Deep Space Nine Season 5

Deep Space Nine Further Ups the Ante for Season 5

By Kristin Battestella

I feel like I’m always saying finally with Star Trek: Deep Space Nine. Finally characters have been developed for better or worse. Finally it has gotten itself on track in this fifth season. Finally, at last DS9 is mostly all goodness!

Captain Benjamin Sisko (Avery Brooks) and his Security Chief Odo (Rene Auberjonois) must uncover the Changelings’ plans to infiltrate the Klingon High Council in order to broker a new peace with the Empire. Worf (Michael Dorn), meanwhile, begins a relationship with Trill Science Officer Jadzia Dax (Terry Farrell), and Major Kira (Nana Visitor) must carry the O’Briens’ (Colm Meaney and Rosalind Chao) baby to term while facing her own past. Jake Sisko (Cirroc Lofton) becomes a war correspondent as the Federation fights the Klingons, Maquis, Cardassians, and The Dominion, and the battle intrigue provides major revelations for Doctor Julian Bashir (Alexander Siddig).

Some of the personal and family station-side on Deep Space Nine is substituted for wrapping up the Klingon leftovers from Year 4, and those heavies do take until mid-year here to completely resolve amid the forthcoming Dominion angst in “Call to Arms.” In the premiere “Apocalypse Rising” and battle episodes like “Soldiers of the Empire,” these criss-crossing plots are effective. Unfortunately, we spend so much time with the build up of Changeling infiltration and blood testing suspense- particularly in the two-part “In Purgatory’s Shadow” and “By Inferno’s Light”- before these twists are subjectively utilized or simply dropped all together by the end of the season and The Dominion War. I feel as though we’ve spent three years waiting for the dang Dominion already! Thankfully, “For the Uniform” and “Blaze of Glory” resolve the Maquis drama in fine form, and “Empok Nor” is an interesting little horror-esque askew look at how DS9 might have been. “Children of Time” also adds Deep Space Nine’s touch of sacrificing darkness to its sweet Trek form, and of course, “Trials and Tribble-ations” is also exceptional just for the novelty alone. When you see how simply glorious The Original Series can look intercut with the 24^th century, one wonders why we ever left Kirk’s era. Even if you are a non Deep Space Nine Star Trek fan and might miss a few internal references, this episode is simply a must see.

Strangely, it seems as though we don’t have much Sisko-centric material beyond the Emissary touch in “Rapture.” Remove his individual episodes and you’re left with just more room for Battle Sisko Badassery from “Apocalypse Rising” thru the “Call to Arms” finale. Although it is weird how both Cirroc Lofton and Melanie Smith as Ziyal have no goodbye scenes with their parents during the premiere or before any of the year’s critical scenarios.  Jake has some good cowardice questions in “Nor the Battle to the Strong” and there is family friendly teen fun with Aron Eisenberg as Nog for “In the Cards.”  After such lovely father/son relationship pieces in prior seasons, however, the Sisko family moments are too minuscule to enjoy here. Thankfully, Rene Auberjonois keeps the intimate and personal going with Odo’s history and prior Terok Nor dilemmas in “Things Past” and “The Begotten.”  Some of the shapeshifter now a solid romance in “A Simple Investigation” is iffy, but the Odo and Armin Shimerman as Quark buddy material is once again great in “The Ascent.” “Ferengi Love Songs” and “Looking for par’Mach in All the Wrong Places” create some solid lightheartedness with a fun, unexpected Klingon and Ferengi mix. Though not everyone may like the Ferengi humor, Quark’s moral twists in “Business as Usual” are definitely a delight.

 
Sad spoilers ahead! Perhaps the weirdest changes Deep Space Nine presents for Season 5 are the revelations regarding Julian Bashir in “In Purgatory’s Shadow” and “Doctor Bashir, I Presume.” So, over the last four and a half years your regular show doctor has been made so nondescript that you can make him an alien and no one notices? Yes, this fundamental change was written after the fact and thus Alexander Siddig wasn’t even told to play the character differently. However, it is a little ridiculous that there was a bland enough regular- one that we’ve supposedly known and cared about all along- to which the writers can even do this.  Alien switcharoos notwithstanding, it turns out Bashir is also genetically enhanced ala Kahn infamy! Now, instead of letting the character languish in O’Brien’s coattails all this time, why wasn’t this secret Bashir’s bane there all along, creating a pleasing, dark development much more in DS9’s vein? We can look back now and presume Bashir’s deliberate mess ups and bad choices had meaning, but knowing this was all a change on the fly isn’t nearly as fulfilling as having had the audience in on the character’s difficulty from the beginning.  It’s a bit of a defining moment for Deep Space Nine. Either one sees this as the shedding of the child’s play from early seasons or this is the fed up and led astray viewer quitting over one too many cop out and sharked jumped ploys.  

Though the romance between Nana Visitor’s Major Kira and guest Duncan Rhegar as Minister Shakaar is also just too awkward, there is chemistry in the pregnant Visitor’s storyline with Colm Meaney as Chief O’Brien. After all, Kira is carrying his onscreen baby! The action risks for Kira in “The Darkness and the Light” might seem questionable due to the pregnancy plot, but the Bajoran debates are great. Likewise, Marc Alaimo is again perfection regarding the Kira/Dukat angst in “Ties of Blood and Water.”  Unfortunately, Rosalind Chao’s weird Pah–wraith takeover in “The Assignment” doesn’t help Keiko’s development any. The entire birth and her role in the family seems amiss, and the one-sidedness also creates a missing O’Brien feeling as well. He has some spooky fun in “Empok Nor” and pieces of B storylines dealing with babysitting, and ironically, it’s Jadzia Dax who gets the much needed dimension. Dax does more in “Soldiers of the Empire” than in 4 years of reporting the dockings at DS9! The episode itself is styled as what should be an inferior marauders or bandits type cliché; however it is so Klingon battle detailed awesome that all the players benefit from its success. Even Worf has some exceptional moments here, now that he finally has something major to do on Deep Space Nine. Of course, it doesn’t really last thanks to some serious WTF Risa politics in “Let He Who is Without Sin.” Once again, guest regulars like Andrew Robinson as Garak, Robert O’Reilly as Gowron, Kenneth Marshall as Eddington, and Jeffrey Combs as Weyoun are superior.  

Ironically, now that the larger Dominion plots and cast statements have seemingly what-took-you-so-damn-long put Deep Space Nine on the right track, it is too late for newcomers or casual fans to tune in for the complex, internal, multi-part glory.  In order to appreciate the gung ho moving forward of Season 5, viewers must be familiar with at least the two previous seasons.  Yes, it is a frustrating way to go- one must take the questionable shows and filler episodes of multiple meandering seasons to understand and enjoy when DS9 is good.  Even die-hard fans can’t dive in or pick and choose what hours to watch at will. However, it isn’t the arc storytelling itself that hurt- and perhaps still hurts- the show’s popularity.  It’s that it was apparently done so haphazardly in order to lock viewers into watching crappy stuff along with the gems. At this point in the series, if you’re in for an ounce, you must take the entire pound. Deep Space Nine has taken its sweet ass time in getting itself together, but finally, Star Trek fans who enjoy the heavy can at last praise the acceleration in Year 5.

More Bela Lugosi Loquaciousness!

Still More Lugosi!

By Kristin Battestella

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

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

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

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

 (Awl...)

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

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

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

 

Recent Horror Questionables

Recent Horror Split Decisions

By Kristin Battestella

When watching horror across the decades, one thing always seems to stand out: most recent macabre movies are kind of iffy.  Whether it’s a case of miscasting, poor effects, or weak scripts, here’s a quick look at a few 21^st century films full of undecided ho-hum or what could have been.

The Divide – Michael Biehn (Aliens), Rosanna Arquette (Desperately Seeking Susan), and Courtney B. Vance (Law & Order: Criminal Intent) star in this freaky and dirty dystopian tale with a conflicted identity. It takes several starts to get going- a disaster, credits, black outs, frenetic camera work, strobe lighting, and action that’s so fast the audience can’t tell what’s happening. Somber music notes capture the desolation as people go nuts early in this crappy, dusty basement; but these depressing montages conflict with the in your face photography. Everyone freaks out as expected, but one critical twist happens too early and is subsequently never touched upon again. Is this SF action or social serious? The Unrated Version may polish the character development, but it is frustrating to the viewer when the plot can go either way and there are two cuts of the film.  The two full hours here are both not enough thanks to the confusion and too long over the slow motion breakdown onscreen. I understand the attempt at substance, but the editing is poor and the plot unbalanced. It’s tough to tell who is who, and all the titular division, paranoia, and desperation can’t exactly be highly stylized with such dirty subject matter. The breakdown of an already fractured group of people is nicer than the herky jerky action start, but the story still degrades into mindless shock value and becomes forced as weak and crazy men create the need for an action woman and veiled political statements. The make up and plausible collapse of health and social systems may be good, but who wants to watch a disaster movie where the assholes end up in charge? This could have been a fine film, but even if a final explanation was given or the ball not dropped on such a significant twist, this one simply can’t end well. What’s an audience to do?

Evil Eyes – The writer-within-a-film-frame aspects of this 2004 thriller intrigued me, but considering it’s a video direct from that pesky low budget embarrassing genre grist mill The Asylum, one can’t expect glory. Already dated thanks to old cameras, phones, laptops, and headphones, the VHS and newspaper clippings in the plot further detract from this contemporary-set film and make it seem even more low budget old. Weird colors and dream photography, jagged angles, unflattering up shots, and music cues are a little too on the nose.  Several breakings of the fourth wall are also too obvious. Sure, the premise is a bit familiar, but it’s sound and doesn’t need all these over the top misses. Simple shots of a blank screen with a blinking cursor in the corner are chilling enough. Udo Kier (Shadow of the Vampire) is a perfectly slick and shady Hollywood executive, but Adam Baldwin (Firefly) is tough to believe as a down on his luck screenwriter to start. Somehow, we expect him to be bad or crazy not the everyman, and the character improves as the twisted action, suspicion, and madness intensify. Is it coincidence that he writes and bad things happen or is it fate? Unfortunately, there isn’t enough mood or atmosphere despite some good gore.  Except for overboard plugs for Dreamworks, the tone here is all about the on the cheap and it just doesn’t go far enough.  It’s not all bad, but everything turns out a little too trite with a dumb ending.

Jennifer’s Shadow – Also called Chronicles of the Raven stateside, this 2004 spooky has a lot going for it. Faye Dunaway (Mommie Dearest) looks classy as always and has fun with all the freaky birds and macabre. The music is moody, adding to the disturbing atmosphere and scary night terrors. Although a full on gothic feeling might have been better served had this been a complete period piece, silent, demented action and chase scenes build the sinister intensity.  The language beats, however, feel weird. There’s a stilted English and Spanish mix that should have been one or the other, not a “No habla espanol bien” bumbling. We never get a real Argentine flavor, either. The dark photography and muted palette are also tough to see at times, and the audience can figure out the curse exposition and obvious twists before their fairly late appearances.  Nonetheless, all that could have been forgiven except for one major pitfall: Gina Philips (Jeepers Creepers) is a completely unfeeling and unlikable ‘pretty American girl in a foreign country’ waste on two legs. Not only is there an additional lookalike cliché tacked on, but thru either bad acting or poor scripting, the audience can’t like such a bitchy and selfish protagonist.  It’s tough to enjoy a film when you want something bad to happen to the lead! There are great surroundings here to chew on, and one really wants to like this little thriller. However, the ridiculous characterization does not make it easy.

The Wicker Tree – A chaste Christian couple from Texas (Brittania Nicol and Henry Garrett) is thrust into the naughty Scottish countryside for this 2011 revisit of The Wickerman. Our young leads lay it on thick with some annoyingly bad acting, and though creepy, Jacqueline Leonard (EastEnders) and Graham McTavish (The Hobbit) simply aren’t as juicy as Christopher Lee was in the original. Sub par cast notwithstanding, the very premise from writer and director Robin Hardy (also of the original) feels off. The young missionaries are written as brainwashed by their religion, too naive to live, and almost deserving of the mocking of their beliefs. Then the preachy pendulum beats the viewer over the head with evidence of how most Christian elements grew from pagan roots, making this not-a-sequel potentially offensive to audiences on either side of the fence. Both cultures are portrayed as oppressive or negative throughout the film, and the mix of country sassy turned gospel turned Celtic music also won’t be for everyone. The ridiculous subtitles during a sex scene and weak TnA here barely earn an R rating, too.  Lee’s brief appearance does add a touch of class; his voice carries a wonderful alluring question- but it isn’t enough. Likewise, the scares and sinister in the final act here can’t redeem all simply because we know what’s going to happen. Rightly or wrongly, this one makes more statements than modern run of the mill slashers, and perhaps it isn’t that bad in and of itself. Unfortunately, it’s just not the original.

And Do Avoid

Bride of Chucky – I thought this 1998 sequel was more recent that it actually is, and the dated music and fashion really shows. While Brad Dourif (Lord of the Rings) as the voice of Chucky is always fun, the line up of Jennifer Tilly (Bound), the late John Ritter (Three’s Company), and a very young Katherine Heigl (Grey’s Anatomy) is also too of the nineties, and the entire horror comedy plot turn comes off as a little impractical to say the least. It’s a little weird that we’re watching two dolls arguing- or worse, having sex! Tilly keeps it bemusing, but if you want true scares instead of puns, this tone just doesn’t work. Perhaps Bride isn’t a bad film on its own, and at the time, it was a good way to revitalize the Child’s Play franchise with a gimmick towards the follow up Seed of Chucky. However, the series has nonetheless ended up in direct to video and reboot territory, having traded in its original childhood fears for self-referential stupidity.

More Silent Horror and Early Macabre

Early Horror Part Deux

By Kristin Battestella

Silent or talkie, the stars not only came out during the Great Depression to make some dang fine horror films and suspense thrillers but churned out a smorgasbord of scary classics!

The Bat – The 1959 Vincent Price remake of this 1926 once lost silent is a fine little caper, but this moody little mystery is a treat all its own. The perfectly atmospheric music accents the interesting stage like perspectives and design.  These painted backgrounds will certainly look old and cheap to modern effects laden eyes, but there’s also something fun and distinctive about the look. Great bat costumes, shadows, and silhouettes also work wonderfully with the spooky mansion interiors.  The opening establishing shots and long transitional action scenes do seem slow at times, however. When sequences are too long without intercard breaks, it is tough to tell who is who, where they are, or what’s going on. It’s almost tempting to watch at 1.5 speed, and for those unaccustomed to silent films, 80 minutes will seem overlong.  Unfortunately, there’s also some early Asian racism and a stereotypically hysterical maid, but the touches of humor and bemusing title card beats do wonders.  I’m not sure why infamous director Roland West felt the need to remake his own work here again in 1930, either. The cast interplay is solid, and the mystery intensifies perfectly.  Besides, who doesn’t love a lost film found?

Condemned to Live – Sympathetic vampires take an early forefront in this 1935 hour. Familial angles create emotion and relationships in contrast to the would-be sinister and village paranoia, and the lovelorn twists and internal conflicts make for a likeable dilemma. The gothic music, old school vampire bats, tolling bells, and period dialogue may seem simple at times, and the vampire mechanics come a little too easy, sure. Thankfully, the ambiance of it all adds to the love triangle, and there is some thematic smartness, “Fear of the monster?” “No, fear for the monster.” The tone feels more like a drama or a tragedy that happens to have horrific elements rather than a shock and scare in your face pace. Plot reveals and exposition are presented with honesty, feeling, and concern, and the sincerity forgives any early hunchbacks and angry mob clichés.  But who doesn’t love a good angry mob anyway?  

The Devil Doll –Tod Browing (Dracula) directs Lionel Barrymore (It’s a Wonderful Life) and Maureen O’Sullivan (Tarzan and His Mate) in this demented 1936 tale based upon the book Burn Witch Burn. It’s all somewhat preposterous, of course- shrunken people being passed off as dolls in order to exact their master’s revenge! Fortunately, the fun if primitive effects and tiny treats don’t look too bad and actually add to the neat laboratory and science abominations.  Yes, all these Parisian folks have American accents, some of the miniature scenes are comical before scary vengeance, and there is a brief scene that won’t be for dog lovers. Thankfully, quality mistaken crimes, good old-fashioned payback, and an entertaining chase montage keep up the pace. More intriguing, however, is the unique cross dressing disguise toeing the Hayes Code here. Barrymore works it wonderfully; we never get the feeling the fashion or tone is hammy. By contrast, there is an element of sophistication and superior thought. It may seem odd to have such wacky science alongside these early taboos, mature suspense, and crime thriller designs, but the stars keep the humanity fun, relatable, endearing, and certainly worth a look.

Fall of the House of Usher – This very early 1928 silent adaptation of Poe’s macabre tale is only 13 minutes. There are no inter cards to read, nor what we would call dialogue. The fashions are decidedly Roaring instead of Victorian, too.  The visuals are so out there-even nonsensical-that it’s almost tough to see Edgar in any of it.  Nonetheless, this moody piece is perfectly disturbed with great, haunting organ music and eerie, distorted photography.  It’s trippy, unexpected, and a little scary. This is another one of those old films that makes for a great demented projection during a spooky party or ghoulish gallery presentation. Though not for everyone, anyone who is a fan of early film experimentation or audiences who just like weird shows should definitely check this out.

Maniac –Shades of Poe strike again in this quick 1934 study of fear and unnatural science from director Dwain Esper (Marihuana).  How does the brain work? Are the mania stages mental disease or intelligent design? Taboo topics such as suicide and some hidden kinky are unfortunately hampered by the over the top identity crisis acting and confusing plot holes- not to mention a very poor video print. Perhaps the weird medical jargon filled intertitles are meant to explain or bemuse, but they interrupt the twisted action and building insanity. Creepy cat violence, code side-stepping lingerie, nudity, and catfights of a different kind add to the nonsensical presentation here. The realization and premise here certainly could be better- this one is really pretty bad overall. Yet, I must say, there’s an audience for this kind of avante garde tongue in cheek raunchy and hair brained macabre.

The Vampire Bat – Fay Wray (King Kong), Dwight Frye (Dracula), Melyvn Douglas (Hud), and Lionel Atwill (Captain Blood) get right to the bloodsucking crimes, superstitions, and disbelievin’ for this 1933 scary.  Though the picture quality is poor for the hour and there are several versions available, fun dialogue, intelligent debates, and modern science versus medieval fears drama make up for any innate production flaws.  Classic sets, bemusing laboratories, and an on-form stellar cast accent the spooky mystery mood. There are a few jump moments, twists, chases, and good old-fashioned screams, too.  It’s actually somewhat pleasing to not see any of the would-be supernatural, but follow the early paranormal investigation and village paranoia instead.  Are these murders fantastic or criminal medicine? The audience is slowly let in on the secrets, and the pace builds perfectly for a perilously fun and entertaining finish.  

A Roger Corman Viewing Post!

An Evening with Roger Corman

By Kristin Battestella

Those familiar with their horror history know and love some of Roger Corman’s more famous entries to the genre- his successful Poe cycle of films starring Vincent Price, for example.  However, even the cult greats have to start somewhere. So here are a few early, speculative, scary studies from the longtime producer and director’s repertoire- chock full of camp, creepy, crime, and low budget glory!

Dementia 13 – Roger Corman produced and eventually interfered with this 1963 directorial debut of Francis Ford Coppola (I will hit you if you need a film reference for Francis Ford Coppola!) Clearly made on the cheap with quick, iffy dialogue, most of the picture is too dark and tough to see. The title doesn’t have much to do with anything, either, but the opening crime, water motifs, and axe murders are pretty entertaining.  It’s a weird mix of both men- Coppola’s brooding atmosphere and complexity against Corman’s hint of over the top blood. Fans of both will indeed be curious to see this special blend of contemporary crime and creepy Irish castle.  Eerie music and suspenseful, deceptive builds carry the weird family, death, and grief thanks to Coppola’s stylized interpretation. However, Corman’s insisted upon shocks aren’t bad, either.  It’s almost as if two different films are happening- a ghost story and a slasher mystery.  It makes the vision muddled at times, but it’s all quite creepy and entertaining nonetheless. Yes, this will be too slow or poorly done for some modern audiences, but a few good ghostly scares and deaths make this one wonderfully worthwhile for fans of the boys.

Last Woman on Earth –Big C re-teams with Antony Carbone (later of The Pit and the Pendulum) for this highly symbolic and apocalyptic hour plus from 1960. The kinky pre-Bond opening credits segue from a slow, glorious observation of the female form into a high stakes cockfight. Yeah. It’s all illicit enough to start- a money man on the run in Puerto Rico with love triangle potential between his scorned wife and uptight lawyer friend. The premise is sound, with a decent execution for the budget and lots more potential. However, the set up itself feels slim and simple at best and preposterous science at worse. We’ve seen films with an unexplained disaster and character self-destruction, but a few scenes here become too obvious, even lame, or slow with on the chin dialogue. The scandalous approach is also a bit uneven, for Corman may be ahead of his time with the tale and can’t really show anything saucy. Insults like “You stink!” create some anticlimactic blows, and yet such hollow words can follow some hefty sexual innuendo. One man can ask another how she was despite her claim of, “I’m married to you…He didn’t rape me.” Meow! I’m no fan of remakes, but I dare say a sophisticated update is do just to straighten out the naughty at the core here. Though hampered by its era and budget, there are some worthwhile thoughts and twists here. Besides, did he just leave a dollar on the bar for his drink? Does that include the tip?

Swamp Women – Real Louisiana filming and vintage New Orleans treats help get this Corman directed 1955 crime fest over its dry start and rough, unfinished looks.  Though trapped in the fifties sensibilities - a policewoman going undercover in a prison to find a cache of diamonds oh my!- Corman is trying to be edgy and his heavy attempts for the time do come across. And hey, even if this one isn’t a famous, bright fifties spectacle, there’s plenty of women behind bars angst for today’s saucy male minds- not to mention the eponymous camp alligator action. Short shorts, catfights, Beverly Garland (My Three Sons) bitch slaps Touch Connors (Mannix) yes indeed!  Our lone man is tied up by five women, some of whom have been in the joint for three years. He’s not complaining. History fans will enjoy the period photography, but otherwise the datedness and poor production keeps this one off the mark.  Does that make these diamonds any less entertaining? Absolutely not!

The Wasp Woman – It seems Roger Corman really likes his women, and this 1959 creepy is The Fly for chicks. Though not saucy or purely for ogle value- which is both good and bad depending on your point of view- the outdoor values, regular Fred Katz music, and scary buzzing sounds set off the more mature science fiction thoughts and laboratory desperation.  One chick does get to slap another hysterical chick, yes, but the concepts here are just as fun.  How far will we go for beauty? What cost is too high?  The suggestion of bees and wasps is also chilling for those who dislike insects and simply terrifying to anyone allergic to bee stings. The sound is tough to hear in some spots, and the added prologue is slow in establishing the freaky premise of using wasp extracts as the fountain of youth.  Some animal testing scenes are iffy, too. Thankfully, the fun labs and haywire science keep this one interesting.

 

(Like I said, he ain't gonna complain!) 

And Some Skippers

Creature from the Haunted Sea – Oh, Roger, you’re killing me with this 1961 horror comedy remake of Beast from Haunted Cave! The black and white Beatnik opening chase looks like the Beastie Boys “Sabotage” music video.  The sound, music, bad narration, iffy Spanish, and worse dialogue are very poorly mixed. The poor acting, over the top spy and noir spoof vibes come off all wrong, and the animated credits are downright corny.  I think I get what Corman was trying to do, but the confusing Cuban plot with Beetles and Winnebagos on the chase is too low budget college-kids-with-a-camera. Who’s in charge on this boating escapade- military Cubans? Gold digging Americans? Monsters? Murderers? The singing, crappy spies, a guy who speaks in animal sounds- this is just a really surprising mess. I mean, somebody gets hit with a fish!

 Beast from Haunted Cave – Now then, this 1959 Roger- produced inspiration for Creature from the Haunted Sea stems from its own script part and parcel rehash of Corman’s Naked Paradise (1957), Ski Troop Attack (1959), and Atlas (1960). Try to keep up. I mean, how many times can you save money by using the same basic script- and the repeated score to match- before nothing makes sense? South Dakota, snow, and skis can’t help the bland, repeat script and wooden cast- if you can tell who is who in the crappy action skiing montage. No Olympians here! The very nice screams and spider attacks do work when we get them, but they are too few and far between for an eponymous title. There simply isn’t enough heist suspense, skiing thrills, snowbound tension and suspicion nor monster paranoia to keep the locale or premise intriguing.  It’s all just a lot of dry, and unfortunately, the crime and abuse wrongs don’t come across at all.  Although, studying these early filmmaking forays should really make both the Corman fan and the critical skeptic appreciate his later Poe and Price series even more. But where’s the ‘the’ here?!

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!