IN THE SPOOKLIGHT: THE CURSE OF THE FLY (1965)

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the curse of the fly poster

THE CURSE OF THE FLY (1965), the third movie in the original “FLY” series, is the odd duck of the FLY family.

First of all, the monster known as “the Fly,” that human-fly hybrid with the hideous fly head atop a man’s body does not appear in this film. Second, neither does Vincent Price who starred in the first two films. And third, whereas the first two movies were American productions, this one hails from the UK.

As a kid, I never liked this movie for the simple reason that the “Fly” did not appear in it. But don’t let that major omission fool you, because at the end of the day, THE CURSE OF THE FLY is a well-written horror story that has a lot of things going for it, which is a rarity, because usually by the time you get to the third film in a series, there’s a lot of repetition.  Not so here. THE CURSE OF THE FLY pretty much stands on its own.

The original THE FLY (1958) was about a scientist Andre Delambre (David Hedison) whose experiments with a teleportation machine went awry when unbeknownst to him a fly got trapped inside the device with him, and during the transport. their genes were spliced together, and what emerged from the machine was a monster with a fly’s head on a man’s body.

The sequel RETURN OF THE FLY (1959) followed Andre’s adult son Philippe (Brett Halsey) as he continued his father’s experiments, and he too had fly trouble and was also transformed into a fly monster. Vincent Price appeared in both films as Francois Delambre, Andre’s brother and Philippe’s uncle. Strangely, in spite of Price’s star power, his roles in these two FLY movies were simply supporting ones.

In THE CURSE OF THE FLY, we meet yet another son of Andre’s, Henri Delambre (Brian Donlevy) who with his two adult sons continues to work on saving the Delabmre legacy by continuing to tinker with the teleportation machines. At least these folks are careful and make sure there aren’t any flies in the machines with them. So, while there is no fly monster in this movie, there are mutants. See, in spite of all this tinkering, the Delambres still have not perfected the technology, and the mutants are all the victims of their experiments. The Delambres keep them locked in secret rooms on their property.

THE CURSE OF THE FLY is mostly about Henri’s son Martin (George Baker) who in spite of his father’s dedication to the cause wants out of the family business.  Good thinking there, Martin!  Instead of helping his dad, Martin decides to get married, and he surprises his father when he returns home with his new bride, the lovely Patricia Stanley (Carole Gray.)  Henri believes this is a bad idea, having a stranger on the property when they’re conducting their experiments, but once he meets Patricia, he changes his mind and welcomes her into their home.

But unbeknownst to both of them, Patricia has escaped from a mental institution, and this is why THE CURSE OF THE FLY is such an interesting movie. It has a really neat story. In fact, the film opens with Patricia running aimlessly along a dark road where she is almost hit by a car driven by Martin. Yep, this is how the two of these characters meet, and shortly thereafter, they fall in love and get married. For Martin, it’s all part of his getting away from his dad, and for Patricia, it’s about her getting away from the institution.

And later, when she begins to see strange things at the house, like the mutants, she begins to wonder if she’s going crazy again. So really, even more so than the Delambres, THE CURSE OF THE FLY is about Patricia and pretty much follows her story arc.

THE CURSE OF THE FLY was directed by Don Sharp, who directed a few Hammer Films, including their highly regarded THE KISS OF THE VAMPIRE (1963), Hammer’s follow-up to THE BRIDES OF DRACULA (1960). Sharp also directed the first two Christopher Lee Fu Manchu movies, THE FACE OF FU MANCHU (1965) and THE BRIDES OF FU MANCHU (1966).

Sharp gives THE CURSE OF THE FLY a definite British feel. It’s creepy throughout, and its black and white photography only adds to the mood.

And that’s easy to do here because THE CURSE OF THE FLY has a strong screenplay by Harry Spalding. The story is believable and the dialogue matter-of-fact and realistic, and I love the dueling story arcs.  You have Patricia’s story on the one hand crossing paths with the whole Delambre plot.  It’s really a neat story.

Carole Gray is convincing as Patricia, the young woman with mental issues who finds herself living in a house with people conducting strange experiments.  Gray also starred in the thrilling science fiction movie ISLAND OF TERROR (1966), which was directed by Terence Fisher and starred Peter Cushing.

George Baker is just as good as Martin Delambre.

Brian Donlevy, who enjoyed a long career spanning four decades, and who starred in two early Hammer movies, THE QUATERMASS EXPERIMENT (1955) and ENEMY FROM SPACE (1957) gets top billing here.

While there are no “monsters” in this one, there’s lots of creepiness, making THE CURSE OF THE FLY a worthy entry in the FLY series.

Summer time is almost here. So the next time you grab the mustard and curse the fly you’re swatting off your hot dog, think of poor Patricia, living in a house with mad scientists and mutants, in the nightmare world of THE CURSE OF THE FLY.

—END—

 

 

 

 

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LEADING LADIES: BARBARA SHELLEY

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barbara shelley - dracula prince of darkness

Barbara Shelley in DRACULA – PRINCE OF DARKNESS (1966).

Welcome back to LEADING LADIES, that column where we look at lead actresses in horror movies.

Up today it’s Barbara Shelley, a woman whose talent and beauty adorned some of Hammer Films’ best shockers.  Of course, Shelley starred in more than just Hammer horror movies, appearing in all sorts of movies and TV shows as well.  Here’s a partial look at her long and successful career, focusing mostly on her horror films:

MAN IN HIDING (1953) – Barbara Shelley’s first screen credit, under her real name, as Barbara Kowin, in this British whodunit murder mystery starring Paul Henreid and Lois Maxwell.

BALLATA TRAGICA (1954) – Betty Mason- Shelley’s first credit as Barbara Shelley in this Italian crime drama.

CAT GIRL (1957) – Leonora Johnson- Shelley’s first horror movie, a variation of the more famous CAT PEOPLE (1942), where she plays a young woman affected by a family curse that warns she will turn into a murderous leopard when angered.  Some girls have all the fun.

BLOOD OF THE VAMPIRE (1958) – Madeleine –  One of my favorite Barbara Shelley movies, this atmospheric horror movie about a mad scientist named Dr. Callistratus (Donald Wolfit) conducting strange blood experiments in a creepy prison is a subtle exercise in “thinking man’s horror.”  It looks and plays like a Hammer Film, but it’s not, but it was written by Jimmy Sangster, who wrote some of Hammer’s best shockers.

VILLAGE OF THE DAMNED (1960) – Anthea Zellaby – Probably my favorite Barbara Shelley movie, this science fiction classic about the strange children with the glowing eyes is one of the best science fiction horror movies ever made.  Also stars George Sanders, Michael Gwynn, and Laurence Naismith.

THE SHADOW OF THE CAT (1961) – Beth Venable – Shelley’s first Hammer Film, another cat tale involving murder and the supernatural. Also starring Andre Morrell and Freda Jackson.

THE SAINT (1962) – Valerie North – appeared in the episode “The Covetous Headsman” of this classic TV show starring Roger Moore.

THE GORGON (1964) – Carla Hoffman- co-stars with Peter Cushing and Christopher Lee in this Hammer shocker that is topnotch throughout except for an ending that exposes some very weak special effects when the titlular monster is finally shown on screen. Major role for Shelley, as her character is integral to the plot. Directed by Hammer’s best director, Terence Fisher.

THE MAN FROM U.N.C.L.E (1965) – Bryn Watson – starred in the episode “The Odd Man Affair” of this classic secret agent TV show starring Robert Vaughn and David McCallum.

DRACULA- PRINCE OF DARKNESS (1966) – Helen Kent – Becomes Dracula’s victim in this excellent Hammer Dracula movie, the first direct sequel to HORROR OF DRACULA (1958) with Christopher Lee reprising his role as Dracula once again. Also starring Andrew Keir, Francis Matthews, Suzan Farmer, Thorley Walters, and Philip Latham. Directed by Terence Fisher.

RASPUTIN: THE MAD MONK (1966) – Sonia – Reunited with DRACULA-PRINCE OF DARKNESS co-stars Christopher Lee, Francis Matthews, and Suzan Farmer in this Hammer Film which also used the same sets from that DRACULA sequel.

THE AVENGERS (1961-1967) – Venus/Susan Summers – “From Venus With Love” (1967)/ “Dragonsfield” (1961)- Two appearances on the spy TV series starring Patrick Macnee.

FIVE MILLION YEARS TO EARTH (1967)- Barbara Judd – Classic Hammer science fiction movie, part of their Quatermass series, originally titled QUATERMASS AND THE PIT. Stars Andrew Keir as Professor Quatermass.  This one’s got an impressive mystery and tells a neat story.  Also starring James Donald and Julian Glover.

GHOST STORY (1974) – Matron – Haunted house tale not to be confused with Peter Straub’s novel or the 1981 film based on Straub’s novel. Shelley’s final performance in a theatrical release.

DOCTOR WHO (1984) – Sorasta – appeared in the four part episode “Planet of Fire” of this classic science fiction TV show.  Peter Davison played the Doctor.

UNCLE SILAS (1989) – Cousin Monica – Barbara Shelley’s final screen credit to date in this horror TV mini-series starring Peter O’Toole as the mysterioius Uncle Silas.

Barbara Shelley was born on February 13, 1932.  She is currently retired from acting.

 

I hope you enjoyed this partial look at the career of actress Barbara Shelley, one of the more influential actresses from 1950s-1960s British horror cinema.

Join me again next time when we look at the career of another actress in horror cinema in the next edition of LEADING LADIES.

Thanks for reading!

—-Michael

 

 

Movie Lists: The STAR WARS movies

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Empire Strikes Back poster

Welcome back to the MOVIE LIST column, where we look at lists pertaining to the movies.

Up today, the STAR WARS franchise.  Yep, with the latest STAR WARS film STAR WARS: THE LAST JEDI (2017) set to hit theaters today, December 14, 2017, here’s a look at how the previous films in the series rank:

  1. THE EMPIRE STRIKES BACK (1980)

For my money, this first STAR WARS sequel is the best of the lot.  Following upon the heels of the original, EMPIRE is darker, bolder, and more innovative and exciting than its predecessor. All three leads- Mark Hamill, Harrison Ford, and Carrie Fisher grew into their roles here, and much more is revealed about one of the screen’s greatest villains, Darth Vader (David Prowse, with James Earl Jones providing the voice).  John Williams’ iconic Darth Vader theme, the Imperial March, is introduced here, making it hard to believe it didn’t exist in the first movie.

In a brilliant stroke, to keep things fresh, George Lucas stepped out of the director’s chair in favor of Irvin Kershner, something Lucas would stumble over in the second trilogy with his ill-fated decision to direct all three films.  EMPIRE also has the best script in the series, written by Leigh Brackett and Lawrence Kasdan.  Before ROGUE ONE came along, EMPIRE had the darkest ending in the series, with its now infamous reveal about the relationship between Luke Skywalker and Darth Vader.  Also the film that introduced Yoda.

Star Wars poster

2. STAR WARS (1977)

The movie that started it all.  I still remember when this one first hit the theaters, back in the summer of 1977.  When I saw this on the big screen that summer at the age of 13, I was blown away. Having grown up watching STAR TREK and LOST IN SPACE on TV, I had never seen such amazing special effects before.

Instantly drawn into the story of Luke Skywalker, Princess Leia, and Han Solo, I was along for the ride from the get-go, and I still haven’t forgotten the awe and wonder I felt entering the strange alien worlds and spaceship of this ultra imaginative movie.  Also featured my all-time favorite actor, Peter Cushing, playing the villain, Grand Moff Tarkin, which gave me the second opportunity to see Cushing on the big screen, the first being the inferior Amicus adventure AT THE EARTH’S CORE (1976).

Rousing iconic score by John Williams, and brilliant directing by George Lucas make this one a classic for the ages.  It’s now called STAR WARS: EPISODE IV: A NEW HOPE to fit in with the entire trilogy, but back in the day when it first came out, it was just STAR WARS, and rightly so.

3. STAR WARS: THE FORCE AWAKENS (2015)

After a sub par and inferior second trilogy, STAR WARS returned to the top with this energetic and exciting new entry by writer/director J.J. Abrams, who earlier achieved similar success with his excellent STAR TREK reboots.  The spirit of STAR WARS seemed to be missing in the previous trilogy, but it’s back and stronger than ever here.

With the return of familiar characters like Han Solo, Chewbacca, and Princess Leia, and newcomers like Rey (Daisy Ridley) and Finn (John Boyega), this sequel which takes place thirty years after the events of RETURN OF THE JEDI, completely recaptures the magic of the original STAR WARS movies.  My only gripe is that Luke Skywalker (Mark Hamill) doesn’t appear until the very end.

rogue one poster

4. ROGUE ONE – A STAR WARS STORY (2016)

The first stand-alone STAR WARS movie was a mixed bag for me the first time around.  I thought the film did a poor job with character development which was a major deal here since the film contains nearly all new characters.  But I liked this one much better upon a second viewing.  Its story, the tale of how the rebels stole the Death Star plans used by Luke Skywalker and the rebels in the original STAR WARS film, is a good one, and it even addresses the long-standing joke of how inept the Empire must have been to have built the Death Star with a glaring weakness that the rebels could expose so easily.  ROGUE ONE makes it clear that this supposed weakness was not by accident.

Excellent storytelling gets better as the movie goes along as it moves towards its powerhouse finale, the darkest by far in the entire series.  Also notable for its sometimes impressive CGI re-creation of Peter Cushing playing Grand Moff Tarkin.  On the big screen, I thought he looked cartoonish, but at home on my TV screen he looked a bit more genuine.

 

5. STAR WARS: EPISODE III: REVENGE OF THE SITH (2005)

I am really not a fan of this second series, but I do like the third and final film in which we learn how Anakin Skywalker becomes Darth Vader.  Part of the problem with this series is it’s a prequel. Another part is that it simply takes too long to tell its story.  The three movie arc was unnecessary.  Had REVENGE OF THE SITH been a standalone film, it would have been better received.

Other problems with this series: a lack of imagination and fun.  They are about as cold and lifeless as one can get in a supposed adventurous science fiction fantasy tale.  They also feature a stoic unimaginative actor in the lead as young Anakin, Hayden Christensen.

But I do like this third film, mostly because it succeeds in convincingly telling its tale of just why Anakin Skywalker chose the Dark Side in the first place.  In short, the Jedi were jerks to him, while the Emperor filled his head with flattery.  Most of the film is uneven, but the final reel is the best part and well worth the wait.

 

6. STAR WARS: EPISODE II: ATTACK OF THE CLONES (2002)

Completely unnecessary movie in the STAR WARS canon, notable mostly for Christopher Lee’s presence as Count Dooku, and Natalie Portman’s portrayal of the increasingly tragic Padme.

 

7. RETURN OF THE JEDI (1983)

I know, a lot of people love this one, but I’ve disliked it since I first saw it at the theater.  Following the masterful EMPIRE STRIKES BACK, JEDI is clunky in its story telling, struggles with pacing, and doesn’t come close to capturing the awe and magic of the first two movies.  When the film should have been reaching new heights in its tale of light vs. dark, it instead reverts to cutesiness, introducing us to huggable Ewoks, who do nothing but take away valuable screen time from Luke and Darth Vader.

star-wars-phantom-menace-darth maul

Darth Maul, one of the few good things about THE PHANTOM MENACE (1999).

8. STAR WARS: EPISODE I: THE PHANTOM MENACE (1999)

My least favorite of the series.  Did we really need an entire movie about Anakin Skywalker’s life as a little boy?  In a word, no.

Notable for Liam Neeson’s presence as Qui-Gon Jinn, and the very cool villain Darth Maul.  Yep, Qui-Gon and Darth Maul are by far the two best characters in this movie, and they are both promptly killed off.  Shows you how good this movie is.

And there you have it.  A quick take on the STAR WARS movies.  I’ll be sure to update this list shortly to include the latest movie, STAR WARS: THE LAST JEDI (2017).

Until then, thanks for reading!

—Michael

IN THE SPOOKLIGHT: THE BRIDES OF DRACULA (1960)

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BridesofDracula_poster

THE BRIDES OF DRACULA (1960), Hammer Films’ second vampire movie, is so steeped in rich atmosphere you can almost feel the Transylvanian mist on your flesh.

It also ranks as one of the best vampire films ever made.

THE BRIDES OF DRACULA tells the story of young Marianne (Yvonne Monlaur) on her way to the Lang Academy at Badstein where she is to be a teacher.  Unfortunately, before arriving at the school, she spends the night at the Chateau Meinster where she meets the young dashing Baron Meinster (David Peel) who happens to be a vampire.

Doctor Van Helsing (Peter Cushing, reprising the role he played in HORROR OF DRACULA two years earlier) arrives in town to investigate the reports of vampirism in the area.  Van Helsing befriends young Marianne and discovers that Baron Meinster is the local vampire.  In a neat piece of drama, he is understandably shocked to learn that Marianne and the Baron are engaged to be married.  However, Van Helsing puts his personal feelings aside and pursues the vampire, eventually battling it out with Meinster in an exciting climax in a fiery windmill.

While THE BRIDES OF DRACULA is an excellent film, it’s not without its problems.  For starters, Dracula does not appear in the movie, so the title is a major misnomer and source of frustration for many fans.   Dracula is absent from the film because back in 1960 Christopher Lee refused to reprise the role for fear of being typecast.  And while David Peel performs admirably as Baron Meinster, he’s no Christopher Lee, and his performance lacks the powerful punch that viewers loved about Lee.

Brides-of-Dracula-David_Peel

David Peel as vampire Baron Meinster in THE BRIDES OF DRACULA (1960).

Also, the music score by Malcolm Williamson is so over the top in places it’s almost laughable.  James Bernard’s music is sorely missed here.

Still, there’s lots to like about BRIDES.

The cast is superb, led by Peter Cushing as Dr. Van Helsing.  Long before Hugh Jackman put us to sleep in the over-hyped yawn fest VAN HELSING (2004), Peter Cushing was THE film Van Helsing.  His performances in HORROR and BRIDES marked the first time the role was played as a younger action hero, rather than the old wise professor from Stoker’s novel.

Brides_of_Dracula_Peter_Cushing

Van Helsing (Peter Cushing) fighting off a vampire in THE BRIDES OF DRACULA (1960).

The supporting cast is also very good, notably Martita Hunt as the Baroness Meinster, Baron Meinster’s mother, and Freda Jackson as Greta, Baron Meinster’s former nurse and current servant.  Jackson steals nearly every scene she’s in.

Jimmy Sangster, Peter Bryan, and Edward Percy all worked on the screenplay for THE BRIDES OF DRACULA.  Evidently, extra writers were called in and extensive rewrites were performed at the request of Peter Cushing who was unhappy with the original script.  For instance, in the original script, Van Helsing used black magic to fight off the vampires, and Cushing thought this was completely out of character for the doctor.

Director Terence Fisher gives the film its wonderful atmosphere by using rich colors and textures, elaborate sets and costumes, the whole bit.  It’s one of the reasons Hammer Films were so successful.  They always looked liked extremely high-budgeted movies when in fact they weren’t.

Fisher also creates some classic scenes in this film- Greta calling to the young vampire bride in her grave, the girl’s hand clawing its way out of the soil, Van Helsing burning the vampire’s bite from his own neck, and in the fiery climax, Van Helsing leaping onto the blades of the burning windmill to form the shadow of the cross on an adjacent building.

THE BRIDES OF DRACULA is an atmospheric gem, well worth sinking your teeth into.

—END—

(This column was originally published in the HWA Newsletter in November 2006.)

 

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

Halloween Special 2: Karloff, Lugosi, Chaney,Jr., Lee, and Cushing Talk Monsters

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Bela Lugosi and Boris Karloff

Welcome back to another Halloween Special.

Once again I’m conducting a mock interview with horror greats Boris Karloff, Bela Lugosi, Lon Chaney Jr., Christopher Lee, and Peter Cushing. And while this interview is completely imaginary, their answers to my questions are real, taken from quotes they really said.

So, without further hesitation, let’s get started.

MICHAEL:  Welcome everyone to a very special treat.

Joining me today on this Monster Panel are Boris Karloff, Bela Lugosi, Lon Chaney Jr., Christopher Lee, and Peter Cushing. Thank you all for joining me today.

Today I want to talk about monsters, specifically, your thoughts on just who is the greatest movie monster of all time.  And before you answer, I’m going to guess that you all will be partial to the monsters you played in the movies.  And as a famous comedian once said, “Not that there’s anything wrong with that.”

Bela, let’s start with you.  Your thoughts on the greatest movie monster of all time.

BELA LUGOSI: Every actor’s greatest ambition is to create his own, definite and original role, a character with which he will always be identified. In my case, that role was Dracula.

dracula-1931-bela-lugosi

Lugosi as Dracula in DRACULA (1931).

MICHAEL:  So, you’re going with Dracula?

(Lugosi nods)

CHRISTOPHER LEE:  I agree.

Dracula is different; he is such an exciting person.

And it doesn’t bother me to be remembered as Dracula.
Dracula-Prince-of-Darkness_lee

Christopher Lee as Dracula in DRACULA – PRINCE OF DARKNESS (1966).

MICHAEL:  It doesn’t?
CHRISTOPHER LEE: Why should it? What does bother me is when people say, “Ah yes, there goes Dracula,” or “There goes the horror king.” It simply isn’t true. I’m quite annoyed when people don’t acknowledge that I’ve done anything else.
PETER CUSHING:  People look at me as if I were some sort of monster, but I can’t think why.
 (Everyone laughs)
 PETER CUSHING: In my macabre pictures, I have either been a monster-maker or a monster-destroyer, but never a monster. Actually, I’m a gentle fellow. Never harmed a fly. I love animals, and when I’m in the country I’m a keen bird-watcher.
 MICHAEL:  Boris, what about you?
 BORIS KARLOFF: The Frankenstein Monster.
Yes, the monster was the best friend I ever had.
Frankenstein-1931-Boris-Karloff

Karloff as the Monster in FRANKENSTEIN (1931).

 PETER CUSHING:  I know what you mean.
It gives me the most wonderful feeling. These dear people love me so much and want to see me. The astonishing thing is that when I made the Frankenstein and Dracula movies almost 30 years ago the young audiences who see me now weren’t even born yet. A new generation has grown up with my films. And the original audiences are still able to see me in new pictures. So, as long as these films are made I will have a life in this business — for which I’m eternally grateful.
curse of frankenstein - you're going to help me paul

Peter Cushing as Baron Victor Frankenstein in THE CURSE OF FRANKENSTEIN (1957).

CHRISTOPHER LEE:  Yes, and for me, quite frankly, I’m grateful to Dracula.
If people today remember me in the role and still enjoy it, I’m flattered. If, through some strange twist of fate, I was able to take a character some 25 years ago and create an impact where by I suddenly became known throughout the world, how can I complain?
 BELA LUGOSI: And never has a role so influenced and dominated an actor’s role as has the role of Dracula.
 MICHAEL:  We haven’t heard from you yet, Lon.  What’s your opinion on these classic movie monsters?
 LON CHANEY JR.: All the best of the monsters played for sympathy. That goes for my father, myself and all the others. They all won the audience’s sympathy.
  The Wolf Man didn’t want to do all those bad things. He was forced into them.
wolf man fog

Lon Chaney Jr. as The Wolfman, in THE WOLFMAN (1941).

 MICHAEL:  So, monsters are pretty special.
BORIS KARLOFF: My dear old monster. I owe everything to him. He’s my best friend.
 LON CHANEY JR.: The trouble with most of the monster pictures today is that they go after horror for horror’s sake. There’s no motivation for how monsters behave.
  CHRISTOPHER LEE:  That’s one of the reasons I will play no more monsters.
 Now villains are different.
Most people find my villains memorable because I try to make them as unconventional as possible. They are not overt monsters.
It’s easy to play a “heavy” straight down the middle, 100%, but it’s boring. I don’t think I’ve ever played a villain who didn’t have some unusual, humanizing trait. When I look back at my men with the black hats, they’ve always had something else going for them, whether it be a sardonic sense of humor or a feeling of desolation. I always try to throw as many curves the audience’s way as possible. That’s probably why people enjoy my villainy.
 LON CHANEY JR.:  There’s just too much of that science-fiction baloney.
 BELA LUGOSI:  Science fiction, perhaps.  Baloney, perhaps not.
Dracula has, at times, infused me with prosperity and, at other times, he has drained me of everything.
It’s a living, but it’s also a curse. It’s Dracula’s curse.
chaney lugosi

Lon Chaney Jr. and Bela Lugosi in THE WOLFMAN (1941).

 PETER CUSHING:  Yes.  In the early days I played a lot of comedy in the theater and on television. But once an actor becomes well-known in any kind of part, he tends to get stereotyped.

After I played Frankenstein, I was only thought of in that light. Of course, some actors are better at drama and some are better at comedy. But they can certainly have a stab at both. An actor should be able to do it all.

(Laughter)

BORIS KARLOFF: Before we go, since we’re talking about movie monsters, I just want to acknowledge Jack Pierce— the best make-up man in the world.

I owe him a lot.

MICHAEL:  Thank you all for joining me tonight.  I appreciate your taking the time to answer my questions.  And that’s all the time we have.

Thanks for reading, everybody!

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

IN THE SPOOKLIGHT: BLOOD FROM THE MUMMY’S TOMB (1971)

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blood_from_the_mummys_tomb_poster

One of the better parts of the awful reboot THE MUMMY (2017) starring Tom Cruise was that it featured a female mummy, but it wasn’t the first film to do this.

Hammer Films did it and did it better back in 1971 with BLOOD FROM THE MUMMY’S TOMB, a film based on the novel The Jewel of the Seven Stars by Bram Stoker.

BLOOD FROM THE MUMMY’S TOMB is completely unlike the Hammer Mummy movies which came before it, and for that matter from the Universal Mummy movies as well. Gone is the lumbering monster wrapped in bandages.  In its place is a  beautiful woman whose otherworldly powers are just as deadly.

BLOOD FROM THE MUMMY’S TOMB is the story of a young woman named Margaret Fuchs (Valerie Leon), the daughter of famed archeologist Professor Julian Fuchs (Andrew Keir).  Margaret is troubled by nightmares in which she catches glimpses of an expedition led by her father which discovered a female mummy, Queen Tera, which strangely had not suffered any decomposition.  Even stranger, Queen Tera is a dead ringer for Margaret.  What’s a girl to do?

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Queen Tera (Valerie Leon), looking pretty good for a centuries old mummy.

Why, investigate, of course!  Which is exactly what Margaret does, with the help of her boyfriend Tod Browning (Mark Edwards).  No, not the guy who directed Bela Lugosi in DRACULA (1931), but obviously the use of the name here is a nod to the famous director, and it makes sense here, since Browning directed DRACULA, which was based on Bram Stoker’s famous novel, and of course this Mummy movie was based on Stoker’s less famous novel.

What Margaret and Tod find out is that Queen Tera is very much alive and intent on walking the earth again, but to do that, she must kill, kill, kill, which she does by using Margaret.

While I wouldn’t place BLOOD FROM THE MUMMY’S TOMB up there with Hammer’s best shockers, it does belong in the better-than-average category.  My favorite part is that it is so different.

Director Seth Holt— who would die from a heart attack before the film was released— uses a slow almost artistic style to tell this story.  The effect is quite mesmerizing.  While you won’t be jolted out of your seat from in-your-face scares, you will be captivated by a haunting tale that subtly gets under your skin.

The music score here by Tristram Cary is also quite effective, as it lends a sense of eeriness to the proceedings.

The screenplay by Christopher Wicking is a good one.  It tells an interesting story and creates some intriguing characters.  The plot also builds to a bloody climax in which survivors are hard to come by.

Valerie Leon is okay as Margaret Fuchs/Queen Tera.  It’s kind of a one note performance, as she doesn’t exhibit a lot of range.  I enjoyed Mark Edwards much better as her boyfriend Tod Browning.  I thought he came off like a real person, and he seemed quite natural inside this supernatural environment.

I’m a big fan of Andrew Keir, and he’s very good here as Professor Julian Fuchs, in a role that was originally intended for Peter Cushing, but Cushing had to drop out to care for his ailing wife.  My favorite Andrew Keir role in a Hammer Film is his performance as Father Sandor in DRACULA-PRINCE OF DARKNESS (1966).  His role here as Professor Fuchs isn’t as significant, but Keir’s presence adds dignity and respectability to the story.

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Andrew Keir as Professor Julian Fuchs, trying to put an end to Queen Tera, the Mummy.

Also memorable is James Villiers as the mysterious Corbeck, a member of the Fuchs expedition which discovered the tomb of Queen Tera, who later contacts Margaret and Tod and has his own ideas as to what needs to be done regarding the mummy.

If there’s one thing I don’t like about BLOOD FROM THE MUMMY’S TOMB it’s that it lacks energy.  At first, its slow-paced eerie style works, but the film never builds on this, never becomes more suspenseful.  It does have a violent conclusion, but it’s not as powerful as you would expect.  And that’s why for me it’s not up there with Hammer’s best. It’s an atmospheric thriller and generally satisfying, but there’s just something rather passive about the whole thing.

Stoker’s novel The Jewel of the Seven Stars would be filmed again in 1980 under the title of THE AWAKENING starring Charlton Heston with similar if not lesser results.

So, really, female mummies haven’t fared all that well in the movies.  In fact, you could make the argument, that this above average thriller BLOOD FROM THE MUMMY’S TOMB is the best of the lot.

Either way, if you’re looking for a change of pace and want to watch a Mummy movie not about a slow-moving monster in bandages, one that features a female mummy in a story that is far better than the one told in the 2017 MUMMY, give BLOOD FROM THE MUMMY’S TOMB a try.

Its subtle style might be just the thing for a starry September evening.

—END—

 

 

 

 

IN THE SHADOWS: EDWARD VAN SLOAN

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Edward Van Sloan as Professor Van Helsing in DRACULA’S DAUGHTER (1936).

 

Welcome back to IN THE SHADOWS, the column where we look at character actors in the movies, especially horror movies.

Character actors add so much to the movies they’re in, it’s hard to imagine these movies without them. Never receiving the praise heaped upon the major actors and stars of the genre, these folks nonetheless are often every bit as effective as the big name leads.

Up today, an actor known to horror fans for three key roles in three classic horror movies, and that actor is Edward Van Sloan.

Edward Van Sloan played three similar roles in three of Universal’s best horror movies from the 1930s.  He played Professor Van Helsing in DRACULA (1931), Dr. Waldman in FRANKENSTEIN (1931), and Dr. Muller in THE MUMMY (1932).

As Dr. Van Helsing, a role he had played earlier on stage opposite Bela Lugosi’s Dracula, he’s one of the best.  While Peter Cushing is my all time favorite movie Van Helsing, Edward Van Sloan came closer to the Stoker interpretation than Cushing did, but even he deviated from the way Stoker wrote the character.  Probably the closest I’ve seen an actor capture the literary Van Helsing on-screen would be Frank Finlay’s performance as the vampire hunter/professor in the BBC production COUNT DRACULA (1977), starring Louis Jordan as the Count.

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Van Sloan and Lugosi square off in DRACULA (1931)

But for Edward Van Sloan, it’s all about presence and authority, something he definitely wields in DRACULA.  Bela Lugosi is absolutely mesmerizing as Dracula, and his performance dominates the movie.  Yet Van Sloan is up to the task of matching wits with Lugosi, and his Van Helsing is a worthy opponent for the vampire king.  The scene where Dracula tries to use hypnosis to overpower Van Helsing is one of the strongest scenes in the film, acted so expertly by Van Sloan, as you can see it in his eyes as he’s resisting Dracula’s powers, and for a split-second, Van Sloan’s eyes go blank, and at this instant the audience shudders, begging that he doesn’t succumb to Dracula’s powers, and when he rallies and resists Dracula, it’s a great moment in the movie.

As Dr. Waldman in FRANKENSTEIN, Van Sloan plays Henry Frankenstein’s former professor, who for most of the movie, acts as the voice of reason.  He tries throughout to talk sense to Henry Frankenstein and is constantly urging caution.  As Dr. Waldman, he gets one of the best lines in the movie, when he warns young Henry.  “Your success has intoxicated you!  Wake up!  And look facts in the face!—  You have created a monster, and it will destroy you!”

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Edward Van Sloan as Dr. Waldman in FRANKENSTEIN (1931).

Prophetic words.  Actually, they were more on the money regarding Waldman’s fate, because later in the movie, the Monster (Boris Karloff) kills the professor.  In fact, Professor Waldman’s death is one of the more shocking moments in FRANKENSTEIN, a film which contains more than a few of them, and it’s a testament to Edward Van Sloan’s screen presence.  Van Sloan was so effective as Professor Van Helsing in DRACULA, so convincing when he destroys Dracula, it strikes audiences as an absolute shock when he doesn’t do the same in FRANKENSTEIN, when in fact it’s the Monster who kills Professor Waldman, and not the other way around.

And Edward Van Sloan is one of only two actors— the other being Dwight Frye who played Renfield in DRACULA and Fritz in FRANKENSTEIN— to star in both DRACULA and FRANKENSTEIN.

In THE MUMMY (1932), Van Sloan plays Dr. Muller, a variation of his Van Helsing/Waldman characters.  This time, he’s an expert on Egyptology, and he matches wits with Boris Karloff’s Mummy, Imhotep.  THE MUMMY is an excellent horror movie, as good if not better than DRACULA and FRANKENSTEIN.  Once again, Van Sloan nails the role of the heroic professor and is completely believable as the knowledgable scholar who takes on the supernatural Imhotep.

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Edward Van Sloan takes on Boris Karloff’s Imhotep in THE MUMMY (1932).

As for the rest of  Edward Van Sloan’s career, here’s a partial look at his 88 screen credits, focusing mostly on his horror film roles:

SLANDER (1916) – Joseph Tremaine – Edward Van Sloan’s first film credit is in this silent movie from 1916, the only silent film Van Sloan made.

DRACULA (1931) – Professor Van Helsing – probably Van Sloan’s most famous role, and the role he is most remembered for.  Van Sloan’s work as Van Helsing in this movie is as memorable as Lugosi’s Dracula and Dwight Frye’s Renfield.

FRANKENSTEIN (1931) – Dr. Waldman – Another famous role for Van Sloan, this time playing Henry Frankenstein’s former professor and the man who tries to convince Frankenstein to destroy his creation.  We all know how that turned out.

BEHIND THE MASK (1932) – Dr. August Steiner/Dr. Alec Munsell/Mr. X – a crime drama marketed as a horror movie due to the presence of Boris Karloff in a small role.  Van Sloan plays the villain here, in a role that Karloff probably would have played had this movie been made a few years later.

THE DEATH KISS (1932) – Tom Avery – a comedy/mystery notable for reuniting three cast members from DRACULA:  Bela Lugosi, David Manners, and Edward Van Sloan.

THE MUMMY (1932) – Doctor Muller – takes on Boris Karloff’s evil Imhotep in this horror classic.

DELUGE (1933)- Professor Carlysle – early “disaster” film as New York City is threatened by an earthquake and tidal wave.

AIR HAWKS (1935) – Professor Schulter – weird hybrid of drama and science fiction. Ralph Bellamy plays the owner of an airline company who hires a mad scientist— played by Edward Van Sloan— to build a death ray to force down his competitors’ planes.

THE LAST DAYS OF POMPEII (1935) – Calvus – Historical adventure set in the doomed Roman city, directed by KING KONG directors Ernest B. Schoedsack and Merian C. Cooper. With Basil Rathbone as Pontius Pilate.  A box office flop.

DRACULA’S DAUGHTER (1936) – Professor Van Helsing – reprises his Van Helsing role in this well-made sequel to DRACULA.  The movie starts right where DRACULA left off, and Van Helsing finds himself arrested for the murders of Dracula and Renfield.  Before he can be officially charged, however, the bodies disappear, whisked away by Countess Zaleska (Gloria Holden) who happens to be Dracula’s daughter, and who’s now in London with an agenda of her own. Smart horror film, well-written, acted, and directed.

THE PHANTOM CREEPS (1939) – Jarvis – Science fiction serial from Universal reunites Van Sloan with Bela Lugosi, as Lugosi plays a scientist hell-bent on taking over the world.

BEFORE I HANG (1940) – Dr. Ralph Howard – This time Van Sloan is reunited with Boris Karloff, as Karloff plays a doctor on death row for mercy killings, who injects himself with a serum that turns him into a Hyde-like villain.

THE MASK OF DIIJON (1946) – Sheffield – Erich von Stroheim plays a magician who uses his hypnotic powers to seek vengeance.

SEALED VERDICT (1948) – Priest – Edward Van Sloan’s final screen credit in a World War II war drama starring Ray Milland.

THE UNDERWORLD STORY (1950) – Minister at Funeral – Edward Van Sloan’s final film appearance, an uncredited bit as a minister at a funeral in this film noir crime drama.

There you have it, an abbreviated look at the film career of Edward Van Sloan.

Edward Van Sloan died on March 6, 1964 at the age of 81 in San Francisco, California.

While he enjoyed a long and successful career as a character actor in the movies, for horror fans, he will always be remembered for his roles in three of Universal’s best horror movies from the 1930s:  DRACULA, FRANKENSTEIN, and THE MUMMY.  Van Sloan made for a fine hero in all three of these films.

Edward Van Sloan -November 1, 1882 – March 6, 1964.

I hope you enjoyed this IN THE SHADOWS column.  Join me again next time when we look at the career of another notable character actor.

Thanks for reading!

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

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 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

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Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.