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Monday, October 7, 2013

Maniacal Movie Poster Monday #136!

Theme Week!
 
Italian horror!







Baron Blood  (American International Pictures, 1972)



I haven't seen this Italian movie - but AIP wasted no time bringing it over to the States - it opened in February 1972 in its native land and was on American screens eight months later in October!








Revenge of the Dead  (Motion Picture Marketing, 1985)


Originally titled "Zeder" - this is more a supernatural thriller about bringing the dead back to life than it is a zombie apocalypse flick as the American poster seems to suggest. It was released in 1983 in Italy, and made it over the seas by early 1985. I haven't seen it.







Suspiria  (International Classics, Inc., 1977)



Now this one I have seen - one of my very favorites from director Dario Argento! Jessica Harper goes to Italy to study dance, and runs afoul of a deadly supernatural force in Rome. Spooky and with atmosphere to spare - which more than makes up for a certain lack of cohesive story. A must see for all horror fans!










Until tomorrow's post, you Can Poke Me With A Fork, Cause I Am Outta Here!

Sunday, October 6, 2013

Castle Carnage!

13 Ghosts (Allied Artists, 1960)











Before the Camera:


Charles Herbert (The Fly '58 - he's the kid!)
Jo Morrow (The 3 Worlds of Gulliver)
Martin Milner (TV's Adam 12)
Rosemary DeCamp (Yankee Doodle Dandy)
Donald Woods (The Beast from 20,000 Fathoms)
John Van Dreelen (Sex Kittens Go to College)
and
Margaret Hamilton (The Wicked Witch of the West herself!)
as
Elaine Zacharides





Behind the Camera:


Produced and Directed by William Castle

Written by Robb White


Much has been written about producer/director William Castle - the Movie Gimmicks Master  From insurance policies against dying of fright to seats wired to tingle the backside, William Castle could sell a movie like no other filmmaker. He opens this movie too, sitting in a cool office set and explaining his new process Illusion-O and how to use the Ghost Viewer you got coming in to the theater. (More on that later)
For the story, Castle again turned to his frequent writer Robb White, who cobbled up a story of the Zorba family. White must have been getting his kicks where he could find them at this point - get the monikers on this bunch: dad Cyrus (Woods), mom Hilda (DeCamp), daughter Medea (Morrow), and son Buck (top billed Herbert - a very popular child star of the time who obviously had some canny agents and managers). Cyrus is a paleontologist at the local university who apparently makes bupkus at his job; as the film opens he takes a call from Hilda who is letting him know the furniture is being repossessed. Again. (And not by the ghosts. They show up later.) After getting a tush pinch from one of the repo men, (!) Hilda is ready to throw in the towel. Cyrus comes home to his empty house to commiserate, just as a telegram is delivered (luucky!) that lets the Zorbas know they have just inherited a house from Cyrus's eccentric uncle Plato Zorba (and the names keep coming!)
The family meets Uncle Plato's lawyer Benjamen Rush (Milner) (and yes, it's spelled Benjamen) who passes over the deed, tsk tsk tsking. With a little prompting, Ben advises that Plato had spent his life hunting down and capturing ghosts, which he kept trapped, and that "they come with the house." Eleven of them, to be exact. Ben also passes over a small wooden chest, which at first appears to be some kind of futuristic self contained central air conditioning system, because every time the lid is lifted, winds kick up and blow around the room. But no, it's actually the receptacle for a very special pair of glasses Uncle Plato had made up that allow the wearer to see his ghosts. The Zorbas give Ben the raspberry, disbelieving all this nonsense. Then they get to the place and meet the housekeeper and it turns out to be the freaking Wicked Witch of the West (!) and they believe every word.

Margaret Hamilton. In between terrorizing Oz
and shilling for Maxwell House coffee she
earned a doctorate in Disapproving Glares.

    Shortly thereafter, the family messes with the Ouija board they find, and get a couple of creepy messages that predict ghostly ill will toward the family and especially daughter Medea. You would think about this time the family would just pick up and go, but no, screenwriter White throws in a cockamamie contractual obligation that the family MUST stay in the house or lose it to the state, which plans to raze the place and make the land into a park. So burdened, they settle in for the long haul. Soon everyone in the family is taking turns popping on the ghost viewer and seeing the ghosts; some of whom are actually creepy - the burning skeleton - and some of whom are kind of silly - the headless lion tamer and his spectral lion pal - yeah, I get that the guy died when the lion bit his head off, but what killed the lion? Cheap shampoo? It also turns out there are twelve ghosts in the house as good ol' Uncle Plato starts to make his ectoplasmic presence felt. The final twist comes when the family discovers Uncle Plato converted all of his riches into cash which is hidden somewhere in the house and someone solid and earthbound is willing to kill to get that money. And just what is the mystery of that thirteenth ghost?



The family that Ouijas together, gets threatened by ghosts together.


    Quite simply, there is nothing like a William Castle movie. His films could be by turns fun, silly, clever, creepy, cheesy, over-the-top, and at times even genuinely frightening. What makes this flick one of the best to watch today is that you can still experience Illusion-O. (My used DVD was missing the ghost viewers, but a standard pair of red/blue 3-D glasses work too). It's doubtful you'll ever view The Tingler with a wired up "Percepto" theater seat, or watch "Emergo" send a skeleton flying over your head during The House on Haunted Hill; but you can take the Fright Break during Homicidal; you can vote on Mr. Sardonicus's final fate, and you can see the ghosts (look through the red lens) or not see the ghosts (sorta, when you look through the blue lens - they're still fairly visible) in this movie. It's funny, because in his opening bit Castle instructs you to put on the glasses when the screen turns blue. Okay, no problem there. But then he instructs you to take the viewer away from your eyes when the screen loses the blue tint. But looking through the viewer, red or blue, precludes you being able to see the screen changing back to black and white, so they gave up and simply told you what to do and when:





    Of course, any movie that throws instructions at you in subtitles is not meant to be taken too seriously, and that's definitely the case here. The cast is pretty good playing the all American family with weird names, and it's great to see the familiar TV face of Milner out of his police uniform; but really, it's all about Margaret Hamilton, Castle's greatest bit of stunt casting ever. It is so awesome to see her running around doing her creepy shtick, and even better, the script runs with the joke and has the family call her a witch several times and they even get in a broom joke! Friends and neighbors, it does not get better than that!
This is the kind of scary movie the whole family can enjoy, with enough scary moments to make it fun for kids but no graphic violence, nudity or profanity; and the silly bits lend themselves to a little MST3K-ing for the older kids and adults. It would be perfect Halloween viewing with or without ghost viewers, and it gets a high recommendation from me so track it down and check it out!






Let's Get Out of Here ?

At around 40:00, Rosemary DeCamp is ready to go after a particularly harrowing ghost encounter, prompting Donald Woods to tell her about their contractual obligation to stay and count all the ghosts.






Eye Candy ?

Although she is cute, I'm afraid Jo Morrow just stays too wholesome in her sweaters and long skirts to qualify. Sorry Jo.








Buddha Man sez:

"13 Ghosts shows once again that Castle is King!"










Thank you Buddha Man! Until tomorrow and a dose of posters - you Can Poke Me With A Ouija Board, Cause I Am Outta Here!

Saturday, October 5, 2013

Saturday Night at the Movies 10/5/13!

Who cares what picture we see?



Tawny Moyer absolutely does. She told me so! So, it must truly be this one:











It was thrilling to get to see this one in the theaters - I was a huge fan of the original and had spent the intervening three years reading the novelization of the first movie and acting it out verbally for all my friends who hadn't gotten to go see it.



I liked this movie - it was not the equal of the original - but I thought it rocked - I still do. I have this on that Blu-Ray tagged at the beginning of the trailer - and we could be watching this at any time - even tonight, if you cared to come by and check it out with me!


And here's a prized possession from the Wall of Fame - I've crushed on her for decades - and she was nice enough to send me a little something:






Until tomorrow, you Can Poke Me With A Fork, Cause I Am Outta Here!

Friday, October 4, 2013

The Video Vault of Mora Tau 10/4/13!

Let's get some cool video cooking in this Halloween Post-a-Thon!




It's time for the two First Families of Fright from 1960's TV!
















I dearly love both of these shows!









Until the next post, roughly 24 hours from now - you Can Poke Me With A Fork, Cause I Am Outta Here!

Thursday, October 3, 2013

Buddhaween!

Buddha Man takes over with a quick review - have at it, golden lad!










The Devil Within Her (The Rank Organisation, 1975) A solid British cast does their damnedest to put this Satanic horror flick over. Joan Collins (TV's Dynasty) plays an ex stripper about to have a baby with new husband Gino - Ralph Bates (Dr. Jekyll and Sister Hyde). We open in the delivery room as the doctor ("guest star" Donald Pleasence - Halloween '78) has issues getting the baby out, intoning "this one doesn't want to be born!" (which echoes the film's British title I Don't Want to Be Born!) But Dr. Don's persistent and he soon yanks the 12 lb (!) chugger into the world. But there's something strange about the baby...mom and dad are uneasy around him...his visitors find themselves scratched and bleeding when they get too close...things in his room move around, almost as if he was getting out of his crib... Finally Joan confides to best friend Caroline Munro (The Spy Who Loved Me) that she fears the baby might be possessed...by the DEVIL!

{cue flashback}

A few months earlier, we discover that for some reason Joan's stripper act consisted of her not getting naked onstage and hanging out with a dwarf named Hercules (George Claydon - a former Oompa Loompa!). Joan had incredible popularity in her job, because there's nothing a man likes seeing in his strip show better than a clothed stripper cavorting with a little man. Despite this, Joan is giving up the job, as she has recently married and gotten knocked up - and never you mind in which order. Backstage after her last performance, Joan gets in that one scene from all of her 70's pictures where she briefly runs around in lingerie with a garter belt and black thigh highs (despite that underwear not featuring in the stripper outfit of the previous scene or the street clothes in the next). Hercules joins her and decides this would be a good time to make a move on ol' Joan, you know, after she's wed and pregnant. Weirdly, she turns him down, prompting a big rage from the little man, who then bellows a curse on her unborn child, which promptly works. Too bad he didn't ask for lots of money, or something perhaps more positive to his life...

{end flashback}

    Now the baby gives everybody the heebie-jeebies, including his nanny (Hilary Mason - Dolls), and Gino's sister (Eileen Atkins - Gosford Park), who's also a sister. Nun, that is. And then people start to die; first in what seem to be mysterious accidents, later in full on hunt-and-kill murders involving gardening tools, ropes, and blades. Can anyone get this kid some exorcize?



Joan Collins and Eileen Atkins look over the damage inflicted by
Joan's baby, which Atkins is nun too pleased about. She just hopes
he won't make a habit of it.

Actually, that whole "devil" thing is a tiny bit misleading despite the American title. Because although he invokes Ol' Scratch in his curse - the whole magilla can be blamed on Hercules, as the climax makes very clear. On paper, this seems like it could have been a fairly serious and possibly scary little flick. What ended up on screen is a supremely silly 70's shocker about a baby possessed by a petulant and murderous dwarf. Kudos to every single member of the cast for playing it 100% straight, which makes this flick as watchable as it is. It's crazy goofy, but if all of the actors had been winking and nudging throughout it would have grown completely tiresome rather quickly. It is a good cast too, from the familiar faces of Collins, Bates, Munro and Pleasence (in the movie a good deal for a "guest star") to the lesser lights among the British cast. But it is that quartet who bring this one over the finish line: Collins chews the scenery in her inimitable style; Bates amuses with his weird Italian accent (or is he dubbed?); Munro is gorgeous (of course) and most welcome, and Pleasence lends his usual authority and gets the best and most graphic death scene. Then there's the Baby. He's only shown staring up out of the crib 95% of the time, but the shots are edited well and he does have a (slight) air of menace. Less successful are Joan's visions of the baby turning into Hercules briefly, as the shots of Claydon swaddled in the baby's blankets and leering are pretty damned silly. Thankfully, they never once try to show the baby out of the crib wielding any of the weapons he uses, because that might just have killed me with laughter. Instead, the little tyke's always just offscreen. But you know he's there, a tiny baby swinging a shovel or tying a noose, so it's still pretty funny. So I can't say it's a good movie, but I was thoroughly entertained by it. If it sounds good, maybe you would be too, so give it a look!





Thank you Buddha Man! Until tomorrow's post, you Can Poke Me With A Fork, Cause I Am Outta Here!

Wednesday, October 2, 2013

PSA A Go Go 10/2/13!

For the second day of this Halloween Horrorfest - artist Rob Kelly and I are bringing you some public service - and we'll form it as an announcement...






And those two gentlemen are experts in the matter - in 3-D, even!







Until next post, which will be tomorrow - you Can Poke Me With A Fork, Cause I Am Outta Here!

Tuesday, October 1, 2013

Halloween Horrorfest IV Begins!

Cult of the Cobra  (Universal International, 1955)







Before the Camera:

Faith Domergue (This Island Earth),
Richard Long (TV's Nanny and the Professor)
Marshall Thompson (Fiend Without a Face)
Kathleen Hughes (It Came from Outer Space)
David Janssen (The Fugitive himself!)
and
Jack Kelly (Bart Maverick himself!)


Behind the Camera:

Directed by Francis Lyon

Produced by Howard Pine

Written by Jerry Davis, Cecil Maiden, and Richard Collins





In the 1950's, Universal Studios had their last great run at the science fiction, fantasy, and horror pictures they'd been pwning since the monumental releases of Dracula and Frankenstein in 1931. They had zipped through the previous decade mainly cranking out sequels starring different conglomerations of their famed Universal Studios Monsters, but those horror worthies were relegated to facing off against Abbott and Costello by the end of the decade. Universal rather admirably turned to a series of new monsters, and while some of them were a little out there (The Monolith Monsters, anyone?) having all new beasties to marvel at was probably more exciting than a ninth or tenth entry on the Frankenstein monster's resume' would have been.
 
 
The story here gives us six servicemen stationed in Asia in 1945, looking for kicks as World War II nears its end. They hear tell of a local cult who worship snakes and are even legendarily able to transform into snakes. One well placed bribe later, the sextet find themselves duded up in robes and watching one of the cult's rituals, warned to keep a low profile or face possible death. The ritual itself seems to consist more of variety show dancing than snake transformations, but finally there is a snake on a string that comes out of the same woven basket a woman crawled into. It's not much different than a bad Las Vegas magic show, but that doesn't stop the dumbest member of the group whipping out his trusty camera, which of course is the size of a lunch box and is equipped with a giant flash bulb.
 
 
Flash! Sure enough, this causes no end of consternation among the cultists, and the film's biggest surprise occurs when the boys are summarily cursed by none other than the Chief of Control himself.
 

"What do you mean uncredited? I'm Ed Platt, dammit!"
 


    One guy runs a bit faster than the others, and he is soon after found snakebit outside the cult clubhouse. Luckily this doesn't kill him, but a second run-in with a snaky shadow in his hospital room sends him to the Great Beyond. Wow, that's just like what Ed Platt said, but the rest of the boys have to get packed to head home, so la-de-da.


Back in America, the guys go about getting back to their lives, with Long and Thompson rooming with each other heterosexually and fighting over the winsome Julia (Hughes). Then just as Julia decides to go Long, Domergue shows up as a mystery woman and new girlfriend for Thompson, and shortly after, the boys start to find themselves facing off against that same snaky shadow, now backed up with low level snake-eye camera shots. Although the deaths seem to be accidents (car crash, fall off a balcony) only Long notices the bite marks seeping deadly cobra venom...
 
 
What is Domergue's secret, and will Long be able to convince Thompson she's not what she seems? Or will Thompson assume Long is just c-blocking him again after winning over Julia? The answers await those brave enough to face...The Cult of the Cobra!


This is what James Garner might have seen if he'd had astigmatism.


This is not a bad little flick, helped immensely by the presence of familiar faces like Long, Kelly, and Janssen. Top billed Domergue is okay, a little too conflicted in her mission perhaps - it might have been more fun if she took more evil delight in her misdeeds, but that's a quibble. The movie is also a little light on monster action, as we only get a few shots of that String Cobra, er, I mean, King Cobra, in action, mainly making do with the aforementioned snake shadow and snake-eye camera. But it's fun in that 1950's horror flick way, with almost nobody working any kind of visible job - Hughes is in some kind of show, and Janssen runs a bowling alley back in the states, but the rest just hang out, drinking and smoking and not worrying about death curses. For that alone, this one gets a recommendation, just keep the anti snake venom serum handy!




Let's Get Out of Here ?
 
Around the 15:00 minute mark, Marshall Thompson advises Richard Long to drop the basket so they can vacate the area to avoid further encounters with angry snake cultists.






Eye Candy ?

Kathleen Hughes qualifies for the list in all her slender blonde glory.









Buddha Man sez:
"Cult of the Cobra may be a little slow, but I've seen worse
movies. This WEEK!"






Thank you Mr. Man. Until tomorrow, you Can Poke Me With A Fork, Cause I Am Outta Here!