Ismail and Abdel Meet Frankenstein a bizarre take on Abbott & Costello Meet Frankenstein

 By Doug Gibson

A while back on Plan9Crunch, we reviewed a very obscure, but out there for sale, likely illegal 1962 Mexican remake of Abbott and Costello Meet Frankenstein. We now bring you an even more obscure Abbott and Costello Meet Frankenstein likely illegal remake, from Egypt in 1954, called "Abdel and Ismail Meet Frankenstein," (although it was titled "Have Mercy" in Egypt). I actually think this film is a little superior to the Mexican ripoff, but that's not really a compliment. This film is sold via Sinister Cinema.

The film is really cheap, mostly unfunny and has a musical score that makes the score for Ed Wood's "Jail Bait" seem like Beethoven. But, to its threadbare credit, it sticks stubbornly close to the plot of Bud, Lou and Bela's film; even to the point of re-creating, with its character, the most shocking scene of the Universal classic, where Glenn Strange's monster picks up beautiful mad scientist Sandra and throws her through a window to her death. Of course, everything's cheap in this version, the window looks phony, and so on, but I was impressed they included that scene.

Anyway, Egyptian comics, and apparently stars, Ismail Yasseen and Abdel Fatah al Kasri play silly clerks in an antique store. The "Lou" type, Ismail, is romanced by a woman, Samya, who is in cahoots with a mad scientist. (Guess what, Samya wants Ismail's brain!) One night, our boys receive a delivery of a big coffin that contains a mummy that looks just like a dime store traditional Frankenstein monster. Ismail keeps seeing it, Abdel never does and eventually the mad scientist, who looks just like a dime store version of the traditional Dracula, steals the Frankenstein-like mummy.

I digress to mention that Dracula and Frankenstein monster are never mentioned, perhaps to avoid any copyright legalities? There is a wolfman, but he is the assistant to the mad scientist, and he romances the mad scientist's niece; hence the Bud and Lou film characters of Dracula's unknowing assistant, the insurance investigator, and Lon Chaney Jr,'s wolfman are covered in two characters.

To get the boys in a situation where the mad scientist and Samya can get Ismail's brain into the "mummy," the comic pair are engaged as help at a party for the mad scientist's niece. Eventually, everything moves to the same climax scenario that was so funny in Bud and Lou's version. It isn't nearly as funny in this version, and arguably not funny at all 90 percent of the time, but it's fascinating to watch this virtually nil-budget production try so hard to mimic the experts.

At the end, the mummy survives and loses his curse, so he and the niece can live happily ever after. Ismail and Abdel do their version of the Invisible Man blackout that Bud and Lou did so well. There's no lake or boat, and their last-minute visitor is the "angel of death," which sends them running wildly away as the credits start.

This is a fascinating oddity for genre fans, just as the Mexican version is, but don't watch them both in one night; no one needs the torture ... but one can survive 90 minutes of bizarre kitsch.

The Miracle on 34th Street was a TV special in 1955

 

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The 1947 Miracle on 34th Street is iconic, a holiday classic. And deservedly so. It's witty, heartwarming, with superb performances by Edmund Gwenn as Kris Kringle, with supporting actors that include Natalie Wood, Maureen O'Hara, John Payne, Gene Lockhart, William Frawley, and Jack Albertson.

But there are others, and I want to discuss a 1955 TV version titled The Miracle on 34th Street. It's obscure but easily available. It's worth a viewing. It stars Thomas Mitchell as Kris Kringle and the cast includes Teresa Wright, Macdonald Carey, Sandy Descher, Hans Conreid, John Abbott, Whit Bissell and Dick Foran.

The Miracle on 34th Street would likely be forgotten today if not the archive of YouTube and other streaming websites. It's a brisk, lean 46-minute show, over before you know it. But it's a enjoyable near hour, a sort of homage cum remake of the 1947 classic.

Here are some key changes: Kris Kingle, played by Thomas Mitchell, does not get hired for the Macy's Parade because the other Santa is drunk. He's already the Macy's Santa. There is no character of Alfred, the teen janitor who Kris becomes a mentor to in the '47 film. Also, the very touching '47 film scene of Kris speaking Dutch to a young European orphan girl is omitted. However, Kris does advise shoppers to go to other stores, including Gimbels, if the deal is better there. And he has Descher's young Susan pull at his beard.

The omission of Alfred leads the plot with Mr. Sawyer, the unhappy Macy's psychologist, and his clash with Kris, in a different direction. Sawyer does interview Kris as part of his job, hates him and wants him fired. However, the episode where Kris knocks Sawyer over the head with his cane occurs at an assembly at Susan's' school, where Sawyer congratulates the students for not buying into supersition. During this scene, Kris, dressed in Santa garb, is -- unbeknownst to Sawyer -- behind him on the stage, mocking him.

The children can't help laughing and it's amusing for a while. Then, a flustered Sawyer berates adults who dress up as Santa. At this point, the scene takes a turn that today would seem very dark. Kris Kringle lifts his cane high and savagely brings it down on the unsuspecting Sawyer. This is a very harsh contrast to the '47 version, where a frustrated Kris sort of "pops" Sawyer on the head with his cane in his office. In the '47 version, it's clear Sawyer is maliciously feigning injury afterward.

However, this Kris Kringle really hits him hard, and frankly I think a month or two in the jail for assault might have been merited. This leads to a second point: Although Thomas Mitchell is not a bad Kris Kringle, unlike the more gentle Edmund Gwenn in the '47 version, the '54 version Kris Kingle is a bit of a looney. Mitchell's Kris Kringle occasionally has a mad look in his eyes, and he really gets angry. When Teresa Wright's Doris rushes after him to say he's not fired earlier in the film, the audience can see the deranged anger in Mitchell's eyes.

Neverthless, and happily I guess, Kris Kringle is of course exonorated by the judge. In another change from the '47 film, Doris calls the U.S. Post Office, suggesting they forward letters to Santa Claus to the court where Kris is being tried for his sanity.

One other little twist is a scene where MacDonald Carey's Fred Gailey has brought venison to a dinner with Kris, Doris, and little Susan. Doris suggests to Susan if she doesn't like venison, she'll make her eggs. Kris interjects, with a long face, that he would prefer eggs too, because well, venison being deer, he just couldn't eat that. It's a mildly amusing scene, worth a smile. 

The Miracle on 34th Street was an episode of The 20th Century Fox Hour. It's' not the only other version of Miracle on 34th Street. There was a radio version, another TV version in 1959, and two mediocre conventional movie remakes. One, a TV film, is from 1974 with Sebastian Cablot as Kris Kingle. A theatrical version in 1994 had Sir Richard Attenborough as Kris.

But none approach the classic 1947 version, which remains the version to see first and often. However, I think this 1955 TV show version is the second-best offering. And it fits within an hour, for quick viewing with the family. You can watch it here. The two clippings from The Los Angeles Times were unearthed by my friend, David Grudt.

-- Doug Gibson

Two anthologies that provide a history of classic Christmas stories

 

Reviews by Doug Gibson

Readers of our blog know the name of author Andi Brooks. This year he has edited and compiled two fantastic anthologies of classic Christmas Tales. One is A Treasury of Christmas Stories: Classic Tales for the Festive Season. The other anthology is Ghost Stories for Christmas: Volume Two. 

They provide superb reads, preferably on a comfortable relaxing weekend afternoon, or around the late hours passing through midnight into the early mornings. Brooks has also included in some of the two books' stories original drawings. Both books provide the provenance of the stories, with date, name of author, and the periodical that published the tale.

Here is a Plan9Crunch link to blogs that are about and/or mention Brooks.

You can purchase these books, and other books from Brooks, via Amazon here.

Let me briefly delve into a Treasury of Christmas Stories. I've read about three-quarters of the stories. I am saving the rest for the long Christmas weekend this year. I had not read, or heard of, "The Beggar Boy at Christ's Christmas Tree, by Dostoevsky, before this year, but its imprinted in my heart. It tells the story of a boy, 6, on Christmas Eve, desperately searching for food. He's starving, and it's freezing cold. Unable to satisfy his hunger, he curls up in a virtually alley, by a woodstack. He suddenly encounters a wonderful Christmas Tree, with warmth, food and love. His recently dead mother, resurrected, is there with him. It's Christ's Christmas Tree, provided to children who perish due to humanity's neglect. 

One can't resist tears when Dostoevsky writes, "And down below in the morning the porter found the little dead body of the frozen child on the woodstack ..."

Another story compiled by Brooks is an abridged A Christmas Carol, the (not much) shorter version that Charles Dickens provided live to audiences with his eloquent voice. Dickens earned well for this, and continued the recitations until his death at 58. The plot and spirit of the hallowed story is not harmed by this shorter version. All the important points are retained. Passages excluded include the Lord High Mayor dinner in Stave 1, the discussion between the Scrooge and the Ghost of Christmas Present on Sunday closure laws, and the scene in the Final Stave where Scrooge manages to make a donation to the portly businessmen on a charitable mission.

Other stories that stood out to me included Babouscka, a tale of a Russian woman, who with sad countenance, visits homes on Christmas Eve. She loves the babies, and caresses them. Her visits are tinged with regret, a sort of atonement. You see, she failed to accompany the Three Kings when they requested she join them on their visit to the new-born Christ. 

A poem by Robert Louis Stevenson, Christmas at Sea, draws a beautiful contrast between Christmas day on a ship, with warm homes visible on land.

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Ghost Stories for Christmas: Volume Two is -- like Volume One -- a gem. Because I'm a former full-time journalist, I enjoyed "The Wicked Editor's Christmas Dream," 1893, by Alice Mary Vince. The tale -- sort of a very short A Christmas Carol take -- involves a spirit showing a loosly ethical journalists the consequences of preferring tabloid reporting over more virtuous stories.

The Ghost Summons, 1868, by Ada Buisson, is a deliciously creepy tale of a young doctor provided $1,000 pounds to be with a patient convinced he will die that night. The doctor considers the patient delusional, but learns otherwise.

I particularly enjoyed the story Bone to Bone, 1912, by E.G. Swain, in which the spirit of a man who died 150 years ago in a vicarage subtly provides clues to the current owner on how to locate and return his now scattered bones to their proper resting place.

Long or short, these stories are well edited  by Brooks, and satisfying. Readers do not have to be like me, and read most of them in a month. Read a few to several this Christmas season, and repeat every next Christmas season. The reading pleasure will last through the years, and longer as you re-read the tales

The Afterlife Wanderer, 1915, is cinema's first vampire film

(Both photos from The Afterlife Wanderer are courtesy of Daydreams Database: Cinema of the Russian Empire and Beyond, edited by Anna Kovalova and developed by Alexander Grebenkov.)

It seems the very first vampire film has been discovered. It's from 1915, titled The Afterlife Wanderer. (See stills from the film above). More below:

Film scholar Gary D. Rhodes is found in many of the pages of Plan9Crunch blog. He's written extensively about Bela Lugosi, and recently -- along with co-author Bill Kaffenberger, unearthed new information about Bela Lugosi's pre-Dracula years in the two-part Becoming Dracula series. 

A few years ago he also unearthed information on the lost Hungarian silent film, Drakula Halala, regarded as the first film to use Bram Stoker's tale as provenance, albeit loosely. However, as Rhodes notes, there's really no vampire in Drakula Halala. Just like there's no real vampire in Tod Browning's lost 1927 silent film, London After Midnight (see star Lon Chaney in a still from the film below).

Often the 1922 classic Nosferatu is regarded as the first vampire -- of the blood-sucking variety -- film (see star Max Schreck, who really resembles a rat, in a still below). But Rhodes has unearthed a 1915 Russian film, unfortunately lost, as likely the first film to feature a blood-seeking vampire.

As mentioned, it's called The Afterlife Wanderer, and it stars a young Olga Baclanova, who would later see her career surge in Hollywood. She's in a lot of films, but is perhaps best known for playing the evil, ill-fated circus vamp in Browning's "Freaks." 

On the Medium website, Rhodes writes in detail about the film, its history and how it earns the distinction of being cinema's first vampire film. Here is one paragraph from Rhodes' article:

"One review described The Afterlife Wanderer's title character as 'vampire who sucks the blood of the living people at night.' Another called her a 'vampire woman sucking blood from loved ones.' No doubt about it: she was a real vampire and a reel vampire."

According to Rhodes, reviews were mixed -- to be kind -- for The Afterlife Wanderer. It was banned by the mayor in one city. Baclanova's performance was subtly mocked by one reviewer. The Afterlife Wanderer will be discussed in detail in a book by Rhodes slated for publication next year, Vampires in Silent Cinema.

But there's lots of information on The Afterlife Wanderer, and other similar silent films, in the Medium piece. It can be read in its entirety at the Medium website. Rhodes forthcoming book, available next year, Vampires in Silent Cinema, can be pre-ordered here.