Old School Mysteries and Frights

Old School Mysteries and Frights

by Kristin Battestella

Nestle in on a rainy day with these retro spookies, crisp black and white thrillers, and classic stars for some all in good fun ominous riddles and murderous suspense. 

 

Fog Island – House of Frankenstein alums Lionel Atwill and George Zucco serve isolated island revenge in this quick seventy minute 1945 mystery. This public print is tough, however, with poor sound, difficult to see darkness, and the titular atmosphere ruining critical action scenes. At times, it's tough to tell who is who despite some intriguing, cutthroat characters. These hacks, frauds, phony psychics, and selling out secretaries are not who they seem to be as they ally or test each other with blackmail and vengeful implications of murders past. Fortunately, no one is hammy or over the top, and furs, hats, skulls, and a melancholy organ add a spooky sophistication to match the moody, albeit slim production and earlier interwar-feeling. The black and white patina creates innate shadows amid the stage-like dressings, with the suspicion afoot thanks to spying butlers, peeping through windows, and rustling through drawers – snooping in search of handwritten letters, clues, and secret compartments. Pesky newspapers send the once convicted into seclusion to avoid the talk of violent family deaths and scandalous investments. Your cellmate and your account should never be one and the same! Depression finances crumbling and the locale's pirate past are mentioned more than seen along with morbid party favors, séances, and occult talk suggesting a not really supernatural. However such red herrings add to the mystery keys, whispered plans, and scenarios in play – we must pay attention to the conversations even if the plot is similar to other more famous mysteries. The ingenue, young hero, and cat and mouse romance may be dry to viewers today, but the MacGuffins, skeletons, and trap doors are well paced. Who's going to pay for these past scams with his or her life? The violence is surprisingly good for the time with suspenseful encounters and a vindicating topper.

The House That Would Not Die – The pretty country autumn, empty house, and covered furniture are almost a little sad to start this Barbara Stanwyck-led 1970 Aaron Spelling television movie based upon the novel Ammie Come Home. Unfortunately, the foreboding echoes of their inherited home suggest worse to come for our sophisticated working lady, niece Kitty Winn (Panic in Needle Park), and their professor neighbor Richard Egan (The 300 Spartans). Old books, pewter, cursive, and classy cars compliment the fur and hats wearing dames while older lace and flowing nightgowns add to the déjà vu feelings, peeping ghost perspectives, and drafty doors opening by themselves. Recollecting zooms, eerie paintings, blue lighting, wispy curtains, sleepwalking, and slow motion nightmares invoke an afoot atmosphere – fog, fade in visuals, footsteps, and ghostly whispers are simplistic yet effective in halting our players mid-fright. Hazy camera focuses become a clouding before the swoon, and despite the occasional melodramatic acting, laughable cat fights, and hysterical slaps; terrified mediums, warnings to flee, and possessions leave the fears to the cast. The past is trying to repeat itself with old fashioned mannerisms and phantom personalities taking over – choking attacks and automatic writing help discover concealed desk panels, hidden scrolls, and once stricken names. Creepy basements and buried secrets accent the research montage, and it's nice to see people not so well versed in the paranormal question how they can be so matter of fact about it. Roundabout ghost attempts do sag in the middle and 1780 colonial mentions aren't always felt, leaving audiences to read the book for the juicy behind the tidy explanations and absolving confrontations here. Fortunately, this seventy-odd minutes moves fast without underestimating its viewers, making for a pleasant, spooky little mystery. She's not one of my classic favorites, but Miss Barbara sitting sipping her tea cup while the men do all the work – you go on girl!

Sting of Death – Boris Karloff has a battle of wits with killer bees in this eleventh episode of the 1955 television series The Elgin Hour. While the show is admittedly obscure, this episode adapted from the acclaimed novel A Taste for Honey is available for streaming – no doubt standing out thanks toold and nosy but witty Mr. Mycroft coughsherlockholmescough. This homegrown scientist and observant layman questions who's behind the eponymous honey makers, and I'd love to have seen Karloff as Mycroft in more of these! Naturally, the dressings are simple – buzzing sounds, bug sprays, a magnify glass, and netted hats add the insect mood with fake plants and rural mural backgrounds creating a fun, bare innocence to stage the drama. The camerawork, however, is tight and up close, matching the unnecessary, over the top arguing at the breakfast table thanks to talkative old lady colloquialisms and an obnoxious stuffed shirt professor wanting to know, “Who ate my honey?!” The back and forth OMG we're out of honey is dated filler – skipping right to knocking on the beekeeper's door inquiring on honey for sale would suffice – and the screenplay can be dry with padding hyperbole, “I deduced your supply of honey would be extinguished in a fortnight.” More time is spent on coming and going explanations perhaps expected at the time before finally getting to Karloff's meaty deductions. Who's next? What happens if these super bees turn on their maker? Turnabout is fair play after all, and our Mr. Mycroft must outwit without being stung. Granted, this is preposterous, but such early television zany can be bemusing – or perhaps not for anyone allergic to bee stings. And don't forget those Elgin watch advertisements, “A beautiful way to tell time!” 

And Then There Were None – Barry Fitzgerald (Going My Way), Judith Anderson (Rebecca), Walter Huston (The Treasure of the Sierra Madre), and more star in this 1945 adaptation streamlined from the stage version of Agatha Christie's famed best seller. The lovely but perilous English coast, storms, and crashing waves add coldness to the crisp black and white while British mannerisms and humor introduce the guests to the audience without having to say a word. Viewers must pay attention to subtle hints and make our own deductions on a guest's awkwardness over the Jack and Jill bathrooms or harshness toward the servants. Old fashions, furniture, antiques, and dressing for dinner formalities accent the well done wartime production as the assembly plays cards or the piano, tediously waiting until the mysterious Mr. Owen announces their crimes – on a record no less! Accusations and hysterics lead to more clues while power outages interfere with searches about the ominous house. Is another on the island watching them? Some of the invited confess, others deny, yet more drop via poison or worse in the titular countdown – and the whole weekend's ahead of them! Who's next? Is the perpetrator among them? Simmering distrust builds as various pairs suspect one another, test alibis, and vote on who the killer may be, and nobody wants to be alone with anybody else. Although the inappropriate rhymes may be unfamiliar to contemporary audiences, the song lyrics hint on each manner of death, giving viewers the how, maybe the where, but not the when, who, or all the why. It's a great way to give breadcrumbs but leave us wanting more despite the occasionally over the top acting, bemusing nasal accents, and shouts of “Murder!” followed by a punctuating lightning bolt. Today we've also seen too many spoofs such as Clue – right down to butler did it accusations, kitchen knife play, keys in one's pocket, missing guns (1+2+2+1), and even multiple endings from the source. Fortunately, this murderous mystery deepens into a can't look away intensity even when its just two people debating which one of them is the killer. Wise viewers can see the impetus of other beloved murder mysteries as well as the budding horror/slasher format, and this intelligent story holds up by making the audience think or nestle in with a good old Agatha read.

Bela, Boris, Lon, and John

Bela and Boris and Lon and John

By Kristin Battestella

Well it’s no Bob & Carol & Ted & Alice. However, what horror fan doesn’t want a night in with any of these terrifically terrifying gents? 

Gallery of Horrors – It’s known by numerous titles and there are certainly better anthologies, but host John Carradine classes up “The Witch’s Clock,” the first tale in this 1967 amalgam. Colorful mists and ominous music over the opening credits set the mood along with old décor, cobwebs, and typewriters, but the low budget production shows in the hasty editing, rushed plots, and cliché spooky double talk. This hokey scripting and telling instead of showing doesn’t help the mostly wooden second tier cast either, and the period “King Vampire” story serves up commonplace crime theories instead of capitalizing on its small town suspicion and hysteria. “Monster Raid” also goes for a nonsensical over the top narration instead of its intriguing mad scientist experiments, but Lon Chaney Jr. gets his Dr. Frankenstein on in “Spark of Life.” Despite heavy possibilities, fun performances, and an intriguing one room laboratory setting, this leg moves entirely too fast. I’d love to have seen Our Man Creighton tackle this in his prime! The fifth and final “Alucard” tale has better scripting and delivery, and the twist makes up for any confusing action. The film as a whole isn’t bad – in fact, it can be fun to spot the reused backgrounds and footage from the Corman/Poe cycle films in some sort of mash up drinking game. However, the video is dark and tough to see at times with some innate flaws, and the fast, harmless fun feels designed for juveniles or short attention spans. Maybe that wasn’t the intention at the time, but the none too scary, moody, and atmospheric fun is perfect for a kid’s sleepover or family movie night. 

House of Frankenstein – Before House of Dracula (already reviewed here), sad wolfy Lon Chaney Jr., slick wannabe mad scientist Boris Karloff, and seductive vamp John Carradine ganged up for this 1944 70 minutes along with Universal horror company hunchback J. Carrol Naish, carnival showman George Zucco, and inspector Lionel Atwill. Yes, there are loose connections to the titular tellings – a brother who was supposedly an assistant in the monster raising – and even more timeline questions and canon fodder from Frankenstein meets the Wolfman. However, great lightning, storms, prison escapes, macabre atmosphere, shadows, and fun plot twists keep up the intensity. All these monsters somehow afoot on the continent! Though hokey at times today, the moody sets, contemporary dressings, carriage chases, ice caverns, and neat effects for Dracula’s resurrection, trick rings, and bats must have been wartime wild to see. The whiff of romances and young couples are dated as well, and Anne Gwynne (The Black Cat) is more fun under Dracula’s brief spell. Some of this monster action feels like mini vignettes moving from one spooky segment to the next rather than concurrent interwoven plots, but everyone has his scene of ominous and there’s plenty of conflict for this Universal monster road trip. Longtime fans can wing it with the rally fun, but younger audiences interested in classic horror might find this to be a bemusing starter piece, too. 

The Human Monster –A poor print, primitive video release, and woeful audio mar this 1939 75 minutes also called The Dark Eyes of London. It’s tough to tell what’s happening at times, and the usual cop colloquialisms litter the plodding pace along with unnecessary transitions featuring people walking to and fro or telephoning up for tea. Fortunately, Bela Lugosi is looking suave in a pre-war stylish suit and belying his nefarious doctoring swindles. His switcharoo subtlety between a generous façade and the slick power of suggestion is disturbingly entertaining. Though the creepy organ music and destitute conditions add to the eerie portrayal of the blind, there’s isn’t a lot of macabre or enough Bela onscreen – most of the focus is on the generic cops and their one step behind antics or the amiss humor. Screaming damsels in straight jackets and the shootout finale, however, make up for some of the obvious crimes. And did I mention the fashion nostalgia and spinning newspaper montage? Today’s audiences won’t find this one that scary and a proper restoration would do wonders, but Lugosi fans can enjoy this fun in a marathon with other lesser known Bela treats.

The Old Dark House – Bride of Frankenstein director James Whale opens this 1932 70 minutes with a bemusing Karloff disclaimer insisting that this is the same versatile actor from Frankenstein before serving up Oscar nominee Gloria Stuart (Titanic), winners Melvin Douglas (Hud) and Charles Laughton (The Private Life of Henry VIII), and more over the top character archetypes and cliché family crazy. Yes, Douglas’ playboy hero is too flippant to start, the of the time delivery is a bit much, and some of the song and dance mannerisms, humor, and Jazz Age attitudes won’t be appreciated by today’s viewers. I wouldn’t call this a black comedy per se either, but the self-aware wit is wonderfully conscious of the contrived circumstances, each one thing after another situation, and every suspense increasing psychotic family member. That lovely roadster and more vintage style anchor the firelight, shadowy reflections, and dark framing – this is a well-filmed picture with no hokey stunts or action speed. Thunder, lightning, rumbling mudslides, and a creepy Welsh manor match the off kilter camerawork, shock moments, and near brow beating harshness of the titular owners. There are only a few sets, but the stage-like atmosphere builds its mood through character reveals. While it may be tough to hear or understand without subtitles, interesting personal dialogue, awkward interwar conversations, and religious arguments add intellectual substance to the family secrets and romantic tiffs. Expected Whale suggestions and a whiff of scandalous pre-code lingerie add some juicy, too – not to mention our simpleton but drunk, touchy, and menacing butler Karloff! Despite a somewhat quick resolution and a few innate flaws in this once lost film, the surprisingly fun but creepy old age make up, unexpected twists, and horror smarts hold up delightfully for today’s gothic thriller audiences. 

And Two Documentaries!

Karloff: The Gentle Monster – This 2006 38 minute documentary is not the hour long Biography episode of the same name but rather a lovely little retrospective found on the Frankenstein blu-ray releases. Although the beginning briefly mentions Karloff’s pre-Universal film appearances, the focus here is with the subtle, silent sympathy of Karloff’s monstrous characters and his long lasting horror appeal. From Frankenstein to later stage work beyond horror such as Arsenic and Old Lace, film scholars and historians discuss early comparisons to Lon Chaney, difficulties with horror make up’s infancy, and more scary film glory with classics such as The Mummy and The Black Cat. Attention is given to Karloff’s quiet success as a character actor thanks to his physicality and ability to be both frightening and sensual at the same time along with his spooky television series and his tireless work across mediums and generations. This is the voice of How the Grinch Stole Christmas, people! It’s also interesting to see movie buffs theorizing on the over reaching and decreasing quality of the studio’s Frankenstein series, beating it into the ground as the franchises, sequels, and remakes do today. Boris fans and horror lovers can eat up the clips and nostalgia here, for sure.

Lugosi: The Dark Prince – Like Karloff, Bela Lugosi’s early life and acting career before Dracula go unnoticed in this 36 minute documentary accompanying the 1931 Dracula blu-ray video. Interviews with genre directors Joe Dante, Jimmy Sangster, and other film scholars and authors instead spend the majority of time here on Lugosi’s quintessential appearance in the budding horror cinema and discuss how his phonetic learning of lines accentuated his hypnotic, handsome, somewhat scandalous and always sensual acting style. This masterful paranormal charisma of course unfortunately typecast him, but clips and analysis on Murders in the Rue Morgue, White Zombie, Son of Frankenstein, and The Raven will be a treat for those interested in the irony of Lugosi’s long lasting iconography but relatively short-lived success and underatedness as an actor. Even if the talk isn’t about the man’s personal life per se, there are great insights into the craft here, making for a lovely little bittersweet study on the quick rise and fall of a horror icon.

B Mystery and Mayhem Fun

Early Mystery and Mayhem Treats

By Kristin Battestella

The 1930s and 40s provide an abundance of quickie B pictures ranging the crime, thriller, mystery, and horror genres. Though often obvious, unintentionally humorous, not that scary, and flawed due to off the time filmmaking and old age wear and tear, these movies are enjoyable little time capsules nonetheless.  

Crimes at the Dark House – Inspired by The Woman in White, this 1940 hour has loud, snap, crackle, and pop sound accenting the focus on Tod Slaughter’s (Sweeney Todd: The Demon Barber of Fleet Street) debauchery and would be fraud. The bludgeonings, theft, and assumed identity happen quickly, but the fortune doesn’t come so easy thanks to the usual stuffy old ladies, scheming lawyers, and blackmailing doctors. Enough carriages, costumes, well-dressed sets, and Victorian flair forgive the anachronistic bobs on some of the damsels, and the instructing the chambermaid in her bedroom duties innuendo is interesting. The ladies here must do as their masters’ wish, and oft Slaughter director George King uses the fast, intense dialogue to keep the illicit relationships, lecherous personality, and plot twists moving. How far is this charade going to go? What’s going to happen next? Perhaps the story is predictable for today’s audiences, but we’re more interested in seeing Slaughter’s Percival succeed in his ruse – more so because his distracters are just as devious. Although there is a rush and quick finish due to the short run time, shadowed, ghostly figures and a scary death or two set off the built-in risk of discovery suspense, and plenty of action throughout makes for an entertaining little piece.

The Drums of Jeopardy – It’s tough to tell who is who amid over the top gesturing actresses, sarcastic dames with guns, and one cranky old lady – not to mention the flat black and white video quality and jumping sound in this 1931hour-plus based upon the novel of the same name. There are difficult to read inter-title styled letters and telegrams, too, but when Warner Orland’s (Charlie Chan) mad and vengeful doctor is bemusingly named ‘Boris Karlov,’ viewers are going to tune in just for the novelty alone. Fun early laboratory designs and effects are also so Art Deco or post-Edwardian that the style almost feels Steampunk when watching today. Goggles, flashing lights, lightning, wind effects, and smoking beakers amid the Victorian suits and décor go a long way when fog and darkness make the primitive train, boat, and fight scenes difficult to see. Early heist and adventure film design also take shape thanks to a Bolshevik Revolution escape, Secret Service intrigue, and the eponymous stolen rubies being used as revenge calling cards. Yes, the required heroic couple and other clichés are goofy now, the inevitable coppers are on the investigation, this isn’t horror by any means, and the entire tale should be better than it is. However, a good looking restored print might do wonders in setting off the revenge, crime, mood as the initial saucy suggestions, budding spooky atmosphere, and suspense in wondering who the crazed doctor is going to get next and how make for an intriguing little mystery.

The Mummy’s Hand – Be he curse protector or resurrection accomplice, George Zucco (Dead Men Walk) is slick as ever in this 67 minute 1940 Universal sort of sequel that’s otherwise lacking in the expected Mummy stars such as Karloff or Lon Chaney, Jr. These different characters create more remake than follow up feelings, and after awhile, these Mummy films do seem somewhat the same anyway. There’s a little too much humor and bumbling rivalries away from the titular action for this installment to be scary, too. Who has the money for the expedition? Who doesn’t want the archaeology to happen? What’s pretty daughter Peggy Moran (King of the Cowboys) doing pointing a gun at folks? Wallace Ford (The Rogue’s Tavern) is also an unnecessarily fast talking swindler sidekick for by the numbers Dick Foran (The Petrified Forest), and the then-modern Cairo pre-war styles and colloquialisms slow the plot down when there’s no time to waste. Fortunately, despite the black and white photography, the opening Egyptian flashback provides the expected regalia and spooky curses. Perhaps this entry is typical or nondescript in itself, but its fun for a classic marathon. When we finally do get to the tomb robbing action and Tom Tyler (The Adventures of Captain Marvel) as the murderously lurking about Kharis, this becomes a pleasant little viewing with a wild finish. 

The Shadow – Audiences today may find talk of $200 as outrageous bribery, well, outrageous, but it’s surprising to see such frank depression era financial blackmail, disgraces, and suicide shockers in these 70 minutes from 1933. The blacked out screens and gunshots won’t scare modern audiences, yet the unseen vigilante and the titular fog, effects, and tricks don’t look that bad. Certainly, the haughty RP voice supposedly coming from the silhouette is bemusing, but the simple shadows against the wall and dark figure camera blocking make the viewer pay attention. Of course, the poor print quality doesn’t make it easy to see all the delightful mansion décor and period fashions nor read the newspaper text and the standard spinning headlines. The editing is dull and plodding, too, and otherwise fine suspense music is seemingly misplaced over the wrong empty scenes. Exposition, Scotland Yard idiocy, and time away from The Shadow can be tedious as well. However, there is a reason to the who is who, stiff upper lip men, and tea timing ladies – anyone learning how to do a cliché Brit caricature can get plenty of ideas here! Despite distracting, annoying people, we want to know who’s behind the veil. How will each of our victims fall and why? Though not new, this is an interesting concept, and I wonder if there are modern films that could be so crafty and not show anything but the killer’s fedora. This one will be tough to get thru for hyper audiences, but seeing it to the end for the killer’s reveal is worth the wait. In fact, this one should be watched at least twice just for the Clue-esque clues. 

Crimes at the Dark House is also available on Hulu, while The Drums of Jeopardy can be found on Internet Archive, and The Shadow is at Pub D Hub.

More Forties Horror!

Forties Frights Again!

By Kristin Battestella

Who’s ready for more mystery, mayhem, scares, and suspense from that silver screen wartime decade?!

The Black Raven – George Zucco (Scared to Death) leads this 1943 crime and creepy hotel hour, and lots of rainy, dreary atmosphere accompanies the shady ensemble of fast talking, cracking wise crooks. We only have 60 minutes and yet the action starts slow as we’re introduced to each of the washed out, stranded cast. It’s nice,  but we don’t have enough time for this meet and greet, and ironically, it’s tough to tell who is who once everyone’s done up in their dark rain slickers anyway. The caper colloquialisms may be tough to hear or understand today as well, and the great thundery soundtrack and fright opportunities don’t always come across or get as scary as they could be. Of course, there are some poor production values, and yet, there’s some fun to be had here, too. The fedoras, trench coats, and frocks add a classic mood, and the plot thickens as the big money goes missing and our guests get pushed down the basement steps. It’s all kind of silly, but nonetheless fun to watch on a scary family movie night. Who’s the murder and who’s next? Somebody close the door to those deadly stairs!

The Fall of the House of Usher – There’s not a lot of information available on this elusive 1949 British adaptation of Poe’s famously flawed siblings. The opening here is weird, with Brit pimps in their boys club chatting up their Poe favorites. When the story moves into the tale itself, however, solid dialogue from the book, lovely period décor, and bizarre designs put on the right demented atmosphere. Piano interludes, candlelight, unique photography, and one very creepy crazy mama add to the fun. Yes, today’s audiences may feel the plot meanders a bit with seeming slow or quiet scenes. Fortunately, the fade-in editing, ticking clocks, and slow burning wicks encapsulate the tomb-like mood. This actually does what an adaptation should do- I want to go read the source again! It’s a bit dry, but this one is worth the Poe study or classroom comparison for the scares and macabre it gets right. 

The Fatal Hour and Doomed to Die – The fourth and fifth films in the Mr. Wong series starring Boris Karloff aren’t scary or really even horror pictures by any means. So, either any forties murder mystery was considered horrific at the time or his association with fright is just that strong, for these two Wong tales appear in numerous Karloff compilations and free domain horror sets. Fatal starts slow as Wong is officially unofficially on the case while fast talking dames and inept fuzz inhibit his investigation. And let’s not forget those Asian stereotypes! The men somehow all look the same, and it’s tough to tell the cops and robbers apart until Karloff tells it like it is. Wong is actually a very smart detective, and solid music and suspense build nicely as the crime mounts. Though the pace is tight and the drama proceeds accordingly, Die is a run of the mill murder caper further overshadowed by its stereotypical makeup and the series’ inappropriate premise. The scenes without Big Boris are laden with colloquialisms and procedures, and the plot itself isn’t very interesting compared to BK’s classy detective style.  Despite the racial errors, Karloff is no less impressive in creating the Wong character and deducing the crime. Like the Fu Manchu pictures, sociologists might enjoy a Wong analysis, and fans of Karloff can delight.

Voodoo Man – A goat tee sporting Bela Lugosi is up to his no good with mad scientist wonders and resurrection debauchery alongside John Carradine and George Zucco in this 1944 touch of zombie tale. It’s a poor print and the sets are somewhat drab, but nice music, candles, and rituals with plenty of shadows and mood lighting accent the ominous detours, kidnappings, and motorist mayhem. The cars are cool, too, and the gals in white make the otherwise laughable voodoo set ups almost beautiful. Despite his Merciless Ming get up, Lugosi’s accent isn’t thick here and he still has the suave to make the dames do his bidding. I dare say his Dr. Marlow is even sympathetic in his quest for his lost wife. There’s some subtle humor to match the surprisingly not dated dialogue as well, although the Hollywood write me a scary story frame is corny thanks to lines like “Get that actor Bela Lugosi, it’s right up his alley!”  Yes, this may feel similar to a lot of other Lugosi flicks, but fortunately, the pleasant performances and good hour long pacing keep the clichéd hocus pocus fun.

More Bela Lugosi Loquaciousness!

Still More Lugosi!

By Kristin Battestella

Forever typecast thanks to his unforgettable turn in Dracula, Bela Lugosi actually appeared in over one hundred films.  Fortunately for horror fans, most of his appearances lend themselves to the mystery, macabre, ghoulish, and ghastly. So here’s another batch of juicy and demented from Mr. Lugosi!

The Death Kiss - This 1932 murder mystery reteams Lugosi with David Manners and Edward Van Sloan from Dracula the year before and adds some glorious fashions, fur, feathers, sparkle, and top hats. Oh, did I forget to mention the superb Art Deco designs and backdrops? The early onscreen filmmaking and behind the scenes plots make for some interesting angles in the case, and great set deaths, smart editing, and trick photography keep up the suspense. The video, unfortunately, seems poor, with runtime and/or speed issues during the 70 plus minutes. Certain scenes have an odd stilted pace and it makes some of the darker action scenes tough. There’s also not a lot of Our Man Lugosi, either. Though his delivery is fine- no explanation is given for his name or accent- and Bela looks sharp in executive suits, it seems his Dracula better-scary-subterfuge-seen and not heard is the reason for his presence. Thankfully, the scandal, reporters, cops, and hysteria are a lot of fun- no one is upset at the victim’s demise and everyone’s pointing a finger. There’s a feeling of a Roxie Hart cashing-in, too, for the scorned women in the deceased thespian’s wake are immediately suspected. It’s a touch of taboo- lady murderers and divorce to match the witty dialogue and supporting crew ensemble.  Folks who enjoy analyzing early film ways or those interested in deduction’s birth onscreen can delight here.

The Devil Bat – Good Doctor Bela experiments with bats, cosmetics, and the latest SF machinery in this 1940 hour. A sweet laboratory with secret passages, cobwebs, great lighting, and buzzing sound effects counteract the goofy killer bat flying scenery and deadly prop shots- it’s all laughable and yet so charming.  There isn’t a lot of dialogue to start, but Bela’s quick to create his evil aftershave and bat with horns bait and switch, oh yes.  His little lab goggles and hair brained scheme- it’s so preposterous and yet so good!  Some of the intentional comedy falls a little flat in a few scenes, but those accustomed to this type of swift talking badumpbumpbump will be bemused. The rest of the cast is typical reporters and bumbling folks on the investigation with a pretty dame there just for the sake of it. Several poor quality prints also hamper a viewing, but thankfully, there are some new video releases and even an updated colorization. This was a poverty rock bottom production at the time, and it’s amazing how Lugosi can film the more ridiculous material here with such glee and character zest. Despite the fun, I find it a bit sad to see this desperate work and waste of his talent- but at least we get to see him drive a car!  Sigh, there’s just something about Bela Lugosi in a fedora, cruising along behind the wheel, smiling, and up to no good!

Invisible Ghost –Joseph H. Lewis (The Rifleman) directs Our Man Bela in the steady moving 65 minutes here. The 1941 sets and décor are simply excellent, with lush candle works, fireplaces, and gothic looks to accent the pre-war setting. Lugosi is wonderfully off kilter to start, too. He talks to a wife who isn’t there and insists her plate be served, for “After dinner, we’re taking a long walk!” He’s kooky and yet a seemingly loveable father. It’s delightful to see him kind and warm hearted- but come on, its Bela Lugosi!  We should know better, shouldn’t we? The supporting cast is decent as well, even if the investigations are somewhat of the time typical.  However, nothing is what it seems thanks to the murderous twists, deceiving staff, extra-marital affairs, hypnosis, courtroom escapades, vengeful twins, and more. Both thrilling sounds and ironic music cues underline a scare or two, and it’s all makes for a very entertaining little piece. I’d like to say more, but I don’t want to spoil anything!

 (Awl...)

One Body Too Many – Humor and crime cross again in this 1944 inheritance twister. It’s a little hackneyed to start and tough to hear in some spots, yes. I’m not so sure the fish out of water insurance salesman plot was needed, either. Though familiar, the suspense pace and spooky plot of folks forced to live together in a perilous mansion in accordance of a mysterious will feels demented enough for these 75 minutes.  And what makes a locked down house even creepier? When Bela Lugosi’s the butler! His scenes are brief but Big B has a few great subtle and classic zingers: “There are too many rats in this house, they should be done away with…I assure you, this coffee will not keep you awake!”  This ongoing gag would have been enough wit, and the astrology and mysticisms are made bemusing, too. The more obvious comedy isn’t bad- some of the jokes really work. However, the style is too dated and when combined with the low budget production, this mixed humor might be off putting to some. The music is also a bit more whimsical than scary, but fortunately, the old décor and shadowed photography work nicely with the critical burial tricks and wonderfully worthwhile deceptions.

Revolt of the Zombies – So I’m cheating a bit by listing this 1936 supposed sequel to White Zombie in our Bela spotlight, as he technically does not star in this hour-long focus on French Zombies and World War I. Yes, you read all that right. Stock footage of Lugosi’s hypnotic eyes is used here as part of the undead brainwashing- or rather on the “robot soldiers” as they are called. The sound is poor, but any innate flaws can be forgiven thanks to this very unique interwar look and Cambodian setting. Who would have thought someone would make a movie about the fictitious horrors of one war whilst on the brink of the next? The black and white shots of Angkor are also glorious and worth the viewing alone for scholars. Granted the men are wooden, the women stereotypical, and there’s some kind of love triangle if you can tell which guy is which. Ironically, there aren’t even that many scares or zombies to speak of, either. Thankfully, this one has enough novelty going for it to earn an audience. Who knew?

Scared to Death – What can I say; it’s Bela Lugosi in color! George Zucco (Dead Men Walk) and Molly Lamont (The Awful Truth) join The Man of the Hour for this 1947 flashback crime caper. Although the continuous transitions back and forth become somewhat comical- it really should have gone back once instead of shifting every few moments for just one dead sentence- a fun battle of wits unfolds amid the creepy autopsy talk and final moments of death debates. There are even hints of war intrigue in this quick 65 minutes, too. Some plot points, however, can be confusing- Lamont gets hysterical and afraid, but vows fearlessness and won’t leave nor grant a divorce. How would she know all the things that happened when she was locked in her room anyway? This wishy washy is probably the worst aspect of the film, along with its unavoidable faded color and poor print quality.  There’s also an inappropriate use of a little person as a silent prop complete with funny music announcing his presence, but the rest of the supporting cast is quite decent. A crazy maid, dumb cop, and annoying reporter combine for plenty of droll and make this one funnier than the supposed horror comedies of the day. It’s all so seriously deadpan, and in living color Lugosi is quite the charlatan!  Fans young and old who enjoy escapades such as Dracula: Dead and Loving It or Clue can have a romp here.

 

Forties Frights and Horrors

Forties Frights Dun Dun Dun!

By Kristin Battestella

In the 1940s, it seems as though the mystery, suspense, thriller, and horror genres were often mixed and intermingled. Though this may feel like a big mistake, the list here is but a small sample of forties frights, noir, stars, and monsters working in tandem to create some fun and memorably eerie pictures.

The Amazing Mr. X – Stylized noir photography, lighting and shadow trickery, and silver nighttime beaches add mood to this black and white 80-minute supernatural mystery from 1948. We know something spooky is afoot thanks to dangerous waves and eerie cries from beyond the grave!  Though similar in vein to Laura, Rebecca, and even The Ghost and Mrs. Muir, the M.O. here isn’t obvious. There’s an interesting little case at hand. What’s supernatural? Is it a swindle or isn’t it?  It’s not really scary, but the late Turhan Bey’s (Arabian Nights) medium techniques are both creepy and corny fun.  At one point, I swear he’s trying a Vulcan mind meld!  Lynn Bari (Shock) and Cathy O’Donnell (Best Years of Our Lives) also look good and do just dynamite even though the screaming is typical of the time.  It’s a little tough to see in some scenes thanks to the poor video quality, but the steady pace keeps things from becoming too formulaic. The literal smoke, mirrors, and crystal balls may be dated or hokey, but the deceit is still effective and worth the watch.  And that skull door knocker- want!

Dead Men Walk – This 1943 hour can come off as an old, cheap, slightly unpolished Dracula retread with photography that’s too dark and some confusing plot points. How can killing someone who’s merely involved in the Dark Arts resurrect him as a vampire? There’s a touch of preachy righteous and occult debates, too, and some of the premise feels more bemusing than scary. Quibbles aside, there’s a nice good versus evil twin spin here.  Dwight Frye (Dracula) is always crazy fun, and the spooky duality moves quickly with plenty of music and candles for atmosphere. The effects are decent, and the then-contemporary pre-war fashions and décor add a period zest. Bigger name players might have balanced out the secondary wooden folks, but George Zucco (The Mummy’s Tomb) is worth a viewing in this fun little vampire show.

House of Dracula – John Carradine (The Grapes of Wrath) and Lon Chaney Jr. (Of Mice and Men) lead this 1945 Universal sequel spectacle combining the eponymous Count, The Wolfman, a hint of monster romance, and plenty of science gone awry.  Yes, there are inconsistencies with prior installments from Universal’s monster series-namely its predecessor House of Frankenstein- but this mini monster soap opera is still entertaining. The fun bat on a string effects and mad scientist laboratory sets don’t look bad, either.  Lovely would be undead nurse Martha O’Driscoll (Reap the Wild Wind) is all in shiny soft glow white, but Jane Adams (The Adventures of Batman and Robin) is quite interesting as a female hunchback assistant, too. Supposedly killed time and again in previous films, Chaney is tragic and tormented as Lawrence Talbot and Carradine clearly has a bloodsucking good time as Dracula. The story is a little disjointed in introducing the monsters and sometimes confusing in how all the plots fit together, and Onslow Stevens’ (The Three Musketeers) science is just a tad implausible. However, lovely mood music, candlelight, and a Frankenstein’s Monster montage do the trick along with the expected murder, mayhem, and angry mobs.  

King of the Zombies – Well, unlike the often ignorant portrayals of early film, Mantan Moreland (Charlie Chan in the Secret Service) is actually a show stealing funny man in this 1941 undead romp.  His Jeff doesn’t speak in the stereotypical subservient tone; He’s not a servant there for one’s bemusement, but rather a working man who defuses the scares with humor. There is a difference indeed. In addition to interesting plane footage, with a creepy crash into a foreign country and shades of voodoo, more suspense and pleasing layers are added when no one believes Jeff’s supernatural encounters. Though the ‘lingo’ is very dated and the effects of the hour insignificant, great candles, shadows, solid Oscar nominated music, and a gothic Old World feeling add to the unusual mix of pseudo wartime spies, scares, and humor. This isn’t meant to be serious- Druids and veiled Nazis in with Voodoo? Espionage, suspicions, and speculation mixed with hypnosis on the eve of World War II? The picture needs a major restoration, and some of the sneaking around can be a little confusing- yet it’s all somehow credible and spooky.  The neat, on the nose proto-war aspects and amusing scares make this one worth the study.

The Monster Maker – Lovely piano concertos set up the gothic mood, eponymous twisted science, and good old-fashioned lovelorn obsession in this hour-long 1944 science fiction horror tale starring a juicy J. Carrol Naish (Beau Geste) and Ralph Morgan (Magnificent Obsession) as his forcibly misshapen and sympathetic victim.  The then-contemporary designs and cool science lab are also a treat- except for the ape, of course. Why must there always be a man in a monkey suit in these old capers? A few scenes do drag or feel slow and long despite the short length, and the formula plays a little obvious at times. However, the fun, over the top style works. Women scream, get manhandled, and blackmail. It’s of its time, but entertaining nonetheless.