Cult, Camp, and Creepers!

More 50s Cult, Camp, and Creepers

By Kristin Battestella

Sometimes we just can’t get enough good, so bad its good, and just plane bad horror, mystery, and science fiction fair from that loveable decade of the 1950s!

Goods

The Giant Gila Monster – It’s been ages since I’ve seen this 1959 hokey! Though everyone has probably scene clips from the fiery finale, I’d forgotten how much fun this mix of sock hop, classic tunes, cool cars, fifties nostalgia, and creature feature effects really is. The bemusing doom and gloom introduction and opening deaths are accented with some over the top scary music to match the silly premise, and the real lizard footage is downright charming! Sure, nothing is frightening because of the ridiculous production values, but the simple A to B to C execution proceeds at an entertaining little pace.  And man, Don Sullivan (Teenage Zombies) and his tow truck are always handy! This teen not only looks 35, but he helps strangers, loans books to the sheriff, and sings to crippled little girls. Of course, the Mexican portrayals are a bit offensive if brief, and though the supporting greasers are totally limp acting-wise, drunken DJ Ken Knox is on form corny at his protest over $2 for a tow. The fifties redneck colloquialisms might be tough for some young viewers to understand today. However, this is all just great for audiences looking for such dated vehicular vernacular- a mid-century Texas time capsule captured before the turbulent sixties began. Yes, it’s completely hokey, but it works, and works damn amusingly!

I Bury the Living – Richard Boone (Have Gun Will Travel) takes us down a different path with this morbid little 1958 creepy. From the opening organ and decrepit cemetery introduction to the deadly jinxes, fateful pushpins, and scary phone ringing, there’s great funerary behind the scenes macabre here. Sure, there’s some light, love, and bliss, but there’s a demented vibe wonderfully overshadowing the increasingly tormented Boone- who’s wonderful, too.  Are our fates linked to a cemetery map marking our resting plots? Is cheating death-or causing it- as simple as that? The ticking clocks, headstone construction, and debates on who to pick next create a pleasing and thought provoking symbolism.  Is it all just coincidence?  Death by committee? Is it a crime to play Grim Reaper or is it just meant to be? Even if the premise isn’t necessarily unique and there’s a hint of obviousness, solid pace, sharp editing, freaky montages, and suspenseful zooms keep this 75 minutes edge of your seat entertaining.

(He and the Sheriff are bros, dig it?)

Macabre – Director William Castle (House on Haunted Hill) opens this titular 1959 tale with a fun warning on being uncontrollably frightened, and the ticking clock peril mounts further thanks to scary atmosphere, spooky fog, dug up cemeteries, and creepy coffins.  The dialogue is typical, but fun- “Why should I get married? All men seem alike in the dark”- even if the acting leaves something to be desired. There are also a lot of folks talking instead of doing, creating a slow start to the mystery. The early what-you-don’t-see scary format isn’t fully refined, either, and the result simply isn’t as terrifying as the disclaimer suggests. However, there are shades of an early viral horror movie here-instead of watching a traumatizing video or going to a deadly website; a family gets a frightful phone call…on a landline. Dun Dun Dun!  Fortunately, the light and shadow photography tricks add to the crimes, which are disturbing simply because a child is involved.  Toss in a few nutty shockers with the director himself, and this is a fun little proto thriller mystery to solve. 

(But it's such a cute not-even-really a gila monster!) 

Splitsville

Phantom from 10,000 Leagues – Yes, the titular beasty from this 1955 proto-AIP science fiction feature looks completely hokey. It’s tough to tell who is who at the start, and slow talking scenes with poor acting and wooden romances damage the entertaining pace and humor from the action sequences. The weak, simplistic science is also laughable today, and they even pronounce it Mu-tant with a long A! Nighttime footage is tough to see, and the hour and twenty here seems too long. How many times can the same guy go diving for this monster? Fortunately, the drowning scenes and underwater photography look decent with good music and suspense pacing to match.  One can enjoy both the period expectation and/or guffaw over the corny at the same time. This one feels good for a fun night in theme with other sea creature features, but perhaps it is just too flawed to completely enjoy on its own. 

Skippers

Attack of the Giant Leeches – Outside of ogling Yvette Vickers (Attack of the 50 Foot Woman), nothing in this 1959 AIP hour is fundamentally clear. Dark underwater photography, like so many of these old shows, is nearly impossible to see- not that much of it is worthwhile anyway. When we do get to see the eponymous mutants, it’s a whole lot of meh, unfortunately. The opening screams and saucy might be fun, but this one is simply way too slow, far too dry, and just bad science fiction.  Adding crazy rednecks with guns to the woeful monsters doesn’t help this nearly nonsensical mess.  Random attempts at some early gruesome and a fun, but standard score can’t save much here.  It seems to take forever to get to the big confrontation with the goofy leeches, but one can’t wait for this one to end.

Zombies of Mora Tau – Treasure, betrayal, diamonds, and zombies, oh my! This 1957 black and white hour plus is full of B players that put on just a bit too much amid plenty of horror clichés.  A little old lady who knows the score, the screaming damsel dressed in white, erroneous “African voodoo mumbo jumbo.” There should be scaries and scandals ad nauseum with the whammy of possibilities, but no.  I mean, a good candelabra- yes candelabra- or two could ward of the living dead, who knew?  The zombies look exactly like everyone else- the audience can’t really get behind the heroes when one can’t tell them apart.  And did I mention there’s hokey underwater action, too? Geesh, here’s proof that all old films are not classics. 

  (It's the mini banjo that really gets me!)

More Horror Documentaries and Spooky Shows

Horror Documentaries and Non-Fiction Macabre

By Kristin Battestella

Real world horrors and mayhem are often just as demented and certainly no less interesting than their fictional counterparts, are they not? Here’s a brief guide of ghoulish documentaries, morbid memoirs, and non-fiction frights to spice up your creepy classroom or Fall viewings.  

Anne Rice: Biography – This 2000 television hour focusing on the Interview with a Vampire author is nothing new. Ironically, it is actually dated and somewhat inaccurate thanks to Rice’s more recent life and literary changes and thus this feels somewhat incomplete. A one-minute add-on to encompass the new millennium doesn’t cut it. That aside, it’s still great to see photos from Rice’s early life, hear friends and family recount her childhood and road to publication greatness, and listen to Rice herself talk of religion and the personal tragedies that inspired her writing. In fact, Anne’s familial losses and literary struggles may even be more poignant thanks to the conversations with her late husband, the poet Stan Rice. I’d like to see A&E revisit Rice with an updated two-hour special, but until then, scholarly studies and Rice aficionados can always enjoy this quick profile. 

 

A Cemetery Special – PBS’s 2005 hour-long spotlight doesn’t have enough time to explore this exhaustive subject matter- and it bemusing admits that along with a respectful dedication to those buried in the featured cemeteries. From Pittsburgh to Vermont and Key West to Alaska, lovely footage of graveyards and gardens accents the bent but thought provoking discussion on death, remembrance, art, and the monuments we leave behind. Perhaps lesser-known graveyards are featured, but interesting tales from the Civil War and sleeping place origins are recounted in an almost heartwarming manner. This is the perfect little video for classrooms studying the specific locations and history or macabre scholars researching burial customs. I wish there had been a whole series like this!

Nightmares in Red, White, and Blue: The Evolution of the American Horror Film – In covering a hundred years of scary cinema, this 2009 documentary was bound to miss a few things. However, this hour and half also provides extensive clips from early silent films, Universal monsters, the Roger Corman era, seventies zombies, eighties slashers, and more.  Interviewees like George Romero, John Carpenter, and more experts on the genre examine how the social and political statements onscreen, both overt and veiled, influenced film making and audiences thru the decades. Horror has gone from early B-movie child’s play to red scare allusions and now a blockbuster industry- who knew? Some of the more recent conversation and post 9/11 thoughts are perhaps nothing new or could have been dealt with more deeply, for today’s viewer is familiar with these sociopolitical cinema influences, after all. But seeing the paces of vintage horror film thru the years is a real treat for both new and veteran fans. This one’s a great starter for younger folks just getting into horror films or a good accompaniment to a sociology discussion.

Spine Tingler: The William Castle Story – New horror audiences today may not necessarily recognize the name of the director of such fun fright fests as House on Haunted Hill, but William Castle’s hokey contributions to film tricks and entertainment showmanship are highlighted in this 2007 80-minute documentary. Archive footage of Castle and video of classic stars like Vincent Price, Cary Grant, and Orson Welles accent the lighthearted and insightful commentary from Castle’s daughter Terry, Leonard Maltin, Roger Corman, John Waters, and more genre luminaries.  Are Castle’s low budget films on the fly high art? No. Are they any less unforgettable and entertaining? Nope. Often called a Poor Man’s Hitchcock, horror historians and film students can learn a thing or two about how to make a movie here thanks to Castle’s shtick success- flying skeletons and tingling Percepto theater seats notwithstanding. Although it’s ironic, we look at Castle with such corny delight. However, what are today’s 3D movies, CGI special effects, found footage films, and viral promotions if not gimmicks to sell cinema tickets?

Witches: Biography – A little too much time is spent on recent controversies in this 2008 documentary, and the would be dispelling of negative connotations and misconceptions suffers a touch from the devil worship stereotypes in the presentation. Though care was taken in chronicling the history of witchcraft, from the infamous trials all the way thru to contemporary practices and profiles, the topic is simply too big for just one hour. I’d rather this be at least a 2-hour special or even a three part serial. A&E and History documentaries have solely focused on the Salem Witch Trials previously, and if the networks are pushing all things paranormal, there’s no reason to stifle the content here. The hodgepodge, conflicted vision meanders between past persecutions and today’s practices, but it doesn’t do either justice. Hokey reenactments just don’t seem right juxtaposed with modern coven footage, and this episode seems better piecemeal. If you need Salem studies in the classroom or if you want to see the interviews discussing recent witchcraft for your circle, this is the minimal introduction to a much bigger subject.

 It’s iffy

Bram Stoker: Biography – Indicative of the degrading quality of this A&E series, this 2004 forty five minutes feels too in the vein (no pun intended) of entertainment gossip before historical profile. Precious time is spent on the sensuality of Dracula and the Goth subculture in an attempt to relate Stoker to this highly unfortunate glitter vampire swing.  If you wanted to focus on Dracula and vampires, then make a Biography episode on Dracula or vampires. The first fifteen minutes feels more like “Where’s Bram?”  Rhetorically asking if he would be shocked by vampire clubs or astounded by Halloween costumes do not tell the viewer much about Stoker, nor do poor reenactments and readings with bad Irish accents.  More sensational than informative, this presentation is brimming with unsubstantiated suggestions, much less anything new.  Stoker’s sources for and the sexual discussions of Dracula are indeed intriguing, but making a scandal out of it with homo-eroticism and hatred of women makes for a poor presentation. Did they really need to find something juicy about the man who wrote one of the most widely published books ever? Serious scholars might enjoy a point/counterpoint viewing, but there aren’t many worthwhile literary aspects here. Very disappointing.

Unfortunately, it doesn't look like the Witches or Bram Stoker episodes of Biography are currently available on video, either. Typical!

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!)

House On Haunted Hill (s)

Original House on Haunted Hill Still A Must See
By Kristin Battestella

Ah, ‘Tis the season for horror movie marathons, is it not? On tap for my black and white movie challenged man, House on Haunted Hill- the 1959 original mind you. Even if its slightly dated and not as scary as it used to be, this classic is a must see for any horror buff.

Master of horror Vincent Price stars as Frederick Loren- a bored millionaire throwing a party for his young, jealous, and greedy wife Annabelle (Carol Omhart)- complete with a haunted house, plenty of scotch, and revolvers in mini coffins as favors. Five guests are invited by Loren-although none have met the mysterious millionaire. Lance, the test pilot (Richard Long), Ruth the reporter (Julie Mitchum), The Doctor (Alan Marshal), Nora a sweet girl of course (Carolyn Craig), and the drunk owner of the house Watson Pritchard (Elisah Cook Jr.). These financially challenged guests must spend the night locked in the haunted house-those who survive until morning will walk away with $10,000.

While that’s hardly a lot of money today, and other aspects of the film have not stood the test of time, Vincent Price is near perfection. The husky voiced veteran of such horror classics as House of Usher, The Raven, The Pit and The Pendulum, and my favorite The Masque of Red Death-not to mention mainstream roles in The Ten Commandments and Laura-Price proves his worth here. The multifaceted actor chews up Loren and thoroughly enjoys the cheeky interplay between Loren and his fourth wife. Their introductory scene is full of jealously, love of money, and reminiscing about poison.

The rest of the cast is standard in its support. Sure some of the drama and hysterics is over the top now, but each actor fits his or her part perfectly. Lance the bravado pilot and Nora can really scream-but more importantly, they serve their purpose. A classic star like Jimmy Stewart or Cary Grant-they come with a preconceived notion of who they are and what their character must be about. With a cast of relative unknowns, director William Castle succeeds in reaching his audience. The party guests are indeed regular people who need Loren’s money-desperate people to endure this house for money. Average Joes like you and me. Although it is firmly placed in its fifties mentality, Castle and writer Robb White touches a timeless concept with House on Haunted Hill-greed. What would you do for $10,000?

Unfortunately, Castle’s promotional ideas for House on Haunted Hill were touch and go. Although the low budget film succeeded at the box office, the idea of skeletons zooming across the theater at selected parts of the film was technically difficult and got out of hand with audiences. The film’s bloody heads, dangling bodies, pools of acid, and the like are also bound to the movie making techniques of the time. Observant fans will spot the flying wires and proverbial smoke and mirrors in the film. At the wrong volume, the music and screaming-and there is a lot of screaming-can be a toe towards annoying as well.

Hokeyness aside, House on Haunted Hill still provides one or two heart pounding jump in your seat scares. The first time I saw House on Haunted Hill, it wasn’t a dark and stormy night. The lights were on and it wasn’t even near Halloween. I tuned in for Vincent Price, but I thought the opening was convoluted and slow. When the first BOO moment came, I was caught totally off guard. I’ve been hooked on this little film that could since.

In 1999, House on Haunted Hill was updated by director William Malone with gore, gore, and more gore. Castle’s original is just silly enough and clean enough for a spooky night in with the kids. The remake focuses more on the actual haunting and back story of the house, but its gear toward modern fan boys with short attention spans is fleeting at best.The updated House on Haunted Hill stars Geoffrey Rush as amusement monger Stephen Price and Famke Janssen as his greedy wife Evelyn. As in the original, the woefully wealthy couple needs to add spice to their relationship by holding a party-a party in a haunted house of course. Five unsuspecting guests are lured to the fiesta, and whoever survives the entire night at the house receives a one million dollar voucher-just to keep it real for today’s audiences. Writer Dick Beebe added a psycho insane asylum back story to the house, but the plot does little. Chopped up parts, naked women, and crazy experiments try to explain the house’s evil, but in truly frightening fashions- not knowing the how or why is better. Knowing the rather weak source of your evil can make things a bit…lame.

Contrary to Malone’s belief, my favorite part of the revived House on Haunted Hill is not the opening herky jerky, cut ‘em up flashbacks, nor the subsequent roller coaster ride and stunt casting of singer Lisa Loeb and Spike alum James Marsters. My individual creepy came midway through the film, when Price views crazy psychiatrist ghost Dr. Vannacutt (Jeffery Combs) on his TV monitors. The otherworldly, stop motion, unnatural movements are the best part of the film, and they only last a few seconds. The shock value of chopped heads and good old fashioned shock therapy treatments do nothing to scare modern audiences.

Chris Kattan has a few memorable scenes as the neurotic owner of the industrial and contemporary haunt. He plays the exact same funny man as always, but it’s intriguing to see the humor in a spooky setup. Although I doubt all the humor is intentional. So if the movie isn’t meant to be funny, and it isn’t scary-who is the film for? It is rare for any medium today to not have a strict marketing campaign. Vincent Price fans will not like this new House on Haunted Hill, and teeny bopper fans will quickly dismiss it for others in this new inferior slasher genre- Thirteen Ghosts immediately comes to mind. When I tried to tell a friend about this new House on Haunted Hill, she responded, “The one with Catherine Zeta-Jones?” Of course that’s The Haunting-another remake inferior to the original.

What makes films like the original House on Haunted Hill classics is the effects-bad effects or simply the lack there of. My favorite part of Price’s version involves an old lady. I swear she is riding a skateboard to create that ghostly walk ambiance. It’s a catch-22. The effects are hokey and often as bad as hell-which of course tunes out spoiled CGI viewers. However, since old time film making effects were so bad-the story, actors, and directing needed to hold their own. The remake, however, adds nothing but bad gore and bad gimmicks. If a film must be remade, the redo must adhere to all the original’s strengths and them some. The new House on Haunted Hill is only for die hard cheese fans.

In a day and age where a film has to be rated R to be good, its amazing to recall that films like the original House on Haunted Hill succeeded with little violence, bad props, and cheeky dialogue. Kids might get genuinely spooked, and boomers might remember their first viewing at that special drive-in. House on Haunted Hill is what it is, but its old B flick fashion should not be taken at face value. Castle’s little movie is for fans young and old who appreciate good film. Clearly something was done right-we’re still watching over forty years later.

Fortunately both House on Haunted Hills aren’t over the top in price range. Check the bargain bin at your local video store for the new colorized version of the original, check the budget collections at any department store, or browse the used for a copy of the 1999 release. Hill can be found in classic sets, individually, as a double feature-even budget DVDs with cartoon shorts like the good old days. Priced at $9.99 or under-$5 or less if you know where to look-my edition contains a Superman short and the John Carradine classic Bluebeard. Two for the price of one!

Skip the remake and go with the classic House on Haunted Hill. It appeals to everyone, and you can’t call yourself a horror film buff without it!