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.  

 

 

 

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IT (2017) – Creepy Tale Showcases Young Talent

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it_2017_poster

IT (2017), the latest film adaptation of a Stephen King novel, does what King stories do best: it creates believable characters, puts them in harm’s way, and then makes you squirm as they fight for their lives.

IT takes place in the late 1980s in the town of Derry, Maine.  A young boy named Georgie (Jackson Robert Scott) is outside playing in the rain when he encounters what appears to be a clown in the sewer.  The clown, Pennywise (Bill Skarsgard) speaks to him, and since Georgie is only a child, he doesn’t find it overly strange that there’s a clown talking to him from a sewer, which is too bad, because Pennywise attacks and kills the young child.

The story jumps ahead one year, to 1989, and follows Georgie’s older brother Bill (Jaeden Lieberher) and his group of “loser” friends as they deal with bullies and parents who are either useless or harmful. It is not a good town in which to be a kid.

There’s Eddie (Jack Dylan Grazer), a young hypochondriac who can’t stop talking about germs and illnesses, Richie (Finn Wolfhard), who can’t stop talking, period, Stanley (Wyatt Oleff), Mike (Chosen Jacobs), and the new kid in the neighborhood, overweight Ben (Jeremy Ray Taylor).

And then there’s Beverly (Sophia Lillis), the one girl in the group, who they all secretly have a crush on.

All of these kids are severely bullied.  The main bully in town is Henry (Nicholas Hamilton) and he and his friends pretty much terrorize Bill and his friends on a regular basis.

The adults in their lives aren’t any better.  The worst is Beverly’s father, who sexually abuses her.

It’s these constant threats which draw these kids together.  Bill is obsessed with finding out what happened to his younger brother, and as he and his friends investigate, they learn that the town of Derry has a history of people disappearing, especially children. Soon afterwards, they start having strange visions and dreams of the evil clown Pennywise, and they realize that the threat in their town, the thing that is preying on children, is in fact Pennywise.  And since the adults in town are useless, they decide that it is up to them to seek out and destroy this evil.

IT is a very good movie that actually works better as a drama about a group of friends dealing with the threats in their lives than as a straight horror movie because it’s not really that scary.

Directed by Andy Muschietti, who also directed MAMA (2013), a horror movie from a few years back that I liked a lot, IT does have a decent number of horror scenes which work well, but its scariest scene might be its first scene, where young Georgie first encounters Pennywise in the sewer.  This is a frightening sequence, a great way to start the film, and while Pennywise does have some decent moments later, none are quite as potent as this first one.

Chase Palmer, Cary Fukunaga, and Gary Dauberman wrote the screenplay, based on the novel by Stephen King.  Of the three, Dauberman has the most extensive credits.  He wrote ANNABELLE (2014) and ANNABELLE: CREATION (2017), the second film being much better than the first.

The dialogue here in IT is excellent, as are the characters.

This is the second time IT has been filmed. It was a four-hour mini-series in 1990 starring Richard Thomas, John Ritter, Harry Anderson, and Annette O’Toole. It was well received at the time, but it is somewhat dated today.  It’s most memorable for Tim Curry’s performance as Pennywise.

Bill Skarsgard’s performance as Pennywise here in the 2017 version was good enough to make me forget about Tim Curry while I watched this movie.  Taken as a whole, I thought this new version was better than the 1990 TV rendition.

The driving force behind this 2017 movie is Bill and his friends, both the way they are written and the way they are acted.

The child actors are all excellent, and they’re in the part of the story that for me, works best in this film adaptation of IT.  These kids are bullied and abused, and what happens to them in their everyday lives is every bit as disturbing as what happens to them when they encounter Pennywise.  As a creature that preys on children, Pennywise is symbolic of the everyday evils these kids face in the real world.

When these kids bond and their friendships grow stronger, that’s the part of the film that works best, the relationships between this group of kids.  And these child actors are more than up to the task of making it all work, and work well.

Jaeden Lieberher is excellent as Bill.  A few years back, Lieberher stood out in ST. VINCENT, a comedy with Bill Murray that I liked a lot.  Lieberher is just as good here. He plays Bill as a sensitive boy who in the quest to learn what happened to his little brother becomes resilient and strong-willed, the perfect leader of this group.

Sophia Lillis is also excellent as Beverly. Like Lieberher, she makes her character sensitive yet strong.  These kids have been beaten back in life at a young age by those around them, and yet they somehow find the strength through each other to seek out and take on the evil Pennywise.  Like the rest of the young actors in this one, Lillis is also incredibly believable in this role.

I also enjoyed Jeremy Ray Taylor as the newest kid in town, Ben Hanscom.  Finn Wolfhard makes a funny wisecracking Richie Tozier, even if he did look like he just rode his bike off the set of STRANGER THINGS.  I also really liked Jack Dylan Grazer as the young hypochondriac who can’t stop talking about germs and illnesses.  And I thought Nicholas Hamilton made Henry Bowers a very disturbing psychotic bully.

I absolutely loved Bill Skarsgard’s performance as Pennywise, but his best scene is his first one.  Don’t get me wrong.  It’s not as if Pennywise disappears from the movie, because he’s in a decent number of scenes, but he doesn’t do enough in these scenes to give them the full impact they should have had.

Another thing I didn’t really like about this movie is I thought that it trivialized some of the awful things happening to the kids, especially the storyline with Beverly and her father. He’s obviously abusing her, and their scenes together are creepy, but this is serious stuff, and it deserves more serious treatment than a couple of quick scenes in a horror movie.

Likewise, bullying is a serious matter, and while the bullying scenes in IT are certainly brutal and effective in that they show how cruel and sadistic these older boys were towards Bill and his buddies, there was just something lacking in these scenes, something less authentic.  Part of the problem is they were similar to a whole host of other bully scenes in other movies.  The scenes with Bill and his friends are crisp, refreshing, and real.  The bully scenes are not.

IT is a creepy drama about a group of kids who are terrorized by the adults in their lives, by their peers, and by a menacing supernatural entity known as Pennywise. It’s sure to satisfy both Stephen Kings fans and horror fans alike.

About the only people who should stay clear of this one are those of you who live in mortal fear of clowns.  Yup, that wouldn’t be a good combination.

—END—

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.  

 

 

 

 

 

THE BEGUILED (2017) – Showcases Talented Female Cast

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Director Sofia Coppolla and the cast of THE BEGUILED (2017).

THE BEGUILED (2017) is a remake of a 1971 Clint Eastwood movie of the same name, directed by Don Siegel.

The Eastwood film, which is something of a cult favorite among Eastwood fans, is certainly one of the more offbeat and haunting movies Eastwood ever made.  It was a box office failure at the time, due to a poor ad campaign which marketed it as another Clint Eastwood action film, which it isn’t, and also because audiences in 1971 weren’t quite sure what to make of this dark tale of a Union soldier recuperating at an all-girl Confederate school.  Directed by Don Siegel, the film is steeped in atmosphere and style.

The 2017 version was directed by Sofia Coppola and tells pretty much the same story.

In Virginia, in the waning days of the Civil War, a young girl Amy (Oona Laurence) discovers a wounded Union soldier, Corporal John McBurney (Colin Farrell) in the woods while she is picking mushrooms.  She brings the soldier back to her school, and the head of the school, Miss Martha (Nicole Kidman), decides it would be un-Christian of them to turn the Corporal over to the Confederate army until he has a chance to recuperate.  And so they tend to his wounds and nurse him back to health, with the intention of handing him over to the Confederate army once his wounds have healed.

But John is a man, and the school is full of women and girls who simply haven’t been around men all that much.  As such, during his stay, the sexual tensions build.  Not only is Miss Martha attracted to John in her own reserved way, but teen student  Alicia (Elle Fanning) can’t keep herself from openly flirting with him.  Even young Amy is attracted to him.

And matters become more complicated when privately John declares his love for teacher Edwina (Kirsten Dunst), who he says is the most beautiful woman he’s ever seen. Edwina falls for John instantly, mostly because she is unhappy and sees John as her ticket out of her present life at the school. She would like to run away with him.

For his part, John remains quiet and polite, keeping things proper, except for his declaration of love to Edwina.  But one night he makes a fateful decision to enter a certain bedroom, and things change dramatically from that point on.

Director Sofia Coppolla, who also wrote the screenplay, gets the atmosphere right but struggles somewhat with the characterizations, specifically with Corporal John McBurney, who is too reserved to be effective.

THE BEGUILED is beautiful to look at.  Director Coppolla captures the essence of a school in the southern countryside, photographing the manor through abundant green trees and filtered sunlight.  There are also some nice shots of red sunlight reflecting off the front of the elegant structure.

But the majority of the film is shot in shadowy darkness, as the bulk of the action takes place inside the school, lit by low burning candles.  The look of this film drew me in immediately and kept me in its Civil War world throughout.

It is definitely slow-paced and plays out like the period piece Civil War drama that it is. This worked for me for the most part, but towards the end of the film when things get seriously darker, the film downplayed these heavy moments, which worked against the movie for me.  I expected things to get very ugly, but the horrible things that happen are only hinted at and not fully explored.  The film never really rises above its southern slice of life portrait.

As I said, Sofia Coppolla also wrote the screenplay, which is based on the screenplay to the 1971 film by Albert Maltz and Irene Kamp, itself based on the novel by Thomas Cullinan.   Coppolla does a nice job with the female characters, but Corporal John McBurney isn’t as defined as well as he needs to be.  In the 1971 film, you knew Clint Eastwood’s character was conning the women. Here, as played by Colin Farrell, the audience isn’t so sure.  Is he playing these women or not?  Since the screenplay isn’t clear, it makes what happens at the end of the film far less satisfying, because we don’t know how to react to John’s fate, since we really don’t know what kind of a person he truly is.

In terms of casting, you can’t ask for a better female cast.

Nicole Kidman plays Miss Martha as a strong and independent woman.  She is clearly in charge of everyone at the school.  But questions remain about her character as well. For instance, would she do what John accuses her of doing at the end of the movie?  Or did she do it for the reason she said, to save his life?  The film isn’t clear.

Kirsten Dunst is also very good as Edwina, the depressed school teacher who is only too willing to fall in love with John.  And Elle Fanning is sultry and seductive as the young woman who is intent on getting John into her bed.

But it’s the younger girls who make an even stronger impression here.  Oona Lawrence is exceptional as young Amy, the girl who first finds John and really likes him throughout the movie.  Angourie Rice, who played Ryan Gosling’s daughter in last year’s comedy THE NICE GUYS (2016) is memorable here as Jane, the one girl in the school who is offended by the idea of housing a Union soldier at the school.  And Addison Riecke also has some significant moments as Marie, the girl who makes the ominous suggestion at the end of the movie on how to stop John.

As John, Colin Farrell is okay, but I’ve seen him deliver far better performances.  He was too calm and relaxed throughout.  The character seemed to be begging for a nefarious side, which doesn’t come out at all.  Towards the end of the film, when bad things begin to happen, we finally see John act passionately, which gives us some insight into his character, but it’s too little too late.  He remains polite to the last, apologizing after his deplorable behavior and sounding sincere in his apology, which makes the ending of this one all the more tragic.  Then again, without a clear-cut defintion of John’s character, it’s difficult to know how to feel about him.

In spite of this, when the women make their bold decision at the end of the movie, the coldness with which they proceed is jarring and potent.  The shot of the women around the dinner table afterwards is one of the more memorable images in the film.

That being said, the film would have been stronger had it gone to these dark places more often instead of avoiding them.

THE BEGUILED is a moderately entertaining movie, a showcase for its talented female cast and its female writer/director, Sofia Coppolla, but with a vaguely defined male protagonist, the story they are telling is far less potent than it should have been.

—END—

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.  

THE HORROR JAR: Genre Films Where PETER CUSHING Did NOT Play A Doctor/Scientist/Professor

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Peter Cushing - The Skull

Peter Cushing and the Skull in THE SKULL (1965), a horror film in which Cushing did not play a doctor.

 

Welcome back to THE HORROR JAR, that column where we look at lists of odds and ends pertaining to horror movies.

Up today, my all time favorite horror movie actor, Peter Cushing.

When you think of Peter Cushing, his two most famous roles immediately come to mind, Baron Frankenstein and Dr. Van Helsing, two characters who were also both doctors.  In fact, a lot of Cushing’s roles in horror movies were of medical doctors, professors, or scientists.  So much so, that I thought:  when did he not play a doctor?

Turns out— many times.

Here’s a look at those roles, the times Peter Cushing starred in a horror or science fiction film but did not play a doctor or scientist.

THE HOUND OF THE BASKERVILLES (1959) – Sherlock Holmes.  Technically not a horror film, but that being said, Hammer Films added plenty of horror elements to their rendition of the Sir Arthur Conan Doyle tale.  Directed by Terence Fisher, with Cushing as Sherlock Holmes and Christopher Lee as Sir Henry Baskerville.  Superior little movie, atmospheric and full of thrills, with Cushing’s energetic Holmes leading the way.

Peter Cushing - holmes

Cushing as Holmes in THE HOUND OF THE BASKERVILLES (1959).

 

NIGHT CREATURES (1962) – Rev. Dr. Blyss – even though the character is identified in the credits as “Dr. Blyss” he’s really the vicar of the small village of Dymchurch— check that, he’s actually the infamous pirate Captain Clegg, hiding out, posing as the vicar, while secretly smuggling rum in this rousing adventure/horror tale by Hammer Films.  Cushing at his energetic best.

Peter Cushing - Night Creatures

Peter Cushing delivers one of his best performances, as Captain Clegg/Dr. Blyss in NIGHT CREATURES (1962).

 

SHE (1965) – Major Holly – lost cities, a supernatural woman, and lots of action in this fantasy adventure by Hammer Films.

THE SKULL (1965) – Christopher Maitland – plays a private collector interested in the occult who purchases the skull of the Marquis de Sade with deadly results.  Christopher Lee co-stars as Cushing’s rival in this fine horror film by Hammer’s rival, Amicus Productions.

TORTURE GARDEN (1967) – Lancelot Canning – another film by Amicus, this one an anthology film featuring five horror stories based on the works of Robert Bloch.  Cushing appears in the fourth segment, “The Man Who Collected Poe,” once more playing a collector of the macabre.  Jack Palance co-stars with Cushing in this segment.

THE BLOOD BEAST TERROR (1968) – Inspector Quennell-  One of Peter Cushing’s worst movies.  In fact, Cushing himself considered it his worst.  Produced by Tigon Films, a company that tried to join Hammer and Amicus as a voice in British horror but ultimately failed.  The monster is a woman who turns into a giant moth that preys on men’s blood, and Cushing plays the police inspector (in a role originally written for Basil Rathbone) who tries to stop her.

SCREAM AND SCREAM AGAIN (1970) – Major Heinrich Benedek – pretty much just a cameo in this film, famous for being the first time Peter Cushing, Christopher Lee, and Vincent Price all starred together in the same movie.  A bizarre flick, perfect for 1970, but ultimately a disappointment as Cushing and Lee only appear briefly, while Price gets a bit more screen time.

THE VAMPIRE LOVERS (1970) – General von Spielsdorf – Cushing finally appears in a vampire movie where he’s not a doctor or a professor!  This time he’s a general, but he’s still hunting vampires in this atmospheric and very sensual vampire film from Hammer, starring Ingrid Pitt as the vampire Carmilla.  The first of Hammer’s “Karnstein” vampire trilogy.

THE HOUSE THAT DRIPPED BLOOD (1971) – Philip Grayson – Another anthology film by Amicus.  Cushing stars in the second segment “Waxworks” and plays a retired stockbroker who runs afoul of a nefarious wax museum.  Director Peter Duffell once said in an interview that Peter Cushing’s entire segment in this film was simply a contrivance to place his head on a platter, which remains one of the more shocking images from the film.

TWINS OF EVIL (1971) – Gustav Weil – Cushing is excellent (as he always is) in this vampire film from Hammer, playing a different kind of vampire hunter.  He leads the Brotherhood, a fanatical group of men seeking out witches in the countryside, a group that is every bit as deadly as the vampires.  As such, when the vampire threat becomes known, and the Brotherhood turn their attention to the undead, it makes for a much more interesting dynamic than the typical vampire vs. heroes.  It’s one of Cushing’s most conflicted roles.  There’s a scene where he laments that he only wanted to do the right thing, that really resonates, because for most of the film, he’s been doing the very worst things.  The third “Karnstein” vampire film.

peter cushing - twins of evil

Peter Cushing as the fanatical Gustav Weil in TWINS OF EVIL (1971).

 

I, MONSTER (1971) – Utterson – plays a lawyer in this version of the Dr. Jekyll and Mr. Hyde tale by Amicus, which changed the names of Jekyll and Hyde to Marlowe and Blake, played here by Christopher Lee.

TALES FROM THE CRYPT (1972) – Arthur Edward Grimsdyke – famous Cushing role in yet another anthology film by Amicus.  Cushing appears in the third segment, “Poetic Justice” where he plays an elderly junk dealer who is terrorized into suicide by his neighbors, but a year later, and this is why the role is famous, he returns from the grave.

DR. PHIBES RISES AGAIN (1972) – Captain – cameo in this Vincent Price sequel.  Blink and you’ll miss him.

ASYLUM (1972) – Smith – appears in the segment “The Weird Tailor” in this anthology film by Amicus.

FEAR IN THE NIGHT (1972) – The Headmaster – plays a sinister headmaster, in this thriller written and directed by Jimmy Sangster, and also starring Joan Collins and Ralph Bates.

FROM BEYOND THE GRAVE (1974) – The Proprietor – plays the owner of an antique shop, and the man in the wraparound story in this Amicus anthology horror vehicle.

MADHOUSE (1974) – Herbert Flay – plays a screenwriter in this one, and best friend to Vincent Price’s horror actor Paul Toombes.  Toombes is having a rough go of it, as the character he played in the movies- Dr. Death – seems to be committing murders in real life.  A really interesting movie, not a total success, but definitely worth a look, mostly because Price and Cushing share equal and ample screen time in this one.

TENDRE DRACULA – Macgregor – bizarre ill-conceived French horror comedy, notable for featuring Cushing’s one and only performance as a vampire.

LAND OF THE MINOTAUR (1976) – Baron Corofax – plays the villain to Donald Pleasence’s heroic priest in this tale of devil worship and demons.

STAR WARS (1977) – Grand Moff Tarkin – aside from his work in Hammer Films, the role which Cushing is most known for.  As Tarkin, he’s the one character in the STAR WARS universe who bossed Darth Vader around and lived to tell about it.

Peter Cushing - Tarkin

Peter Cushing as Grand Moff Tarkin in STAR WARS (1977).

 

SHOCK WAVES (1977) – SS Commander – Nazi zombies attack!    Nuff said.  With John Carradine.

THE UNCANNY (1977) – Wilbur – Cushing plays a writer who learns that cats are a little more “active” than he first imagined in yet another horror anthology film.

MYSTERY ON MONSTER ISLAND (1981) – William T. Kolderup – plays the “richest man in America” in this bizarre horror comedy.

HOUSE OF THE LONG SHADOWS (1983) – Sebastian Grisbane – famous teaming of Peter Cushing, Christopher Lee, Vincent Price, and John Carradine in the same movie for the first (and only) time ever, this really isn’t a very good movie.  It tries hard, and ultimately isn’t all bad, but could have been so much better.  Price and Lee fare the best.

SHERLOCK HOLMES AND THE MASKS OF DEATH (1984) – Sherlock Holmes – Holmes comes out of retirement to solve a case.   Again, not horror, per se, but since this film was directed by Roy Ward Baker, written by Anthony Hinds, and of course starred Peter Cushing, there is a definite Hammer Films feel about this movie.  John Mills plays Dr. Watson.

There you have it.  A list of genre films starring Peter Cushing where he did not play a doctor, scientist or professor.  Perhaps next time we’ll have a look at those films where he did don a lab coat or carry a medical bag.

That’s it for now.  Thanks for reading!

—Michael

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

YOUR MOVIE LISTS: SCARLET JOHANSSON – 2017

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Scarlett-Johansson

YOUR MOVIE LISTS:  Scarlett Johansson

By Michael Arruda

Scarlett Johansson has made a few more movies since I posted this list in 2014.  Here’s an update, including movies through June 2017:

Welcome to another edition of YOUR MOVIE LISTS, the column where you’ll find lists of odds and ends about movies.  Up today, a look at films starring Scarlett Johansson.  Here is a partial list of her movies:

EIGHT LEGGED FREAKS (2002) – frightened by giant spiders in this horror movie starring David Arquette.

LOST IN TRANSLATION (2003) – hanging out with Bill Murray in Japan in this quirky film by writer/director Sofia Coppola.

THE SPONGEBOB SQUAREPANTS MOVIE (2004) – lends her voice to this big screen adventure featuring SpongeBob, Patrick, and their undersea buddies.

MATCH POINT (2005) – really shines in this Woody Allen drama starring Jonathan Rhys Meyers.

THE PRESTIGE (2006) – Part of the rivalry between magicians Christian Bale and Hugh Jackman in this Christopher Nolan thriller.

VICKY CHRISTINA BARCELONA (2008) – Another Woody Allen drama, this time with Javier Bardem.

IRON MAN 2 (2010) – Hello Black Widow!  Johansson is the best part of this underwhelming IRON MAN sequel.

THE AVENGERS (2012) – Johansson’s Black Widow is the sexiest crime fighting heroine since Diana Rigg in the other THE AVENGERS, the 1960s TV show with Patrick MacNee.

HITCHCOCK (2012) – Playing Janet Leigh to Anthony Hopkins’ Hitch.

DON JON (2013) – Loses her boyfriend first to porn and then to older woman Julianne Moore in this quirky innovative movie by Joseph Gordon-Levitt.

HER (2013) – seduces Joaquin Phoenix with only her voice in this Oscar-nominated movie.

CHEF (2014) – has too small a role in this comedy drama by actor/director Jon Favreau.

CAPTAIN AMERICA:  THE WINTER SOLDIER (2014) – Black Widow is back and she’s still kicking butt and looking incredibly sexy doing it in this superior CAPTAIN AMERICA sequel.

LUCY (2014) – She’s the best part of this science fiction thriller about a woman who suddenly finds herself able to access her full brain capacity.

AVENGERS:  AGE OF ULTRON (2015) – fourth appearance as Black Widow in this AVENGERS sequel, which is not as good as the first.

HAIL, CAESAR! (2016) – has one of the best scenes in the movie, a hilariously sexy sequence with Jonah Hill, in this otherwise underwhelming misfire by the Coen Brothers.

THE JUNGLE BOOK (2016) – provides the voice for the snake Kaa in this impressive Disney remake of the Rudyard Kipling tale, well-directed by Jon Favreau.

CAPTAIN AMERICA:  CIVIL WAR (2016):  fifth turn as the sexy Black Widow in the third CAPTAIN AMERICA movie and one of Marvel’s all time best.  This rousing superhero film plays like THE AVENGERS 2.5 and contains some of the most entertaining sequences in the Marvel movie universe thus far.

GHOST IN THE SHELL (2017) – plays the lead role of the Major, a cyborg crime fighter, in this disappointing remake of the classic Japanese animated film.

ROUGH NIGHT (2017) –  it’s a girl’s night out gone wrong as Johansson plays a woman enjoying a reunion with her college friends when they accidentally kill a male stripper.  This dreadful looking comedy opened to negative reviews and received a “pass” by me, as in “I’ll pass on this one, thank you very much.”

And look for Johansson to return as Black Widow for the sixth time in the third AVENGERS movie, AVENGERS: INFINITY WAR, due out in 2018.  Sadly still no sign of that stand alone Black Widow movie,  rumored to be in the works a few years ago.

There you have it, a partial list of some notable Scarlett Johansson movies.

Thanks for reading!

—Michael

THE MUMMY (2017) – Messy Movie Mired by Ridiculous Superhero Concept

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Some talented writers worked on THE MUMMY (2017).

David Koepp who co-wrote the Steven Spielberg/Tom Cruise version of THE WAR OF THE WORLDS (2005) and years ago co-wrote JURASSIC PARK (1993), and Christopher McQuarrie who co-wrote EDGE OF TOMORROW (2014) and JACK REACHER (2012), two rare instances of Tom Cruise movies that I really liked, both worked on the screenplay to THE MUMMY, as well as Dylan Kussman.

Which just goes to show you that talent alone isn’t enough to save a concept that is flat-out dumb.

With THE MUMMY, Universal has launched their “Dark Universe” series, an attempt to reimagine their monster movies of yesteryear as a sort of Marvel superhero spinoff.

This is a huge mistake.  Someone needs to shut this concept down yesterday.

The idea of re-booting these classic Universal monster movies as superhero action flicks is an insult to the original films.  If you are going to remake them, they need to be remade as horror movies, plain and simple.

THE MUMMY (2017) is a disaster from start to finish.  I can only hope that this becomes a lost film.

THE MUMMY opens— no, not in Egypt— but in England in 1127 at the burial site of a bunch of crusader knights, who among other things, brought back with them Egyptian artifacts.  Jump ahead to present day and a construction crew building a new subway system under the streets of London happens upon the burial site.

The operation is shut down when Dr. Henry Jekyll (Russell Crowe) shows up with his top secret team of agents, the Dark Universe’s answer to the Agents of S.H.I.E.L.D., to confiscate a key artifact, a dagger, which ties into an Egyptian Mummy named Ahmanet (Sofia Boutella) whose back story we learn about through flashbacks and a voice over narration by Dr. Jekyll.

And then we finally get to the opening credits.  Talk about a rambling disjointed way to open a movie.

Next up we finally meet our dashing hero, Nick Morton (Tom Cruise) who along with his buddy Chris (Jake Johnson) are working for Dr. Henry Jekyll in search of Egyptian treasure in— no, not in Egypt— that would make too much sense, setting a movie about an Egyptian Mummy in Egypt– but in Iraq because Ahmanet was so dangerous that she had to be buried miles away from her homeland.

Nick is joined by the beautiful Jenny Halsey (Annabelle Wallis) who also works for Dr. Jekyll, and the two of them lead the way— when they’re not playfully bickering and bantering— in returning the mummified Ahaanet back to England.

But you can’t keep a good mummy down.  Ahmanet comes back to life, and the rest of the movie it’s Tom Cruise vs. a mummy in an action-packed tale that is about as believable and compelling as a Pokemon cartoon.

There is so much wrong with THE MUMMY I don’t know where to begin.

The biggest issue of course is this whole concept of the Dark Universe, the idea that the Universal monster movies should be rebooted as a superhero franchise. This idea is a disaster, just like this movie.

For starters, the concept itself is flawed.  Monsters are monsters, they’re not comic book superheroes.  So, even before the films come out, the powers that be are fighting an uphill battle, trying to tell a story that isn’t naturally there.  Let’s re-imagine THE MUMMY as an action movie.  No, it’s a horror movie.

Secondly, this style is clearly borrowed from the Marvel movies, and as such, comes off as derivative and unoriginal, a bad combination, to be sure.

A lot of people never accepted the Brendan Fraser re-boot of THE MUMMY (1999) but I’ve always enjoyed that one, as I thought its script was a good one, even if it played more like an INDIANA JONES movie than a horror movie.  That being said, the 1999 MUMMY wasn’t devoid of horror elements, and the mummy in that film  played by Arnold Vosloo had some screen presence.  Anyway, whatever you feel about the 1999 MUMMY, I liked that one better than this movie.

And it’s interesting to note that even though Tom Cruise is playing a character described in the movie as a “young man,” he’s six years older than Brendan Fraser who played the young dashing hero in the 1999 film.

Also of note, this whole idea of a MUMMY film being more of a dashing adventure than a horror film is not without historical precedent.  The second Universal MUMMY movie, THE MUMMY’S HAND (1940) which introduced Kharis the Mummy (played by Tom Tyler here and in subsequent movies by Lon Chaney Jr.) to movie audiences, had a quick-witted script which featured two American archeologists Steve Banning (Dick Foran) and Babe Jenson (Wallace Ford) who traded barbs and one-liners throughout.  The script, when not featuring the Mummy, was light and fun.  But it wasn’t an action movie, nor even a comedy.  It was a horror movie.

Even more out-of-place in THE MUMMY than the concept of turning a horror movie into an action movie is Tom Cruise.  With the exception of a handful of films, I am not a fan of Cruise’s movies.  I’ve been tired of his shtick of playing himself for years now, going all the way back to the 1980s.  Cruise’s presence here doesn’t do the movie any favors.  Not that it would have saved this movie, but a younger more dynamic actor would have made things a bit better.

I did enjoy Annabelle Wallis as Jenny Halsey.  In fact, hers was probably the only performance in the movie that I felt was worth watching, but the role itself was not that exciting.

Russell Crowe is forced to utter the worst lines in the movie as Dr. Jekyll.  His voice-over narration at the end of the film is so bad it sounds like an off-the-cuff ad lib about good vs. evil.  He gets to say such nonsense as “which side will win— we just don’t know.  He might be a hero.  He might be evil.”  This might be a real script.

And as the Mummy, Ahmanet, Sofia Boutella just isn’t given enough to do to have any relevant impact.  Compared to the original mummy in THE MUMMY (1932), Im-Ho-Tep, played by Boris Karloff, who had to endure mummification, resurrection, and ultimately rejection all in an effort to reclaim his one true love, Ahmanet is a villain who seems only to be obsessed with power, but even that interpretation is a stretch since her character simply isn’t developed.  Boutella was much more memorable as Jaylah in STAR TREK BEYOND (2016).

Jake Johnson is supposed to be providing comic relief as Cruise’s buddy Chris, but his character’s plight is an in-your-face rip-off of Griffin Dunne’s character from AN AMERICAN WEREWOLF IN LONDON (1981).  Dunne’s role was hilarious and original.  Johnson’s character here is neither.

Director Alex Kurtzman works hard on the action scenes, but they’re not enough to save this movie.

The screenplay doesn’t work either, and at the end of the day, THE MUMMY fails because the idea behind it is so very flawed.

Here’s hoping it’s lights out for the Dark Universe.

—END—

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.  

Peter Cushing, Christopher Lee, Vincent Price: Their Busiest Years

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Peter Cushing, Christopher Lee, and Vincent Price all share birthdays in May— Cushing on May 26, 1913, Lee on May 27, 1922, and Price on May 27, 1911.

To celebrate, here’s a column where we’ll look at their busiest years in the business, and they had a lot of them.  According to IMDB, Peter Cushing had 131 screen credits, Vincent Price had 201, and Christopher Lee surpassed them both with a whopping 281 screen credits.

But which years did they appear on screen the most?

For Peter Cushing, he had three such years.  In 1940—very, very early in his career— and in 1972, he made seven screen appearances.  But he did one better in 1974, with eight screen appearances.

Here are his eight screen credits from 1974:

1. SHATTER – Rattwood

2. FROM BEYOND THE GRAVE  – The Proprietor

3. FRANKENSTEIN AND THE MONSTER FROM HELL – Baron Frankenstein

4. THE BEAST MUST DIE – Dr. Lundgren

5. THE ZOO GANG (TV series) Episode:  “The Counterfeit Trap” – Judge Gautier

6. MADHOUSE  – Herbert Flay

7. THE LEGEND OF THE 7 GOLDEN VAMPIRES – Professor Van Helsing

8. TENDER DRACULA, OR CONFESSIONS OF A BLOOD DRINKER  -MacGregor

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Peter Cushing plays Baron Frankenstein for the last time in FRANKENSTEIN AND THE MONSTER FROM HELL (1974), the year he made the most screen appearances, with eight.

There are a couple of “lasts” and a “first” in this list of credits for Peter Cushing during his busiest year in 1974.  Both his role as Baron Frankenstein in FRANKENSTEIN AND THE MONSTER FROM HELL and as Professor Van Helsing in THE LEGEND OF THE SEVEN GOLDEN VAMPIRES marked the last time he would play these characters.  He played Van Helsing five times in the movies, and Baron Frankenstein six times.

TENDER DRACULA, OR CONFESSIONS OF A BLOOD DRINKER, marked the first and only time that Peter Cushing played a vampire in a movie.

Also of note, Cushing co-starred with Vincent Price in MADHOUSE. And surprisingly, during his busiest year ever in terms of screen credits, Cushing did not star in any films with frequent co-star Christopher Lee that year.

 

Christopher Lee, with his 281 credits, seemed to be busy every year he was working, but his busiest year was very early in his career, in 1956, when he amassed 11 credits in that one single year.

Here they are:

1. CHEVRON HALL OF STARS (TV series), Episode:  “Captain Kidd” – Governor

2. PRIVATE’S PROGRESS – Major Schultz

3.ALEXANDER THE GREAT – Nectenabus (voice)

4.THE SCARLET PIMPERNEL (TV series) – Louis

5. PORT AFRIQUE – Franz Vermes

6.PURSUIT OF THE GRAF SPEE – Manolo

7. BEYOND MAMBASA – Gil Rossi

8. RHEINGOLD THEATER (TV Series) – Appearances in various episodes

9. AGGIE (TV series) – Inspector John Hollis

10. SAILOR OF FORTUNE (TV series) – Yusif/Carnot

11. THE ERROL FLYNN THEATER (TV series) – The Visitant/Compte de Merret/Maurice Gabet

christopher lee 1950s

Christopher Lee in the 1950s, right around his busiest year in the biz, 1956.

And while 1956 may have been Christopher Lee’s busiest year in terms of screen credits, it would be the following year that all his hard work would come to fruition, for in 1957 Christopher Lee would achieve international stardom for his role as The Creature in Hammer Film’s megahit, THE CURSE OF FRANKENSTEIN (1957), the film that also launched Peter Cushing’s international career, for his starring performance as Baron Victor Frankenstein.

 

Vincent Price didn’t have just one, but three busiest years of his career.  He made eight screen appearances in one year three times, in 1956, 1969, and 1970.

Here’s a look at those credits:

1956

1.SERENADE – Charles Winthrop

2.WHILE THE CITY SLEEPS – Walter Kyne

3.LUX VIDEO THEATRE (TV series) – Joseph Bentley/Dr.Austin Sloper/Christoff

4.THE ALCOA HOUR (TV series) – Alvanley

5.THE VAGABOND KING – Narrator (voice)

6.SCIENCE FICTION THEATRE (TV series) -Sgt. Gary Williams/Dr. Philip Redmond

7.THE TEN COMMANDMENTS – Baka

8. CROSSROADS (TV series) – Reverend Alfred W. Price/Rabbi GershomSeixas/Rev. Robert Russell

 

1969

1.MORE DEAD THAN ALIVE – Dan Ruffalo

2.DANIEL BOONE (TV series) – Dr. Thaddeus Morton

3. THE TROUBLE WITH GIRLS – Mr. Morality

4.THE OBLONG BOX – Julian

5. BBC PLAY OF THE MONTH (TV series) – Dr. Austin Sloper

6.THE GOOD GUYS (TV series) – Mr. Middleton

7. WORLD WIDE ADVENTURES:  ANNABEL LEE (Short) – Narrator

8. GET SMART (TV series) – Dr. Jarvis Pym

 

1970

1.SCREAM AND SCREAM AGAIN – Dr. Browning

2.AN EVENING OF EDGAR ALLAN POE – Narrator

3.CRY OF THE BANSHEE – Lord Edward Whitman

4.LOVE, AMERICAN STYLE (TV series)

5.HERE’S LUCY (TV series) – as Vincent Price

6. MOD SQUAD (TV series) – John Wells/Wentworth

7. HOLIDAY STARTIME SPECIAL (TV movie)

8.CUCUMBER CASTLE (TV movie) – Wicked Count Voxville

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Vincent Price in SCREAM AND SCREAM AGAIN (1970)..

Some things of note regarding these credits:  in THE OBLONG BOX, he co-starred with Christopher Lee, and in SCREAM AND SCREAM AGAIN he starred with both Lee and Peter Cushing, the first of only two times that all three of these actors appeared in the same movie together.

I hope you enjoyed this look at the busiest years in the careers of three of the busiest actors in horror film history.

Happy Birthday Peter Cushing, Christopher Lee, and Vincent Price!

Thanks for reading, everybody!

—Michael