Early Hitchcock Round Up!

An Early Hitchcock Round Up!

By Kristin Battestella

Let's spend a stormy day nestled in with these early mysteries, spies, and thrillers from Mr. Suspense himself Alfred Hitchcock!

Murder! – The 1930 print is jumpy and sometimes tough to see, but the Beethoven overture adds to the eponymous screams in the night as a ridiculous amount of people talk over each other or point fingers while hysterical others pollute the crime scene. Town gossip on which actress didn't like the other adds to the messy as households high and low unite in shock or up turned noses. We get the facts second hand – a fireplace poker, bloody dresses, a brandy flask – and opinions on the case are mixed with common domestic scenery, wry British humor, and no Code wit. A man can't talk about the neighborhood crime until he puts his teeth in his mouth, and folks rush to dress as police knock, winking at the regular people in extreme circumstances and ordinary places with the scandalous behind closed doors. The back and forth kitchen settings create a stage-like design as prop doors, police questionings backstage, pantomime theatre, and cross dressing innuendo match the pomp and circumstance trials, wigs, and robes. The fanfare moves fast as jurors deliberate on our lady killer's well bred family, possible fugue state, or if hanging her is too barbarous. We don't know who the jury members are but can deduce much by their opinions – the pipe smoking alpha male, maternal older ladies, the cowering man fearful of prison, a sophisticated psychology woman, and the dirty old man who thinks a good looking actress should get a free pass. A woman's place in the home serving her man and men versus women aspects feel old fashioned, and there are still silent holdovers with onscreen cursive notes amid the low production values. The obligatory transition and exposition scenes feel roundabout and overlong, lagging with foolish old ladies and crying kids. Some twists are also obvious – regular folks have absurd access to evidence and the whole town has clues yet the police somehow dropped the ball. However, there are progressive undertones, too, with well edited jury room interplay as devil or angel on the shoulder camera cuts and layered voiceovers close in with intense zooms pressuring the lone holdout. The dames are decked out in serious hats, furs, and pearls for jury duty while men look in the mirror over their guilt or doubts with Wagner on the radio becoming a preliminary score. The case should be open and shut, but the court of public opinion lingers and arm chair investigators proceed on the whodunit to prove one's innocence. Such surprisingly modern spins and a fitting circus topper make this an interesting little study with pieces of Hitchcock to come and caper within a caper analysis.

Secret Agent – Madeleine Carroll (The Prisoner of Zenda), Peter Lorre (M), John Gielgud (Arthur), and Robert Young (Father Knows Best) star in this 1936 adaptation of W. Somerset Maugham's tales alongside Great War funerals, one armed soldiers, empty coffins, and a whiff of German Expressionism. Assumed names, false passports, and ominous figures in the doorway create an intimate one man mission amid distant bombs, nearing explosions, fake headlines, and big wartime scale. Hotel meetings, double agents, secret codes inside the chocolate wrapper – it's almost Bond before their was Bond with an opening twist and a debriefing from a man named “R” leading to glum church organs, candlelight signals, mysterious strangulations, flirtatious suitors, and button clues. Our charming novelist cum spy travels to exotic continental casinos with a thrill seeking doll in the bath and a whimsy to their marital farce. When she slaps him, he slaps her back! However, some of the prerequisite over the top humor for Lorre's Hairless Mexican General who's chasing “not only ladies” is unnecessary. His repeated long name and subtle sardonic are much better – he exasperates, “I have anxiety,” and when asked “Do you know any prayers?” he answers, “Don't insult me.” His killer hand should not be underestimated, but the touchy sidekick banter borders on bickering couple, and there's a ménage feeling with our spy trio when up close men whisper how they will be alone without the lady for hours. The women, by the way, are suave thirties glamorous even though it's 1916. Fortunately, the intense factories, train confrontations, and telegram intertitles with their translated codes remain unique. Telescope shots, howling dogs, and mountain photography add suspense with very little, as do later Hitchcock touches such as staircase motifs, reluctant heroes, fatal mistaken identities, and the wronged man on the run. One can tell Sir Alfred has outgrown some of the lower production values and is ready to move on to bigger Hollywood fare, but this precursor formula moves smoothly without underestimating the viewer. Who is the rival agent we're seeking? Have we met him already? Suspicions on who speaks German and understands it or not escalate into a tense finale despite mild obviousness and a slightly abrupt end. I'd almost like to see this redone with a proper budget – not a ridiculous spectacle, just a polished potboiler – but this fun cast and fine story are neat for anyone who likes to compare Hitchcock notes and spy thrillers. And wow, look at those telephone operators! 
 

The 39 Steps – Like Maugham's Ashenden stories, I wish there were more adaptations of the other Hannay books by John Buchan, not just numerous remakes stemming from this unfaithful but no less landmark 1935 picture with Robert Donat (Goodbye, Mr. Chips) joining our original icy blonde Carroll and all the Hitchcockian one can muster including the mistaken man, foreign intrigue, macguffin secrets, and budding romance. Cheeky dance halls host marriage jokes, brawls, chases, and gunshots with shadowed men in trench coats, pipes, and fedoras. Double decker buses, netted pillbox hats, stoles, and more period touches such as newspapers, lanterns, and milkmen contrast mysterious maps of Scotland, missing fingers, knives in the back, and a gal whose name depends on where she is and which country is the highest bidder. The mercenary espionage, air defense hush hush, and ticking clock is upfront in telling us what we need to know whilst also revealing a whole lot of eponymous nothing. Danger tops each scene thanks to suspicious phone booths, perilous bridges, and jealous husbands spotting those knowing glances across the dinner table during Grace. Police at the door and women both helpful or harmful compromise potentially rural calm – news travels fast and a spy must always be on the lookout. Whom do you trust when no one is who they seem? Lucky hymnal twists and false arrest turns escalate from one location to the next with ironic parades, impromptu speeches, cheering crowds, and charismatic escapes despite handcuffs, sheep, and romantic comedy tropes. Filming through doors, windows, and Art Deco lines accent the men in disguise, overheard rendezvous, and small hiking silhouettes against the pretty mountain peaks. Trains, airplanes, and rapid waters add speed to the pursuit. The superb cabin car photography and railroad scenery don't need the in your face action awesome of today, for chitchatting folks reading the daily news is tense enough for the man who's picture is beside the headlines. While some may find the look here rough around the edges or the plot points clichéd, many of our cinematic caper staples originate here. The full circle music, memories, and shootouts wink at the facade of it all, remaining impressive film making for the early sound era with great spy fun and adventure.

Your Call!

Alfred Hitchcock: Master of Suspense – This documentary looks old with dated graphics, sliding photo frames, and low quality movie clips. The dry narration takes time to get rolling with Hitchcock's early childhood, first studio work, and small art direction credits, yet the voiceover also often moves at double speed amid talk of The Lodger and Hitch hallmarks such as the innocent man on the run, macguffins, cameo appearances, and trick shot filming. Brief mentions on family life pepper the transition to talkies, and this spends a surprising amount of time – maybe too much time – on Hitchcock's lesser known pictures including Blackmail, The Skin Game, and Number 17 before detailing the 1934 The Man Who Knew to Much, The 39 Steps, and the controversial Sabotage. Strangely, the forties successes also skip around with The Lady Vanishes, Rebecca, Suspicion, or Cary Grant and Grace Kelly stardom between Lifeboat facts, studio freedom with Spellbound and Notorious, and the technical achievements of Rope. Likewise, the fifties are unevenly packed with Warner Bros and Paramount moves, Rear Window, To Catch a Thief, and Hitchcock's drool television heights. By time we get to the Vertigo innuendo, North by Northwest, Psycho, and The Birds, this overlong hour and forty minutes plus is practically over with little time for Marnie or any other reflection thanks to filler from Hitchcock's lengthy film trailer tours and random hosting moments from Alfred Hitchcock Presents. The narration never gives way to any other talking heads, only quoting “Hitchcock said” and other sources for a somewhat boring, amateur, one-sided book report mood. Rather than serious film study, this poorly paced generalizing of Hitchcock's techniques ironically makes it seem like he did nothing but make the same movie over and over again. Some out of place mentions are insignificant, other sentences are spoken too quickly while other topics linger too long and give away spectacular cinema moments. For hardcore fans, this will be nothing more than a chronological clip show, however such simplicity can be a good starting point for audiences new to Hitchcock – so long as you've seen the movies spoiled here.

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

Another Vincent Price Viewing List!

More Vincent Price Shenanigans

By Kristin Battestella

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

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

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

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

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

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

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

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

The Maltese Falcon (1941)

How Can You Not Love The Maltese Falcon?

By Kristin Battestella

Generally, one should always begin any form of article or essay with an introduction. Unfortunately, this may be my shortest introduction ever-for there’s film noir and then there’s Humphrey Bogart and The Maltese Falcon.

Detective Sam Spade (Bogart) finds himself in plenty of hot water after the death of his investigative partner Miles Archer (Jerome Cowan, Blondie, Miracle on 34th Street). Mrs. Archer (Gladys George) was hoping to leave her husband for Spade anyway, but the lovely and misunderstood Brigid O'Shaughnessy (Mary Astor) traps spade in a search for the legendary Maltese Falcon. Unfortunately, Kaspar Gutman (Sydney Greenstreet) and Joel Cairo (Peter Lorre) are also after the treasured bird. Each offers to buy the statue from Spade, but Lieutenant Dundy (Barton MacLane) and Detective Tom Polhaus (Ward Bond) are sniffing around, too. Will Spade find the Falcon, ditch the coppers, and save the dame?

First time director but longtime screenwriter John Huston (Sergeant York, The Treasure of the Sierra Madre, The Asphalt Jungle, The African Queen) helms his own 1941 adaptation of Dashiell Hammett’s novel with mystery, suspense, and all the staples of film noir. At face value, The Maltese Falcon should be stereotypical and obvious- not only does it have one of our most famous detectives, but also the silver screen’s original MacGuffin. However, fine performances and complex mystery twists keep this film above the imitators. The script is witty and tight-we don’t know who to trust yet we like-or love to hate- each of the players involved. The Maltese Falcon is global-with talk of the Orient and historical treasures-yet it’s a relatively talkative piece with not a lot of action. Huston keeps us tugging at our collar with claustrophobic double crossings and high priced, deadly debates. Though confusing to some and a little tough to follow thanks to some old school fast talking, The Maltese Falcon is an intelligent ride that takes every ounce of cat and mouse to tell its tale.

Of his many exceptional films, Humphrey Bogart (The Petrified Forest, Casablanca, The Desperate Hours, The African Queen) some swear by The Maltese Falcon above others. No matter how many times you’ve seen it, Bogart’s infamous Sam Spade walks the walk and talks the talk. He is fast, slick, and just as coy as all the folks meddling in his business. This is not a film to be viewed casually, thanks to Bogart’s complex dialogue, double duty deals, and shear visual presence. We think we know Spade and what he’s going to do, but Bogart keeps us guessing right up to the end. Though a little subservient and ‘in their place’, the dames in The Maltese Falcon add to the spice and mystery. Oscar winner Mary Astor (The Great Lie, The Prisoner of Zenda, Little Women) is perfection as the quintessential femme fatal who wavers between playing the helpless damsel and using her pretty face to get what she wants. Likewise, Gladys George’s (Valiant Is the Word for Carrie, Best Years of Our Lives) Widow Archer would be the typical faux grieving woman in black if it weren’t for her beautiful charm and deceptive grace. Lee Patrick (Topper, Mildred Pierce) is also great fun as the wise secretary who knows how to handle Spade.

The Maltese Falcon is a star-making vehicle there’s no doubt, but the ensemble is also masterful in the onscreen wit and deception. I swear Peter Lorre (Mr. Moto, Casablanca, The Raven) plays the same part in the same style over and over, and yet he’s always so juicy and captivating onscreen. Maybe it’s those Bette Davis eyes or that nasal little voice, but his Joel Cairo is delightful to watch. ‘The Fat Man’ says so much about Sydney Greenstreet (Casablanca, The Flamingo Road) and yet he is so much more. This debuting Supporting Actor nominee would steal the show-if every other performance in The Maltese Falcon wasn’t a scene stealer, too. Ward Bond (Wagon Train, It’s A Wonderful Life, The Searchers, My Darling Clementine, The Quiet Man-somebody stop me!) and Barton MacLane (I Dream of Jeannie) are also delightful as the cops who like Spade, but are also trying to solve two murders. Who is going to best whom-Spade, the cops, the gals, or the ‘Fat Man and Little Boy’?

I must say, The Maltese Falcon isn’t without controversy. The 1931 edition has been edited and censored over the years thanks to clashes with the uptight Hollywood Code, but comparisons between the versions could be a lot of fun. Thankfully, the 1931 version and the 1936 comedy adaptation Satan Met A Lady- are restored and packaged with the 1941 feature on its special 3 Disc Special Edition DVD. If you’re looking for some of the novel’s supposedly scandalous gay subtext, you can find it here. However, to the mature film student or young classic fan, there isn’t anything shocking. No, what’s worse is that The Maltese Falcon has the dubious distinction of a few dastardly colorizations attempts. The horror!

Oh, but for the cigarettes that are real cigarettes, clutches and pillbox hats, the fedoras and the trench coats- any fashionista of post Depression styles will be in heaven watching The Maltese Falcon. The colloquialisms and mannerisms may be dated and stereotypical, yes, but they are also a great freeze frame of the times. Some of the music is also as over the top as the acting, but other times the crescendos are perfectly timed with those moments that make you gasp. Even though we’ve had seventy years to memorize The Maltese Falcon and every other cheap film noir imitation, the clichés aren’t even that bad. Even if we expect something to happen, there’s still plenty of juice in how it’s all going to play out. In this day of constant updates, reboots, and sequels, I’m surprised someone hasn’t attempted to make another big screen The Maltese Falcon. Thankfully, there is one very good reason why this tale hasn’t been done since. The 1941 version of The Maltese Falcon simply can’t be beat.

Classic fans who know the ending of The Maltese Falcon can still enjoy this timeless noir again and again due to critical suspense and fine performance. If you are lucky enough to find someone who is a completely clueless virgin about this film, God bless you as you tie him to a chair and make him watch. Trust me; he will thank you for the experience. Young folks might be deterred by the black and white, sadly, but you can’t be classic film lover or scholar of film without knowing and loving The Maltese Falcon. As the Fat Man says, ‘if you loose a son, it’s possible to get another. But there is only one Maltese Falcon!’

Vincent Price Tricks and Treats

More Vincent Price Tricks and Treats

By Kristin Battestella

I’ve debated about doing actor specific viewing lists before, but there’s no better time to talk about an actor and his synonymous genre like October and Vincent Price! This Halloween, classic fans and lovers of all things horror and camp should take in at least one Price picture. As for me, well, I’m just too obsessive!

Laura- While not all out horror per se, this complex and stylish 1944 film noir classic has several spooky twists, a creepy black and white atmosphere, and of course our man Price lousing it up with Gene Tierney and Dana Andrews. Serious film students can go to film school here.

The Bat- This quiet, spooky story of mystery, money, and murder costars Agnes Moorehead (Bewtiched) as a writer renting a house with hidden wealth and an unsolved murder spree courtesy of the titular killer. Price is a treat as the local doctor following the bloody trail. Though dated in its screaming ladies, the case at hand keeps you guessing until the end.

Tales of Terror- Big V introduces and stars in this series of vignettes inspired by Edgar Allan Poe and stylized by director Roger Corman. Some may not like the disjointed presentation; but the cast, stories, and decoration are delightful. The family can enjoy these witty, old time scares- and professors of Poe can share a viewing and discussion in the classroom.

The Raven- Price, Peter Lorre, Boris Karloff, and a young Jack Nicholson serve up a tale of spooky medieval sorcery with wit and charm ala Bewitched. Very loosely based on the titular poem by Poe, serious horror and gore fans may not enjoy this borderline slapstick take. Nevertheless, youthful audiences can laugh, jump, and have fun.

The Conqueror Worm- More properly known as Witchfinder General, mis-marketing and misrepresentation are the worst things here. This tale of the lawlessness and witch-hunts during the English Civil War is completely different from Price’s Poe films-not another loose rehash as the title change would have the viewer believe. Daylight filming, real castles, cinematic brutality, and a seriously fine performance by Price shine far beyond the studio packaging.

Cry of the Banshee- A little too similar to The Conqueror Worm, yet Price still puts on his Elizabethan best while judging more witches and warlocks. This one is a little more uppity than Worm- dealing with nobles rather than torturing peasants- but looks a little lesser in production. Even so, the costumes are great and the titular howls set just the right spooky atmosphere.

Some of these pictures are not available on Netflix and also appear out of print-like The Raven- but several public domain offerings can be found in varying low- budget DVD sets or are viewable online- like The Bat and Tales of Terror. I’ve reviewed several other Price, Poe, and Corman classics as well, so do use the Vincent Price label or search options for even more over the top mayhem.

As a refresher, here’s the list of canonical American International Pictures’ Poe series directed by Roger Corman:

House of Usher

The Pit and the Pendulum

The Premature Burial

Tales of Terror

The Raven

The Haunted Palace

The Masque of the Red Death

Tomb of Ligeia

And then the next wave of loosely associated Poe films from AIP:

The Conqueror Worm

The Oblong Box

Cry of the Banshee

Murders in the Rue Morgue

Boo! That’s enough for the enthusiasts, I think. Happy Halloween!

And Now , Horror Documentaries!

Who Else Needs Documentaries about Horror?

By Kristin Battestella

I need the behind the scenes, history, and conversations that go along with a good scary film all year round. It’s tough to find such informative programming on television, but there are a few specials available on DVD to add that educational spice to your scares. I’m list crazy recently, so here’s a *few* titles for you to pick and choose from.

Tales from the Crypt: Comics to Television – Very insightful special about the ups and downs of the naughty in naughty comic books and how the guts and glory survived in serial television. Maybe not for mainstream fans, but horror and comic enthusiasts will love this.

Going to Pieces: The Rise and Fall of the Slasher Film – A little too short for the massive area it tackles, but fans of old school slasher series will enjoy this hour plus of interviews and highlights from the classic greats to the new slasher spin.

100 Years of Horror – Dated, but here’s a treasure trove of old footage and interviews celebrating the rise of horror onscreen. This is available on the Netflix Instant Watch, but the audio was out of sync for me. Horror historians should stick with the DVD instead.

His Name Was Jason – Everything you’d ever want to know about the Friday the 13^th series, with clips from all the films and extensive behind the scenes interviews with every one who was ever involved with Jason-plus his or her grandma!

John Carpenter: The Man and His Movies – From his early independent work to his avante garde modern films; this special highlights the career of horror master John Carpenter with his own commentary, film footage, and actor interviews.

In Search of Dracula- Christopher Lee hosts this old school look at the history of Dracula and vampire lore. Young folks might not like the old styles and footage, but vintage vampire fans will delight. You don’t catch classics like this on television anymore!

Heroes of Horror – This two disc ‘Biography’ set from A&E celebrates horror masters Boris Karloff, Bela Lugosi, Vincent Price, Peter Lorre, and Lon Chaney Jr. A little old and in some respects there’s nothing new here for the cult enthusiast, but great for the classroom with nice narratives and archive footage.

Halloween: A Cut Above the Rest – Available on the Halloween blu-ray disc, this lengthy documentary details the story behind the low budget success of John Carpenter’s 1978 slasher masterpiece. Past interviews with the cast and modern retrospectives highlight the triumphs and tribulations before, during, and after Halloween.

Starz Inside: Bloodsucking Cinema – The fangs come out to play in this special celebrating the vampire in film. Actors and behind the scenes experts share their bloodlust in this hour-long look from the Starz Network. Fortunately, you can catch this one on their premium channels, on demand options, or on DVD.

Biography: The Munsters – This one-hour A&E special provides rare pilot footage and interviews with the late cast in an informative, fun style. There’s also a lengthy DVD set called The Munsters: America’s First Family of Fright that may be part and parcel the same material, with biographies of the cast and behind the scenes features in supplement to the featureless The Munsters season sets.

This list will by no means be exhaustive; but here’s a few more from the A&E and History Channel Archives for the real life horror and history fan. They tend to package their vast programs into lump some, bland collections like ‘History’s Mysteries’ and ‘In Search of’- even if they weren’t part of those original series-but I digress. For the collector, researcher, or classroom, these true to life tricks and treats are worth the hunt.

In Search of History: Salem With Trials

In Search of History: Voodoo Secrets

Ancient Mysteries: Witches

History’s Mysteries: Amityville The Haunting

History’s Mysteries: The Strange Case of Lizzie Borden

History’s Mysteries: The Inquisition

Biography: The Hunt for Jack the Ripper

Biography: Satan, Prince of Darkness

Cities of the Underworld: Dracula’s Underground

Cities of the Underworld: London, City of Blood

The Haunting History of Halloween

The Unexplained: Poltergeists

Haunted Histories, Volumes 1 thru 4 – Available at the History storefront, Amazon, and Netflix; these sets have a myriad of documentaries, from more Voodoo to the actual Haunted History series episodes. They really know how to get us, don’t they? Oiy!