The expression on the Goblin Queen’s face, played by Deborah Reed, is priceless, and worth the effort to watch or own the film. A later scene has Reed trying to seduce a teenage boy in a motor home with a cob of corn. She is dressed in a sexy black gown with black nylons and high heels, similar to Elvira, Mistress of The Dark. I don’t know about you, but I have a soft spot for those sexy raven-haired women dressed in black. Come to me Creedence Leonore Gielgud, sexy Goblin Queen!!
Saturday, October 30, 2021
Tuesday, October 26, 2021
Review by Steve D. Stones
This stylishly crafted, brilliant supernatural ghost story is based on the 1898 Henry James novella – The Turn of The Screw. Made at Shepperton Studios in England, The Innocents (1961) was directed and produced by Jack Clayton. Clayton manages to create a creepy atmosphere throughout the film while contrasting it with beautiful locations, stark black and white photography and oblique camera angles. The film gives an excellent perspective of life at the end of the 19th century during the Victorian era.
A bachelor uncle, played by Michael Redgrave, wants to hire Miss Giddens (Deborah Kerr) as a governess to take care of his orphaned young nephew Miles (Martin Stephens) and niece Flora (Pamela Franklin) at his countryside estate at Bly Manor in England. When hired, Giddens is asked to never contact the uncle ever again with regard to the children. She is to take care of the children on her own, regardless of what problems she might encounter with them. Giddens accepts the job without question.
When arriving by carriage at Bly Manor, Giddens hears a voice crying out for Flora. As she is greeted by Flora in the garden, Flora tells Giddens that she did not hear any voice calling out for her. Flora shows Giddens her pet turtle Rupert and later informs her that Miles is to return home soon, although he was sent far away for a term of schooling. Giddens is puzzled by the thought of Miles returning home when his term of school will not end for a few months.
Giddens receives a forwarded letter from the children's uncle that was sent to him from Miles' school. The letter informs Giddens that Miles has been expelled from school because he has become a bad influence to other children at the school. When Giddens and Flora greet Miles at the train station on the day of his arrival, this is when things become really strange at Bly Manor. Miles refuses to answer any questions Giddens asks him about his schooling and why he was expelled.
While tending the garden one day, Giddens sees a tall shadowy figure standing at the top of the mansion tower. She is unsure of what she saw, so she climbs the stairs to the top of the tower to look for the man. The man is nowhere to be found on the tower, but Miles is there tending to a flock of pigeons. Miles denies seeing any man on the tower when Giddens asks him about the man. Giddens insists that he must have seen the man.
Giddens later finds an old photo in the mansion attic in a cracked frame of the man who appears to be the person she saw on the tower. She plays hide and seek with the children and takes her turn in hiding behind curtains in the dining room. Behind the curtains, she sees the man in the photo approach her on the other side of the window glass. This is one of many creepy sequences in the film that gives the viewer goosebumps. The expression on actress Deborah Kerr's face as she sees the man in the glass will send chills up your spine. Giddens describes the man to the housekeeper Mrs. Grose (Megs Jenkins). Grose says the man is Peter Quint (Peter Wyngarde) who died in an accident at Bly Manor. Miles found him just before he died. Apparently, the two were very close friends.
At a lake near Bly Manor, Flora hums a nursery rhyme while Giddens sees a strange, pale female figure dressed in dark clothing standing on the other side of the lake. This is another creepy sequence in the film that sends chills up the spine of the viewer. Flora and Grose claim to not have seen the figure. Grose mentions to Giddens that the figure may have been Mary Jessel (Clytie Jessop) – the former governess, who drowned herself in the lake soon after Quint's death. Quint and Jessel were a couple, although Grose mentions that they had a violent relationship.
Throughout the film, the viewer is not certain if Giddens' encounters with the ghosts of Quint and Jessel are real, or perhaps a delusion of her emotionally unstable mind. This is one of many effective and compelling aspects of the film. As the film progresses, the viewer begins to understand that the children Miles and Flora may be hiding a dark secret. We do not know whether to believe the children when they say they cannot see the ghosts of Quint and Jessel, but it becomes clear towards the end of the film that the children know of their presence. Are the children possessed by the ghosts of Quint and Jessel? This is the question the viewer asks as the film progresses.
The Innocents was selected by The Guardian as one of the 25 best horror films in cinema. Those of us who are big fans of The Innocents certainly agree with The Guardian's selection. Director Jack Clayton was displeased with screenwriter William Archibald's perspective that the paranormal events in The Turn of the Screw were legitimate, so he asked American writer Truman Capote to rework the script for The Innocents to suggest other alternatives to the plot.
Many horror film fans often compare and contrast The Innocents with director Robert Wise's 1963 psychological horror film – The Haunting, which is also an excellent film. Both films are greatly respected by film critics and fans of horror films and ghost stories. Both make for a great Halloween double feature. Happy viewing and Happy Halloween.
Tuesday, October 19, 2021
Review by Doug Gibson
For Bela Lugosi's birthday, I had considered reviewing his second-most-iconic-character film, "Son of Frankenstein." But then I was reading Gary Rhodes and Bill Kaffenberger's new book, "Becoming Dracula: Volume 2," and I was intrigued by some mid 1920s' silent films Bela acted in. One I watched, "Daughters Who Pay," impressed me, not so much with the film, which is mildly entertaining, but with Lugosi's magnificent screen presence. He's in his early '40s, and his commanding persona draws eyes to him in most scenes.
"Daughters Who Pay" was a 1925 states rights release that starred Marguerite De La Motte, a star of that era, who plays dual roles. There are separate plots that eventually intersect. The first involve young woman, Margaret Smith, who is essentially the head of a fatherless house. Margaret has a problem. Her loser brother, Larry, has frittered away, illegally, $10,000 from his firm. He faces ruin and prison if discovered. Margaret agrees to visit his boss and plead for mercy.
The other plot involves the boss, Henry Foster, who is upset that his son, Dick, is romantically involved with a Russian nightclub singer, Sonia Borisoff. The elder Foster demands his son give her up. Dick leaves, assuming he is cut off from the family fortune.
A theme of "Daughters Who Pay" is the Russian menace of the 1920s. Lo and behold we learn that Sonia is apparently part of a Russian spy operation. The local spy ring leader is played by Bela Lugosi, His name is Serge Romonsky. (Above is a photo of Lugosi with De La Motte in the film.)
Bela appears about 20 minutes into the film, interrupting Dick Foster telling Sonia that he's given up his money for her. Above at the top of the post (courtesy of the Bela Lugosi Blog) is a still of Lugosi in that scene. His youth, looks, and commanding sense are striking. He dominates the scene with an imperious air and visible contempt for the weak Dick Foster. "I can't say that I care for some of your American friends, my dear," Bela's character says in the titles.
Later in the scene, while they are alone, Bela's character orders Sonia to drop Dick Foster. She appears to have feeling for the young man, but reluctantly agrees. Bela's Romonsky lights up at this. He has feelings for Sonia. But she quickly rebuffs him. Offended, he leaves.
Meanwhile, Mary is unsuccessful in persuading Henry Foster to give her brother a break. She leaves and apparently runs into Sonia outside the Foster mansion, where the singer has been summoned. Once inside with Mr. Foster, Sonia agrees to dump his son, but only if he shows mercy to the brother of the woman she just met, Mary. Henry Foster appears bemused by this.
Meanwhile, members of the Russian spy ring are beginning to have suspicions about Sonia. Romonsky and the others make sure they are with Sonia when she tells Dick Foster their relationship is over. After she does that, crushing Dick, a triumphant Serge begins, in the parlance of the era, to make love to Sonia. She accepts a long kiss. After it's over, Romonsky recoils in shock, with blood dripping from his lip and mouth. (See photo below).
It's a fascinating scene; the most shocking part of the film. It also serves historically -- unintentionally of course -- as a preface to a future role, Lugosi as Dracula. It made me think a bit of Lugosi eying the blood on doomed Renfield's finger. The scene shifts to Sonia, who shows Lugosi the rose with thorns she had placed between her teeth prior to the kiss.
Soon afterward, federal agents raid the location. Many spies are arrested. Romonsky and Sonia avoid capture. This convinces Romonsky Sonia is a traitor, and he arranges to set her up for capture and presumably death.
I will not provide more of the plot except to mention this film is very easy to watch. Here is a YouTube link. The film is set mostly in the Hamptons and it was shot in winter, so there are nice scenes with New York snow. Reviews were middling, according to "Becoming Dracula: Volume 2," which includes snippets of many critics' opinions.
The film has about 15 or so minutes of deterioration, for about 10 minutes in the latter middle and then heavy deterioration in the final several minutes. (The film is about 78 minutes). This does not prevent the viewer from losing the plot, or losing enjoyment in the film, but it will likely prevent this film from ever airing on, say, Turner Classic Movies. De La Motte's star diminished with the beginning of sound films. She made only a handful of sound films. George Terwilliger directed the film. John Bowers played Dick Foster, J. Barney Sherry played Henry Foster, and Joseph Striker played Larry Smith. As mentioned, De La Motte has two roles, which sets up a surprise at the end. Can you guess?
Below is an April 20, 1926 ad for "Daughters Who Pay" from the Hattiesburg (Miss) American for the film promising free admission, with one purchase, for mom.
Wednesday, October 13, 2021
Review by Doug Gibson
Haunted, 1995, British, color, 108 minutes, Zoetrope Films. Directed by Lewis Gilbert. Based on a novel by James Herbert. Starring Aidan Quinn as David Ash, Kate Beckinsale as Christina Mariell, Anthony Andrews as Robert Mariell, John Gielgud as Dr. Doyle, Alex Lowe as Simon Mariell, Victoria Shalet as Juliet Ash and Anna Massey as Nanny Tess Webb. Schlock-Meter rating: Nine stars out of 10.
Haunted is a very spooky, fun ghost story with twists and turns that will leave most viewers guessing. It's based on a popular novel by British author James Herbert, who is as famous in Britain as Stephen King is in America. Here's the plot: Famed psychologist David Ash (Quinn) enjoys debunking mediums and rumors of ghosts. This may be because Ash refuses to accept that many years earlier, he saw a manifestation of his dead twin sister after she drowned in an accident.
Seeking material for a book, he amuses himself by accepting an invitation from a frightened elderly woman (Massey) to kick out some ghosts who are in her home, which is a huge mansion near the white cliffs of Dover. As soon as Ash arrives he meets three adult siblings (Andrews, Beckinsale and Lowe). They're an odd but charming trio, oftentimes acting more like children. Nevertheless, Ash begins to feel a strong attraction for the sister, Christina Mariell, played by future star Kate Beckinsale.
There's no gore in this film, but it's as spooky as The Others and nearly as terrifying as the classic The Haunted. As time passes, Ash witnesses several supernatural encounters that force him to revise his earlier theories. He appears to be no help to his poor client (Massey), who lives in terror within the house. Although Ash's romance with the beautiful Christina intensifies, the brothers become more cold, and Ash also witnesses several strong hints of incest between Christina and the oldest brother Robert (Andrews). The home also appears isolated at times, except for occasional visits from a kindly country doctor (Gielgud) in a marvelous small role.
It would be a crime to give away the ending in this review, but rest assured it packs a powerful punch. To survive, Ash must reach deep back into the past of his life and seek help from someone he's trying to forget about. Quinn gives a marvelous performance as he tries to deal with a horror he's always scorned. Beckinsale radiates sensuality (note to her fans, the nude scenes are with a double). Finally, Massey literally looks like an old woman who has been scared so badly that she has become a walking corpse, just waiting to die. By all means, buy it or rent it, and make sure you watch it after dark. A second viewing provides fun in counting plot clues missed the first time. A Blu-Ray is available for purchase here.
Thursday, October 7, 2021
Reviewed by Steve D. Stones
in 1963 by Herschell Gordon Lewis (The Godfather of Gore), Blood Feast centers
around a psychopath Egyptian immigrant named Fuad Ramses, played by Mal Arnold,
who runs a food catering business in Florida. Ramses murders local beautiful
women in the Miami area and uses their body parts in his meals to perform
sacrifices to the ancient goddess Ishtar.
Socialite Dorothy Fremont, played
by Lyn Bolton, approaches Ramses at his catering business to request catering
services for her daughter Suzette's birthday party. Ramses promises a feast for
the birthday party that no one will ever forget and one which has not been
served for five thousand years. Mrs. Fremont is unaware that Ramses will
prepare a feast with body parts of local murdered women. He intends for
Fremont's daughter to be one of his next victims in the cannibalistic feast.
Thornton happens to be dating Suzette Fremont, played by 1963 Playboy Playmate Connie Mason. The bad chemistry between both actors is so obvious on the screen. Mason stands in a number of scenes with her arms folded while gyrating back and forth as if she's shivering from cold. In one scene, she looks directly into the camera, searching for her cue card to read her forgotten lines.
Both Mason and Kerwin will go on a
year later in 1964 to star as another couple in director Lewis' – Two Thousand
Maniacs. Their chemistry does not improve much in this film, but Two Thousand
Maniacs is technically a much better film. The couple married in real life in
1964 and remained married until Kerwin's death in 1989.
Despite its $24,500 production
budget, Blood Feast went on to earn 4 million worldwide – which is a great
return on such a small investment. Blood Feast is considered the first splatter
– gore film in cinema history. The film threw the motion picture industry in a
panic during an era without film ratings. Drive-in movie patrons across the
United States lined up for hours to see Blood Feast. Word of mouth spread
quickly about the gruesome nature of the film.
Director Lewis once said Blood
Feast was like a Walt Whitman poem - “It's no good, but it's the first of its
kind.” Even many of the AD campaigns for Blood Feast live up to the reputation
of the film. As one advertising poster states: “Nothing so Appalling in the
Annals of Horror! You'll Recoil and Shudder as You Witness the Slaughter and
Mutilation of Nubile Young Girls!” Most horror films could never live up to
this claim. Blood Feast certainly does a hundred times over.
Many of Lewis' gore films are
currently offered on Tubi streaming service – Blood Feast (1963), Two Thousand
Maniacs (1964), Color Me Blood Red (1965), The Wizard of Gore (1970) and The
Gore Gore Girls. Don't miss these great gore classics. Happy viewing this Halloween season.