More 1970s Horror

70s Horror Classics. Again.

By Kristin Battestella

More and more, I am finding myself watching and enjoying more horror and mayhem produced in that shiny, glittery, and be-bell bottomed decade of the 1970s. Here’s a small sampling of our latest late night seventies viewings, because it was ten years with a lot of onscreen scares, shocks, scandals, and sophistication.

Blood on Satan’s Claw –We Americans would call the shaggy hair, peasant costumes, and poor candlelit interiors of this 1970 British scare fest “Colonial.” Great screams, sound effects, and music accent the off-camera frights and country crazies. There are plenty of spooky locales, too; lonely wooden houses and ruined cathedrals out on foggy, overrun and empty greens. Dark, intimate, and up-close photography smartly keeps the villagers’ fear, not the titular hand, as the focus- and it is scary.  Yes, the dialogue scenes in between the scares might be slow, confusing, or tough to understand for some, and having had a horror proper cast would have been nice, too.  Fortunately, the steady reveal, religion versus demons tug and pull, and nasty sexual overtones up the horror ante.  The rapaciousness is not for the faint audience, but the evil temptations, nudity, and demented 17^th century teens aren’t there for the titillation as in today films. Obviously, witchcraft is painted as the devil worship of the day, and this will be an offensive movie for some. However, fans of the genre will enjoy the instrumental, heavy, intense, and hairy finale- literally!

Dracula vs Frankenstein –  Good blood, scary zooms, carnival crazy, scientist mayhem, and cool laboratory works with flashing gizmos and vintage radical machines accent this 1971 swansong for both Lon Chaney Jr. (The Wolf Man) and J. Carrol Naish (Sahara).  It’s pleasing to see Chaney’s silent, big, and scary henchman. He’s used and sympathetic in contrast to the no less intriguing but vengeful and wheelchair bound Nash as Frankenstein. Forrest J Ackerman (The Howling) has a fun appearance, and the crazy credits are a good time, too.  There’s enough homage and sentiment here to keep the bright seventies setting entertaining, although the bizarre UFO-esque sound effects music is too dated. The Vegas singing montages- perhaps to somehow capitalize on the Hello Dolly trend- are also weird, and the hectic, glossed over attention on hipness doesn’t serve this tale well. Regina Carol (Black Heat) is also kind of bad, but she’s not given much guidance from director/her man Al Adamson (Blood of Dracula’s Castle). I’m also not sure about Zandor Vorkov (Brain of Blood) debuting this strange look to Dracula; a young guy made to look, well, kind of like Vincent Price as Dr. Phibes!  The echoing voice effect too tries too hard, and the zooms punctuating the end of his sentence….err no. The disjointed mix of dumb happy summer of love interferes with the fine old school demented monster plots, and the finale melts down to drinking game viewing. Thankfully, it’s all fun, but Sweet Jesus, is the boyfriend upset because he spent $1 on gas? One Dollar.  Pfft!

House of Shadows – There’s not much information on this 1976 Spanish murder mystery starring Yvonne De Carlo (The Munsters) and John Gavin (Psycho). I mean, no Wikipedia page, gasp, the horror!  The stormy scenery, eerie music and sound effects, spooky décor, colorful period costumes, decrepit haunted house vibes, and past luxuries gone awry are all gothic and moody enough- and most importantly, they help disguise the somewhat bemusing English dubbing.  The dialogue seems more like the tone of an audio book than you know, acting.  De Carlo is lovely as always, but it’s weird that she is also dubbed. Something’s lost when we don’t hear her sultry voice, and this contributes to some of the awkward or confusing and slower scenes. Some of the values here are also just too dark to see. Thankfully, a few unexpected scares and deadly twists accentuate the initial mystery, subsequent murders, amateur investigation, and spectacle séances. Yes, this is hampered by some poor post- production. Is it hokey like a telenovela thanks to the dubbed dialogue? For sure. Is it classic? Maybe not.  Nonetheless, there’s a fine little story here for an audience to enjoy solving, and it’s worth a look.  

Murder on the Orient Express – Yes, yes. This 1974 Agatha Christie adaptation starring Albert Finney, Lauren Bacall, Ingrid Bergman, Anthony Perkins, Jacqueline Basset, Sean Connery, Michael York, Vanessa Redgrave, Richard Widmark, John Gielgud, Everyone, and Your Grandmother isn’t really a horror film as we know it. Nonetheless it is dang suspenseful and entertaining with great thirties Art Deco design, tunes, and cars. There’s European and Asian flair, mixed languages, and lots of visual joys and dangers of trains that perhaps some today can’t appreciate. Likewise, director Sidney Lumet’s (Dog Day Afternoon) hectic in a good way pace won’t be for everyone. Some today may find conversational beats too talkative instead of action, but the unwrapping of the crime is pleasing and intelligent, a step above all those other all-star seventies disaster pictures. The suspenseful flashbacks and sudden edits reveal the case with lovely procedures, clues, suspense, and stunning performances.  The whole family can spend an evening guessing with this one or a sophisticated Halloween party might enjoy the debate. Perhaps it’s all old hat to those familiar with Christie or the story, but this one’s delightful for new viewers looking for something beyond Clue.

Night Gallery – Growing up, I really enjoyed watching this 1970-73 Rod Serling follow up to The Twilight Zone. Unfortunately, there is a lot of distaste and confusion surrounding these unloved episodes- from being butchered initially, and then chopped further in syndication, and recently its difficult road to DVD.  All that aside; some of these episodes are damn decent creepy, with Serling’s sense of morbid, demented inspirations from the likes of H.P. Lovecraft, and solid guest players such as Vincent Price, Joan Crawford, Adam West, Leslie Nielson, and more.  “The Housekeeper,” “The House,” “The Doll,” “Lone Survivor,” “The Boy Who Predicted Earthquakes,”  “A Death in the Family,” “Silent Snow, Secret Snow,” and “The Dark Boy” are but a few examples of the quality here.  Due to the behind the scenes troubles, is Night Gallery a step down from The Twilight Zone? Yes.  Is it nonetheless worth a place in your scary viewing marathon? Absolutely.

Classic Blu-Ray Joy!

Classic Blu Ray Joy!

By Kristin Battestella

I’ve written previously on the fountain of youth and magical restorative powers of blu-ray for classic film.  Thanks to plenty of Christmas and birthday gifts, I have even more must see evidence!

Ben-Hur – I’ve spoken briefly on this spiritual essential before, but the massive 3 Disc Limited Edition 50^th Anniversary set needs a conversation all its own-and then some.  Not only is the 1925 silent Ben-Hur also restored on blu-ray, but the 1959 1080p feature glory takes two blu-ray discs along with two commentaries and an isolated score. Sweet Jesus indeed the three documentaries are long, and there are more storyboards, vintage trailers and newsreels, screen tests, 1960 Oscar footage, and 2 books!  Of course, we can’t forget the rousing main attraction itself- Best Actor Charlton Heston’s embittered quest for revenge and his freeing encounter with Christ never looked so good.  I’ve seen this film- low balling it- at least fifty times, and I’m finding things I have never seen.  From the grand Overture’s first bars to the final chorale, it’s as if we’re watching a contemporary film made to look old.  Yes, there’s mid century over acting and melodramatic stylings that perhaps give it away, but 50^th Anniversary my foot.  We believe this is real stonework, vintage armor, and truly a cast of thousands- for now you can count every single one of them hearing the Sermon on the Mount.  Such clarity and attention to detail- the patina on the golden plates, the stitching on Judah’s robes, sweat and dirt flinging from men and horse, oh heck even the eyebrows!  Already colorful and full of zest, the opening Nativity sequence is stunning, the galley scenes and naval battle epic- models and painted backdrops this cannot be!  CGI cannot recreate this kind of atmosphere. Do you believe I found myself tilting my head to the rocking of the Arrius’ ship?  The white stallions in Ilderim’s tent, the Roman mosaics, sets and locations- you just have to witness the chariot race for yourself because I’m running out of adjectives! Director William Wyler knew how to use the scope of his physical sets, and it finally shows as it was meant to be. The internal depth of scenery, perspective, performance, and inspiration is incredible- distant plants and Roman plumes blowing in the breeze, townsfolk in the far marketplace and the hills of Jerusalem beyond, the awesome healing power of God- this is how you make a film three-dimensional!  Avatar?  F*ck Avatar! You haven’t seen anything until you’ve seen Ben-Hur on blu-ray.  Jesus wept…and so did I.

Casablanca – The package design of this Ultimate Collector’s Edition Blu-Ray is cumbersome, but the treats are so, so delightful.  Two discs worth of features, with introductions and commentaries from Lauren Bacall and Roger Ebert, deleted scenes, audio and score accompaniments, trailers, and television adaptations.  Not to mention four documentaries, cartoons, a photo book, reproduction poster cards, and Warner production notes, wow! Of course, this Best Picture winner is already spectacular as far as the spectacular of cinema spectacularness goes- and yet this digital renewal adds a new pinnacle. The onscreen locales are simple awesome; the smoke and arching walls of Rick’s Café create a physical illusion to represent the tense claustrophobia of the titular town and times.  Remember, this film was made during World War II with a lovely international supporting cast of expatriates and refugees, and the tragedy, danger, and heart of it all still comes across stunningly. Everyone looks so suave yet untouchable, too- white dinner jackets, uniforms of all flavors and every button, medal, and insignia upon them.  It’s so formal and yet reckless- the perfect shadows and lighting design say everything that can’t be said in this most amazing Oscar screenplay. You can practically feel every slick in the men’s hairs and wipe Peter Lorre’s sweat from his brow. It’s so easy to be swept up in the incredible music, too. The layered montages are clear and defined as well, but somehow hazy and hypnotic- as if we are going back to Paris, too. Seeing all these details anew…it’s just like watching a new film for the first time! Just to think, I haven’t even mentioned the performances yet. That sparkle from Ingrid Bergman’s earrings, the tears in her eyes, the fog as she and Bogie…well, I can’t give everything away to the two people on the planet who haven’t seen Casablanca!  What’s wrong with you two? “Play it!”

The Maltese Falcon – Also already reviewed at length previously, you would think I have nothing more to say- or that black and white doesn’t cater to the wonders of blu-ray.  But no.  The palette from director John Huston is crisp and truly silver, indeed. The depth of the monochrome breaks free from the colorless full screen frame with dimension and layers for every fabric and decoration onscreen.  The pinstripe in Humphrey Bogart’s suit, the pattern in Mary Astor’s fur stole- Bogie looks better than that Tales from the Crypt stunt!  The classic uses of shadow and light are increased ten fold, and I feel as though I can walk into this picture ala Pleasantville. Okay, the white subtitles are tough to see in some spots, but the sound is pitch clear to hear all the double-talk and melodrama.  And the features! There’s a ‘One Magnificent Bird’ half hour retrospective with author Dashiell Hammett experts and stars of today singing their praises, a 45 minute TCM collection of Bogart’s film trailers and dozens more vintage previews. Radio clips; commentaries; forties bloopers and outtakes with the likes of James Cagney, Gary Cooper, and Jimmy Stewart; test shots, and more. These rarities look sweet and are a real treat – and it’s all subtitled, too!  Thanks to this lifelike facelift and appreciation, it’s very easy to be caught up in the quintessential noir mystery all over again. This disc is a must for any classic film connoisseur.

The Ten Commandments – And you thought I talked too long on Ben-Hur! Another epic that needs to be recognized again and again- and usually is thanks to yearly network airings for Passover- this 2 disc blu-ray release is simply magical! Growing up, I think I was actually more partial to this 1956 Cecil B. DeMille magnum opus over any other Biblical epic. From the dirty Vincent Price with his silk hanky ready to wipe any offending grease and his wicked snake successor Edward G. Robinson to the dry and bitchy perfect Judith Anderson versus the snarky and wonderful Anne Baxter, top to bottom everyone in this awesome cast comes to play.  Beautiful Lily Munster- er Yvonne De Carlo, true flower Debra Paget, strong Henry Wilcoxon- I’ve shown my share of Heston love! Though I confess, I do prefer Yul Brynner’s voice and presence. I still speculate his 1956 Best Actor Oscar is really for his work here and in Anastasia in tandem with The King and I. And oh my, look at that oil lathered up on John Derek! Despite the 1956 over the top acting style, the script is profoundly solid with touching quotations and sentiments.  This is a vivid world of inspiration, love, jealousy, and deliverance.  It’s a perfectly personal and intimate drama amid an epic, ancient scale with one of the best booming, rousing, almost voluptuous scores ever to tidy it all up!  All these classics on blu-ray have very pleasing, easy to navigate menus and presentation, I must say; one more thing the modern jumbled and flashy discs should learn.  Although DeMille’s introduction would never fly today.  After all, he tells us how long we have, that there’s an intermission, and it’s all divinely inspired.  Any one of those would scare contemporary audiences!  Fortunately, the Oscar winning color cinematography and divine scale speak for themselves on blu-ray: inlaid stonework, Egyptian jewelry, what color and flamboyant hieroglyphics! That fire upon Mount Sinai, the glow of the Burning Bush, the plagues and that freaky green mist coming for the first-born. I can’t stop- the Exodus, Ramses’ chariot pursuit, and that parting of that so, so blue Red Sea.  The blues alone in this picture- every shade of the spectrum indeed for Edith Head’s costumes. Of course, dramatic liberties are taken, the sound is big and the voices are low, and framing lines on the matte paintings are visible. There’s a simplicity to the original editing as well, with the master track only cut for a reaction or spectacle shot. It might jar some today, but this style allows longer stage drama scenes to play. The Ten Commandments is not without flaws, no, but it’s a truly complete picture nonetheless.  Who knew that a little grain, sand, mud, and water could do so much for a viewer’s soul?  

Yes, the prices of these collector and special edition blu-ray sets only seem to be getting higher, and they are delicate indeed.  Quicker editions are cheaper, but often deny the viewer all the bells and whistles. However, for the classic enthusiast or film historian, the movie restoration and complimentary material are essential pieces in the celebration and preservation of vintage cinema. 

For more classic blu-ray evidence, here are a few more of our reviews (so far!):

Gone with the Wind

Planet of the Apes

The Searchers

Wizard of Oz

Designing Woman

Designing Woman A Fun Fifties Treat

By Kristin Battestella

I don’t like today’s romantic comedies one bit. They’re all the same aren’t they? Thankfully, the classics got it right- as exampled in 1957’s Designing Woman.

Sportswriter Mike Hagen (Gregory Peck) and fashion designer Marilla Brown (Lauren Bacall) meet on a blissful vacation. After a whirlwind romance, they marry and return to New York, expecting their very distinctly separate lives to merge just fine. But of course, the couple realize they have nothing in common- and former flames Lori Shannon (Dolores Gray) and Zachary Wilde (Tom Helmore, Vertigo) put a wrench in the romance, too- along with crooked boxing bookie Martin Daylor (Edward Platt). Can the Hagens survive- or will the world of sports and fashion collide?

To the uneducated classic film novice, Designing Woman doesn’t seem like the big picture in either of its stars’ repertoires. However, director Vincent Minnelli (Gigi, An American in Paris) and Best Screenplay Oscar winner George Wells (Till The Clouds Roll By, Take Me Out to the Ball Game) craft a delightful battle of the sexes. Yes, it’s stereotypical- you couldn’t very well have a female sports reporter and a male designer back in the day- but there isn’t anything pissy here, no interfering sexual subtext or heavy handed statements about Mars and Venus. The narration between the characters may be unusual to the modern viewer, but the lighthearted inner monologues are also a treat. Today if we get a character’s thoughts, it’s usually depressing and moody. Designing Woman isn’t afraid to take the wink, wink to the audience, and it’s still refreshing fifty years on.

Who doesn’t like Gregory Peck, honestly? Surely classic viewers adore him, but there’s nothing modern audiences can’t enjoy, either. Designing Woman’s tongue-in-cheek style shows us some more wit and humor than we see in some of Peck’s more noble roles like To Kill A Mockingbird, The Gunfighter, or Gentleman’s Agreement. But of course, he is up to the challenge. His stoic style works great as an irritated husband, but his everyman style is still charming. There’s even a few great jokes and physical comedy fun from an actor whom we generally expect fine dramatic performance. Most of the other men in the picture are otherwise the usual stereotypes- the crazy editor Ned (Sam Levene, Crossfire) and the brain dead boxer Maxie (Mickey Shaughnessy, Jailhouse Rock, From Here to Eternity). However, Mike’s sardonic analysis of these players keeps Peck’s performance fresh and relatable. How could you not like Gregory Peck, honestly?

Sadly, you would never know Lauren Bacall’s off screen tragedy by her performance here. Her professional air, sexy confidence, witty charm, and great zingers excellently hide any despair over husband Humphrey Bogart’s cancer. I dare say you could almost forget the famous Bogie and Bacall because Bacall (The Big Sleep, How to Marry A Millionaire, Key Largo) and Peck are so delightful. Bacall’s Marilla is at odds with the man’s man Peck, but they also have great fun and laughter together. Perhaps because the emphasis here is on the fashions, we don’t get many close ups of our leading lady. Bacall’s eyes are still enchanting, however, and that husky voice makes us believe that if anyone needed to whip Gregory Peck into shape, Lauren Bacall could do it.

Dolores Gray (Kismet) is sweet and capable as Mike’s prior flame Lori Shannon, but we might expect a bigger name as the song and dance femme fatale. Likewise, we might think of a better villain than Edward Platt (Rebel Without A Cause) as Martin Daylor. These players serve their parts just fine, but perhaps it is better that there’s no secondary folks stealing our star couple’s thunder. Though not a musical per se, there are a few standard numbers in a fun, film-within-a-film frame style. The breaking of the fourth wall is great, too. I’ve seen many old movies in my time, but recently I’ve been impressed with the wondrous powers of fifties Technicolor again. Today’s pictures can be so dark and depressing or digitally saturated and filled to the brim with computer imagery. It’s refreshing to see bright suits, colorful fashion, and brightly decorated mid century sets. Naturally, Designing Woman is about a fashion designer, so we get a peek at some sweet, timeless styles: Fedoras and pillbox hats, gloves, stoles, and those weird fifties cape coats that would look so dumb today, but look great here. It’s also nice to see sexy costumes that show off women’s hips and curvy bodies. And could we also take a moment to enjoy $5 being enough for a cab?

Outside of being the perfect time capsule of colorful mid-century New York hijinks, there’s nothing wrong with Designing Woman. Modern audiences who love the nostalgia and charm of old will delight here, and contemporary romantic comedy fans should take up a viewing to see how the genre’s supposed to be done. Those who’ve already fallen in love with Gregory Peck or Lauren Bacall can love with the great pairing and performances in Designing Woman today.

How to Marry A Millionaire

How to Marry A Millionaire Charming, Sassy and Witty

By Kristin Battestella

Although everyone magically knows and loves Marilyn Monroe, her iconic beauty status, and her ability to sell lots of pretty things; I’m making a point to get to know her films again. Instead of spending too much money on that MM knickknack, spend the night with the real thing via 1953’s How to Marry A Millionaire.

Wisecracking model Schatze (Lauren Bacall) rents an upscale New York apartment with her dimwitted friend Pola (Monroe) and funny gal Loco (Betty Grable). All three ladies have one thing in mind: bag a millionaire husband before the end of the summer. Unfortunately, finding Mr. Rich-er Right isn’t as easy as the girls planned. Lowly Tom Brookman (Cameron Mitchell) is after Schatze; Pola can’t wear her glasses, for ‘Men aren't attentive to girls who wear glasses’; and Loco, well she gets a case of the Measles!

Yes, it’s a silly premise-fairly standard and nothing new, in fact. Director Jean Negulesco (The Best of Everything, Three Coins in the Fountain) and screenwriter Nunnally Johnson (Grapes of Wrath, The Three Faces of Eve) take from The Greeks Had a Word for It by Zoe Akins (Camille) and Loco by Dale Eunson and Katherine Albert (Leave it to Beaver) and spin a hip fifties charmer. Our gals are able to laugh at their prospects, both in slapstick and witty sarcasm. Maybe some of the comedy is too highbrow and subtle in some parts for modern audiences-some viewers might not even get any older references. Nevertheless, the nostalgic feeling in How to Marry A Millionaire adds to the charm. Today, we tend to see or think of some slutty groupie bitches aka gold diggers who marry, fester, ruin, destroy, and then move on. It’s not really a subject of amusement, is it? Negulesco sticks too the fifties innocence onscreen, keeping the ironic misunderstandings and the ladies’ futilities bemusing.

Of course, Ms. Monroe (Niagara, The Seven Year Itch) gets us in the picture’s door with her statuesque charm and grace, but she’s made to be the stupid, semi ugly blonde here with her horrible horn rimmed glasses. For starters, you’re going to need a lot more than ‘specs’ to make her ugly! In fact, the emphasis makes Pola even more endearing. Today we’d call it stunt casting if the pretty girl was put in the movie to play blind without her glasses and bump into walls, but Monroe’s critical comedic timing and strategic clumsiness nails every cue. Her goofy lines and dumb questions have just enough marshmallow in the delivery. You wouldn’t expect a starlet to willingly play dumb, actually trip, or really bump into doors. In real life, we’d hate that annoying, dorky girl chasing the most eligible men. Marilyn, however, has the talent and charm-not just good looks- to win our hearts.

We may place Monroe above her now, but How to Marry A Millionaire is largely Lauren Bacall’s film. She’s a wise dame on her match making game after being burned by gas jockeys previously. We see her intelligence, charm, and beauty, and enjoy her millionaire conundrum. Scatshze’s not so flashy in her ploy, but streetwise like the rest of us. In many ways, Bacall (To Have and Have Not, The Big Sleep) has the timing, wit and onscreen comedic style of her off screen love Humphrey Bogart. Her being able to laugh at the relationship onscreen also adds a tongue in cheek nod, “Look at that old fella what's his name in The African Queen!” Did I mention Bacall also looks dynamite in Technicolor?

Unfortunately, in the teaming of such a trio of dynamite ladies, you inevitably end up with the leader Bacall, the pretty one Monroe, and then the other funny one Betty Grable. Once the pin up girl of World War II thanks to those famous legs, Grable (Tin Pan Alley, Down Argentine Way) doesn’t really get a chance to pass the torch onscreen to the it girl Monroe in How To Marry A Millionaire. She seems pushed to the side, with an isolated storyline and more off camera hijinks that don’t let Loco fully shine. Grable’s deadpan reference to her famous husband Harry James also doesn’t hit home for modern audiences who most likely don’t know who he is, sad as that may seem to us in the know. Likewise, the largely caricature men Cameron Mitchell (Carousel), Rory Calhoun (Capitol), and David Wayne (Ellery Queen) take a backseat to the main ladies. Each has their moments, but none of them looks quite right with the ladies. Only William Powell (The Thin Man, My Man Godfrey) stands out as the classy gentleman who sees right through the girls’ game.

Perhaps because it’s lacking some big, famous, iconic song and dance numbers like Gentleman Prefer Blondes, How to Marry A Millionaire seems a little unloved. This just shouldn’t be. Technical lovers can enjoy the visual and sound innovations here. Fashionistas will notice the Oscar nominated classic styles-from muffs and pillbox hats with netting to the gloves, fur, and those pointy bra shapes. Monroe isn’t as sexed up naturally, but she’s still dressed younger and with more skin than either Grable or Bacall’s much more modest skirts and gowns. The colors, however, are dynamite-as is the CinameScope picture. It’s so great to see so many habits of old, too- the slang, the cigarettes and drinks. The music and score by oft-celebrated Alfred Newman (The King and I) also captures the humor and bright lights and big city heyday of New York. Sadly, in many ways, it’s a New York that no longer exists. How to Marry A Millionaire is a little bittersweet in retrospect. This is Grable’s swansong, Bogie and Bacall’s height before his 1957 death. Marilyn Monroe and Joe DiMaggio were everywhere amid America’s good ole days-but we know how that turned out. This is the delight of classic movies, to capture these joys on film forever young and untouched by real life turmoil.

Fans of Marilyn Monroe, Lauren Bacall, or Betty Grable can pick up How to Marry A Millionaire affordably enough, namely is several Monroe sets and collections. Comedy understudies and classic film lovers can also enjoy this nostalgic tale again and again. There’s nothing offense here beyond scandalous fifties innuendo, so young folks interested in old school fashion and fun can enjoy with the whole family, too. Get some tips from How to Marry a Millionaire today.