The Invisible Man (1958)

The Invisible Man is a Fun if Repetitive Spectacle

by Kristin Battestella

The 1958-59 H.G. Wells' Invisible Man television series boasts two thirteen episode seasons filled with invisible black and white trickery, mad science espionage, and continental intrigue for the radiated Dr. Peter Brady. While some of the half hour adventures are dated and derivative, there's a certain mid century science fiction charm to the driverless cars and early television special effects.

Due to an unpredictable side effect of his “refraction” science, Dr. Peter Brady is transformed lab coat and all in “Secret Experiment” and he doesn't know how to make himself visible again. Some of the colloquial invisible science dialogue is of its time and wooden, but government agencies want Brady's secrets – leading to quarantine suspense, stolen cover ups, and well filmed invisible escapes. Rather than be confined or take advantage of Brady insists on finding a cure, agreeing to continue on at Castle Hill Laboratories while joking that they won't see him at work. A reclusive and disfigured millionaire risks being a new test subject in “Behind the Mask,” and The Invisible Man is best when the stories focus on the experiments and gray morality at home. Powder from a lady's compact is handy in revealing our invisible quarry, and it's bemusing when people say they are glad to see Brady before stumbling to correct themselves. Occasionally, there's also no mid-air cigarette or other invisible scene indicator, forcing the audience to pay attention for a clue on The Invisible Man's location – a lingering focus on a blank wall or a longer emphasis on an empty chair. Under the bandages decoys and dangerous radiation provide top secret approvals and assassination attempts before the Season Two premiere “Point of Destruction” brimming with experimental fuel risks and airplane disasters. Radical science sabotage, snipers after Brady – when wounded, his blood trail reappears and faking his death may help catch the bad guys. More daring train escapes in “Death Cell” lead to unreliable witnesses, questionable doctors, straight jackets, and hidden photograph negatives before missing coworkers and destroyed files in “Flight into Darkness.” Brady demonstrates the unsafe implications of a new anti-gravity technology while government ministers and peace organizations argue over using it as a weapon, and The Invisible Man is almost ahead of its time with such ambiguous implications. Well filmed suspense, neighboring windows, and dangerous voyeurs invoke Alfred Hitchcock for “The Decoy” alongside decoded notes, kidnapped singers, and twin sister ruses. USO tours and American officers provide timely patriotic winks amid double decker buses, twin camera trickery, and invisible points of view for those speedboat chases.

Unlike the ego maniacs in the film adaptations, Dr. Peter Brady is a solid chap helping catch those who would abuse emerging science. He goes on secret missions when the country asks him, but Peter's frustrated over being unable to find a cure. He shaves before the mirror out of habit despite admitting it is a waste of time. Brady dislikes stifling security measures, so he often goes invisible at home when people spy in the window or treat him like an animal in the zoo. He laughs at the irony of people staring at him and makes jokes when they say they're happy to see him but occasionally also wishes they could indeed look on him. Peter doesn't want to be fixed up on dates with famous dames or relax at the theater in “Play to Kill,” for he'd rather be a hermit, shut himself in, and get some work done. Blackmail over celebrity hit and runs add to his notoriety, and though reluctant to wear his bandages, he chuckles at revealing himself as a headless man to scare people. His work is stolen in the Season One finale “Strange Partners,” but Brady's lured with a call about its recovery before being trapped by a vicious dog – one of the few times his being unseen doesn't help him. The personal and immediate dangers, however, fall away in favor of espionage and heroics. Instead of seeking his once most important cure, Brady is at times selfish, enjoying being the one who can save the day after the surprisingly graphic marketplace shootouts of “The Gun Runners.” A sassy intelligence dame asks for his help on an off the record mission, and he's a little smitten at her brash compared to all the helpless damsels he rescues. The invisible tag team cargo switches are a lot of fun, and the corrupt officials think it's her great right hook because they don't know Brady is doing the swinging! Such undercover chemistry actually would have made a great finale as Peter toasts his refraction heroics with a witty dame accepting of his condition. Of course, an actor is never seen in the role billed as The Invisible Man, but the uncredited voice actor Tim Turner apparently does the most work among several other fill-in actors. Not only was the unknown casting probably cheaper, but knowing the specific character or personality underneath the bandages was unfortunately secondary to the invisible wink and all the unseen trickery – unlike today where the allure would be in never seeing the famous face involved or having a different star under the bandages each week.

Often called “Dee,” Lisa Daniely (Doctor Who) as Brady's widowed sister Diane takes him into her home despite the adjustments – like bumping into him when he doesn't have on his overcoat. Although his family isn't there for themselves so much as to answer the phone as required or to help with a plan, Dee isn't afraid to wield a gun and take on the bad guys. When Peter says he's so angry he could kill, she insists he has his dinner first and demands he wear sunscreen invisible or not. It's a leap that this mild mannered housewife is apparently an incredibly resourceful catch all lady in disguise, but Dee pretends to be a reporter for information and remains a strong headed woman. She witnesses a man hiding stolen film in the lining of saucy puppeteer Hazel Court's (The Masque of the Red Death) coat in “The Mink Coat,” but her brother doesn't believe her despite obvious strong arming attacks and gunpoint threats. Deborah Watling (who also appeared on Doctor Who) as Brady's sassy and precocious niece Sally is cool with this invisible thing and fresh to those pesky reporters bothering her famous uncle. Although they probably didn't think anything of it then, her being in the bathroom with him is a little weird, and throwaway lines about him not wearing his invisible clothes inadvertently imply some awkward nakedness. I could almost do without her, but the entire family angle is dropped by the middle of the Second Season with just a few late appearances for Sally. It's obviously a money saving maneuver to have less regular cast, but the continental espionage of the week takes The Invisible Man away from the science fiction and personal elements that make the series unique as in “Picnic with Death” when a car accident with witnesses puts Brady's condition in the headlines. The family receives extra security, but Peter insists he's a human being not a government file. The invisibility causes more trouble at home as desperate reporters watch objects moving by themselves and try to get a picture as Brady helps one of Sally's friends prove her crooked step father is trying to kill his invalid wife. Sally's kidnapped in “Bank Raid,” too. There are consequences to The Invisible Man being famous with ransom notes and abandoned houses making the titular heists stronger because the action is personal. Of course, there's also some humor when poor Sally can't flag down any help because bystanders are more shocked at her driverless transportation!

Unfortunately, the of the time stereotypes happen early and often with brownface Arabs in “Crisis in the Desert.” There's no real attempt to clarify which agencies or military intelligence are recruiting Brady, either – random colonels use his undercover cover to thwart escaped agents or unfriendly regimes as needed amid generic thugs of the week thrashing themselves about in the invisible fisticuffs. Though originally a secret, everyone eventually knows about Brady. Nobody minds if he interferes in a local crime, a coup against cliche foreign powers, or goes vigilante versus enemy scientists. “The Locked Room” and “Shadow on the Screen” provide anti-government statements, fake accents, Russian sailors, scientist defections, and comrade interjections – if you've seen one of these international intrigue episodes, you've seen them all. It's not so memorable when episodes rely almost entirely on action sans dialogue and people we don't know. The white UK agents saving Cairo from heroin dealing Arabs in “Blind Justice” also misses the mark despite some surprisingly modern politic intrigue, the irony of a blind woman helping The Invisible Man, and future 007 guests Honor Blackman and Desmond Llewelyn. Speeding trains and con artists can't hide that “Jailbreak” has Brady helping yet another wrongly accused lady. He says he can't help everyone, but that's exactly what he does, and The Invisible Man should have chosen whether he was going to be a post-war hero fighting international enemies or just be an invisible mad scientist. Too many episodes become insert exotic locale here – although they were in Paris the show prior, Diane tells Peter she's due a holiday in “Odds Against Death.” They thwart a scientist gambling in the Alps with some invisible roulette tricks, but “The Vanishing Evidence” offers more faux accents and stolen secrets. These aren't all terrible episodes, but the humorous invisible moments are out of place amidst the anonymous action plots. The foreign checkpoints, SS-esque officers, and tortured writer held for exposing a country's terrors in “The Prize” could be an interesting, ahead of its time rescue, but it's lost in a sea of similar of their time episodes. When Brady is called in regarding the eponymous refraction experiments of “The White Rabbit,” it's just more fake accents and fascism. An enemy wanting an army of invisible men could be a great arc, but there's no defined fictitious country or rival scientist to battle. It's more drugs for “Man in Disguise” and Middle East ploys yet again in “Man in Power.” “The Rocket” has more titular secrets at risk over gambling before the malfunctioning weapon of “Shadow Bomb” and the atomic bomb parts in the “The Big Plot” finale. Despite frequent directors Pennington Richards (Interpol Calling), Peter Maxwell (A Country Practice), and Quentin Lawrence (The Ghosts of Motley Hall) and writing teams with Ian Stuart Black (Doctor Who); creator Ralph Smart (Secret Agent) seems most responsible for all the similar action hours and stock scripts. Maybe everyone wanted to add their own science or spy spins, but that leaves the series with no cohesive vision in too short a run.

Thankfully, Tudor manors, classic fifties décor, and cool convertibles add nostalgia alongside phone booths with horseshoe phones, old school newspaper headlines, brandy decanters, and vintage dressing gowns. Old fashioned nurses uniforms and classic constable styles invoke more British mood while flashbulb cameras, aviation photography, radio controls, and giant switchboard plugs set off the through the gun barrel camera visuals. Retro futuristic dials, buzzes, switches, and knobs hit home The Invisible Man's premise with lab coats, cages, and disappearing animal subjects. The bandages, gloves, fedora, and sunglasses create that memorable invisible silhouette, and the unwrapping old chroma key effects are still neat. Phone receivers hang in the air, papers flip on their own, gates open and close by themselves – all tricks for The Invisible Man's slight of hand, of course. There's something pleasant in these disappearing strings ruses. Today we take such in camera skills for granted as now we just motion capture the actor and CGI remove him from the frame. Where's the fun in that? Sound effects are also important as the camera follows unseen footsteps and other foleys itemize the invisible action. Certainly it's obvious all the dialogue is dubbed voiceovers and cast speaking opposite our doctor are usually filmed in a separate shot. However, the actions are well timed with actors moving in and out of the opening or closing doors in step with the invisible cues, and bravo to stunt personnel dealing with operator-less lawn mowers, no riders on the horse's back, and roadsters with nobody behind the wheel nor in the sidecar. Getting that full wine glass to dangle in the invisible air without spilling anything must have been tough!

The Invisible Man often has weak writing and a thin, aimless focus. The over-reliance on weekly bad guys and international espionage of the era can be tiring for sophisticated audiences today. The plots are often more action than personal man versus science fiction mistakes, but this series doesn't deserve to be obscure. H.G.Wells' Invisible Man is still an appealing what if experiment gone wrong with vintage invisible special effects, and it's a fun retro marathon for the whole family.

James Bond Documentaries!

Real World Documentaries on the Fictional James Bond!

By Kristin Battestella

If there’s one thing more magical than analyzing Bond onscreen, then it’s analyzing the analysis of others analyzing Bond onscreen!  So here’s a session of Bondian non fiction and documentaries to delve deeper into Her Majesty’s fictitious Service.

  

Biography: Daniel Craig – From his first school plays, maternal support, and theatre work to edgy independent fair such as Love is the Devil and successful Hollywood turns in Road to Perdition and Layer Cake, this 2007 episode of the long running series illumes the decade of thespian work before Craig’s coveted casting as the first blonde Bond. While it’s great to see childhood photos and early snaps of the handsome young actor, the zooming, panning, angled, and spinning photos can be annoying as they continuously repeat and fill the 45-minute TV time. Of course, most of the 21^st century Biography shows play more like hip, gossipy, entertainment newsbeats instead of the program’s traditional, seemingly official, or sanctioned sit down interview and intimate revelation with the subject. Instead, snippets from other Craig interviews pre and post Bond, chats with old school teachers, and commentary from celeb columnists make for a somewhat awkward presentation. A showbiz reporter informing on Craig’s first marriage, famous girlfriends, daughter, and extreme privacy against intrusive tabloids feels illegitimate – if industry reporters are talking about how he doesn’t often grant interviews or ignores media fodder and he didn’t consent to an interview with Biography…yeah, whoopsie! Short clips from Craig’s early films and television that international audiences may not have seen do much better in showing the actor’s talent, versatility, and penchant for heavy scene chewing material. The popcorn narrator doesn’t paraphrase Barbara Broccoli’s decision on choosing Craig as Bond until the final fifteen minutes, but the encapsulation of the challenging transition and becoming accepted as 007 is interesting to see in retrospect again now. It’s nowhere near all encompassing on Craig’s life and career, no – this episode seems to have more of everyone else but him! Indeed, I’d like to see a new, real Biography conversation someday with The Man Himself reflecting on his Bond tenure, yet fans new to the franchise or Craig’s work can get a quick summary here before diving into his varied filmography for complete Craig appreciation.

Bond Girls Are Forever – Maryam D’Abo hosts this retrospective hour on “The Women of James Bond” with an honest, globe trotting, and fun approach fitting to this fanciful, exclusive club. Footage of each lady in her respective Bond film looks great alongside new intimate conversations on Their Man James and what it means to be a Bond Girl from Ursula Andress, Honor Blackman, Luciana Paluzzi, Jill St. John, Jane Seymour, Maud Adams, Lois Chiles, Carey Lowell, Michelle Yeoh, Halle Berry, and Rosamund Pike. Non traditional 007 gals like Judi Dench as M and Samantha Bond as Moneypenny also have their say, and updated editions of this 2002 video include thoughts from Eva Green, Caterina Murino, Gemma Arterton, Naomie Harris, and Berenice Marlohe. Of course, this isn’t exhaustive with every gal in every Bond movie, and understandably, some foreign ladies or retired gals perhaps did not wish to appear. Although this leaves little reflection on From Russia with Love, You Only Live Twice, On Her Majesty’s Secret Service, The Spy Who Loved Me, For Your Eyes Only, A View to a Kill, Goldeneye, and The World is Not Enough, we can forgive absentees of note such as Diana Rigg, Barbara Bach, Lynn-Holly Johnson, Tanya Roberts, Izabella Scorupco, Famke Janssen, Sophie Marceau, and Denise Richards. Pity also there’s no outside canon conversation with Kim Basinger, but the major loves and villainesses here give unique cross coverage on the fame, notoriety, expectations, career help or hindrance, and where are they now comparisons. Serious issues on the sexism of Bond then and now, the feminism movement, and the over the top damsel or bitch caricatures are debated as well. This isn’t specifically a classic look or by Bond focus, but the chronological order and clips from all the 007 pictures go along well with the multiple re-releases and companion book. Besides, it’s just dang fun to see how these ladies have only gotten better with age.

 

Everything or Nothing: The Untold Story of James Bond – World War II background, lovely post war period footage, and Jamaican home videos inform on Bond creator Ian Fleming’s literary tenacity to start this 2012 hour and a half detailing the history behind the beloved spy. From the earliest, struggling Jimmy Bond adaptations and difficulties in establishing the titular Eon Productions to interviews with Christopher Lee, Fleming family and friends, Barbara Broccoli, the Saltzman family, and Michael G. Wilson, this documentary has a lot of history to cover! Archive footage of Fleming and Cubby Broccoli supplement the hesitation over choosing Sean Connery as Bond and finding the right production team with Maurice Binder and John Barry before the fame, franchise heights, cast fallouts, and more. Quotes from John F. Kennedy, voiceovers with Connery, and more conversations with Maud Adams, Judi Dench, Bill Clinton, Famke Janssen, Rosmund Pike, and Sam Mendes read like a who’s who, and of course, we have retrospectives with 007 men George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan, and Daniel Craig. Whew! Indeed, this feels a little too action movie fast paced as it intercuts and jumps between Bond footage. The time here isn’t a sentimental reflective documentary going deep with Fleming’s genesis, but some film details are skipped over in favor of the bitter, decades long Kevin McClory drama. Thanks to a playing it safe lack of depth beyond how these court cases broke Fleming’s health, viewers who don’t know the franchise’s history may not fully grasp the scale and legal issues created by McClory’s claims. Time is much better spent on the Lazenby switch, trouble between Broccoli and Saltzman in Moore’s early era, Dalton’s darker take on 007, Brosnan’s waits in landing the role, and 21^st century refocus with Craig.  Despite the title, there’s a lot more of the basics then what’s untold – an entire series of documentaries could be done with the story of this franchise. A telefilm per actor, an episode on Fleming, one on Thunderball and the Battle of the Bonds with Never Say Never Again – the billion dollar interest can support it! There are a few pacing hiccups, sure, but ultimately, this nostalgic look serves its purpose in getting both newcomers and longtime audiences hankering for a viewing marathon.

The Real Story: James Bond – The Smithsonian Channel presents this 2009 45 minutes debating how much fact is actually in Ian Fleming’s spy fiction. Did Bond embody his creator’s womanizing and addictive ways? What about those real life secret service efforts and AU commandos orchestrated by Fleming? Expert interviews discuss the literary action, plot formulas, and sexism on the page and how they encapsulated Fleming’s own military life, travels, and espionage experience. Real life card game encounters and officers who would become M inspirations had their twists in Casino Royale while enigma decoding plans become From Russia with Love’s premise, but what wartime heroes could have suggested the 007 character? Was Bond the author’s wish fulfillment or something darker and misogynistic? Through expensive tastes and real world expertise, Fleming used his history and the Cold War topics of the time to draft the perfect fantasy spy for a post war UK still looking for heroes. The segment on fantastic wartime gadgetry, real gyrocopters, and defecting spies becomes a little out of place since the majority of the time here plays more like a Fleming biopic than something about Bond or the film franchise. The re-enactments and narration hyperbole are a bit much at times, and the questions raised sound so overly serious or faux scandalous amid otherwise tender and fresh family angles and period footage. These numerous possibilities, theories, and offshoots on how Bond came to be are nothing new in themselves, and the presentation could have been exclusively about Fleming by going deeper into his exhaustive book pace and it’s increasing tired and ill tasking upon his health. Fortunately, literary purists will like the brief graze upon the films, and the fiction comparisons and digging deep into life imitating art is always interesting to see.

And just in case you’re curious, no, I still haven’t gone through all the multitude of features on the Bond 50: The Complete Film Collection blu-ray box set, tee hee. 

Christopher Lee and Peter Cushing Birthday Mayhem!

Early Birthday Creepers from Christopher Lee and Peter Cushing!

By Kristin Battestella

We’ve raided the horror video vaults yet again in search of more frights and mayhem from that irrepressible, diabolic duo: Christopher Lee and Peter Cushing! Their upcoming May birthdays are the perfect excuse for a quick list of creepy, oft-scary combinations, and warm weather horror.

 

Asylum – A totally fun, spooky score anchors this 1972 anthology film from Amicus Productions, not to mention the great gothic locales, mental institution horrors, and an intriguing frame story puzzle from writer Robert Bloch (Psycho).  Director Roy Ward Baker (Scars of Dracula) keeps the filmmaking swift, with proper cuts and zooms for full effectiveness. Although the first story “Frozen Fear” is slow to start its voodoo angles, the murderous twists and turns arrive with increasing suspense and shocker moments. Perhaps it’s hokey, but eerily efficient nonetheless.  “The Weird Tailor” features Our Man Cush as a seemingly straightforward gentleman asking for a very interesting custom garment. Again, some may spot the plot, but this tale is still likeably bizarre and macabre. Each of the stories are very fun in getting to their kickers, and “Lucy Comes to Stay” adds some crazy woman hysterias for Charlotte Rampling (Swimming Pool) and Britt Ekland (The Wicker Man) – or so it seems. “Mannikins of Horror” ties into the framing story finale with a perfect, deeply entwined spin, and it’s great to see bookends that are just as long and involved as the featured tales are. Maybe this one isn’t as frightful or as gory and pure horror as other similar anthologies, but the demented mood and atmosphere are excellent. Unlike more elusive seventies horror films, this one also has a great DVD release complete with commentary, Amicus behind the scenes features, and subtitles. Oh my! 

Crypt of the Vampire – I’m not sure about his hair, but golly Christopher Lee looks young in this black and white 1963 foreign creepy also titled Terror in the Crypt. While all sexy screaming ladies are dubbed, Lee’s commanding voice adds to his suave count/pimp style – complete with monogrammed smoking jacket, blonde mistress, and spooky castle.  Cool carriages, fearful forests, good gothic sets, candles, and mood lighting help to forgive the weird narrations and fast and cheap production. The time period is also some kind of 19^th century – the looks are effective but a little nondescript in establishing a year – but fortunately, nightmarish innuendo, shades of skin, and saucy rituals make up the difference. Billowing winds, creaking doors, and ghostly tolling bells also up some very scary moments in the final half hour despite the relative lack of vamps or blood. Interestingly, the family name here is Karnstein, and the female implications are similar to the so-called Karnstein trilogy of vampire movies from Hammer. Of course, some of this back-story might get confusing onscreen, and the poor sound, cheap DVD quality, and foreign filmmaking hiccups might make this tough for some. However, this relatively solid 90 minutes will be fun for gothic audiences and Lee fans. 

I, Monster – The DVD presentation for this 1971 twisted take on Robert Louis Stevenson from Amicus is cheap with a bad print, varying color saturation, and poor sound.  Nevertheless, the experimentation and psychoanalysis spins on the Jekyll and Hyde theme are intriguing thanks to great debates at the apathetic Victorian gentleman’s club on good and evil or nature versus nurture and the Freudian analysis on horror by the disturbed Doctor Christopher Lee and the suave solicitor Peter Cushing.  Though perhaps slow to start and the gruesome mad scientist laboratory is not for feline friends; there is a lot of red and colorful set decoration in the faux Hammer spirit.  Scenes with slick Dr. Lee and his lady patients are also wonderfully ambiguous, racy, and fun to watch. Is he evil or just taking the amoral of his medicine too far? The quiet transition scenes, silent-esque performances, and orchestrated score ala the 1920 Dr. Jekyll and Mr. Hyde show the viewer the suffering personality changes and freaky progression of depravity with just enough horror make up and violence to accentuate a scary death or two.  Some longtime fans may find this one a Lee and Cushing retread with the real frights and gore elsewhere, but the impressive take on the oft-told Jekyll and Hyde make this somewhat hidden gem worthwhile.

Tale of the Mummy – Director Russell Mulcahy (Highlander) assembled a pretty impressive cast for this 1998 creepy – including Jason Scott Lee, Sean Pertwee, Lysette Anthony, Honor Blackman, Shelly Duvall, and brief appearances by Gerard Butler, and of course, Christopher Lee. Though not a big appearance, the commanding and authentic Sir Christopher helps the period archaeology, dangerous digs, and ancient astronomical threats build, and we know the high tech follow ups and Egyptian mysticism designs will lead to some scary supernatural elements and creative kill scenes. The then modern club scenes and hip music, however, are very dated, and today’s CGI accustomed viewers may find the mummy wrapping effects corny. The Egyptian flashbacks also should have started the tale at its beginning, rather than letting several tomb discoveries and false starts slowly set up events. Though much more fearful in tone then the action fun of Brendan Fraser’s The Mummy, it might have been interesting to see the action here remain exclusively in Egypt with ancient curses and desert madness horrors instead of the London escape and investigation. Nonetheless, the pace moves nicely, and I know I would have much rather seen sequels to this than the Fraser continuations we did receive. Of course, we can’t even give this a proper, restored director’s cut video release stateside. Typical.

Christopher Lee Round Three!

This Time of Year, You Just Can’t Get Enough Christopher Lee. Period.

By Kristin Battestella

Well, I suppose the title says it all. With whom else can you share your scary, dark autumn nights?

The Devil's Bride – Frequent Hammer director Terrence Fisher (Dracula: Prince of Darkness) helms this elusive 1968 satanic fest in which Christopher Lee is the good guy. Whoa.  Let’s just take in that power of performance right there.  One of his personal film favorites, Lee ups the ante- using all his coy, charisma, and stature for the occult heroics and parental considerations here.  He looks damn classy, and Charles Gray (Diamonds Are Forever) is dynamite as well. Two Bond villains for the price of one- that has to be worth a look!  Leon Greene (A Funny Thing Happened on the Way to the Forum) as Big C’s sidekick starts out as a little stereotypical chum chum disbelieving cheerio, but he takes up the cause wonderfully- though I don’t really understand why an English guy was dubbed for an English movie? The thirties via sixties style is also suave: sweet roadsters and English country car chases, cool suits, and great frocks all around.  Sigh, candlestick phones!  We have genuine frights, smart mystery, and fun cloak and dagger action along with great color and decent, scary effects.  If the eyes are the window to the soul indeed…shudder.  Though I’m not sure of the actual details, the rituals are realistic and the occult material is intelligently handled for a dang good time. Now if only the DVD- also titled The Devil Rides Out – wasn’t so damn tough to find!

Horror Hotel – This 1960 low budget scary also called The City of the Dead opens with a 1692 good and wicked burning at the stake and it only gets freakier from there.  Yes, it looks a little poor in quality, is too dark sometimes, and the hep cat guys are a dime a dozen.  The fog and flickering firelight, however, add heaps of disturbia, and we just know this sinister- er sleepy hamlet isn’t what it seems. Investigating ingénue Venetia Stevenson (Island of Lost Women) is a sunny and fun fish out of water we can get behind as she blindly plunges deeper into the Massachusetts bizarre.  Sir Christopher is of course smashing as a deathly serious but young and oh so suave professor who knows his witchcraft history too well. Even in the seemingly forgotten 80 minutes here, his contribution is essential, his performance quintessential.  Toss in a swanky score and you have all the brewing ingredients needed for future Amicus Productions’ horror gems. Who knew?

To the Devil a Daughter – Though it may look old, this 1976 satanic thriller boasts a great cast- including reluctant occult expert Richard Widmark (Cheyenne Autumn), juicy dame Honor Blackman (Goldfinger), unaware but not so young and innocent would be nun Nastassja Kinski (Cat People), and fearing for the err of his ways Denholm Elliot (Raiders of the Lost Ark).  Now then, let’s top all that off with a downright frightening Big C, too!  This one is very bizarre to start; the rituals are totally kinky, and the intentions are absolutely disturbing.  Lee’s Father Michael is even scarier than his Dracula- perhaps because he is a real soulless man of flesh with such a wicked, wicked agenda.  Yes, the ending is a little flat- resorting to abstract demon talk and psychedelic colors after all that great intelligence and paranoia.  But it’s damn good in getting there, and I’m not sure why there’s so little fanfare about this one.  I really liked it!

The Torture Chamber of Dr. Sadism– AKA Castle of the Walking Dead, Blood of the Virgins, and a hundred other dang titles- it’s tough to find much about this 1967 Lee murder fest co-starring Lex Barker (Tarzan) and Karin Dor (You Only Live Twice).  It’s a pity because whatever you call it, this one’s not bad at all.  Sure, it looks and sounds poor- again thanks to the lack of proper love and restoration- but the production values are actually pretty period piece good.  The costumes and décor are colorful, the locations authentic looking, the atmosphere scary, the dungeons dark and frightening.  Although I must say, the credited inspiration from The Pit and the Pendulum doesn’t come until quite late in the film, and some of the cutesy sixties music may seem out of place to audiences enjoying the spooky or mature camp.  Sir Christopher’s role is unfortunately small, but damn memorable and gruesomely well played.  While it can be found on several horror double bills in multiple languages and cuts, sadly, I’m not really sure what’s going on with all these cheapy video editions and versions here.  Bottom line; catch a viewing of this one anytime you can.

Goldfinger

Goldfinger One of the Best Bond Pictures
By Kristin Battestella

Pussy Galore. That naked dead chick painted gold. For casual viewers unfamiliar with the franchise, Goldfinger provides a healthy dose of such quintessential Bond iconography. This 1964 third entry in the James Bond series has babes, gadgets, proper villains, gold heists, and solid action.

As MI6 agent 007 James Bond (Sean Connery) wraps up his Miami vacation, CIA ally Felix Leiter (Cec Linder) brings word from MI6’s head M (Bernard Lee) that Bond is to trail Auric Goldfinger (Gert Frobe), an international gold thief. In Switzerland, Bond joins with Tilly Masterson (Tania Mallet) as she avenges her sister Jill’s (Shirley Eaton) death at the hands of Goldfinger and his Korean henchman Oddjob (Harold Sakata). Bond infiltrates Goldfinger’s base and learns of Operation Grand Slam. Unfortunately, he is captured and flown to Kentucky by Goldfinger’s pilot Pussy Galore (Honor Blackman). Can Bond sway Pussy’s allegiance and foil the plot to blow Fort Knox? 
The pre title sequence in Goldfinger sums up all we need to know about Bond’s world, and Sean Connery has at last settled into his role as 007. He acts like a secret agent, gets the babes, and has the best quips. The way Bond moves in on Goldfinger is completely confident. Connery has the right handle on the fine blend of sex, humor, action-and he fully mixes business with pleasure. Even Bond has to laugh at the over the top nature of his world. The screenplay from longtime Bond writer Richard Maibaum and Paul Dehn (Murder on the Orient Express) gives Bond a level of complexity along with great one liners. We know his weakness for the ladies, and in Goldfinger, it costs him.

Connery’s banter with the always charming Moneypenny (Lois Maxwell) and Q looks so natural. Desmond Llewelyn looks to be having great fun with his decked out Aston Martin creation. Of course, some of the gadgets are highly improbable, but that’s okay. Unfortunately, I do wish we also had a regular Felix Leiter. His rotating actors and all American access is a little deux es machine, but you can’t worry about these things if you intend to enjoy Bond. 

We want Bond to axe the bad guys and bag babes, and one of my favorite things about these pictures is the naughty names for all the leading ladies. Honey Ryder, sure there’s some innuendo, but Pussy Galore? The only thing better then her name is Bond’s reaction: “I must be dreaming.” (I heard a rumor that he was to say ‘I know you are’ but that was too scandalous!) Honor Blackman (The Avengers) boasts all her sixties sex appeal and wit into the role of rough and tough pilot Pussy. Yes in the novel she is a lesbian (magically converted by Bond!), so you do get a sense of butch in her style and mano y mano chats with 007. Nevertheless, Blackman keeps Pussy Galore likeable, cheeky, and equal to Bond physically and sexually. I do wish she had better clothes, but that wouldn’t fit in with her kick ass judo skills. Pussy Galore’s female pilots in her Flying Circus are in the male pilot position just as she is, but they’re played up in sexy flight suits with pointed bosoms and matching blonde hairdos.

I imagine some women’s lib gals might really like Blackman’s banter with Bond or hate it. There is nothing wrong with having a strong action female in a solid action movie, but Goldfinger does fall back on the woman needing the man or switching sides in the end. And of course, we do have our share of kink from Ms. Galore and several other eye candy ladies. Overall, by presenting more than one type of woman beyond the bed for Bond, Goldfinger keeps its edge. It’s dated in its portrayals yes, but the multidimensional women here keep this installment memorable.

Naturally, that takes me to Jill Masterson and her unique death via the golden tan. Although Shirley Eaton (The Saint) doesn’t survive fifteen minutes in the film, the absurdity and the symbolism of death by gold is not lost on today’s audience. It’s sexy, dangerous, completely silly, and yet a frank statement from Ian Fleming about our monetary obsessions. I would have liked more of Tilly Masterson’s brief revenge, but she’s only there to make us hate Goldfinger more rather than fulfill her own vendetta. Thankfully, Goldfinger is such a wonderful villain. We don’t doubt his ruthlessness, but his easy dupes at cards and golf courtesy of Bond make him somewhat goofy. Most Bond villains have some silly hang up, and Goldfinger’s liking gold for its pretty color is no different. Veteran German actor Frobe (Chitty Chitty Bang Bang), however, keeps it fun. He’s chubby and bad ass and an insane genius who’s thought of everything except Bond getting under his skin. Like Goldfinger, another classic character that has been oft parodied is his henchman Oddjob. Death by metal hat, people, be honest. Moreover, aren’t there any early Bond pictures without corrupt and stereotypical Asians? 

Goldfinger has a great instrumental soundtrack from John Barry, and the theme here works well with the traditional Bond tunes. It has its hip sixties brass vibes, but still sounds good today. The vocals by Shirley Bassey, are however, something I could live without. Some of Maurice Binder’s opening title sequences are also better than others, but the overlay here of Bond footage against a golden woman are sexy, classy, and making a statement artistically as well as socially. Well done.

Filmed mostly at Pinewood Studios in England, some of Goldfinger’s Miami facades are a bit hokey. My goodness, all the short shorts, terry cloth, and the bright blue like the ugly sheets on Dark Shadows are ridiculous! I’m also a little tired of all the dubbing done in these early films. Maybe it makes the voices clearer, but it’s amusing when the lips don’t match and all the chicks sound the same. Good thing the Swiss locations are green and lovely, and the car chases are still tight and entertaining. Goldfinger makes its mark with fun gadgets, cool cars, and that great family jewels threatening laser. The gold lame on the women and gold, gold everywhere is a bit overdone, but we’re keeping up with a theme remember. The big finale at Fort Knox has all the intricate, clock ticking action and suspense we need; and I don’t think its any spoiler to say Bond gets his Pussy.

In the twenty films that follow, Bond has certainly had his ups and downs. Goldfinger is the first picture, however, that gets everything right. There’s not a lot of visual naughtiness or gory violence compared to today’s pictures, but the innuendo of Pussy Galore might be too much for younger audiences: “You’re a woman of many parts, Pussy.” Fans of early Bond pictures can watch Goldfinger again and again; and viewers craving solid action and intelligence should give this one another viewing. Look for the affordable DVD or splurge on the bluray release.