Christmas Songs by/ A Jolly Christmas with Sinatra

Christmases with Frank Sinatra are Delightful, If Confusing

By Kristin Battestella

Recently I’ve been fortunate enough to cross two albums off my ‘Christmas Albums to Get’ list, both Old Blue Eyes himself: Christmas Songs by Sinatra and A Jolly Christmas from Frank Sinatra.  Although both albums have a timeless swanky and spirit enough for the Season, repeat songs, alternate takes, and varying track times add a little head scratching to these holiday hits.

Originally released in 1948, this CD reissue of Christmas Songs by Sinatra opens with a crooning White Christmas. The listings call it and several others an ‘alternate take’, but this tune sounds just perfectly post-war and early Sinatra mellow whatever the recording. Those more intimate with his later swinging style might find the pace sweeter, but the tone works magically with the winter memories and sets the mood for the rest of the album.  It is however unusual to have the often concluding Silent Night as the second track here. The quiet carol continues the slow and sentimental tone and almost serves as a dual lead in- the spiritual debut to White Christmas’ secular entrance- as Christmas Songs by Sinatra is a fairly even split between the reverent and the casual. Billed by its Latin name despite the standard O Come All Ye Faithful lyrics, Adeste Fideles is slightly more upbeat and lightens the crèche whilst keeping the big notes respectful.

Jingle Bells is not as happening or juvenile as we might expect, but its still easy breezy fun with background singers and titular sounds jazzing it up with Frank. Sometimes this seasonal staple can get a little obnoxious, but Frank keeps it timeless and urbane here.  Have Yourself a Merry Little Christmas is of course, perfectly quintessential for the melancholy at this time of year- whether you are alone, far from family, or having a quiet moment by yourself at the end of festive and frenzied day.  Unfortunately, different versions of the brooding ballad also appear on the companion A Jolly Christmas from Frank Sinatra and the compilation Christmas with the Rat Pack, and ironically, the confusion adds to the holiday frustrations.

Thankfully, Christmas Dreaming (A Little Early this Year) is a wonderfully soft and slow December ballad. Again, the slower crooning style and lingering easy notes serve Frank and the not oft-heard tune well. It’s perfectly holiday neutral and great for a slow dance by the fire. Christmas Songs by Sinatra smartly raises and lowers its pace and spirituality by alternately pairing similar sounding carols and winter pop. The overall tone sounds the same, creating an agreeable evening listen despite the pleasant but changing subject matter. It Came Upon a Midnight Clear also adds choir echoes and accompaniment verses as Frank takes his sweet, pleasing time and gives this carol a lullaby feeling instead of the quick, church single verse we usually get today- if it all. But of course, this one is another alternate version and time changer from Christmas with the Rat Pack and A Jolly Christmas from Frank Sinatra and runs almost a minute longer than those tracks.

Oh Little Town of Bethlehem is also a slow, brooding, perhaps too slow carol. Frank keeps it stylish rather than Victorian serious and these two carols fit together for some solid and quiet reverence. However, the pair also makes the listener realize that there aren’t many fast tracks on the set, and that’s where the hip and lively Santa Claus is Coming to Town enters to shake up Christmas Songs by Sinatra. Great cymbals and a swinging interlude transform this kid’s deterrent into a groovy danceable. Get out your saddle shoes and toe tap before the Yule log with these big hepcat notes! Let It Snow! Let It Snow! Let It Snow! continues the smile on your face seasonal swing, too. It isn’t loud and too fast to enjoy, but warm, fun, and as the background singers say, ‘Cozy coo.’

Though the General Reynolds Introduction always scares my cat, these vocal carryovers of the day are perfect winter wartime recollections. Sixty years ago, it may have been the norm to hear live recordings and the performers talking amid the tunes, but today this simplicity becomes a great sentimental treat. We’re listening to a radio broadcast on Christmas Eve! Unfortunately, the subsequent Medley of Oh Little Town of Bethlehem, Joy to the World, and White Christmas is somewhat strange. Albeit this is the quick crooning standard edition, but we just heard Oh Little Town of Bethlehem two tracks ago. The Joy to the World rendition is a lovely but brief and choir dominated chorus before Frank returns with another choir-shared White Christmas quickie. It’s a squeezed in and odd mix of religious and secular when there are so many more great songs to do instead, and obviously, these last five tracks stem from another session. All that aside, the medley still sounds nice, and this unusual placement nonetheless compliments the rolling reverence and secular pattern of Christmas Songs by Sinatra.

Next, the serious and subdued maternal ode Ave Marie slows the album down once again. It’s great to hear Frank Sinatra sing in Latin, complete with a rising choir and slowly building instruments. Sure, he may not have the big pipes for the most difficult notes here, but the respect is evident and lovely nevertheless. By contrast, Winter Wonderland adds a little bit of fun and winds down the album with some jokes and casual seasonal swing. Again alluding to the shared spiritual and secular of Christmas Songs by Sinatra, The Chairman himself reminds us to take time for the Truth of the season before The Lord’s Prayer finishes the set in solid and lofty Catholic fashion. Another church tune perhaps stretching Sinatra’s range, but the big notes are all his, with none of today’s spectacular or overdone production needed to understand the meaning here.

 

Despite both albums being evenly divided between carols and secular tunes, Christmas Songs by Sinatra feels slightly more reverent and balanced than A Jolly Christmas with Frank Sinatra. A very upbeat Jingle Bells kicks off this 1957 reissue, which has also been released in several CD editions as The Sinatra Christmas Album. The quick pulses and scat spelling of the eponymous track will be as polarizing for some as chasing the assorted re-release covers and album bonus tracks.  At almost 40 seconds shorter than traditional version on Christmas Songs by Sinatra, the yeah yeah and hip hip festive is a bit too rowdy and in your face. Frank sounds a little hollow, as if his recording wasn’t done in the studio at the same time as the jazzy backup players.  I get that they’re setting up the jolly of A Jolly Christmas with Frank Sinatra, but it’s a bit too over the top.  Ironically, this is also the only fast song here. 

Thankfully, The Christmas Song is much, much better- a lovely, airy, and sentimental vintage from seasons’ yore without all the extra hype. Perfect.  Likewise, Mistletoe and Holly, the first of several tracks repeated on the more recent Christmas with the Rat Pack compilation, has that quintessential Sinatra sound. You can’t help but sing along as each refrain comes around. I’ll be Home for Christmas continues the on-form bittersweet, and it’s also found on the Rat Pack album, albeit with a few seconds time difference. Alternate versions are frustrating, yes. However, sometimes rare tracks are quite worthwhile and unique, or at the least, somewhat understandable. But what’s the point in shaving off 3 seconds here or 5 seconds there? Where do those missing seconds go go go?

There are different openings for The Christmas Waltz here and its appearance on Christmas with the Rat Pack, but there’s simply still no denying Frank’s secular seasonal sway here. I’ve said it before, but I’ll say it again, Have Yourself a Merry Little Christmas is just about perfect. This rerecorded winter brood is longer than the rendition on Christmas Songs by Sinatra by almost a minute, with a cold start, extra choir refrains, and longer melancholy from Frank.  And just in case you couldn’t guess, yep, this one’s on Christmas with the Rat Pack, too!

The First Noel is the first carol in this second half of spiritualness on A Jolly Christmas from Frank Sinatra, and though it feels a little too slow, reverent, and out of place in the swinging Rat Pack compilation, this quick mellow refrain fits in here. Likewise, Hark the Herald Angels Sing felt forced and restrained in the Rat Pack mix, but together, these carols work almost like a sing a long caroling medley. And speaking of medleys, we were treated to two Oh Little Town of Bethlehem renditions on Christmas Songs by Sinatra, but this version on A Jolly Christmas from Frank Sinatra is about a minute shorter, ixnaying on the super slow but keeping the Biblical basics and choir accompaniment nice and easy. Despite having the same track time, Adeste Fideles (O Come All Ye Faithful), is not the same version as on Christmas Songs by Sinatra. It’s strange to listen to the same song over and over again back to back for the choir additions and vocal differences here. It’s kind of fun, but a bit crazy, and I’m sure annoying to someone else forced to listen in the month of Twelve Days of Christmas and Must be Santa.

 It Came Upon a Midnight Clear feels a little stilted amid Frank’s effortless and breezy secular staples and is dominated by more choir than Sinatra, but it’s still lovely.  Like Christmas Songs by Sinatra, grouping the seasonal hits and reverent tracks in patterns together works much better than the seemingly spliced and random reissue of Christmas with the Rat Pack. Some melancholy pop, a block of carols for reverence- the mix of swing and serious stays sophisticated for today’s listener.  Another shorter rerecord, Silent Night is a fitting and darling crèche lullaby to conclude A Jolly Christmas from Frank Sinatra in a soft crescendo.  With a set of perfectly timeless downhearted hits and respectful carols, it turns out A Jolly Christmas from Frank Sinatra doesn’t seem that jolly of an album.  Instead of all the rerecords, alternate versions, and track repeats, I’d rather have, you know, more holiday recordings by Frank Sinatra, but that’s life- no pun intended.

Neither Christmas Songs by Sinatra nor A Jolly Christmas from Frank Sinatra have the loosely holiday tune I Believe as does Christmas with the Rat Pack. However, the edition of A Jolly Christmas from Frank Sinatra that I picked up in a two-disc combo set with Ella Wishes You a Swinging Christmas contains two unusual bonus tracks- not the expected reissue single versions of White Christmas and The Christmas Waltz, no. It may seem a little silly to have Come Fly with Me playing in December, but having this jazzy hit randomly pop up in my Christmas playlist is actually kind of nice. It’s a happy, mini moment to getaway from the dark and serious, stressful and crazy Yule we make for ourselves these days. Likewise, Let’s Get Away from it All provides a jiffy of holiday detox and laughter, even if it’s just over the way Frank says ‘Chowda!’ I’m usually pretty strict about listening to Christmas music at Christmas time- after all, you can’t listen to it any other time- but at this point, I don’t mind these two tacked on Sinatra staples at all.  I’m too busy comparing these albums and sorting out all the Christmas confusion!

Chasing radio edits, rerecords, and single rarities must be quite a chore for the Chairman completist, I must say. Perhaps the album really is dead. With digital downloads, one can pick his preferred Sinatra seasonal tunes for a holiday soundtrack, the end. It saves you the confusion of pursuing Christmas Songs by Sinatra and A Jolly Christmas from Frank Sinatra- though casual fans and serious collectors can easily find either. Heck, I just put all my Sinatra Christmas delights into one playlist and let it go- the swanky and spiritual light are perfect for the casual office or urbane dinner party. Sure, a song or two will repeat or sound different each time around, but so long as you don’t think too hard on the logistics, one can delight in the Man, the Meaning, and the Music.  Whew!

Give Me Your Love for Christmas

Give Me Your Love for Christmas A Mellow Johnny Mathis Set

By Kristin Battestella

It was an easy decision to pick up Give Me Your Love for Christmas the 1969 third holiday album from Johnny Mathis.  Although the term ‘long play’ becomes a bit of an oxymoron when a record ends up short at less than thirty minutes, it’s a Johnny Mathis Christmas record, how could it be bad? Besides, at fifty cents, Give Me Your Love for Christmas was a merry mellow steal.

Jingle Bell Rock opens this casual and easy seasonal set, but ironically, it feels way too fast compared to the standard versions of this secular classic. I actually had to check if the turntable was on the right RPM speed!  This rushed tune simply happens too fast to really enjoy, but thankfully, Have Yourself a Merry Little Christmas is much more indicative of Give Me Your Love for Christmas’ overall vibe and expected Johnny mellow, melancholy, and long notes. My Favorite Things is also a yes. Kids can still have a great and festive sing along, but there’s enough room in this arrangement for Johnny’s notes and an adult appreciative listen. If we all got off the stress wagon and took renewed focus on the season as thru a child’s eyes, eh?

The titular Give Me Your Love for Christmas is also a soft and tender ballad, but unfortunately, the tune doesn’t really appear in the collective Christmas conscious today. It’s a pity; with millions of albums sold to date, this song should be more popular than it seems. It might be a tad old fashioned or dated in style, but that’s also part of the charm. Santa Claus is Coming to Town, however, doesn’t work as a way too slow and unnecessarily mellow sound. The budding seventies redesign grasps for an adult sophistication, and it is just too weird a listen.  It’s also unusual to place What Are You Doing New Year’s Night? to conclude Side A. Not only is that smack in the middle of a CD today, but this proper and mature mellow as it should be done seems more fitting as a holiday album’s farewell track.  Like the rest of Give Me Your Love for Christmas, this track is also too short, but nonetheless perfect and smooth for a sophisticated dinner listen from December 1 to 31.

Do You Hear What I Hear? opens Side Two with a rousing and cheerful rendition styled for a concert show stopper with big notes and the perfect reverence and pace for the whole family. It’s a good change- some of the alternations on the traditional tunes for Give Me Your Love for Christmas are much more subjective. Here, however, we expect a youthful and quick ditty and are treated to a Christmas power ballad instead. Though I’ve never heard Calypso Noel before, the tropical sway is very festive. It’s quick, and can easily get stuck in your head so you’re singing along before you know it. The only trouble is that this seasonal Caribbean carol doesn’t sound anything like the Johnny Mathis listeners of his Merry Christmas album may expect.  It’s cute in of itself, but the track is another example of the unevenness or rushed, for-the-album sales feeling on Give Me Your Love for Christmas. Throw some holiday songs together because folks love Johnny Mathis at Christmas, change the tunes up a bit, and bam, it’s still cha-chinging every December. This is a nice little album, but it could have been much more.

Of course, Little Drummer Boy is one of the reasons to buy Give Me Your Love for Christmas. This isn’t an easy carol to pull off- often becoming either too kiddie or goofy for a classy singer.  Fortunately, Johnny has the right tempo, tone, reverence, and voice, and the result is an excellent, complete rendition. If only it weren’t so short! Likewise, Christmas Day sets that perfectly mellow Bacharach/Broadway mood. This is the tone for which Give Me Your Love for Christmas was going- it’s soft, innocent, a little melancholy, timeless and yet mid- century. One listen instantly creates recollections of a wonderful sixties Yule- memories and montages of white trees, tinsel, hideous turtleneck sweaters, and gargantuan padded coats for sledding in three feet of snow because times were simpler, childlike, cold but warm. Sigh.  

The Lord’s Prayer, however, is an odd choice to conclude Give Me Your Love for Christmas. Instead of ending with Christmas Day’s magic, this understandably church sounding vocal ends the set on a quiet Christian Meaning of the Season. It’s absolutely lovely with all the right somber and big notes, and I feel wretched for saying anything against it, but it’s a finale totally different than what the album actually was.  Give Me Your Love for Christmas has a few pieces for a religious December, but is by and large a sophisticated and generically safe secular album.  Similar in seasonal neutral or office easy to Johnny’s second holiday album Sounds of Christmas, Give Me Your Love for Christmas is perfect for a dinner for two or a digital playlist pick and choose. The sound is perhaps slightly dated or too middle-aged for today’s younger set to appreciate, I grant you. Overall, the Merry Christmas record is probably a more complete album in spiritual concept and musical reflection of Johnny’s range and style. However, longtime fans of Johnny Mathis, older audiences looking for a tender holiday set, and those seeking simpler memories of Yules yore will delight.

Ella Fitzgerald's Christmas

Ella Fitzgerald’s Christmas A Quick, Good Little Time.

By Kristin Battestella

It’s tough to introduce this 1967 traditional Christmas album because surely it should carry a few words of introduction for its songstress Ella Fitzgerald, too. However, how does one go about introducing Ella Fitzgerald- doesn’t everyone already know who she is? They dang well should, and the uninitiated can most definitely receive his or her education with this swift December disc.

O Holy Night opens Ella Fitzgerald’s Christmas on a nice and easy note indicative of the album’s overall tone.  Ella keeps this often too lofty for the rest of us carol soft and calm for a pleasant candlelit night. The track, however, is just too short. Unfortunately, the entire album also comes in too fast at under a half an hour.  It Came Upon a Midnight Clear is the longest tune here and yet it isn’t enough. I want to hear Ella’s nice and innocent brand on this less and less often heard carol for all the verses! Thankfully, Hark the Herald Angels Sing continues the casual reverence and able to sing a long feeling of Ella Fitzgerald’s Christmas. This is not a flippant album or a set rushed in the respectfulness, oh no. By contrast, it’s quite time-honored and old-fashioned proper, and yet Ella keeps the notes family friendly rather than formal.

Away in a Manger slows the session down and allows time for Ella’s perfect range.  The sound is big and yet still childlike and full of seasonal sentiment while Joy to the World mixes Ella Fitzgerald’s Christmas up a bit by adding a choir and a fresh arrangement. It’s already a happy, catchy carol and you can’t help but echo in with Ella!  It’s surprising; however, that The First Noel is kept so down low when it could have been a lot bigger for a songstress such as Ella.  Ella Fitzgerald’s Christmas is quiet and peaceful, perfect for a holiday dinner party, yes. But nonetheless, this album is really only an introductory hint of the octaves Ella Fitzgerald is capable of singing. These shorter tracks may allow for seemingly more songs- 13 in total- but it isn’t enough. I want more! More! 1:40? That’s only a sample!

Thankfully, we almost hear all of Ella for Silent Night. This longer session is slow and delicate as this Christmas Eve carol requires, and yet, Ella somehow jazzes it up a bit by accentuating all the special notes with a spiritual quiver. This tune is perhaps the best track on Ella Fitzgerald’s Christmas in terms of showing Ella’s vocal abilities. My favorite carol O Come All Ye Faithful also receives a few big notes from Ella along with church bells and a going caroling family mood.  Although I haven’t heard Sleep, My Little Jesus before Ella, there’s great sway in this soft lullaby. She lingers on each note in a wonderful musical whisper and takes a moment of pause to go deeper into the Reason for the Season.

After all the soft and sweet, Angels We Have Heard on High kicks Ella Fitzgerald’s Christmas up an octave. Her longwinded notes and big sounds are like a one-woman choir.  All Ella’s might and yet, it’s all still so gentle on the ears- as if we’re not supposed to wake the baby in the manger!  Oh Little Town of Bethlehem also plays soft and good, almost like a ballad from a musical. The way Ella accentuates the verses resonates with the power of Broadway but still feels delicate enough for the country church. It sounds disrespectful in describing it, but Ella Fitzgerald’s Christmas is all-good in a good way!

After all of the family friendly somber, We Three Kings gets unexpectedly hip. Instead of the usual, brooding medieval arrangement, there’s a swanky reverence, almost a rock out twist.  You want to shake your hips, get up, and come along with the wise men as God Rest Ye Merry Gentlemen continues the catchy trend. There’s a perfectly Ella rat a tat tat spin, and even though this was a largely quiet and mellow album, Ella Fitzgerald’s Christmas ends on a snappy high note.

Obviously, there’s not a secular tune in sight for Ella Fitzgerald’s Christmas despite the laid back, soft and sophisticated neutral pleasure here. Families looking for a more casual holiday should enjoy the 1960 Ella Wishes You a Swinging Christmas title instead for more seasonally big notes.  Family audiences new and old, longtime Ella fans, or scat newcomers can enjoy the traditional Christmas collection here thanks to the mellow reverence for complete audience balance and appreciation.  Ella Fitzgerald’s Christmas is deliberate and old school classy but refined enough for today’s playlist- with the proof found in multiple download editions and an out of stock wait on Amazon. Now if only it wasn’t so short!

2012- The Year of Bela Lugosi!

Our Bela Lugosi Checklist! 

By Kristin Battestella

2012 has been the season of Bela Lugosi here at I Think, Therefore I Review, so here’s a listing of all our Hungarian Horror Hits conveniently in one post! You're Velcome!

Dracula  /  Dracula (blu-ray review)

Murders in the Rue Morgue

White Zombie

The Death Kiss

The Black Cat

Mark of the Vampire
The Raven
The Invisible Ray

Revolt of the Zombies

Son of Frankenstein
The Human Monster
Ghost of Frankenstein

The Gorilla

The Devil Bat
Black Friday

Invisible Ghost

The Wolf Man

The Corpse Vanishes

The Ape Man

The Return of the Vampire 
Voodoo Man

One Body Too Many

The Body Snatcher

Scared to Death
The Black Sleep

Heroes of Horror
Lugosi: The Dark Prince

Deep Space Nine Season 7

Season 7 Imperfect, but A Fine Deep Space Nine Finale

By Kristin Battestella

At last, we have come to the concluding 7^th Season of Deep Space Nine. Despite a few character changes, questions left unanswered, and some uneasy answers given, this exit will please long time fans of this second Star Trek spin-off.

Benjamin Sisko (Avery Brooks) mourns the loss of Jadzia Dax on Earth with his son Jake (Cirroc Lofton) and questions his very personal relationship with the Bajoran Prophets. Commander Worf (Michael Dorn) also cannot accept his wife’s death and develops a difficult friendship with the Dax symbiont’s new Trill host Ezri (Nicole de Bauer). Ezri, however, is growing closer to Doctor Julian Bashir (Alexander Siddig). Colonel Kira (Nana Visitor) and the Changeling Constable Odo (Rene Auberjonois) struggle with their own romance amid the Dominion War and the shifting loyalties of the Breen, Romulans, and Cardassians as Dukat (Marc Alaimo) makes an ominous pact with the Pah-wraiths.

 “Imagine in the Sand” and “Shadows and Symbols” open this final year nicely with a continuation of the storylines from Season 6 and a touch towards the more mystical and faith-based leading up to the glorious ten-hour outgoing story arc- “Inter Arma Enim Silent Leges” thru “What You Leave Behind.” I’m actually not so sure Gene Roddenberry would have been pleased with the very religious tone in this dénouement- though the references to ministers and gods and good and evil all combine to see Bajor, Cardassia, the Alpha Quadrant and Gamma relations unite in peace and the return to the paradise of Trek as we knew it. The spiritual aspects are not so overt to put off a non-interested viewer, but for those looking for such deepness, Deep Space Nine certainly provides it. “The Siege of AR 558” is also wonderful in summation of DS9’s dark Star Trek brand and what the Dominion War has done.  There’s just enough un-Trek amid what we expect, people losing limbs and dying for what is a supposedly strategic cause, which of course, doesn’t mean very much at all.  It’s a beautiful sentiment accented with lovely touches of James Darren as Vic Fontaine in “Badda Bing, Badda-Bang”- this idea of a not so swanky past’s reflection of hope in this bleak future, as opposed to our Trek, which is often the other way around.  “Covenant” also brings Dukat full circle and turns the ideologies of the Prophets and Pah-Wraiths on their ear. Religion can indeed be done in Star Trek when it’s handled properly. Who knew?

This epic exit is DS9 as it should have always been. Everyone has a lovely final moment amid the great battle action, but there’s still room for humor thanks to “Take Me Out to the Holosuite.” Ferengi resolutions and mirror twists have their hour in “The Emperor’s New Cloak” as well- although the Kira and Ezri kiss teases and Chase Masterson as Leeta innuendo are a bit dumb amid the serious alternate universe conclusions.  Colonel Kira’s new duds and ‘do may take some getting used to, as does seeing Kira and Odo together, but both are on form throughout “Chimera” and “Tacking into the Wind.”  “Inter Arma Enim Silent Leges” also has more Section 31 iffy getting in the way, but it’s too late in the day for that tangent to matter, and ultimately, the unchanged Bashir hampers its overall impact anyway.  Sisko may also be wrapped up too quick and easy amid all the other lingering goodbyes, and of course, the absence of Terry Farrell as Jadzia Dax in flashback scenes and memory montages is apparent. Weird parallels and old references reused from early years also come back in confusing ways in the Inception –esque “Extreme Measures.”  Fortunately, “It’s Only a Paper Moon” does far more in its wonderful moment for Aron Eisenberg as Nog.  Beautiful period atmosphere and family elements with Max Grodenchik reflect against the seemingly so gung ho Kirk idea of Starfleet and the reality of war. Individual episodes such as “Treachery, Faith, and the Great River” no longer feel like filler or tossed away scripts, and “Once More Unto the Breach” ties up all the Klingon loose ends thanks to J.G Hertzler as Martok and John Colicos as Kor. The complete ensemble is represented with well-balanced plots and storylines. Deep Space Nine isn’t fighting to find its footing amid multiple arcs and a full episode order here, and now it’s frickin’ time to go! 

 

Now then, about ‘The Sisko’! Though it is completely fitting for Avery Brooks’ character, I’m not so sure if I want Sisko to have shades of the divine. The brief Benny Russell visions and speculations in “Shadows and Symbols,” however, have wonderful possibilities. Benny, writing on the wall in a fifties cell despite the objections of the Pah-Wraiths on Bajor. It sounds confusing I know, but those familiar with the behind the scenes of Deep Space Nine have perhaps heard of the writers’ thoughts on using the Benny plots and “Far Beyond the Stars” to conclude the series. I, for one, kind of wish they had. I realize some extreme Star Trek fans may have objected to this type of St. Elsewhere Tommy Westphall finale, but the idea that an oppressed minority has created the fantastical society of hope and peace that we know and love to me is totally in the spirit of Star Trek. Is this not what the very genre of science fiction is about? Folks in our technologically obsessed society say we live in such a high tech age that there is nothing left to event. Is this not Star Trek’s goal, to teach us to continue to use our mind, body, and soul in the quest for the highest aspirations? I could go on in great detail, but I don’t want to give too many spoilers! Suffice to say, this timeless, cultural crossing, and racial barrier breaking SF notion indirectly implied by Deep Space Nine is what stands out the most for me in the series.  Well, that and these dang displeasing, barely there, almost background appearances of Jake Sisko. What gives with his whole mishandling? Seriously, there are some situations where he should be much more significant and is absent. So, needless to say, the return to his and Penny Johnson as Kasidy Yates’ familial focus in “What You Leave Behind” seems a little hollow to me in comparison to the over-reaching Benny possibilities.  

Lastly, let me share a few thoughts on the big Dax cast change. Ironically, Jadzia’s death in Year 6 has actually made some character developments better in Deep Space Nine’s final season. Her absence has lingered over the cast and strengthened other characters and relationships. Had the powers that be had an inkling about Ezri Dax sooner, I would have killed Jadzia off a long time ago.  It’s weird how all the men loved Jadzia as if there was no other female interests available, but Ezri is cute and flawed. “Afterimage” and “Prodigal Daughter” are nice in showing a Trill who isn’t happy and has problems with the Symbiont situation. This confusion and us getting to know Ezri as she gets to know herself is refreshing, for we learn more about Ezri than we ever knew about Jadzia.  How can Ezri counsel someone when she is the one in need? Is this a second chance for one couple or a bad romance for the wrong one? Such interesting questions were never brought up by the Jadzia ho hum, but unfortunately, this promise is in a somewhat blasé contrast to all the finality and wrapping up of Year 7. There’s simply too much focus and featuring of Ezri in different relationship dynamics and opportunities in the first half of the season- stunted developments between her and Jake, for example.  I like Ezri lots, but we are winding down with a cast that, in some ways thanks to the uneven early seasons, we hardly knew. So if this cast change couldn’t have happened sooner, it shouldn’t have happened at all. Like the way I have this paragraph at the end of my review, Ezri just seems tacked on at DS9’s last minute. Did we really need her for Deep Space Nine’s ten-part epic conclusion? The sad answer is, no.

Long time fans of Deep Space Nine probably feel this Season 7 is the height of Trekdom, and in many ways, it is. The meaning of Star Trek has been torn apart this series only to build it back up again mightier than before. While there are still a few character inconsistencies and unrealized developments that put a dent in the overall vision, this is most definitely the series’ finest hour.  Unfortunately for newer Star Trek fans or casual science fiction audiences, this Year 7 cannot be taken in by itself. There have been times I wanted to pull my hair out over this show’s uneven handling and often poor approach, and it’s tough to tell audiences you must watch a lot of crap to get to its goods. Can’t they just release DVD sets of only the quality episodes of Deep Space Nine?  And yet, is it worth putting up with some of the filler and annoyances of Seasons 4, 5, and 6 to get to this splendor of Deep Space Nine’s finale? Yes. Yes it %^&# is!

Deep Space Nine Season 6

Deep Space Nine Season 6 is Almost All Glory!

By Kristin Battestella

After getting excited over some of Deep Space Nine’s greatness to only end up disappointed over its filler and meandering ways, loyal viewers of the Star Trek spin off are finally rewarded with all this goodness!

Captain Benjamin Sisko (Avery Brooks) is in the thick of the Dominion War along with Klingons, Cardassians, and even Romulans. Commander Worf (Michael Dorn), however, is planning to marry Jadzia Dax (Terry Farrell). Doctor Julian Bashir (Alexander Sidding) uncovers the mysterious Section 31’s action during the war while Chief Miles O’Brien (Colm Meaney) also takes on missions of a duplicitous nature. Security Constable Odo (Rene Auberjonois), Bajoran Major Kira (Nana Visitor), and Ferengi bartender Quark (Armin Shimerman) must make tough choices while under Dominion occupation, and the Prophets and Pah-Wraiths of Bajor contribute to the fatal decisions.

Every season, DS9 had gems where a viewer hoped it had hit its stride. Back and forth? Again? This is it! Nope. Back peddled here, but yes. Yes. This is good! Make no mistake; the glorious six-part opening of Year 6 is perhaps the best yet. A complete balance and ensemble of action and players each having their moments across the galaxy with fractured battle tales on the Defiant, the station, and on Klingon Birds of Prey.  All the cast and recurring dynamos rise to the occasion. If there had been half as many episodes of Deep Space Nine, but each season had been a mini series arc like this, I’d utterly adore this show!   Unfortunately, I do think the use of The Prophets in “Sacrifice of Angels” to conclude the arc is a bit of damper, literally a dues ex machina cop out.  The viewer should have expected a divine intervention- why wouldn’t The Prophets do something about the war after doing so much for Bajor? However, no one bothers to suggest their help or even acknowledges they should have a role in the Dominion War. Hey, let’s go talk to our alien gods and see what they can do to help! Tossing this out so late in the game is a bit of that DS9 back peddle again. It’s the bane of this series to never quite make up its mind. Amid this hitting of Deep Space’s Nine stride- almost when the series is over!- there are still some clunkers this season. “Resurrection” puts an unnecessary not-Vedik Bareil (Philip Anglim) hitch into the Mirror Universe, and though a lovely little bottle character vignette, “The Sound of her Voice” is too lightweight for a second to last episode of a wartime season.  The finale itself “Tears of the Prophets” also feels a little formulaic and anti-climatic. It’s a bit of a weak cliffhanger after all we’ve just been through. Thankfully, “Who Mourns for Morn?” is a much more delightful reaction episode with a touch of sentimentality.

With the glory that is Avery Brooks as Benjamin Sisko this season, one has to wonder why Deep Space Nine hasn’t been doing exceptional black family history dynamics and race relations science fiction parallels all along. “Far Beyond the Stars” is an exceptional episode, perhaps thee show of the series. To have today’s sci-fi looking back on the foundings of the genre itself in speculation of everything in such a wonderful mind bending way! I want to say more, but shan’t. Likewise, “In the Pale Moonlight” is Sisko showing up to play directly to the camera and facing the point of no return. Andrew Robinson’s Garak is equally up to the challenge as the would-be devil of the episode’s titular quote. Wow. “The Magnificent Ferengi,” by contrast, is a lovely little western stand-off send-up with Armin Shimerman as Quark along with all our favorite guest stars- Jeffrey Combs, Max Grodenchik, Aron Eisenberg, Chase Masterson, Cecily Adams, and even Iggy ^$#&* Pop!  This familiar relief should have followed the heavy opening arc, and the subsequent “Waltz” one-on-one madness with our favorite vile Cardassian, Marc Alaimo as Dukat, is just excellent. Dukat has justified his villainy to the point where it is perfectly reasonable to him.  After “Sons and Daughters,” “Favor the Bold,” and “Sacrifice of Angels,” I’m sorry to see Melanie Smith depart as Ziyal, but the exit of the character and its impact on others is perfect.  And it’s so nice to see Jake again in “Valiant.” It’s a fine chance for Cirroc Lofton to get in on the wartime action and ask critical questions about youth in battle. Perhaps it is a one-off show, but it ties into The Dominion plots and doesn’t provide any easy answers.

Strangely, Colm Meaney and his Chief O’Brien become a bit diminished in the slow undercover “Honor Among Thieves.” It’s a nice debate about subterfuge and sadness, but some of these quiet episodes just get lost amid the heavy glory. “Time’s Orphan” could have been a nice O’Brien family pain show, but it all ends up too easily resolved. Thankfully, “One Little Ship,” is a cute little show.  It’s dangerous and perilous, but a charming, vintage SF concept with a Trek spin. “My Way” is also a swinging good way to get Nana Visitor’s Major Kira and Rene Auberjonois as Odo together thanks to the lovely James Darren as the hip and wise Vic Fontaine hologram. Sure, some fans aren’t going to like the period style or the relationship, but it’s not as weird as the hokey Pah-Wraith effects and irritatingly perfect Louise Fletcher as that pesky Kai Winn in “The Reckoning.”  All our favorite Ferengi do more in “Profit and Lace” with a fun look at women’s rights and gender issues in Ferengi society. It isn’t too farcical or heavy-handed but makes a good little statement and science fiction amalgam. And who knew we’d finally see something of Julian Bashir in “Inquisition.”  Is this the first time we see his quarters? You can’t really know someone when we haven’t gone home with him. Unfortunately, I’m not entirely pleased about the advent of the shadowy Section 31. One may not prefer Vic Fontaine’s tunes or like Kira and Odo as a couple, but the creation of Section 31 is another deal breaker that will have viewers throw their arms in the air. One wouldn’t need to create the subterfuge and undermining of all the Starfleet that we know and love if you consistently create solid characters dealing with dilemmas within themselves as in “In the Pale Moonlight.” I’m surprised they continued to use the Section 31 angles over the much more refined Benny elements from “Far Beyond the Stars”- but there’s more of that in the seventh and final season.

Likewise, the ball is still dropped regarding Michael Dorn’s relocated Worf and his new wife, the departing Terry Farrell as Jadzia Dax.  “You Are Cordially Invited” is Klingon fun, but the treatment of Marc Worden as Alexander is iffy. I don’t know why the writers felt the need to essentially write out familial relationships for Worf and O’Brien- even Jake and Sisko are reduced along with Penny Johnson as Kasidy Yates family-wise.  Of course, Jadzia is also still a waste, complaining that she actually has some sort of cryptic deciphering Science Officer stuff to do right up to the end. Why create the Worf as parent possibility when you are writing out his son on top of Jadzia’s imminent departure? The baby bonding with Worf is laid on too bittersweet. You can’t appreciate the dearly departed sentiment on the first viewing. It has to grow on you; otherwise, the characters just feel so ho-hum. These developments make no sense, and the opportunity for Sisko and O’Brien to have fatherly bonding time is relegated to brief B storyline moments. Both a lot of big things and too many little things happen in the “Tears of the Prophets” finale-  the invasion of Cardassia, and spoilers to no one, the death of Jadzia.  It’s all depressing, with the rest of the episode feeling more like time filler. You shouldn’t conclude such an awesome season on many little points when you have big exclamation points in the balance.  Is it over? Is that all? Invasions and death- shouldn’t this be heavier? Deep Space Nine may have ended right here, and after all of Season 6’s glory, no one would have noticed. Once again, the series’ nagging built-in pitfalls hamper an otherwise fine year.

It’s ironic. Again, the full length of the season creates this very need for filler and a stretching of the goodness too thin. Having no money for meaty episodes requires individual and bottle shows that detract and take away from the heavy, dark, and battle driven ensemble.  Had there been less shows, the production could have ponied up for the action and stars the story needed to be its complete seamless tapestry. Goodness, six seasons of Deep Space Nine and I still feel like this leg of Trek is only half good thanks to such unevenness.  Were DS9 on television today and one randomly tuned in to a crappy episode, it would be very easy to pass on the entire show. As opposed to The Next Generation before it, where from late in Season 2 straight thru Season 6 almost every episode is a solid, memorable adventure that can be viewed time and again.  Audiences can’t judge all of Highlander: The Series by its weaker first season or woeful last season- Years 3, 4, and 5 are day in and day out dynamite. With Deep Space Nine, however, you have the First and Second Season stinkers, the developmental debut feeling in Year 3, then the same half greatness in Seasons 4 and 5 before this shared glory in Year 6.  Where are we to define this series’ overall flawed presentation? With one year remaining, it feels like DS9 never lives up to its potential. How can one claim this is the best Star Trek incarnation when its very persona feels based upon uneven fluff logistics and time wasters?   Cut the seasons in half, give us fully developed arching greatness, and we can talk about the exceptional merits of Deep Space Nine. Season 6 proves it can be done, so ignore the quibbles and go for the glory this year while it lasts.

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.