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Sunday, May 15, 2022

Bela Lugosi plays the world-dominator wannabe in The Mysterious Mr. Wong


Review by Doug Gibson

For a huge Bela Lugosi fan such as myself, it was always sort of an outrage that I had not yet seen 1934's "The Mysterious Mr. Wong," Mr. Dracula's first foray into the low-budget world of Monogram Studios. The film is ubiquitous. You can watch it at several locations on the Internet. It's also a staple of the DVD sets of 20 or 50 public domain films that can be purchased for $10 to $20. A decade or so ago I shucked out about $5 for an Oldies.com copy because I like the impressive cover art.

Based on a story by cult writer Harry Stephen Keeler, the tale is, in a crazy sort of way, a little like Lord of the Rings set in cramped Chinatown. Mr. Wong (Lugosi) a tough-looking power-crazy hood who masquerades as a meek shop owner, is busy murdering various Chinese contemporaries in order to get the 12 gold coins that Confucious minted before his death. Through murder and theft, Wong has nabbed 11 of the 12. If he can get them all, he'll achieve some sort of world domination (the script is a little fuzzy on this, but he definitely wants that coin.



Wong, though faces some tough competition from wisecracking newspaper reporter, Jay Barton (played by Wallace Ford, whose fantastic in these types of roles). In between doubting the cops' belief that the murders are over a gang turf war, Barton slowly, in his own inimitable style, begins to piece together who exactly Wong is and what he wants.In his spare time, Barton -- who gets his hands on the 12th gold coin -- breezily romances newspaper operator girl Peg, played by the pretty Arline Judge. It all leads to a final showdown where Wong menaces Jay and Peg.



This is nowhere near Lugosi's best film, but it's a fun way to waste 63 or so minutes. Despite its low budget and usual "where-the-heck-is-this-going" Monogram plot, it was lean enough to carry my wife and son through the film. And Lugosi, although one look at that nose kills any belief that he's Chinese, is suitably menacing. Scenes where he brutally tosses a man down into a cellar filled with rats is almost chilling, as is a scene where he bullies two Chinese women who disapprove of his plans. And he certainly has sadistic, murderous plans in store for Jay and Peg (Judge screams well) as the climax approaches.

William Nigh's direction is OK; he keeps scenes moving briskly. Ford has his usual good snark and adequate comic timing. Robert Emmett O'Connor is not too bad as an inept Irish cop to provide humor fodder. Another plus is a chance to witness what life was like 88 years ago in the outdoor city shots as well as the studio shots of he newsroom Jay and Peg work in. It's worth watching and a must for Lugosi fans. 

"The Mysterious Mr. Wong" likely made money for Monogram. It played throughout the nation. Below it shows up as a feature option for readers of the Quitman Wood County (Texas) Democrat newspaper in the Nov. 28, 1935 edition.



Sunday, April 3, 2022

The Lady Mephistopheles is a compelling, well-crafted dark horror tale



I do not review a lot of narrative fiction on this blog but I recently read Dean Patrick's new novel, "The Lady Mephistopheles," (TWBpress.com, Centennial, Co.) The 258-page work (it can be read over a dark and stormy weekend) blew the windows of my brain wide open (apologies to Hanif Kureishi.) It's very dark horror, external and internal. It involves an already deeply flawed and damaged man battling -- as best he can -- stark evil. 


This is Patrick's first novel. I have read and enjoyed his short fiction in various publications, including here and here. Much of my review today stems from my Amazon review. I hope readers of this blog will take a chance on "The Lady Memphistopheles." It's an inexpensive dead-tree buy, and a very inexpensive read on Kindle. (Amazon link is on first mention of title above.) Review starts below:


This is an interesting read about man who encounters a beautiful woman. Not surprisingly, he's attracted to her. But he soon discovers she is leaving a hellish path of destruction where she goes, killing people, possessing others, corrupting both a church and a town. 


The man, an alcoholic, realizes she's dragging him down to destruction, almost effortlessly, using his temptations and addictions as a tool. He only has periodic escapes from the ordeal, granted by her temporary absence. He eventually realizes the "Lady Mephistopheles" is not alone; there's another demon stalking him, trying to destroy the world as he knows it. 


He takes his tired, physically and emotionally ravaged self, and tries to fight back. This a compelling read, with elegant, masterfully descriptive prose. It blends the horrors of the world with supernatural terror. There is another entity, a cowboy of sorts, a plain talking guy. The Lady Mephistopheles fears and loathes him.


To me, Patrick's unique, intense prose reminds of Clive Barker, John Fante and a bit of Nelson Algren. I'll just add that readers who trek into Patrick's vivid imagination may end up thinking twice about buying that expensive, massage/easy chair that looks so inviting in the store showroom. Heh, heh. By the way, Patrick plans a sequel to the novel to be released in the near future.

- Doug Gibson

Sunday, March 20, 2022

Ed Wood anthology covers nearly all the topics of sex, whether you want it or not

 


Review by Doug Gibson


I am a huge Ed Wood fan going on way past 40 years now; ever since the only Wood canon I knew was "Glen Or Glenda" to "Plan 9 From Outer Space," ... and that lost "Night of the Ghouls"/"Revenge of the Dead." (which was soon found). 


But Ed was far more of a writer than a director. His "mainstream" directing career kind of ended with the (wink) semi-adult film, "The Sinister Urge." Then it was a long stint of virtually all adult cinema, soft and hard, for Ed the director.


But he never stopped writing. Dozens of novels and books, hundreds of short stories, lots of "educational" sex books, flotsam and jetsam such as text titles for silent adult shorts, scripts for (usually) soft and hard adult fare. You are noticing a trend here, right?


Wood was a severe alcoholic, who eventually died prematurely from his addiction. The last few years of his life, he was unable to keep a steady job. I recently saw a photo of Ed during those years (early to mid 1970s) in a biography of the late filmmaker Stephen Apostolf, who may have been the last boss to cut Ed a paycheck. Ed's at a party and he looks very drunk and very unhealthy. He looks like someone long used to being looked down upon and ignored. It breaks my heart. I actually had tears looking that photo. The reason? I admire Ed Wood's vivid imagination and prolific writing. I still consider him a pulp Elmore Leonard, writing only a first draft with no real editor. 


I get it. You think I'm nuts. But the first major woman in his life, Dolores Fuller, accurately described him as an "American original." And his now-deceased widow, Kathy, never left the old drunk. Bob Blackburn, who lives in Los Angeles, befriended Kathy Wood in the last era of her life. They developed trust and Blackburn has spent an incredible amount of time finding Ed's shorts stories and non-fiction writings, most published in sleazy, over-priced adult books and magazines, the kind that sprung up after the courts OK'd that stuff.


Bob has helped compile and get published two massive, indispensible collections of Ed's short stories, "Blood Splatters Quickly," from ORBooks, and "Angora Fever: The Collected Stories of Ed Wood."  You can get get the latter from BearManor Media. Some of Ed's novels are still floating around in reprints, which came out mostly in the '90s when Tim Burton's "Ed Wood," that lovely overidealized paean to Ed's early years, was released.


OK, I am finally getting to this review. "When the Topic is Sex, by Ed. Wood Jr." was recently released, also by BearManor Media. (Amazon link here). The "essays" inside are the adult magazine filler material that occupied a few pages in the magazines published by Bernie Bloom's Pendulum Publisher's business. Ed worked there in the '70s until alcoholism made him expendable. He was valued there for his versatility and speed in crafting coherent works (usually) that showed his lifelong wordsmith talents. If you want to read a fascinating account of a youngster at Pendulum working with a talented has-been on the way down (Ed) read Leo Eaton's account here. I think I read it first in another BearManor book on Ed's lost scripts. Pendulum was a sweatshop for wordsmiths. It was a starting point for young writers like Eaton, but a literal end of the road for Ed.


Publisher/writer/poet Bill Shute provides an introduction to "When the Topic is Sex." He notes that Wood was a known and trusted quality in the industry. He could take a subject, prurient or not, and fit in the details. There are more than 80, I imagine, "non-fiction" musings on a wide variety of starter topics (I'll let the reader peruse them). Themes include the evolution of sexual mores in film, contemporary society, education, prostitution, wife swapping, pornography, the various different genres of the sex worker industry, S&M, sweaters, social diseases, sexual dictionaries, fur fetishes. Topics include the possibility of a "sex tax" to balance budgets, the lure of Greenwich Village ... I could go on endlessly listing the topics Ed muses about. Much of it is offensive and misogynistic. It's time capsule mores.


The stories are often sexually graphic but not so much erotic. There's one about a housewife turned leader of a sexual coven of witches. Ed includes himself in the story, but it's of course made up. A lot of the stories involve interviews with students, prostitutes, secretaries, etc. I think Ed was being tongue-in-cheek with these "on-th-street" accounts because as blogger Joe Blevins has already pointed out, these subjects talk like Ed Wood writes! One fun aspect of the essays is the irony of a bloated, alcoholic man around 50 writing "authoritatively" about the sexual hijinks of college students and "still-Mad Menish" office and nightclub/bars environments. Ed likely had a firm grasp on the sexual fantasies of Pendelum's clientile. I imagine his tongue was in his cheek a lot when he was crafting these pieces.


I'm not going to say much about the essays. Frankly, they can be a slog if taken in large doses. Don't read too many in one setting. One or two a day is enough. You can then appreciate Ed's unique writing style. As Shute notes in his introduction, Ed's style always shows up in his art. In these essays his prose takes the form of a pleasant, slightly know-it-all educator letting us know about these "trends in sex." Or if it's a more spicy topic, or perhaps Ed was intoxicated when he wrote the story, the narrator shifts in personality to a more " hmm, take a good hard look at this sexual deviancy ..." I sometimes imagine this Ed Wood would have made a brisk living selling spicy post cards on the streets of Paris 120 years ago. 


One essay I enjoyed in "When the Topic is Sex" is "Sex is Not a Hazard." It's very graphic at times but it also has a sweet undertone to it. Its Ed telling us that sexual compability is an important component of a sexual relationship and couples should explore, and not run away from, what makes both partners happy. I also enjoy the"news of the weird" type compilations of truly bizarre happenings. Since I see these types of columns even today in alternative weeklies, I don't think Ed was telling tall tales in these pieces. The "Mondo" exploitative documentary film from the 60s and 70s was still around when Ed wrote these. I wonder if he saw those films. 


Frankly, I worry talking about these essays might spur Big Brother social media tech discipline on me. ... Despite the made up interviews, Ed does his research when it's needed. I Googled a lot of his sources on topics, and they checked out. Example: when he writes about a sex tax, he cites an obscure New Orleans educator from long ago. Turns out the fellow existed.


Pendulum had archives for research, and an unpublished sex study by a guy named Dr. TK Peters. (He really existed.) But I can still imagine, Ed, in his windowless Pendulum cubicle, thumbing through the Readers Guide to Periodical Literature booklets, taking notes, looking for sources. Heck, I did that a lot of that in the pre-Internet days.


I want to add that the aforementioned blogger Joe Blevins runs the absolutely essential Ed Wood Wednesdays Dead2Rights blog. It's here. Joe provides in-depth recaps of every essay in this book. He also, to the best of his knowledge, tells readers when published and in what publication. Over the course of almost two months, I read every essay in "When the Topic is Sex." The recaps Joe provides really helps in digesting them. (The recaps are also available at Bob Blackburn's Ed Wood Jr. Facebook page.)


To sum up, the book is a history lesson. Besides providing another peek into Ed's life, and his surroundings -- the desperate years -- it's a history lesson into the genre and culture of the working world Ed and others experienced 50 years ago. 


Tuesday, March 1, 2022

Seven Deaths In A Cat's Eye – A Brilliant Combination of Gothic Horror and Italian Giallo



Review by Steve D. Stones


Twilight Time has recently released a beautiful blu-ray disc of the 1973 Italian film – Seven Deaths In A Cat's Eye. Directed by Antonio Margheriti (aka Anthony M. Dawson), the film is also known by its Italian title of La Morte Negli Occhi de Gatto. The brilliance of this film is that it combines elements of the murder mystery Italian “giallo” with Gothic horror.


In an opening sequence that is important to the ending of the film, the viewer sees a close up of a stained glass lamp at a table and then a large chest being thrown down stone stairs of a castle as a corpse rolls out of the chest. A ginger tabby cat at the top of the stairs witnesses this scene. The corpse is eaten by rats as the camera shows close up shots of bloody eaten flesh of the corpse. The lamp will make another appearance at the end of the film, so it's important to remember this scene.



Corringa (Jane Birkin) returns to her family ancestral Scottish castle from her convent school in London after being expelled. The castle is known as Dragonstone. A gorilla looks out a castle window as Corringa's carriage arrives. Corringa's mother Lady Alicia (Dana Ghia) tries to persuade the matriarch of the house – Lady Mary MacGrieff (Francoise Christophe) to sell the castle and come to London where she can get treatment for her insane, anti-social son James (Hiram Keller). James distances himself from the rest of the family by creating art in his castle studio and avoiding contact with anyone. He paints nude portraits of his French teacher Suzanne (Doris Kunstmann) who also lives in the castle.


When Corringa arrives at castle Dragonstone, she is greeted by Suzanne in her bedroom. Corringa decides to burn some of her school books in the fireplace and accidentally throws a Holy Bible into the fire. Suzanne pulls Corringa away from the fire as she tries to pull the bible out of the fireplace. Corringa's mother Alicia fears that the burning of the Bible has brought a curse on the family. The family priest – Father Robertson (Venantino Venantini) assures the family at dinner that nothing bad will happen if burning the Bible was a mistake.


Lord James MacGrieff enters the room to join the family for dinner, but his rude and inhospitable behavior makes members of the family get up and leave the table. The family doctor – Dr. Franz (Anton Diffring) tells father Robertson that James killed his baby sister when he was a child.



Later that night, Lady Alicia is suffocated in her bed with a pillow as the ginger cat witnesses the murder. Dr. Franz is asked by Lady Mary to announce her death as natural causes. James watches from a distance as the coffin of Alicia is carried to the family crypt. The ginger tabby cat jumps on top of the casket as the pallbearers carry her into the crypt. Lady Mary instructs the family chauffeur to lock the cat in the crypt with Alicia's body.


One by one, the MacGrief family members are murdered with a razor blade. Most of the murders take place off camera. This adds to the tension of not knowing who the killer is. The ginger cat is present at the scene of each murder. Even Lord James' pet gorilla is murdered.


After going down in the cellar of the castle to find the ginger tabby cat, Corringa encounters the rotted corpse eaten by rats and her mother's grave empty and is attacked by bats. Lord James later shows Corringa his nude paintings of Suzanne in his studio. She becomes more suspicious of James as the murderer of her mother.


When a police inspector (Serge Gainsbourg) arrives to arrest Lord James, James flees to hide in the castle cellar. The viewer continues to believe that James is the murderer, but the final sequence of the film reveals who is really behind the MacGrief family murders, and the stained glass lamp makes another appearance that ties to the opening of the film.


Seven Deaths In A Cat's Eye has some plot elements very similar to Agatha Christie's 1939 novel – Ten Little Indians. One of many interesting aspects of Seven Deaths In A Cat's Eyes is the ambiguity of the time period in which the film takes place. Clothing worn by actors and interior d├ęcor in filmed environments suggests that we are seeing a late Victorian era set piece. However, actress Jane Birkin wears a number of outfits that look as if we are in a 1920s Scottish environment. A reference to the famous writings of Sigmund Freud is also mentioned in one scene – which suggests that the film takes place in the early 20th century. The opening horse and carriage scene suggests that this is a time before the automobile.


Director Antonio Margheriti directed a number of 1960s horror thriller films that were not quite as stylish and effective as Seven Deaths In A Cat's Eyes – such as Castle of Blood (1964) and Long Hair of Death (1964), both starring raven haired beauty Barbara Steele. Margheriti also directed a number of Italian “sword & sandal” epics – such as Hercules, Prisoner of Evil and Giants of Rome, both in 1964. Happy viewing.