Sunday, November 22, 2009

Review of Muddled Mind: all about Ed Wood's books


Muddled Mind: The Complete Works of Edward D. Wood, Jr., by David C. Hayes, 2009 update, Ramble House Press, http://www.ramblehouse.com fender@ramblehouse.com Reviewer received a review copy.

By Doug Gibson

Depending on your point of view, Ed Wood was either a famous, or infamous filmmaker. What the average Ed Wood fan doesn't know is that Wood wrote a heck of a lot of novels, short stories and news articles; 80 novels, several hundred short stories and a few hundred non-fiction articles. And Wood was a damn good writer, Imagine Elmore Leonard writing without an editor and submitting a first draft. That's Wood.

The tragedy of Wood's life is that he was a drunk; after the mid 1960s most of his written work -- and all of his film work -- was in porn. But even that sleaze had Wood's iconic and unique touch and value. His books and sleazy magazines -- many of which he created all by himself -- are still in demand, fetching big prices for collectors.

It's high time someone provided a detailed overview of Wood's literary output, and Chicago writer, actor, screenwriter and filmmaker David C. Hayes does a pretty good job in Muddled Mind: The Complete Works of Edward D. Wood Jr. It's a reference book of all of Wood's writing; from the semi-sleazy mid-60s tales such as Death of a Transvestite and Devil Girls to the raunchier books and stories and finally the hard-core porn Wood was reduced to writing his final years.

Hayes' book is tongue in cheek at times, with a fictional "co-author," and it's not a deep book, but it's of real value to Wood fans. We learn what an amazing, tireless writer Wood was even with the crutch of alcoholism. For example, he was invaluable to the fly-by-night porn magazine publishers of the 1970s. Wood would write an entire issue of "Tales for a Sexy Night" or another similarly title magazine, and then do again a few weeks later.

In what Hayes describes as The Golden Age, Wood wrote some fast-paced, compact Elmore Leonard-type novels, such as Killer in Drag, Devil Girls and Death of a Transvestite. They are not porn, and must have earned Wood some prestige as a writer, although he was probably lucky to see $2,000 for all three books. Wood's desperate straights made him easily exploitable by low-brow publishers. (Come to think of it, that's also a fate that plagued the actor Bela Lugosi, who, as most know, starred in a few Wood films)

Hayes repeats what I have read in other sources that writing porn is part of what destroyed Wood in the last years of his life. Muddled Mind respects Wood enough to offer critiques on his work to the bitter adult sleaze end. Hayes writes with both humor and respect for Wood. It is amazing that more than 30 years after his death, we are still finding Wood novels, stories and articles (he wrote often under pseudonyms) and it's likely that 50 years from now, we'll still be finding Wood's output. He was indefatigable.

I've saved the best part of Muddled Mind for last. It includes complete copies of three excellent, distinct Wood stories. The first, The Night the Banshee Cried, is a spooky tale of a woman fearing a sinister presence. It's Wood's very credible effort to invoke the atmosphere of Edgar Allen Poe. The next, Pearl Hart and the Last Stage, is a very entertaining fictional essay on an infamous lady stagecoach bandit. Again, Wood manages to capture the spirit of a Zane Grey-type tale.

The last, and best story, To Kill a Saturday Night, is simply brilliant. The tale of a pair of bloviating farm workers contemplating casual murder on their day off will remind readers of John Steinbeck's Of Mice and Men. Both Pearl Hart ... and To Kill ... were written in the 1970s, a time when Wood was sadly, firmly padlocked into lowbrow porn. But even then, an alcoholic semi-bum, the man could still write talented prose.

There is one more treat in Muddled Mind. There is Wood's prologue to an audio version of Plan 9 From Outer Space that was produced by Wood's porn producer Pendulum Press. The audio may have been a reward for Wood's previous workload. Who knows? Wood wrote this prologue after being kicked out of his apartment. Living as a charity case with actor Peter Coe, Wood died days after he penned this friendly, optimistic intro with a lot of literary license. If you love and admire Wood's work, you will get goose bumps reading this. It's nice that Wood was aware, while alive, that there was a young cult following for his work. He deserved that.

Muddled Mind is a great follow up to Wood's literary life after we were teased about it in Rudolph's Grey's excellent oral biography on Wood, Nightmare of Ecstasy. Ramble House is a very tiny press, and Wood fans should be grateful that it is critiquing Wood's writing and searching for more of his works. In fact, Ramble House, under the name Woodpile Press, is selling reproductions of much of Wood's writings. Muddled Mind has a list of the offerings. This is wonderful news and we hope Ramble House keeps rambling. For info on the reproductions, send an e-mail to the address above.

Tuesday, November 17, 2009

THE HIDEOUS SUN DEMON: Be sure to wear sun tan lotion!



By Steve D. Stones

I have to admit that The Hideous Sun Demon is my favorite low budget
monster movie of the 1950s. I would have loved to see this film on a
drive-in movie screen in the late 1950s. It would be even more
interesting to have seen it on a double bill with another Robert Clarke
film, such as The Man From Planet X, The Astounding She Monster or
Beyond The Time Barrier. Clarke starred in The Astounding She Monster
just a year before he directed and starred in The Hideous Sun Demon. He
took some of his profits from She Monster and invested them into this
film.

In his autobiography “Robert Clarke: To B or Not to B: A Film Actor’s
Odyssey,” Clarke mentions that he had a desire to create a film similar
to the Robert Louis Stevenson story Dr. Jekyll & Mr. Hyde. He was
impressed with Dr. Jekyll & Mr. Hyde while seeing it in a movie theater
at the age of 12. He wanted to create a film that would have much more
substance than The Astounding She Monster.

Viewing The Hideous Sun Demon, it is easy to see some of the
similarities of the Stevenson classic. One major difference is that
Clarke’s character, Dr. Gilbert McKenna, is a victim of an atomic
experiment gone wrong. Dr. Jekyll willingly conducts experiments on
himself to understand the duality of good versus evil in every man’s
soul. Plus, Clarke’s character has a conscience of not wanting to kill
innocent victims.

After his transformation of the Sun Demon and back to Dr. McKenna,
McKenna expresses a deep regret for his murder victims. In his own mind,
he is a victim himself, and has no desire to want to commit murders
while he is in the normal state of being Dr. McKenna. While in a
transformed state of being the Sun Demon, McKenna cannot control his
murderous desires.

What makes The Hideous Sun Demon so appealing to me is the unique Sun Demon costume worn by Clarke. It is a truly unique and frightful
costume. Clarke claims to have paid $500.00 for the costume. Like Dr.
Jekyll & Mr. Hyde, Clarke transforms into the Sun Demon while wearing
his everyday clothes. Many of the production stills taken for the film
show Clarke’s trousers drenched in the front and back. This is because
the actor was sweating heavily from the heat of the costume.
Nevertheless, it adds uniqueness to the creature and makes it more
believable, in my opinion.

Another unique element of Sun Demon is the timeless theme of beauty and
the beast. Clarke cast busty blonde Nan Peterson, star of Louisiana
Hussy, as a beautiful nightclub singer that Dr. McKenna becomes
infatuated with. McKenna falls in love with her, but he knows his love
cannot last because of his condition. After a lustful night on the
beach with the girl, McKenna abandons her as the sun comes up to
transform him into the Sun Demon.

There is even a love triangle aspect to The Hideous Sun Demon. Dr.
McKenna works in his laboratory with a pretty young brunette named Ann
Lansing, played by Patricia Manning. In one particular scene, McKenna
hides in the cellar of his basement after returning from a murder spree
as the Sun Demon. Lansing confronts him in the cellar. She expresses her
concern and care for McKenna, but he rejects her sympathies for him. She
goes on to say that she loves McKenna and wants to find help for him.

Perhaps the most touching and sentimental scene of the film is when
McKenna once again is confronted in a hiding place, only this time by a
five year old girl in a 50s poodle skirt. McKenna is being pursued by
local police, and hides in a mill near the little girl’s home. She
offers to bring him cookies and decides to be his friend. This is the
most touching scene of the film.

The little girl rushes home to steal some cookies to give to McKenna. Her mother discovers she is about to take the cookies to McKenna, so she calls the local police. McKenna flees the mill and immediately transforms into the Sun Demon.

McKenna is chased to the top of a giant gas tank, where he meets his
death as a policeman shoots him and he falls to the ground. This scene
is not unlike the ending of well-known monster movies, such as
Frankenstein and The Phantom of The Opera, in which the local
townspeople chase the monster and he meets a violent death, only in this
case it’s the local police who chase the monster.

Some critics suggest that the formula of The Hideous Sun Demon does not
work because the Sun Demon can only transform into the monster in the
sunlight, unlike other monsters, such as The Wolf Man and Dracula, who
lurk in the dark. I disagree with this assessment of Sun Demon. A
monster who lurks in the dark is certainly much more scarier than one
which is out in the daylight, but The Hideous Sun Demon is not
attempting to surprise or scare the audience in the same way that
creatures of the dark are known to do.

The Hideous Sun Demon is the result of atomic radiation, so he is a
victim of his environment, and not a product of the undead coming back
to life, such as a zombie or a vampire. He is also not a product of
several parts of a corpse being assembled together, such as
Frankenstein’s monster, so he is not intended to be a monster of
experimentation. This is what makes the Sun Demon a unique creature and
interesting film.

Monday, November 16, 2009

All about 'Monster A Go Go'




Monster a Go Go




Monster a Go Go, 1965, starring Phil Morton and Harry Hite. Directed by Sheldon Seymour (Herschell Gordon Lewis. Film originally started by Bill Rebane. Around 80 minutes long. Film garners a * on the 10-star Schlock-Meter.


In Monster a Go Go, a once normal size spaceman emerges from his capsule. He s now 10 feet tall and deranged to boot. He apparently kills several people and generally wrecks havoc. The authorities close in on him. Just as he s about to be captured, the monster seems to vanish. A narrator solemnly explains that none of this ever happened. All is well.


Yes, Monster a Go Go is as bad a movie as the synopsis indicates. It's unwatchable except in its Mystery Science Theater 3000 version, and even then it's a tough sell. There is virtually no plot to speak of. We are taken to fields, sleazy clubs, boring living rooms, etc. We listen to a dull narrator and even duller characters talk on and on. According to some web surfers at the Internet Movie Data Base, a human ringing voice is used to dub in the ringing of a phone in a scene from Monster a Go Go. I don t remember this exact scene from my viewing, but I was so bored that it's quite likely I let that bit of comedy pass by unnoticed.


More interesting than Monster a Go Go's inane plot and execution is the story of the film itself. It's an example of the type of film released by some exploitation filmmakers. There's no effort to make a coherent story; they just want the film in the can. Then, they can make a great movie poster and drive suckers into theaters, get their cash and leave most disappointed. Directors Al Adamson and Ted V. Mikels did it to perfection in the 60s and 70s, although in fairness, a few of their films clicked.


Anyway, a guy named Bill Rebane started this film, but soon gave up. Cult film director Herschell Gordon Lewis (Blood Feast, Two Thousand Maniacs) bought up the unfinished movie, I presume added a few scenes and tacked on the title Monster a Go Go to try and cash in on the '60s youth movement. Except even Lewis couldn't put his name on this turkey. He used the pseudonym Sheldon Seymour. Avoid it like the plague.


-- Doug Gibson

Sunday, November 15, 2009

Review: Pink Flamingos


Pink Flamingos: Directed in 1972 by John Waters, this film was a huge hit on the midnight movie circuit of the 1970s. The film concerns a transvestite mother named Divine who lives in a rundown trailer park outside of Baltimore, with her son Crackers and her mother Eddy "The Egg Lady," who lives in a child's playpen and eats raw eggs.

Divine's family call themselves "The Filthiest People Alive." Watching "Pink Flamingos" is like viewing an episode of "The Osbournes" on MTV. No matter what dysfunctional problems your family may have, "The Filthiest People Alive" have it much, much worse. This is a recurring theme in many of Waters' films, such as "Female Trouble," "Polyester" and "Serial Mom."
(Originally published in the Standard-Examiner)
-- Steve Stones