is creepy and awkward as are the Morning Mood music bliss and angelic choruses. Is this a coming out party for an old maid and a virgin guy who just want to hold hands? Why are these grown ups talking old speaketh silly and worried about what their family thinks when they can go to the friar ASAP and get it on like adults? Nobody has to die over this not so forbidden, changing the entire dynamic of the tragedy thanks to out of touch pretentiousness and try hard windblown reinforcing the pompous elitism for those who think negatively of Shakespeare. If this was based on the play but an adult version with updated language, a lot of what's wrong here could be forgiven thanks to the fine production values. Fans of the cast and Shakespeare completists may find some delight here, but even if you like classics, it's easier to perceive this as a riff-able spoof with no expectations.

A Lon Chaney Jr. Post!

A Lon Chaney Trio!

By Kristin Battestella

Do we need an excuse to discuss this Junior-variety triumvirate of Lon Chaney films? I thought not!

The Black Sleep – From Basil Rathbone’s slick top hat and suspicious, desperate doctoring and the spine-chilling entrance of the snapped Lon Chaney Jr. to a wild appearance by John Carradine and Bela Lugosi’s sad dénouement, the titans abound in this sophisticated 1956 terror tale. Cataleptic drug history and an ominous narration set the black and white mood along with a spooky score and fitting 1872 styles. Prison dreary, erroneous death sentences, grave robbing, dissection of convict cadavers, and the titular anesthetic keep the morbid plot moving, and questionable science, eerie estates, secret passages, and a crazy patient or two complete the scary movie checklist here. While some of the science talk is dated or hyperbole and deflection and the pace is perhaps slow today, the classy morose and well played ensemble cast – also including Akim Tamiroff (Touch of Evil), Herbert Rudley (The Mothers-In-Law), Patricia Blair (The Rifleman), and Tor Johnson (Plan 9 from Outer Space) – are worth watching. There isn’t much of our silent strongman Son of the Hour, and I’m not sure why neither he nor the bittersweet Lugosi has little or no lines, but freaky brain surgeries, great damsels, and macabre dream sequences are in keeping with the elegant yet subtly gruesome. Long time horror viewers won’t find a whole lot of scary amid the medical gone awry, but at times I didn’t know what was going to happen next thanks to surprising reveals, twisted progression, and an action creepy finish.

The Mummy’s Curse – Stay with me now – this 1944 hour long Universal sequel marks the final appearance by Lon Chaney Jr. as Kharis after The Mummy’s Tomb and The Mummy’s Ghost, which follow the 1932 original and The Mummy’s Hand. Got that? Of course, the timeline and locales are all over the place at this point anyway! We open with a French sing along to set the inexplicably changed Louisiana setting here before getting to the expected accursed mummy swamp recovery, investigating archaeology professors, and screaming dames. It’s amusing to see all the fearful and faux French accented locals, and reused stock footage from prior Mummy films creates further humor. But why is this exact same story being told to us again? Again but in a Louisiana swamp? A swamp that lies below a conveniently abandoned chapel where the Mummy hides? Fortunately, once the audience takes these leaps, Chaney’s resurrected and deadly, limbering monster can be enjoyed thanks to well done shadows, lighting, and crisp black and white photography. Virginia Christine (Tales of Wells Fargo) also has an excellent entrance as the revived Ananka, with eerie music, stilted movement, and great horror editing. Despite the spooky bayou atmosphere, this isn’t as scary movie as it should be – somehow Chaney’s crippled, dragging Mummy seems sad and used more than frightening. Poor thing misses a victim or two thanks to them, you know, walking away from him! Thankfully, the quick fun here is still watchable for fans, especially in a Mummy or Chaney viewing marathon. 

Witchcraft – Lon Chaney Jr. is old but earnest in his failed attempts to rescue a centuries old family graveyard from urban development in this black and white 1964 spooky. Creepy music and that stony cemetery scenery set the mood while family rivalries, ruthless business practices, and a buried alive witch returning from the grave just in time for May Day sacrifices up the angst ante. Although we don’t see Our Man Creighton too much, the wise horror viewer knows anyone desecrating a tomb will earn plenty of bad blood and titular mayhem. The young romance scenes are also too sappy and cliché, but thankfully, they are few and far between the otherwise well played generational gaps. Conflicting attitudes on respecting the witchcraft history and superstitious fears add to the suspenseful and well-edited murders, disturbing effigies, and voodoo dolls. Great lighting, dark shadows, sinister winds, creepy car rides, and eerie, silent up close scares increase as the revenge deaths and onscreen pace quicken. These 80 minutes might become too predicable by the end with so much magical vengeance, but each mini murder sequence is a well done piece unto itself. Creepy eyes, hoods and ritual robes, and just enough undead makeup accent the fun fiery finish, too. Perhaps this is a standard witchy tale, but there’s enough plotting and performance here to match the effective, atmospheric telling.

Just Vamps 2!

Just Vampires II! 

By Kristin Battestella

Because who can’t get enough vampire movies, am I right?

Queen of Blood – Roger Corman (House of Usher) and Stephanie Rotham (The Velvet Vampire) produced this 1966 AIP science fiction meets horror tale from writer/director Curtis Harrington (What’s the Matter with Helen?). Though the borrowed footage and stolen special effects don’t really match the primitive explorations of the moon, Venus, and Mars, the old-fashioned sci-fi sounds and empty sets with blinking lights are mid-century charming. Granted, most of these “1990” space stylings look like toys and dated artwork, but silhouettes, shadows, and colored lighting help hide the hokey. The unscientific old jargon and constantly interrupting intercom pages, however, are simply laughable. These attempts at high tech and the supposedly cool alien footage are actually more confusing than establishing because today’s viewer can’t tell what’s happening. The slow, time wasting, goofy effects should have been done away with in favor of more drama from John Saxon (A Nightmare on Elm Street), Basil Rathbone (Sherlock Holmes), a very young Dennis Hopper (Blue Velvet), and the blink and you miss him Forrest J Ackerman (Kentucky Fried Movie). Fortunately, the cast and story are quite intriguing – an alien message, contact with Earth, a crash on Mars, and our ill-prepared rescue attempt. The suspense rises thanks to a stranding on Phobos, three passengers for a two-person pod, and of course, the creepy, hypnotic, titular, green – yes green – Florence Marly (Tokyo Joe). Between the now standard SF action and the freaky, cynical ending, one wouldn’t expect the aliens to turn scary, much less be vampires, but the sensual, scary mix works. Is it preposterous? Heck yeah. Is this an entertaining space horror delight? For sure.

Scars of Dracula – Roy Ward Baker (The Vampire Lovers) takes the helm for this 1970 entry in the Hammer series once again starring Christopher Lee as the eponymous count. The plot kind of sort of picks up from Taste the Blood of Dracula with the pre-requisite resurrection in the first few moments and sets the mood with booming orchestration, outdoor scenery, wild carriages, and cool castle interiors accented by red décor and bloody, pecked, and stabbed victims. Yes, the period design is cheap and the plot standard – a young village girl is attacked, angry townsfolk and the clergyman head off for Dracula’s known lair, one person doesn’t heed said village’s advice, a couple pursues him to the castle… The tale starts several times and takes too long with seemingly random players before the vamp action, and most of this set up could have been abandoned for an in medias res cold open. Expected series inconsistencies and a plodding lack of panache detract from the Stoker touches, but Lee looks good, mixing both violent and torturous intensity with suave and delicate mannerisms.  From casual dining and conversations to a seductive vampire bride and slightly hokey bat control, Lee has much more to do with these developments, and it’s wonderfully creepy. Likewise, Patrick Troughton (Doctor Who) is a seedy, hairy, hatchet wielding, and conflicted henchman. Though the nudity and bed hopping are a little more risqué, there could have been more and subtitles would clarify a lot! Yes, it’s somewhat typical with nothing new on the vampire theme, but Lee’s presence anchors the spooky iconography here.

  

Vampyres – Late Spanish director Jose Ramon Larraz (Symptoms) gets right to the unabashedly naked lesbian soft-core action and slobbery kisses for this 1974 blood and spicy.  Despite our contemporary love of sex sex sex, one might initially groan at this potentially unnecessary boobs before violence – yet the kitschy mood and sensuous gothic tone works with the blended British seventies style and Old World, cluttered Victorian creepy. Outside of some great cars and sparse electricity, the viewer may not know when this takes place, and the Oakley Court estate and churchyards are perfectly isolated eerie. Couple Sally Falkner (Doctor Who) and Brian Deacon (The Feathered Serpent) give the audience a likeable believer and a relatable skeptic to set up scares and shocks while Murray Brown (Dan Curtis’ Dracula) learns the dangers of picking up beautiful hitchhikers in dark capes Marianne Morris (Lovebox) and Anulka Dziubinska (Lisztomania). Though the foul afoot is certainly suspected, the simmering, alluring build doesn’t reveal the juicy all at once. Sure, some plot points don’t make much sense – sharper editing or script clarifications would have helped – and the seventies sex and kinky lingerie strip teases can be laughable, I grant you. However, the strong titillation provides comfort, rough, or bemusement ahead of the bloody kickers. The predatory approach is traditional but there are no fangs and quick, demented, near cannibalistic feminine twists keep the pace unconventional. Viewers who prefer their gore, language, and sex fast and furious may find the action slow or the plot lame, but the meant to be hazy and dreamy mood belies an intense finish. Although the volume and sound are soft, the new blu-ray release has commentaries, interviews, and by golly makes this movie look brand spanking new.

 

Confusing Decisions

Count Dracula’s Great Love – Co-writer and star Paul Naschy (Fury of the Wolf Man) adds sexy plottings to this largely standard 1974 Spanish vampire tale. Moody fog, menacing carriages, Bram Stoker and Vlad the Impaler references, and good old fashioned grave robbing do start off well. Add crazy sanitarium history and the mysterious, suave undead Doctor Naschy nearby, and you have the perfect Transylvania weather for our stranded ladies to shack up in the hospitable vamp’s run down castle and then go for a naked swim! The extremely colorful, garish frocks may not be period authentic and it’s tough to tell our buxom guests apart beyond said boobs, hair color, or virginity and promiscuity status. However, the nightgowns, wispy robes, and nighttime bedroom visits are all in gothic good fun. Thunderstorms, candles, cats jumping out, and howling wolves keep up the traditional vampire retelling – I wouldn’t spend the night in this place! Dreamy ultraviolet filming, blue lighting, and neat vampire eyes work when we see the scary action, but slow pacing, lengthy exposition, and sudden love hamper the girl on girl attacks, blood smeared breasts, meaty blood rituals, and dungeon chains. Poor video quality doesn’t help, and the Elvira’s Movie Macabre DVD edition from her 1982 first season contributes to the cheap production and camp atmosphere – lovely as Cassandra Peterson is with an apron that covers everything but her rack! Bad dubbing and no subtitles are part of the charm here, and the serious approach on Dracula seeking a virgin to resolve his curse could work wonderfully. This film is bemusingly bad to see and has some germs of possibility, but it’s too short, slightly limp on the bites, and feels tame compared to other vampy sexploitation of the era.

The She Beast – I really wanted to see this quick 1966 Barbara Steele vehicle from director Mike Reeves (Witchfinder General). Though I’m not really sure what the “vampire witch” description on the sleeve actually means, I’ll go with it, the Transylvania connections, and Van Helsing hobnobbing! Despite too many starts and a tough to see opening execution, the mayhem and titular nasty are dang creepy against the swanky clothes and sexy Steele voice – so often not heard thanks to international dubbing. She’s almost topless, too, but there really isn’t enough of Steele for her fans to enjoy here. The action kicks up with a car accident and disappearing bodies, but the people and plot are too nonsensical to root for anyone. The rapacious, voyeuristic, nasty hotel clerk is too sleaze ball foul to enjoy; he’s sloppy and serves no purpose in the film as far as I can tell.  Not only do the English subtitles not work on the cheap Netflix DVD, but the print is absolutely poor – the color is so faded that it looks black and white! Though a campy, fun viewing, I can’t tell if this is a bad movie that flops itself or if the crappy video butchers all coherence. I suspect it’s a little of both!

Madhouse and Theatre of Blood

Madhouse and Theatre of Blood A Twisted Good Time!

By Kristin Battestella

Give me an excuse like a would-be 101^st birthday to watch some more Vincent Price!

In the 1974 murder and mayhem tale Madhouse, Price is Paul Toombes, the aging star of the Dr. Death horror movies penned by Toombes’ longtime friend and former actor Herbert Flay (Peter Cushing). Flay has coaxed Toombes out of semi retirement for a new television show produced by the sleazy Oliver Quayle (Robert Quarry). Unfortunately, the suspicious murder of Toombes’ young fiancée and the time he spent institutionalized thereafter continues to haunt ‘Dr. Death’.  Cast and crewmembers on his new series are soon found dead in copycat crimes styled from the Dr. Death films, and Toombs slowly succumbs to a returning mental instability. Can he solve the crafty murders nonetheless? Is he the killer or Dr. Death’s next victim?

Oscar winning editor turned director Jim Clark (The Killing Fields, The Innocents) opens Madhouse with a fun use of footage from The Haunted Palace, solid pre-title festivities, and a juicy crime. In many ways, Clark’s crafty editing experience is perfect for the task at hand. The visual blending of Price’s earlier AIP films, old production photos, nods to other film work, and their intercutting use for this Amicus co-production wonderfully establishes Madhouse’s neat premise. Where does the actor Toombes’ reality end and the fictional killer persona of Dr. Death begin? Are we watching a film about Toombs or the Dr. Death TV show? Did these two great titans of horror “need the work” onscreen and off perhaps? This sly touch of dark comedy and ability to laugh at one’s genre comes across beautifully, and the intermingling with killer viewpoints, seventies zooms, and extreme angles keeps the lines between actuality and stability appropriately askew. It’s not overdone as we lay it on today- there’s just the right amount of stylized play within a play identities, illusions, and good fun.  After all, we’re seeing a horror show within a horror film supported by clips of other horror movies like The Raven, Tales of Terror, and The Pit and the Pendulum.  Madhouse doesn’t take itself so seriously, and neither should we. One should probably be a fan of Big V’s film catalog to appreciate such shrewd killer use of stock footage, yes.  The seventies mixing and sixties styles will seem dated- even obvious in revealing the killer as the picture goes on. The more that you think about the scenes of the crimes; plot holes and confusions become apparent, indeed.  Fortunately, the traditional horror film design, tight photography, and simple smoke and mirrors work their best. The death scenes are first-rate, with creative uses of the set within set themes. The film splicing, fade ins and outs, and great uses of sounds effects and screams from both within the used footage and the film itself create a complete drive-in or late night film experience.  I’m not sure that the title has to do with anything, and the logistics of Madhouse’s inept Scotland Yard men will make your head hurt if you think too hard on it, but who cares?

Naturally, Our Man Price is the classy old pimp we expect, oh yes. He begins Madhouse as a suave Hugh Hefner-esque silver fox with young Bond Girl blonds abound.  Today we might expect this sexy mismatch in horror, but it’s a true guilty pleasure to see Toombes taking down the dames here. Although Price plays the degrading sanity seriously, there are hints of that over the top innuendo and tongue planted firmly in cheek design. Certain scenes are both personal parody and honest homage to his earlier scaries, and we’re meant to enjoy the self-reverent ride.  It’s as if the character of Dr. Death is more alive that the aptly named Toombs.  He’s older, sympathetic- we feel for this terrorized former star- yet the Dr. Death scenery is no less suspicious or sinister in quality.  Besides, many viewers would presume Price himself was spooky onscreen and off, creating another blur between the actors and personas within Madhouse. These dual imageries and creepy soliloquies create quite a haunting portrayal indeed.

At only ninety minutes, fellow horror mavens Peter Cushing (must I?) and Robert Quarry (Count Yorga, Vampire) don’t get too much time to steal the show, but their spooky support is spot on nonetheless. Cushing is so suave, a slick, classy ex-actor turned writer that’s almost too good a friend to be true. Likewise, Quarry is the perfect greasy television executive looking for dames and dollars.  Both men also wear vampire costumes at a celebrity party- again playing on the theme with Quarry’s Yorga and Cushing’s Helsing personas. Basil Rathbone and Boris Karloff are credited for their stock footage uses, which is kind of strange but also a fitting tip of the hat for the bent reality that is Madhouse. Natasha Pyne (Father Dear Father) is also an interesting and unexpected touch as TV assistant Julia.  Blonde and seemingly insignificant like the other ladies, but again, nothing in Madhouse is what it seems.

Adrienne Corri (A Clockwork Orange) is also wonderfully disturbed and loads of fun.  Those spiders of hers, shudder! Madhouse looks both swanky with modern mid-century design and Old Hollywood with fallen graces and decrepit sets. The creepy British locales add on lots of candles, statues, and spooky gardens. Old film projectors, flat phonographs, eerie sixties scoring, ironic music cues sang by Price himself, and a few scary storms layer the frame within a frame nostalgia nicely. Hip London cars, debonair accents, mod turtlenecks and ascots add some flair, too. Not to be outdone of course, 1973’s Theatre of Blood sets its scene with demented and dirty vintage London locations.  Believed dead after his suicide attempt, Edward Lionheart uses thespian facades and Shakespearean inspiration to seek revenge on the critics association who denied him ongoing review praise and their top year-end award.  Inspector Boot (Milo O’Shea, Romeo and Juliet) and the police question Lionheart’s daughter Edwina (Diana Rigg) as one by one Horace Sprout (Arthur Lowe), Chloe Moon (Coral Browne), and the rest of their circle meet their theatrical ends. Will critic Peregrin Devlin (Ian Hendry) be able to stop the deranged actor and his meth drinking street troupe before he’s Lionheart’s next victim?

 Unfortunately, the low and uneven voices- it seems like no one’s microphones worked- create a poor and dated feeling for Theatre of Blood.  If you’re expecting high horror production, the wasted, worn, and depressing dressings can look like a sub par play made on the cheap. Compared to the whimsical homage of Madhouse, Theatre of Blood appears more like a straight crime thriller; and in some ways, I wish it did have some deserving, grandiose, even gaudy psychedelic Corman color.  Longer at almost 1 hour 45 minutes, director Doug Hickox (Brannigan) works with the similar themes of fallen actors, stage facades, play within a play styling, and flashback frameworks. The fun, ye olde silent film opening credits montage suggests the dark humor that is to come, too.  However, Theatre of Blood feels slow to start, with standard stuffy Brit types and more bungling policemen who shockingly don’t realize the Shakespearean connections to the crimes. Some of the foreboding is obvious as well, and revenge kinship to The Abominable Dr. Phibes is evident.  The editing and cutting styles do build suspense, but some of the early death scenes aren’t as theatrical as they could be. The first hour’s melodrama lacks creativity, and these deadly theatre politics can seem too pompous and dry to be believed.  All this just because they gave him a few bad reviews and no trophy?

Theatre of Blood isn’t that scary and feels hollow enough for those expecting a major horror film to tune out.  We always see Lionheart in character and don’t get the essential pieces to his motivation until flashback exposition later in the picture.  Frankly, these lovely over the top establishments should have been the opening to Theatre of Blood, and the poor choice to stick character importance so late can even create some player confusion.  Thankfully, there’s a great ironic use of classic music, and what may appear to be a bland and dark tale slowly builds into a farcical delight. The fun here is in guessing who is going to die next and in what Shakespearean method.  The abnormal build up to the humor, farce, and intentionally exaggerated theatrics increase masterfully as Theatre of Blood goes on, complete with wit, panache, and a hysterical Othello twist.  The low values and weak start may seem like a faulty execution not worth the viewing, yes. Theatre of Blood does take half of the picture to get to it, indeed. Fortunately, once it does step up the mayhem, Theatre of Blood does so wholeheartedly- literally!    

I would say these reduced budget faults necessitate a proper nuHammer remake- if not for the simply irreplaceable Vincent Price that is!  Lionheart begins white haired and crazy- an entertaining, once upon a time high thespian with a marked disconnection from reality.  Some of the makeup is iffy, but most of the disguises are great genius. Price’s voice, position, and stature may give him away, but the joy is in seeing what warped Bard plan he has next. The demented Shakespearean soliloquies are- I must pun- Priceless.  We shouldn’t doubt that Big V could do a straight high-class film by any means, but his pseudo Shakespeare intensity steps up as Theatre of Blood goes on.  The multi-layered performance is laced with wit, sadness, class, and sociopathic grace.  Oh, the sweeping music and forehead dabs as the faux doctor goes to work!  Price is clearly having fun with this man of a thousand faces gone awry, and you can see why this is one of his personal favorite performances.  Love it or hate it, Theatre of Blood is almost worth the ‘Price of admission’ just for the kinky Othello scene!  I mean, he even sports a fake afro- Bob Ross meets Carrot Top, anyone?  Yes, I’ll say it- that burgundy velvet pimp suit is to die for!  Price’s nuanced and well faceted portrayal is both spot on and perfectly ironic. I love the Inspector’s “It’s not a comedy!” claim right before an Austin Powers-esque inept police pursuit and the simply exceptional Titus serve-uppance.  Oh, yes.

 

She’s up to the challenge and Diana Rigg (The Avengers) looks good, of course; but we don’t see her prettied up much for Theatre of Blood.  Her “amateur actress” Edwina begins dry as well, with some seemingly unimportant playful seduction. Fortunately, her position as the good daughter becomes more ingenious as Lionheart’s plans unfold. There’s not a lot of the famous Emma Peel innuendo to bounce off, naturally, as we have no overt attempt for a sexy young thang here.  Rigg fans, however, will certainly enjoy her almost see through white mini skirt and sans bra potential.  The victimized cast- including future Mrs. Price Coral Browne (Auntie Mame), Arthur Lowe (Dad’s Army), Ian Hendry (Get Carter), Robert Morley (The African Queen), and the rest of the somewhat interchangeable critics – create a very uptight, pompous, and annoying board, indeed. That is partly the point of their latent villainy- they’re asses- but not all of their motivations are explained. We can hate them one by one or enjoy their deaths because we are bemused by Price as Lionheart. Otherwise, the critics aren’t that interesting in themselves, and the audience isn’t given much reason to care.  Perhaps there’s supposed to be another level of sinful humor or irony at work- that would be the opposite of the meaningless, unending buffet of blondes and bosoms usually being diced up in horror film today. However, the secondary support in Theatre of Blood just comes off as too lightweight and underdeveloped. The be-furred meth drinking hepcats working with Lionheart are also just too stupid and weird; the flashback explaining their presence comes too late.  Although, I do confess, I did fall for one of Theatre of Blood’s now fairly obvious twists on my first viewing!

Uninhibited Shakespeare fans can have a jolly good tongue in cheek viewing with Theatre of Blood, indeed. Study how the seventies deaths mirror the plays, or test up on Bard Quotes and Know Your Will games. It may see meandering to start and too low quality for anything to matter, but this one is definitely worth the viewing investment. The Netflix streaming subtitles are absolutely necessary in catching all of Price’s stage glory, and a dual DVD edition of Madhouse and Theatre of Blood is available for further warped comparisons. Yes, longtime horror viewers will spot the errors in Madhouse and some predictable twists in Theatre of Blood- some audiences may even be confused by the witty, double play finale in Madhouse or Blood’s OTT ending.  Nevertheless, classic horror and kitschy Price fans can delight in the solid mystery fun and thespian mayhem in both Madhouse and Theatre of Blood.  

Boris Karloff Part Deux

And More Karloff Appreciation, Please!

By Kristin Battestella

Let’s also pay tribute to the February long late actor, shall we? The man just made that much great horror, what can I say, people?

The Ape – Big Boris gets in touch with his inner primate for this hour-long 1940 mad murder fest.  We believe Karloff as a radical doctor seeking a polio cure to avenge the loss of his family just as much as we fear the lengths to which he will go to achieve his medical breakthroughs.  He’s tall and strong and menacing, but also old, pitiful and tragic, even tender- except when he’s testing his serum on those poor pups! Again, the ideology is so twisted because Doctor B thinks he is doing right in his villainy- and parallels can be drawn to our own contemporary debates over spinal fluids and stem cell research, too.  Is he so wrong in what he’s doing? Does the science trump the humanity? Yes, it looks simple and the kid cast is so no- I confess it is appropriate to see Karloff run them down with his bicycle! Though the mad scientist décor fits the bill, the black and white filmmaking is bare, and it’s tough to see the poor effects. Granted, the ape angle is hokey, but the science gone awry premise and the weight of Boris’ portrayal is worth a look.

Bedlam – There’s great black and white colonial style in this 80-minute lunacy thriller from 1946. The lace, frocks, and powdered wigs add a bizarre layer of class to the obviously totally inappropriate mocking of Quaker ideology and 1761portrayals of asylums as near circus-like- houses for loonies in cages and entertainment rather than hospitals for the mentally ill.  Of course, Our Man Karloff is so suave in his slick speech and uncaring in the lecherous use of people both high and low. He commits his enemies to the titular institution regardless of sanity.  It’s not outright scary as we might expect, but modern audiences can certainly imagine all the prison naughty and hysteria that could go on in such a place. We do, after all, still use the titular term in regards to assorted mayhem.  The very young Anna Lee (General Hospital) is quite the aristocratic snot to start, but she learns of the institutional injustices fortunately- with religious help- and unfortunately – with a bit of kink thanks to what the tubby old men really want from her.  The talk of Tories and Whigs might confuse folks not up on their history, but the dramatic disturbia works more than enough wonders here.

The Black Room – A fun premise, solid plotting, and unfortunate prophecy create the opportunity for Karloff to play the ever-popular good twin versus bad twin!  Big K is exceptional as both the dark and juicy, salacious ne’er do well Baron Gregor and his crippled, but upscale and prodigal brother Anton.  We shouldn’t be surprised in the height of Borisness- it’s not that he can’t do both, just that we are delightfully treated to it all at the same time. Karloff looks great in capes, top hats, and naughtiness alike. However, I do think I like the twisted and obviously insane but totally cold calculating Baron more!  The 1935 design looks peaches; the black and white is fresh and crisp with fun split screens. These dual cheats are nicely hidden or at the very least not distracting thanks to the creepy atmosphere, 18^th century castle stylings, and lovely costumes.  Marian Marsh (Svengali) looks period fine as well, creating sympathy and juice for our two for the price of one Karloff.

The Body Snatcher – Bela Lugosi (Dracula) co-stars in this 1945 Robert Louis Stevenson tale from director Robert Wise (The Haunting, The Sound of Music) and writer/producer Val Lewton (also of Bedlam, Cat People). While it’s great to see the elder Lugosi and the Karloff pinnacle go head to head; the unfortunately typecasted Lugosi is playing a humble, dimwitted servant, and it’s a complete waste of his talent.  Big Boris, however, is perfectly twisted as a grubby grave robber who thinks his business means he can pester high society- and he’s just too dang happy about what he does!  Some of the supporting cast is a little weak, and there’s some off color early 19^th century insults. The frocks are again looking good, even if the music is a little dated. Thankfully, the murderous action and creepy notions of medicine being synonymous with butchery and barbarism will still give some modern viewers the heebee geebees.    

Isle of the Dead – OMK teams with producer Val Lewton again!  Ellen Drew (That’s My Baby!) and Alan Napier (Batman) are trapped on a Greek island in fear of the plague thanks to BK’s deranged General Pherides in this 1945 thriller. Man, he looks so crazy, such eyes, and sinister insistence! Pherides is just so certain that his way is the right way in saving those in his care from death- but the vrykolakas vampire scares still get the best of them and us.  The moaning sounds and up close, tight suspense photography work perfectly along with excellent uses of shadow and light. Oh, that wispy white flowing gown is just lovely!  Fast-paced viewers may find the slow brewing build is perhaps a little too slow, but at 75 minutes; Karloff fans can easily enjoy this one again thanks to several Lewton horror collections.

Son of Frankenstein – Bela Lugosi and Boris Karloff reunited for the fourth time in this 1939 second sequel.  This time around, Basil Rathbone (The Adventures of Robin Hood, Sherlock Holmes) continues a very credible plot as the suave titular returnee who becomes caught up in his blasphemous legacy. Karloff is stepped down from the sympathetic monster in Bride of Frankenstein, made to be an angrier, scary pawn- but it’s still dang good if you want scares over sentiment. Lugosi, however, is unrecognizably wonderful as the scene stealing and deceptive Ygor who uses the creation for his own vengeance.  Of course, anyone making a study will find plenty of internal troubles with this franchise, and the timeline is always iffy- this is a thirties contemporary after two Victorian predecessors? Thankfully, the sets are big and ominous with plenty of creepy décor, thunderclaps, and lightning. Though slow to start and an unusual for the time full-length feature, the exciting finale and spooky atmosphere are perfect for a late night viewing. If only there wasn’t another kid due for a Karloff bicycle encounter!

Just in case you still can’t get enough of Big Boris, here’s a complete list of our previous Karloff commentaries.

Frankenstein

The Mask of Fu Manchu
The Old Dark House

The Mummy

The Ghoul

Bride of Frankenstein
The Black Cat

The Black Room
The Raven
The Invisible Ray
Juggernaut

Son of Frankenstein
The Fatal Hour
Doomed to Die 
Black Friday 

The Ape

The Body Snatcher
The Climax
House of Frankenstein

Isle of the Dead

Bedlam
The Strange Door

The Black Castle
Sting of Death
The Veil

The Haunted Strangler
Corridors of Blood 
Thriller: Season 1 
Thriller: Season 2

The Terror

The Raven

Black Sabbath

Die, Monster, Die!

The Comedy of Terrors

The Crimson Cult

Heroes of Horror
Karloff: The Gentle Monster

Another Vincent Price Viewing List!

More Vincent Price Shenanigans

By Kristin Battestella

It is important to spread the viewing love to all the Titans of Horror year round.  Fortunately, Vincent Price made many a scary film for us to enjoy!

The Comedy of Terrors – This 1964 blend of humor and creepy reunites Big V with Boris Karloff and Peter Lorre (The Raven) and Basil Rathbone and Joyce Jameson (Tales of Terror) - and oh, can Price feign that sympathy as a stressed and struggling undertaker!  Lorre is wonderful as OMP’s little assistant Gillie- the pair is almost vaudeville in their interrupted wrong doings and ironic conversations.  It’s great to see everyone- usually so serious and refined- having a good time. Yes, it’s campy and over the top- but the cast makes the humor amid the horror acceptable.  We like to see them poke fun at themselves- Lorre bothering to open a cut out door to make his exit or Rathbone’s crazy and wonderfully windblown quoting of Macbeth amid his mistaken bouts of catalepsy! Writer Richard Matheson (Legend of Hell House) keeps the wit on form for the performances, and the smartly timed funerary gags and physical comedy work perfectly with director Jacques Tourneur’s (Cat People) use of high speed film, distorted organ music, and Jameson’s fun off key opera.  There’s a sense of Victorian carnival and flair amid the darker tone and open, stage-like atmosphere. Obviously, this set up is not meant to be super scary and some audiences may not like the toe toward slapstick, but there are some juicy and fearful pursuits in the final act. All the spooky of similar films is here along with some self-awareness and solid entertainment. Karloff’s clueless old man is worth the price (hee, no pun intended!) of admission alone. 

Dr. Phibes Rises Again! – A silly but fun narration recaps The Abominable Dr. Phibes as we speed up 3 years for the expected bizarre, over the top music, demented humor, and far-fetched resurrection plots in this 1972 sequel. Though not as colorful or flashy as the original, the blend of old school abstract, anachronistic flair, seventies art deco sets, and freaky, stylized deaths is mighty fine. The distorted editing can be either positive for some or negative for others- but there’s plenty of suspense, archaeology adventure, psychedellia, and a double demented love story to keep things fun.  Robert Quarry (Count Yorga, Vampire!) is nasty good with some twisted parallels to Price’s undeniable Phibes, Peter Cushing (Brides of Dracula) is a sharp surprise in his cameo, and replacement assistant Valli Kemp has a lot of silent hijinks and fun get ups. Yes, there are fewer scares and revenge and some sequences are low budget subdued, but the audience doesn’t necessarily need to see the first film, either. Unfortunately, I really don’t know why AIP didn’t continue with further sequel plans.

The Fly – VP supports his brother David Hedison (Live and Let Die) and sister in law Patricia Owens (Seven Women from Hell) as the subdued straight man to the sweet, 1958 colorful, high tech, mad scientist lab hysterics here.  Though the French angles are limited to a few names and words; other fine touches like buzzing in the scoring, mid century décor, and debates over science versus religion, the sacredness of life over human intelligence, and the horrors of meddling with it all keep this version fresh. Early talk of teleportation and transporting food ideas and how they could solve world’s problems still say a lot, along with the fun and dang decent-if loud- special effects.  I never knew there was so much suspense in catching a little fly!  Even if modern audiences may find this film tame or hokey now in comparison to Croneberg’s remake or other contemporary science fiction horror, there’s a great build up of hidden what you don’t see to the insect reveal- and the fly work still looks good.  Distorted bugview camerawork and tiny shockers just do wonders:  ‘Help me! Help me!’

The Last Man on Earth – A wonderfully subtle and largely solitary performance by Vincent Price anchors this 1964 debut adaption of Richard Matheson’s novel I am Legend. The voiceovers and somewhat comical undead might be tough for some, but the focus on melancholy and slowly degenerating delivery works with the post-apocalyptic depression and isolation. Of course, the plot isn’t all silent and alone- flashbacks detailing the genesis of the vampire-like pestilence and the subsequent collapse of family break up the despair nicely.  Unlike the bigger scope and action of Will Smith’s recent I am Legend or the seventies garish of Charlton Heston’s Omega Man- both good in their own right- the time here is better spent on the intimate and personal in examination of self and society.  The simplest need for companionship, the arrogance of man, humanity’s stupid short sightedness- really, I don’t know why Matheson was displeased with the final result here. 

Shock – This 1946 medical murder mystery is more a suspense tale than straight horror, but the twists and scares are definitely here. An early and fun dream sequence also smartly uses scale, camera zooms, and focus tricks to play with the minds onscreen and the audience’s perceptions of it all.  Anabel Shaw (To Hell and Back) is unfortunately a little too of the time hysterical, and the plot may seem too Rear Window-esque in its witnessing.  However, Our Man Vincent is so young and suave, with a slick but not yet raspy voice and a lot of angry and bad doctoring style.  Oh, what lengths his psychiatrist will go to for the sexy nurse Lynn Bari (Nocturne)! But I shall say no more…

The Tingler – Director William Castle (House on Haunted Hill) bemusingly warns the audience of his latest theatrics of the day to open this 1959 parasite horror funfest and assures us it is okay to scream! Yes, the attempt at sexy film noir stylings for Patricia Cutts (I Was a Male War Bride) is hokey, but Judith Evelyn’s (Giant) mute and silent scares do wonders along with great uses of color- yes color- in a black and white film. The blurred lines between the onscreen silent movie house and the then theater experience are also kitschy good, with Big V almost playing a film within a film event when the screen goes black.  In fact, with the right set up and approach, this tactic could still work in the cinema today- and be far better than all the headache inducing 3D. Price, of course, is just a little too nonchalant about doing an autopsy isn’t he?  It’s so creepy the way he investigates fear from the mind and shock on the body as if it were no big deal to experiment at the expense of others.  Certainly, the idea of a tingly worm on our spines festering on our fears is totally preposterous- but Price sells it and the camp of it all wonderfully.  Really, when a film uses LSD as part of the plot, we can’t be expected to take the science too seriously. 

 (At least he still has a record player. Whew!)

Classic Swashbuckling and Adventures

Classic Swashbucklers, Knights, and More

By Kristin Battestella

Yes, I do love me some classic film.  Moreover, if said classic film has plenty of Arthurian lords and ladies, sword fighting pirates, not so chivalrous knights, or any other medieval rogues and wenches- it’s all the better. Here’s a quick list of old school fantasy and historical films for ye olde viewing pleasure.  Break out the mead and rum!

Captain Blood – I said ‘swashbuckler’. That means we’re going to spend a lot of time with the Tasmanian ladies man himself, Errol Flynn.  In this 1935 stateside breakout full of feathers, frocks, and pirates; Flynn (The Adventures of Robin Hood) and his favorite onscreen leading lady Olivia de Havilland (Gone with the Wind, The Heiress) debate slavery, fight imperial injustice, and battle the wonderfully ruthless Basil Rathbone (The Adventures of Sherlock Holmes). Some of the music, reused seafaring footage, highbrow delivery, and over the top design might be a bit much for contemporary folks, I grant you.  However, the sweet sword fights, dashing story, and jolly good fun are a fan’s delight- and its all dang impressive for its time.  Take that, Pirates of the Caribbean!  Now, if only this were really in color, can you imagine?

Knights of the Round Table – Medieval rogue Robert Taylor (Ivanhoe, Quentin Durward) is at it again with a seriously smokin’ Ava Gardner (Mogambo, The Barefoot Contessa) in all the Arthurian Cinemascope glory one classics fan could ask for. From the sword in the stone to all those somehow fitting but out of place 14^th century French styles, director Richard Thorpe (Jailhouse Rock, The Prisoner of Zenda) keeps this colorful 1953 yarn quick and entertaining.  Yes, the dialogue is a little hokey now, but the fights and fancy, chivalry and ladies are all in good fun.  There’s even as much scandalous love as the Production Code will allow, complete with a saintly Elaine (Maureen Swanson, later even a real life countess!) and an appearance by the Holy Grail. What’s not to like?

The Lion in Winter – This 1968 opus starring Peter O’Toole (Lawrence of Arabia) as Henry II and Oscar winner Katharine Hepburn (The African Queen, Guess Who’s Coming to Dinner) as Eleanor of Aquitaine is as epic as they come.  Sure, its long and slow by today’s standards, with too many angled zooming close ups and over the top arguments for the throne; but divine locations, authentic dressings, sweet costumes,  and lovely Oscar winning music from the late James Bond composer John Barry more than make up the difference.  Add Timothy Dalton (The Living Daylights) and Anthony Hopkins (Silence of the Lambs) in their film debuts, too, and we’ve a medieval tale well told.  Die hard audiences can also take in O’Toole’s prior appearance as Henry II in Becket or compare the 2003 television The Lion in Winter starring Patrick Stewart.

The Private Lives of Elizabeth and Essex – Only an exceptional few ladies could play Good Queen Bess twice, and Bette Davis (The Virgin Queen) makes a lovely royal debut here in 1939- along with our swashbuckling essential Errol Flynn as the titular Essex and a young, pre-horror maven Vincent Price as Sir Walter Raleigh.  Toss in the wonderful schemer Olivia de Havilland (again!), some sweet costumes by Orry Kelly (Some Like it Hot, Gypsy), lovely medieval decoration, and plenty of historical drama from Oscar winning director Michael Curtiz (Casablanca, Yankee Doodle Dandy, Mildred Pierce) and you simply can’t go wrong.  And thanks to Cate Blanchett, too!

Robin and Marian ­– Contrary to our modern versions keeping Robin Hood young, pretty, non-English (I’m talking to you, Mr. Costner and Mr. Crowe) or otherwise badass; this 1976 Sean Connery (The Untouchables, Dr. No) yarn  adds a touch of vintage class and mature romance to the outlaw’s tale.  While the golden age tone and veteran retrospective bend is not what we expect, the pace and editing is a little slow at times- especially early on.  It’s a little too dark in some spots, and some of the accents are kind of annoying, too; but hey, 12^th Century England was no picnic. Thankfully, the look, style, and sword action are fun and authentic, along with the delightful cast including Audrey Hepburn (Roman Holiday, Breakfast at Tiffany’s), Richard Harris (Camelot, The Field), and Ian Holm (Alien, Lord of the Rings).  

The Sea Hawk – In Like- err Errol Flynn strikes again, this time with the none to shabby Flora Robson as Elizabeth I, another multi-talented lady reprising her turn as Her Majesty from Fire Over England (Take that Bette!). Toss in the ever wonderful Claude Raines (Casablanca, Notorious, Mr. Smith Goes to Washington) as Spanish ambassador Don Alvarez, add an armada or two, and we’re okay to go.  Some of director Michael Curtiz’ (yes, him again, too) black and white photography is showing its 70 year wear, but that doesn’t mean we have to go and bastardize it with some faux color!  Besides, not a lot of contemporary actors can look so fitting and proper in those pointy conquistador helmets, either.  The frocks- partly nipped from The Private Lives of Elizabeth and Essex- are also charming, even if the rest of the story is pretty historically inaccurate. Even with the dated fun and faults, we just don’t make strapping, family friendly, entertaining, and adventurous yarns like these anymore.  I protest!

Also, don’t forget to check out our extensive Classic Camelot and Medieval Fun list, compiling these and a slew more of ye olde films of Arthur, yore, and more!