A thorough, entertaining book on Ray Dennis Steckler's incredible career

 

Review by Doug Gibson

Christopher Wayne Curry is the author of the new book, The Incredibly Strange Features of Ray Dennis Steckler, McFarland & Company, Inc., Publishers, Jefferson, N.C. (800-253-2187). It's a very thorough, very entertaining overview of the late cult director's career. Curry dug deep into old press releases, reviews, tons of interviews, insights, and a journalist's' doggedness to blend Steckler's career and personal life together into a history worth reading.

There's a great movie, or streaming series, to be produced from the C- and D-budget producers/directors/actors of the 1960s, and this book could provide the inspiration.

The iconic-looking Steckler, he kind of resembles a poverty-row version of Nicolas Cage in films he starred in -- is a bit of a contradiction for me. His films, while certainly very unique and fun to watch, have never been among the top of my cult lists. However, the man himself is one of the most interesting cult film director auteurs. He made films from scratch, more often than not without a script, or more than a conventional month's pay to start. There is a necessary spontaneity in his films; the tone and theme was capable of changing in the middle, from thriller to comedy, to travelogue, to musical, from horror flick to rodeo show.

And from what I've seen of him in video interviews and print interviews and articles, he seemed a genuinly decent man, a lifelong film obsessive who tried his best to keep the moods of the vintage films he loved, especially the 1930s and 1940s western 'oaters, into his films of the '60s and early '70s.

With a couple of exceptions, Steckler's incredible cult heyday comprised about a decade, starting with directoral and acting duties in "Wild Guitar," "Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies," "The Thrill Killers," "Rat Pfink a Boo Boo," "The Lemon Grove Kids Meet the Monsters," and "Body Fever." Things got darker with "Sinthia: The Devil's Doll" (the first film since "Wild Guitar" where Steckler was a "hired-gun" director), and "Blood Shack." He also made a very funny short called "Goof on the Loose." (Below are scenes from "The Thrill Killers" and Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies.")

Curry takes the reader through Steckler's early years, his time in the U.S. Army, and his late '50s entry into Hollywood. He was a hard worker, one of his earliest assignments was as a prop man, and later assistant cameraman, on Timothy Leary's long-running project, "The World's Greatest Sinner." It was a hand-to-mouth existence. As Curry notes, when Steckler met his future wife and star of many of his films, Carolyn Brandt -- a dancer with a unique, angular beauty -- he was living out of his car.

Steckler had talent and could work inexpensively. That earned him the "Wild Guitar" director duties for Arch Hall Sr. The film was one of several that starred his son, Arch Jr. Steckler got along OK with Hall and son, but an independent streak, and a desire to decide how his films were marketed, eventually moved Steckler to other partners and producers, notably George J. Morgan, during his main "cult" era.

The anecdotes from the mid 60s films of Steckler underscore their cult status. "Incredibly Strange Creatures" is a visual trip, with its exterior setting of the old Pike amusement park in Long Beach Calif.; its non-sexy dances; shrill musical numbers; bizarre makeup of the monsters. This mishmash of musical horror somehow ends on a beach with wild surf and dangerous rocks. The female lead was replaced by a carnival dancer who now had two parts. In garish color, there is a controlled chaos to the film that keeps a viewer looking at it.

"The Thrill Killers" starred Liz Renay, an ex-con former moll of a Mafia chief. Steckler literally grabbed her as she was released. The film is a violent tale of a gang killing many, but it also plays homage to Steckler's love of westerns with horse chases, motorcycles racing, a baddie chasing a heroine through rough terrain, and lots of shooting. 

"Rat Pfink a Boo Boo" starts out as a tale of a film star (Brandt) -- with a singing star boyfriend -- being terrorized by thugs. Once she gets in real peril, it suddenly transforms into a comic-like superhero tale with her boyfriend and his friend becoming caped crusaders Rat Pfink and Boo Boo. This film, which also involves a gorilla, is surreal to the max. Its guerilla, on-the-spot, take-what-you-can filmmaking is underscored by a final scene where the masked heroes crash a southern California parade that is definitely not part of the movie. It's exhilerating!

"The Lemon Grove Kids Meet the Monsters" are three short films made into one film. It is a wacky, low-brow comedy tribute to the Bowery Boys films. Steckler loved those films, and especially Huntz Hall's stupid/funny Sach character. Curry relates that when Steckler finally got a chance to meet his idol Hall, he was treated very disrespectfully by the aging Hollywood star, and then threatened with a lawsuit unless changes were made to Steckler's character. 

Several of the actors and crew who worked with Steckler made it to A features in Hollywood. Steckler never begrudged them. He seemed happy with their success, from interviews I have read. But I cannot help thinking that Hall's casual cruelty to a colleague and fan had an impact on Steckler's optimism and enthusiasm. He never made another film as deliriously inventive or spontaneous than the four just mentioned.

They were family-centered (including his kids and their playmates), friends-centered, film-troup regular-centered low-budget creations. And as Curry so interestingly relates, they were barnstormed around the country in roadshow styles, with matinees and/or midnight showings, with ushers hired to "terrorize" theater-goers, with small musical events, often in a parking lot. As Curry describes the histories of these films, it must have been exciting times. What a creep Hall was to blow smoke on Steckler's dreams.

"Body Fever" (see photo above) was Steckler's ode to crime noir, and '40s detectives in the '70s. Carolyn Brandt is absolutely gorgeous in the film as femme fatale Carrie Erskine, who steals cash from mobster Big Mac. He was played very effectively by Bernard Fein, creator of TV show "Hogan's Heroes", Steckler is good as a low-energy but somehow effective private eye. I think this is technically Steckler's best film. It's a fun story. It has wonderful Los Angeles atmosphere, and there are touches, such as Steckler's scene with actor/director Coleman Francis, that add authenticity to the story. (The backstory to this, which really highlights Steckler's kindness, is that Coleman, who had been in earlier films, was down and out due to alcoholism. When Ray met him, he created a role for Francis to help him out.)

Yet, as Curry and history notes, "Body Fever" quickly went to the shelf. No interest. And except for an otherwise pedestrian serial killer grindhouse film, "The Hollywood Strangler Meets the Skid Row Slasher," 1979, that is somewhat saved by its grimy LA slum settings and an unsettling, strong performance by Brandt, Steckler's era of making unique, interesting films was over. The 1971 unreleasable "Blood Shack," shot in Nevada, is just not that good. Its only small value is seeing Brandt and Steckler's children in the film. An alternate release, called "The Chooper," is slightly better. But again, another film shelved until video arrived.

Curry notes that this late 60s, early 70s era was when Steckler's marriage with Brandt was falling apart. In a remarkably frank interview with Curry, Brandt recalls her failing marriage and Steckler's repeated adulteries. In fact, she tells Curry that her least favorite film is the first "Lemon Kids" short because Ray was having an affair with the actor who played "Roxy." It's a credit to the pair's relationship and commitment to their children that they remained on cordial terms. Both remarried.

Curry handles with tact that beginning in 1971 Steckler began making hard-core pornography, apparently over a decade-plus. I've never seen one and have no interest in watching the few that are in Severin's recent Blu-Ray release of Steckler's films. Curry appropriately goes over the history of these films but it's a small section of the book. In an interview with Steckler's daughter, Laura, who acted in and helped with his mainstream films, she plaintively wishes that the films were mosty omitted from the book.

According to Curry, Steckler would abruptly end interviews if questions about his porn films were offered. According to an interview Curry does with actor Ron Jason, Steckler was let go from his film teaching job at the University of Nevada Las Vegas because of his porn films. "...he was broken-hearted when they let him go," Jason said. In her interview, Laura Steckler surmises that her dad made those films to pay the bills, which seems likely.

With the mid to late 80s cult genre video boom, Steckler enjoyed a renaissance that lasted until his death. He owned three video stores in Nevada, and was a genial, considerate man who would talk to his fans and sign his videos. At one point he re-edited his main cult films into hour-long black and white versions, with new titles. He called it The Steckler Collection. It'd be fun to access those films again. They do no seem to be for sale anymore.

 

Like other cult icons, the sheer uniqueness of Steckler's films will provide him fame that will exceed most peers who "graduated" to big budgets. Unlike an Ed Wood, he was fortunate to live long enough to enjoy recognition. And he enjoyed it with kindness, grace and consideration.

Curry's book is a treasure. Through the pages, we witness a smaller but no less interesting Hollywood of the 1960s. Steckler surrounded himself with so many eclectic, often eccentric interesting colleagues. He had his casts, his producers, his crew, even his hangers-on. It's fun to follow all those who populated Steckler's world.

I'll close with another Steckler actor, legendary stuntman Gary Kent, who tells Curry: " ... there was never much pay at all. Lunch would be a bologna sandwich, if that. You were working mainly because you wanted to be in a movie ... So Ray brought his enthusiasm and that big camera and I just loved the sight of it."'

Amazon link to buy book is here.

Red Zone Cuba, Coleman Francis, John Carradine sings!

By Doug Gibson

I sat through Coleman’s Francis’s 1966 mess, “Red Zone Cuba,” AKA “Night Train to Mundo Fine.” It’s 89 minutes that even with Mystery Science Theater 3000’s gags thrown in, feels like a three-hour movie. I believe if I ever dared watch this film sans the comedy thrown in, it would feel like 890 hours and I would suffer some of horrible, reverse “Infinite Jest” coma-induced death with feces abounding.

There is one reason to see this film. With his sole bit of sense, Francis had John Carradine come in for a day and shoot an opening for the $30,000 film. His acting is ho hum, but then Carradine, I kid you not, sings the film’s theme song. The camp value of Carradine belting out the vocals to “Night Train to Mundo Fine” is a hoot. He sings well, with his hoarse voice. That’s not a surprise since he was a Shakespearian actor. And he compares almost as well as Lon Chaney Jr. did when the aging, alcoholism-ravaged thespian sang the title tune to the camp/horror classic “Spider Baby” earlier in the 1960s.

But the remaining 85 or so minutes, eh, it’s just awful. The film is boring, the characters colorless, the plot incredibly confusing and meandering. The editing is terrible; there are cutaways that leave the viewer bewildered as to what is happening and what has happened. The characters mumble, and that’s just when they are actually speaking. Much of the film was shot mute with no soundtrack synchronized. You hear mumbled words sans the speakers mouths being shown.

The plot involves three crooks on the lam from the cops. Their leader is played by Francis, and a Curly of the Three Stooges lookalike without an ounce of charisma. He tries to affect a tough, Broderick Crawford type of toughness but fails. His cohorts are played listlessly by Anthony Cardoza and Harold Saunders. On the lam, the trio is recruited as mercenaries for the Bay of Pigs invasion of Cuba. This portion offers a tad bit of hilarity with Cardoza, one of the producers, putting on a beard and makeup and playing Fidel Castro. (I know this sounds camp/hilarious but in the hands of director/writer/producer Francis, it isn’t. ) The “training” and “battle” scenes are so low budget that it appears that no more than a dozen or so people actually participated in the Bay of Pigs.

Somehow the guys escape from Cuba after the Bay of Pigs fiasco. They return to the USA, commit a few crimes. In one scene Coleman throws an old storekeeper down a well. The scene is badly shot and fools no one. Eventually, Coleman and his cohorts are shot dead around a train station and the film ends. The last line, delivered in Francis’s overly solemn narration: “Griffin ran all the way to hell, with a penny and a broken cigarette.”

Hard to watch, boring and nonsensical, it’s still worth a MST3K watch for Carradine, Castro and a few jokes. But stay away from the director’s cut! Actually, if you have the courage, watch the MST3K-less "Red Zone Cuba" above!

The Beast of Yucca Flats -- the evolution of a cult film

The Beast of Yucca Flats 1961, 54 minutes, B and W. Anthony Cardoza, Executive Producer, written and directed by Coleman Francis. Starring Tor Johnson as Dr. Joseph Javorsky. Cast includes Francis, Larry Aten, Bing Stafford and Conrad Brooks. Schlock-meter rating, 3 stars out of 10. ... However, years later and several viewings later, this film has grown on me -- I'll give it five stars.

By Doug Gibson

The Beast of Yucca Flats is actually playing Thursday, Oct. 25 in Salt Lake City. Courtesy of the Utah Education Network, it will screen as a Halloween feature at the City Library, Chapman Branch, 577 S. 900 West. Film is free and popcorn, contest contest and games are planned. That's significant and we need to give this ultra-cheap, kitschy 55-minute film its due -- it has persevered. It's gone from simple schlock to unique so-bad-it's-good cult film status. Heck, it even survived a MST3K riff. Here, for the record, is my several-year-old review after my first viewing.

Few films are as inept as The Beast of Yucca Flats. After watching it, I'm convinced that a talented group of ninth graders with a few thousand dollars and a long weekend could do a better job than Tor Johnson, Coleman Francis and company. (Nah, I take that back several years later) The plot? A woman is murdered. A defecting Russian scientist (Tor Johnson) is attacked in a desolate part of Nevada by communist agents. An atom bomb explodes. Tor is turned into a mutant beast who wants only to kill. Tor kills, then chases a hapless family through the Yucca Flats. Finally, two inept cops kill Tor. (Yeah, the plot is the same)

Be forewarned: The preceding plot summary is far more exciting than this dog of a film. (NOT TRUE ON RETROSPECT) There is virtually no action, (wrong) and when Tor is on the chase, his big, aging blubbery body inspires far more pity than fear. (Today I change pity to fascination; Tor looks ill and is very obese, but give him credit for lumbering around a very hot desert outdoor set) Francis shot the film without dialog, which was dubbed badly into the finished film. The viewer rarely sees lips move when actors speak. (This adds to a unique, other word-type surrealism to the film. No one seems to be looking at each other, even when they speak. In fact, for all his grunts, Tor the beast appears to be the best listener) Also, the self-pretentious Francis adds ridiculous, over-the-top narration, spoken like a man on LSD. My favorite meaningless phrase is "Flag on the Moon." (NOT TRUE ANYMORE: the bizarre narration adds to the film's outlandish plot and conspiracy. In this film, everyone looks disgruntled and depressed or lazy. I love the scene where one of the desert cops is roused from looks like a bout of morning sex with the missus or mistress. As he leaves, to narration, the broad in the bed gives him a look of utter disgust and cynicism. It somehow seems very appropriate for the bizarro world director Francis has unleashed.)

It merits three stars only because The Beast is Tor Johnson, whose always fun to watch bellow. Those who dare watch it should see the MST3K version. At least there's a few laughs. (Doug Gibson speaking: I must admit, adding to this a few years later after originally writing the review, the film has grown on me. It is bad, but unique and strangely watchable; a real cult film. I give it an extra star!) (and now I've added an extra star. (Also, I neglected in the original review to mention the nude scene prologue, which makes no sense. A young woman gets out of the shower. Sits down a very depressing cot-bed, and is squeeze-strangled to death by a fat, meaty hand that look like Tor's. But why, the good Dr. Javorsky has yet to be nuked? Ah, the intentional nonsensical plot of a cult cheapie!

Notes: Ed Wood actor Conrad Brooks has a small role; Cult figure Titus Moody helped with production; Coleman Francis directed three films spoofed by MST3K: Beast, Skydivers, and Red Zone Cuba; Francis' wife and sons were in the film. The non-MST3K version has a very brief nude scene. "Beast of Yucca Flats" is essentially a silent film, with narration and brief dialog, obviously recorded since you don't see the speaking actors' faces. The entire film can be seen on YouTube and is part of the UEN Sci-Fi Friday cycle of movies. (I'll add that this cheapie played the third or fourth bill of drive-ins and grindhouses for more than a decade -- I guess that nude scene paid off. I read somewhere that originally, the producers could not find a distributor so a movie house was rented in San Diego. Apparently, the film sold well here, and Tor was mobbed by fans.)

-- Doug Gibson

Red Zone Cuba, the worst film ever?

By Doug Gibson

I sat through Coleman’s Francis’s 1966 mess, “Red Zone Cuba,” AKA “Night Train to Mundo Fine.” It’s 89 minutes that even with Mystery Science Theater 3000’s gags thrown in, feels like a three-hour movie. I believe if I ever dared watch this film sans the comedy thrown in, it would feel like 890 hours and I would suffer some of horrible, reverse “Infinite Jest” coma-induced death with feces abounding.

There is one reason to see this film. With his sole bit of sense, Francis had John Carradine come in for a day and shoot an opening for the $30,000 film. His acting is ho hum, but then Carradine, I kid you not, sings the film’s theme song. The camp value of Carradine belting out the vocals to “Night Train to Mundo Fine” is a hoot. He sings well, with his hoarse voice. That’s not a surprise since he was a Shakespearian actor. And he compares almost as well as Lon Chaney Jr. did when the aging, alcoholism-ravaged thespian sang the title tune to the camp/horror classic “Spider Baby” earlier in the 1960s.

But the remaining 85 or so minutes, eh, it’s just awful. The film is boring, the characters colorless, the plot incredibly confusing and meandering. The editing is terrible; there are cutaways that leave the viewer bewildered as to what is happening and what has happened. The characters mumble, and that’s just when they are actually speaking. Much of the film was shot mute with no soundtrack synchronized. You hear mumbled words sans the speakers mouths being shown.

The plot involves three crooks on the lam from the cops. Their leader is played by Francis, and Crly of the Three Stooges lookalike without an ounce of charisma. He tries to affect a tough, Broderick Crawford type of toughness but fails. His cohorts are played listlessly by Anthony Cardoza and Harold Saunders. On the lam, the trio is recruited as mercenaries for the Bay of Pigs invasion of Cuba. This portion offers a tad bit of hilarity with Cardoza, one of the producers, putting on a beard and makeup and playing Fidel Castro. (I know this sounds camp/hilarious but in the hands of director/writer/producer Francis, it isn’t. ) The “training” and “battle” scenes are so low budget that it appears that no more than a dozen or so people actually participated in the Bay of Pigs.

Somehow the guys escape from Cuba after the Bay of Pigs fiasco. They return to the USA, commit a few crimes. In one scene Coleman throws an old storekeeper down a well. The scene is badly shot and fools no one. Eventually, Coleman and his cohorts are shot dead around a train station and the film ends. The last line, delivered in Francis’s overly solemn narration: “Griffin ran all the way to hell, with a penny and a broken cigarette.”

Hard to watch, boring and nonsensical, it’s still worth a MST3K watch for Carradine, Castro and a few jokes. But stay away from the director’s cut! Actually, if you have the courage, watch the MST3K-less "Red Zone Cuba" above!

Steve Stones' take on Beast of Yucca Flats

The Beast of Yucca Flats - Flag On The Moon. How Did It Get There?

The Beast of Yucca Flats is a low-budget sci-fi film that has the potential to grow on you in time. Many film critics regard it as one of the worst, if not the worst, films of all time. It's likely those critics have not seen the film entirely, or watched it a number of times. It is certainly worth viewing more than once.

Of course the greatest attraction of The Beast of Yucca Flats is 300 pound plus Swedish wrestler turned actor - Tor Johnson. Tor starred in a number of low-budget sci-fi, horror films, beginning in the mid 1950s into the early 60s. Three of these films were directed by eccentric cult director Ed Wood in Bride of The Monster (aka Bride of The Atom). Plan 9 From Outer Space and Night of The Ghouls.

Tor plays a Russian scientist named Joseph Javorski, who has defected and is chased into the Nevada desert by Communist spies during an atomic test. The spys are determined to obtain his breifcase with plans for a secret space expedition. An atomic explosion turns Tor into a monster as he wanders out into the desert, trying to get away from the spies. A narrator repeats meaningless philosophical rantings like: "Flag on the moon. How did it get there?" and "Joseph Javorski. Noted scientist. Caught in the wheels of progress." The film was directed by Coleman Francis without any sound, so little dialogue occurs.

Tor chases two young boys, played by Francis' sons, with a big stick and strangles a woman in her car. He later chews on her hair and sleeps in a cave. The film ends with a rabbit licking Tor's face as he lies on the ground from gunshot wounds. The film has to be seen to be believed. It's an exercise in amateur, penniless filmmaking.

Don Post Studios in Hollywood later made a hugely successful Tor Johnson Halloween mask in the 1960s, which has proven to be one of their best sellers. His face has become as iconic as other horror legends, such as Bela Lugosi and Boris Karloff. Happy Viewing!

Please see Doug Gibson's article about this film, also on this web-site. http://planninecrunch.blogspot.com/2010/03/beast-of-yucca-flats.html

Steve D. Stones

The Beast of Yucca Flats

The Beast of Yucca Flats 1961, 54 minutes, B&W. Anthony Cardoza, Executive Producer, written and directed by Coleman Francis. Starring Tor Johnson as Dr. Joseph Javorsky. Cast includes Francis, Larry Aten, Bing Stafford and Conrad Brooks. Schlock-meter rating, 3 stars out of 10.

Few films are as inept as The Beast of Yucca Flats. After watching it, I'm convinced that a talented group of ninth graders with a few thousand dollars and a long weekend could do a better job than Tor Johnson, Coleman Francis and company. The plot? A woman is murdered. A defecting Russian scientist (Tor Johnson) is attacked in a desolate part of Nevada by communist agents. An atom bomb explodes. Tor is turned into a mutant beast who wants only to kill. Tor kills, then chases a hapless family through the Yucca Flats. Finally, two inept cops kill Tor.

Be forewarned: The preceding plot summary is far more exciting than this dog of a film. There is virtually no action, and when Tor is on the chase, his big, aging blubbery body inspires far more pity than fear. Francis shot the film without dialog, which was dubbed badly into the finished film. The viewer rarely sees lips move when actors speak. Also, the self-pretentious Francis adds ridiculous, over-the-top narration, spoken like a man on LSD. My favorite meaningless phrase is "Flag on the Moon."

It merits three stars only because The Beast is Tor Johnson, whose always fun to watch bellow. Those who dare watch it should see the MST3K version. At least there's a few laughs. (Doug Gibson speaking: I must admit, adding to this a few years later after originally writing the review, the film has grown on me. It is bad, but unique and strangely watchable; a real cult film. I give it an extra star!)

Notes: Ed Wood actor Conrad Brooks has a small role; Cult figure Titus Moody helped with production; Coleman Francis directed three films spoofed by MST3K: Beast, Skydivers, and Red Zone Cuba; Francis' wife and sons were in the film. The non-MST3K version has a very brief nude scene. "Beast of Yucca Flats" is essentially a silent film, with narration and brief dialog, obviously recorded since you don't see the speaking actors' faces. The entire film can be seen on YouTube and is part of the UEN Sci-Fi Friday cycle of movies.

-- Doug Gibson

All about The Beast of Yucca Flats

The Beast of Yucca Flats 1961, 54 minutes, B&W. Anthony Cardoza, Executive Producer, written and directed by Coleman Francis. Starring Tor Johnson as Dr. Joseph Javorsky. Cast includes Francis, Larry Aten, Bing Stafford and Conrad Brooks. Schlock-meter rating, 3 stars out of 10.

Few films are as inept as The Beast of Yucca Flats. After watching it, I'm convinced that a talented group of ninth graders with a few thousand dollars and a long weekend could do a better job than Tor Johnson, Coleman Francis and company. The plot? A woman is murdered. A defecting Russian scientist (Tor Johnson) is attacked in a desolate part of Nevada by communist agents. An atom bomb explodes. Tor is turned into a mutant beast who wants only to kill. Tor kills, then chases a hapless family through the Yucca Flats. Finally, two inept cops kill Tor.

Be forewarned: The preceding plot summary is far more exciting than this dog of a film. There is virtually no action, and when Tor is on the chase, his big, aging blubbery body inspires far more pity than fear. Francis shot the film without dialog, which was dubbed badly into the finished film. The viewer rarely sees lips move when actors speak. Also, the self-pretentious Francis adds ridiculous, over-the-top narration, spoken like a man on LSD. My favorite meaningless phrase is "Flag on the Moon."

It merits three stars only because The Beast is Tor Johnson, whose always fun to watch bellow. Those who dare watch it should see the MST3K version. At least there's a few laughs. (Doug Gibson speaking: I must admit, adding to this a few years later after originally writing the review, the film has grown on me. It is bad, but unique and strangely watchable; a real cult film. I give it an extra star!)

Notes: Ed Wood actor Conrad Brooks has a small role; Cult figure Titus Moody helped with production; Coleman Francis directed three films spoofed by MST3K: Beast, Skydivers, and Red Zone Cuba; Francis' wife and sons were in the film. The non-MST3K version has a very brief nude scene. "Beast of Yucca Flats" is essentially a silent film, with narration and brief dialog, obviously recorded since you don't see the speaking actors' faces. The entire film can be seen on YouTube. Watch it below.

-- Doug Gibson