Cleaning Out the DVR Pt 12: Too Much Crime On My Hands

And too many crime films in my DVR, so it’s time for another housecleaning! This edition of “Cleaning Out the DVR” features bank robbers, thieves, murderers, and other assorted no-goodniks in films from the 30’s to the 70’s. Here we go:

PRIVATE DETECTIVE (Warner Bros 1939; D: Noel Smith) Girl gumshoe Jane Wyman (named “Jinx”!) solves the murder of a divorced socialite embroiled in a child custody case, to the consternation of her cop fiancé Dick Foran. Maxie Rosenbloom plays his usual good-natured lug role as Foran’s partner. The kind of movie for which the term “programmer” was coined, furiously paced and clocking in at a swift 55 minutes. No wonder they talk so fast! Fun Fact: The Warner Brothers Stock Company is well represented with Familiar Faces Willie Best, Morgan Conway, Joseph Crehan, Gloria Dickson, John Eldredge, Leo Gorcey , John Ridgley, and Maris Wrixon all packed into it. What, no Bess Flowers?

HOLLOW TRIUMPH (Eagle-Lion 1948; D:Steve Sekely) This one used to be shown frequently on my local cable access channel from a murky public domain print; TCM aired a nice, crisp copy back in January. Thanks, TCM! Star Paul Henreid (who also produced) plays an unrepentant ex-con who, upon release from stir, holds up a mob-connected gambling joint. Now hunted by the gangsters, he takes it on the lam, murdering a lookalike psychologist and stealing his identity. In true noir fashion, things go steadily downhill from there. Noir Queen Joan Bennett  plays the shrink’s secretary/mistress, who falls for the crook. Heel Henreid is certainly no Victor Laszlo in this one! Director Sekely is on point (check out his REVENGE OF THE ZOMBIES sometime!), and DP John Alton’s shadowy shots make this an effective B thriller. A personal favorite! Fun Fact: Look quick for young Jack Webb as one of the hoods.

DIAL 1119 (MGM 1950; D:Gerald Mayer) Escapee from State Mental Hospital for the Criminally Insane holds the patrons of the dingy Oasis Bar at gunpoint, demanding to see the police shrink who got him convicted. Marshall Thompson makes a convincing psych-killer, and he’s ably supported by a strong cast (Sam Levene, Virginia Field, Leon Ames, Andrea King, Keefe Brasselle). William Conrad is killed off early as the dour bartender “Chuckles”. Worth a look for the cast and some adult-themed subject matter. Fun Fact: This was director Mayer’s first feature, which probably made his uncle, studio boss Louis B. Mayer, proud.

THEY CAME TO ROB LAS VEGAS (Warner Bros 1969; D: Antonio Isasi) This US-Spanish coproduced crime caper is totally underrated and totally fun, with a cool 60’s vibe to it. Gary Lockwood (2001: A SPACE ODDYSEY) stars as a Vegas blackjack dealer who plots to steal one of security expert Lee J. Cobb’s hi-tech armored cars, with inside help from sexy Elke Sommer, as revenge for his brother’s death. Jack Palance is also on hand as a Treasury agent investigating Cobb’s shady connections. There’s some nifty twists and turns along the way, and great location footage of the Vegas strip in it’s heyday. It’s as if Sergio Leone decided to make a caper movie, and is highly recommended! Fun Fact: Jean Servais, who starred in the classic French caper film RIFIFI, has the small but pivotal role of Lockwood’s brother.

BUNNY O’HARE (AIP 1971; D: Gerd Osawld) Bette Davis, left homeless when the bank forecloses on her house, teams up with dimwit fugitive Ernest Borgnine to rob banks disguised as hippies, making their escape on a motorcycle. It’s as silly as it sounds, with the two stars trapped by a lame script that seemed outdated when it was made, and non-existent direction by Oswald (who also helmed the dire AGENT FOR H.A.R.M.). Ernie mugs shamelessly throughout, while Miss Davis sued the studio after it was released, claiming the re-edit wasn’t what she signed up for, and hazardous to her career. When you hear her spout the line “I’ll open ya up like a can a’tomata soup”, you’ll probably agree! Some good character actors pop up (Jack Cassidy, John Astin, Jay Robinson, Bruno VeSota), but this mess is for Davis completists only. Fun Fact: Bette and Ernie did much better with their first film together, 1956’s THE  CATERED AFFAIR, written by Gore Vidal and directed by Richard Brooks, adapted from a TV play by Paddy Chayefsky.

Enjoy the “Cleaning Out the DVR” series:

  1. Five Films From Five Decades
  2. Five Films From Five Decades 2
  3. Those Swingin’ Sixties
  4. B-Movie Roundup
  5. Fabulous 40’s Sleuths
  6. All-Star Horror Edition!
  7. Film Noir Festival
  8. All-Star Comedy Break
  9. Film Noir Festival Redux
  10. Halloween Leftovers
  11. Five from the Fifties

Roger Corman’s Electric Kool-Aid Tangerine Dream: THE TRIP (AIP 1967)

“You are about to be involved in a most unusual motion picture experience. It deals fictionally with the hallucinogenic drug LSD. Today, the extensive use in black market production of this and other so-called ‘mind bending’ chemicals are of great concern to medical and civil authorities…. This picture represents a shocking commentary on a prevalent trend of our time and one that must be of great concern to us all.” – Disclaimer at the beginning of 1967’s THE TRIP

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“Tune in, turn on, drop out”, exhorted 60’s acid guru Timothy Leary. The hippie generation’s fascination with having a psychedelic experience was a craze ripe for exploitation picking, and leave it to Roger Corman to create the first drug movie, THE TRIP. Released during the peak of the Summer of Love, THE TRIP was a box office success. Most critics of the era had no clue what to make of it, but the youth of suburban America flocked to their theaters and drive-ins in droves to find out what all the LSD hubbub was about.

Corman also wanted to know, so he and some friends dropped acid one balmy night and headed to Big Sur to trip. Having had a good experience, Corman sought to translate it into film (and make a buck in the process, no doubt). He solicited his pal Jack Nicholson , who’d experimented with LSD himself, to concoct a screenplay depicting what it was like to do acid. Nicholson came up with an acceptable script, and Roger went to work translating it for the big screen.

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It begins as TV commercial director Peter Fonda, in the midst of a divorce from wife Susan Strasberg , decides he want to try acid to “find out something about myself”. Pal Bruce Dern brings him to drug dealer Dennis Hopper’s pad, they cop and return to Fonda’s place, where he takes a 250 microgram dose, Dern staying straight to act as his guide.

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Dern advises Fonda to “turn off your mind, relax, and just float down the stream” (paraphrasing The Beatles), and soon he’s off on a journey to the center of his mind. THE TRIP then turns into a visual and aural assault on the senses filled with kaleidoscopic imagery, stunning light-show effects, and hallucinogenic nightmare sequences as Fonda gets deeper and deeper into his trip. The plotless structure now becomes pure film, with quotes from Fellini, Bergman, and Corman’s own Poe films. The “Psychedelic Special Effects” credited to Charlatan Productions, bold cinematography by Arch Dalzell (in ‘Psychedelic Color’), rapid-fire editing by Ronald Sinclair, and Corman’s knowing way behind the camera, combine to dazzle the viewer and, if it doesn’t quite truly capture what it’s like to trip, comes pretty damn close.

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The music soundtrack is provided by The Electric Flag, a 60’s San Francisco-via-Chicago band featuring Mike Bloomfield, Buddy Miles, Barry Goldberg, and Nick Gravenites. Their trippy raga-rock sound serves as the perfect backdrop for Corman’s visual feast. They are not the group shown at the club, though; that’s Gram Parson’s International Submarine Band, whose music Corman didn’t feel was  “far-out” enough. Corman regulars Dick Miller (as a bartender), Barboura Morris (hilarious as a woman Fonda meets at a laundromat), Salli Sachse, Luana Anders, and Beach Dickerson all appear, as do (briefly) Angelo Rossitto , Michael Blodgett (BEYOND THE VALLEY OF THE DOLLS ), and Tom Signorelli. Look fast for Peter Bogdanovich, Brandon DeWilde, and rock scenemaker Rodney Bingenheimer.

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Fifty years later, THE TRIP remains a film lover’s delight, something that has to be seen to be truly appreciated. AIP honchos Sam Arkoff and James Nicholson tacked on that opening disclaimer, as well as superimposing a “cracked glass” effect over Fonda’s face in the film’s final shot, implying he’d been permanently damaged by the experience. This pissed Corman off, and after they later butchered his 1969 satire GAS-S-S-S!, he struck out on his own and formed New World Pictures, where he and others could enjoy artistic freedom (on a low-budget, of course). Whether you’ve ever tripped or not, this film is worth seeing for its technical mastery and daring concept. Also, it’s downright groovy, man!

   

METEOR is a Crashing Bore (AIP 1979)

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American-International Pictures had gotten pretty fancy-schmancy by the late 70’s. The studio was leaving their exploitation roots behind and branching out to bigger budgeted films like FORCE TEN FROM NAVARONE, LOVE AT FIRST BITE, and THE AMITYVILLE HORROR, with bigger name stars for marquee allure. Toward the end of 1979 they released METEOR, a $16 million dollar, star-studded, special-effects laden, sci-fi/ disaster film spectacle that bombed at the box-office and contributed to the company’s demise.

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Coming at the tail end of the disaster cycle, METEOR is formulaic as hell. Take a group of well-known stars (Sean Connery, Natalie Wood Karl Malden Brian Keith , Martin Landau, Henry Fonda ), give them a disastrous menace to combat (in this case a five-mile wide meteor hurtling toward Earth), add some conflict (US/USSR Cold War relations), and some scenes of destruction, and voila! instant disaster movie! Unfortunately, by 1979 audiences had already grown tired of the formula and its various permutations, leaving METEOR to crumble like so much space dust.

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A brief summary: former NASA scientist Paul Bradley (Connery), creator of America’s secret nuclear missile defense satellite Hercules, is plucked from his yacht race and brought back into service by ex-boss Harry Sherwood (Malden). A wayward comet has struck the asteroid belt, and now the aforementioned five-mile-wide meteor (nicknamed Orpheus) threatens good ol’ Mother Earth. The President (Fonda) holds a televised speech admitting they have the nuclear satellite, and asks for Russia’s cooperation, knowing they too have one (code name Peter The Great). The Ruskies send scientist Dr. Dubov (Keith) and his astrophysicist interpreter Tatiana (Wood) to help, much to the chagrin of commie-hating General Adlan (Landau). Now that the two superpowers have joined together, can they put aside their differences and turn their respective missiles at Orpheus instead of each other in time to avert a global catastrophe?

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It’s not exciting as it may sound. Connery looks bored, Malden and Landau overact, and Fonda’s obviously only there for the paycheck. Only Keith and Wood seem engaged in the material, though Trevor Howard does okay in his tiny role as a British astronomer. Besides the big names, there are other, lesser Familiar Faces in lesser roles: Joseph Campanella, Richard Dysart, Bibi Besch, Sybil Danning, Gregory Gaye, Clyde Kusatsu, newscaster Clete Roberts, and Uncle Walt’s nephew Roy Disney (wait… how’d he get in here??). They even got THE POSEIDON ADVENTURE’s Ronald Neame to direct, hoping to capture some of that movie’s popularity. Didn’t work- the new film was nowhere near that early disaster classic in terms of character development, script, or excitement.

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The special effects scenes are good, not great. There’s a tsunami in Hong Kong, an avalanche in the Swiss Alps, and a meteor fragment that destroys a large swath of New York City. There are some unintentionally funny moments, like watching Connery and Malden slog through a muddy flood in a subway tunnel, Malden’s comb-over flopping down his shoulder. We get ominous music every time Orpheus appears onscreen, kind of like when “Bruce” shows up in JAWS. It’s all silly and overwrought, and by the next year AIP founder Samuel Arkoff, his big-budget gambles all gone sour, sold the company to Filmways, which was later bought out by Orion, which in turn was sold to MGM, who now own the rights to the AIP catalog. Old Sam should’ve stuck with beach parties and monster movies.

Flight of Fancy: Vincent Price in MASTER OF THE WORLD (AIP 1961)

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MATSER OF THE WORLD is AIP’s answer to Disney’s 20,000 LEAGUES UNDER THE SEA . Both are based on the works of Jules Verne, and involve fanatical protagonists commanding futuristic ships (an airship in this case). The difference is in budget, as studio honchos Samuel Z. Arkoff and James Nicholson didn’t have the financial means to compete with the mighty Walt Disney. They did have Vincent Price though, and within their monetary constraints came up with an entertaining mini-epic enhanced by another solid Richard Matheson script.

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Price stars as Captain Robur, who’s fantastic flying airship Albatross rules the skies of 1868. When his amplified voice bellows some scripture from a mountain (does this make Vinnie the Voice of God?), balloon enthusiasts Mr. Prudent, daughter Dorothy, and her fiancé Phillip Evans, along with government agent John Strock, investigate, only to be shot down by Robur’s rockets and taken prisons aboard his flying fortress.

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Robur and his crew (dressed in striped shirts ala 20,000 LEAGUES) plan to force the nations of the world to end war by bombing the crap out of any warships they fly over. This “peace through strength” tactic doesn’t go so over well with the prisoners, whose escape attempt winds up with Evans and Strock being dangled from the Albatross at high altitude. To make matters worse, there’s a budding rivalry between the two men for Dorothy’s affections.

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The fact that Strock is played by Charles Bronson   and Evans by little-known British actor David Frankham should tell you who wins in that department! Bronson’s good in an early good-guy role, especially his impassioned “honor be damned!” speech. Mary Webster, another Brit, is the object of their affections. Veteran Henry Hull overacts as bombastic munitions manufacturer Prudent, but it’s still good to see the former WEREWOLF OF LONDON onscreen again. Vito Scotti is the supposed comic relief as chef Topage, and muscleman Richard Harrison and AIP vet Wally Campo are Robur’s main crewmen.

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Vincent Price stated this was one of his favorite roles. As the Nemo-like Robur, Price tones it down and offers an intelligent portrait of a man who uses his genius to try to end the folly of war. His end soliloquy, quoting from Isaiah 2:4 (“All the nations will beat their swords into plowshares, and their spears into pruning hooks. Nation will not lift up sword against nation, and never shall they learn war anymore”) while the Albatross descends to its inevitable doom, is stirring stuff. I know, Robur’s supposed to be a madman and the nominal villain of the piece, but I found myself rooting for him more often than not.

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I couldn’t root for the not-so-special special effects of Tim Baar, Wah Chang, and Gene Warren though, but hampered by the low-budget, I guess they did their best. There’s tons of stock footage interspersed throughout the film, including an opening montage of early attempts to fly you’ve seen a hundred times. Director William Witney puts his experience with serials (CAPTAIN MARVEL, SPY SMASHER, MYSTERIOUS DR. SATAN) and B-Westerns to good use, moving things along at a brisk pace. Daniel Haller’s art direction stands out, but Les Baxter’s score is intrusive. MASTER OF THE WORLD is an uneven film, certainly not in the category of Disney’s Jules Verne classic, but an okay way to spend an hour and a half. If you shut your brain off and don’t expect too much out of it, you just might enjoy it.

Cleaning Out the DVR Pt 10: Halloween Leftovers

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Halloween has come and gone, though most people have plenty of leftovers on hand, including your Cracked Rear Viewer. Here are some treats (and a few tricks) that didn’t quite make the cut this year:

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ISLE OF THE DEAD (RKO 1945, D: Mark Robson)

Typically atmospheric Val Lewton production stars Boris Karloff as a Greek general trapped on a plague-ridden island along with a young girl (Ellen Drew) who may or may not be a vorvolaka (vampire-like spirit). This film features one of Lewton’s patented tropes, as Drew wanders through the woods alone, with the howling wind and ominous sounds of the creatures of the night. Very creepy, with another excellent Karloff performance and strong support from Lewton regulars Alan Napier, Jason Robards Sr, and Skelton Knaggs. Fun Fact: Like BEDLAM , this was inspired by a painting, Arnold Bocklin’s “Isle of the Dead”.

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THE BOWERY BOYS MEET THE MONSTERS (Allied Artists 1954, D: Edward Bernds)

Leo Gorcey, Huntz Hall, and the gang  get mixed up with the creepy Gravesend family in a spooky old mansion, complete with mad scientists, vampires, a man-eating tree, a robot, and of course a killer gorilla in this above-average series entry. Sure it’s low budget and derivative as hell, but it’s also a lot of fun, with a better than usual supporting cast that includes John Dehner, Lloyd Corrigan, and Ellen Corby. Director Bernds and his co-screenwriter Ellwood Ullman put their Three Stooges experience to good use, and the result is a silly scare farce that even non-Bowery Boys fans will probably enjoy. Fun Fact: Ex-bartender Steve Calvert bought Ray “Crash” Corrigan’s old gorilla suit and appeared in JUNGLE JIM, THE BRIDE AND THE BEAST (written by Ed Wood), and the awful BELA LUGOSI MEETS A BROOKLYN GORILLA .

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THE OBLONG BOX (AIP 1969, D:Gordon Hessler)

AIP tried to continue their successful Edgar Allan Poe series with this film. Roger Corman was long gone, so Gordon Hessler took over the director’s chair. Vincent Price is still around though, as the brother of a voodoo victim who was prematurely buried, then dug up by graverobbers to seek revenge. Christopher Lee has “Special Guest Star” status, but isn’t given much to do as a Knox-like doctor using bodies in the name of science. The movie seemed a lot scarier when I saw it as a youth; unfortunately, it doesn’t hold up very well. The 24 year old Hillary Dwyer is much too young to play 58 year old Price’s fiancé. Fun Fact: Michael Reeves (THE SORCERERS , WITCHFINDER GENERAL) was scheduled to direct before his untimely death; this probably would’ve been a better film with him at the helm.

HAMMER FILM PRODUCTIONS 'HANDS OF THE RIPPER' (1971) STARRING ERIC PORTER, JANE MERROE AND ANGHARAD REES. Dir: PETER SASDY ABOUT TO BE RELEASED ON BLU RAY. THEBLACKBOXCLUB.COM

HANDS OF THE RIPPER (Hammer 1971, D: Peter Sasdy)

Minor but effective Hammer chiller about the daughter of Jack the Ripper (Angharad Rees) who’s possessed by daddy’s evil spirit, and the psychologist (Eric Porter) who tries to help her by using the then-new Freudian therapy techniques. It’s science vs the supernatural, with some good moments of gore, but the slow pace makes it definitely lesser Hammer. I must admit I loved the ending, though. Fun Fact: Director Sasdy filmed several Hammer horrors in the early 70’s, including TASTE THE BLOOD OF DRACULA and COUNTESS DRACULA. He also was responsible for the Pia Zadora vehicle THE LONELY LADY, winning himself the prestigious Razzie Award in 1983!

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BURNT OFFERINGS (United Artists 1976, D: Dan Curtis)

A family rents an eerie old country home for the summer, and are soon pitted against an evil force. With all that talent in front of (Bette Davis , Karen Black, Oliver Reed, Burgess Meredith, Eileen Heckert) and behind (producer/director/writer Curtis , co-writer William F. Nolan, DP Jacques Marquette) the camera, I expected a much better film. Even the great Miss Davis can’t help this obvious haunted house story to rise above the level of a made-for-TV potboiler. Disappointing to say the least. Fun Fact: Production designer Eugene Lourie directed the sci-fi flicks THE BEAST FROM 20,000 FATHOMS, THE GIANT BEHEMOTH , and GORGO.     

Halloween Havoc!: A BUCKET OF BLOOD (AIP 1959)

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We can’t have Halloween without a good Roger Corman movie, and A BUCKET OF BLOOD is one of my favorites. This 1959 black comedy is a precursor to Corman’s THE LITTLE SHOP OF HORRORS, and I actually prefer it over that little gem. A BUCKET OF BLOOD skewers the pretentiousness of the art world, the 50’s beatnik scene, and the horror genre itself with its story of nerdy Walter Paisley, a busboy at a hipster coffee house learns making it as a famous artist can be murder!

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Walter’s a no-talent nebbish longing to be accepted by the pompous clientele at The Yellow Door, especially beautiful hostess Carla. When he accidentally kills the landlady’s cat, Walter covers it in clay (with the knife still protruding in poor little Frankie!), and brings it in to work. The grotesque sculpture causes a stir among the patrons, and Walter is congratulated for his brilliant work ‘Dead Cat’. Beatnik chick Naolia is so impressed, not to mention hot for Walter, she gives the innocent busboy some heroin to celebrate.

But undercover cop Lou, staking out the joint, sees the transaction and follows Walter home, arresting him for possession. Walter reacts by crowning the cop with a frying pan and stashing the body in his ceiling, blood dripping down as he thinks of a way out of this mess. Thus a new masterpiece, ‘Murdered Man’, is born! Meanwhile over at the Yellow Door, owner Leonard discovers Walter’s gruesome secret when he accidentally drops ‘Dead Cat’ and cracks the plaster. Leonard’s horrified, until an art collector offers him $500 bucks for the piece, and his greed takes over.

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Walter invites Carla and Leonard over to view ‘Murdered Man’, complete with split skull, and while Carla hails him as a genius, Leonard’s a nervous wreck! Walter shows up at work all artsy, dressed in a tam and ascot, long-cigarette holder dangling from his lips. House poet Maxwell composes an ode in his honor, but stuck-up model Alice still treats him with distain. Guess who becomes Walter’s next objet d’art? After Walter cuts off a workman’s head with a buzzsaw for his newest work, Leonard’s had enough, and arranges a showing of Walter’s bizzare statues. All the local hipsters are on the scene giving the boy raves reviews, but Walter’s depressed when Carla tells him she just wants to be friends, so weirdo Walter decides he’ll use her as his latest creation…

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Character actor Dick Miller will be forever identified as Walter Paisley, so much he’s used the character name on six different occasions, including HOLLYWOOD BOULEVARD, THE HOWLING, TWILIGHT ZONE: THE MOVIE, and CHOPPING MALL. Miller was one of the key players of Roger Corman’s stock company, appearing in 17 of the director’s films, from THE OKLAHOMA WOMAN to THE TRIP, and a host of others with Corman as producer. Miller was introduced to a  new generation of filmgoers in the 80’s as neighbor Murray Futterman in GREMILINS and GREMLINS 2: THE NEW BATCH. Happily, Dick Miller is still with us as of this writing at age 87, and occasionally acts in small roles.

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Other Corman regulars in the cast include pretty Barboura Morris as Walter’s crush Carla, Anthony Carbone as Yellow Door owner Leonard, Ed Nelson as vice cop Art Lacroix, and Bruno VeSota as the art collector. Future game show host Bert Convy (billed here as Burt) plays the unfortunate undercover cop, while sexy Judy Bamber is the doomed Alice. Julian Burton is great as beatnik poet Maxwell, and John Shaner and John Brinkley are hilarious as a pair of hopheads who frequent the coffeehouse.

The legend goes that Corman and screenwriter Charles B. Griffith spent an evening prowling the beat scene in Los Angeles trying to come up with a story, when they met up with struggling actress Sally Kellerman, working as a waitress to supplement her income. The trio sat down as the coffee shop was closing and concocted the wild tale. A BUCKET OF BLOOD has since become a true cult classic over the years, an original black comedy that takes the MYSTERY OF THE WAX MUSEUM /HOUSE OF WAX premise and turns it on its ear, satirizing Corman’s more conventional movies in the process. Its warped worldview makes A BUCKET OF BLOOD a must for your Halloween watch list!

 

 

Halloween Havoc!: THE COMEDY OF TERRORS (AIP 1964)

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Vincent Price, Peter Lorre, Boris Karloff, and Basil Rathbone had all appeared together on film in various combinations seven different times, but never all at once until THE COMEDY OF TERRORS. This black comedy masterpiece spoofs AIP’s own Poe flicks and Shakespeare, with the quartet of chiller icons having a grand old time playing Richard Matheson’s delicious screenplay to the hilt. Horror and noir vet Jacques Tourneur gets to direct the old pros, and the supporting cast features classic comic Joe E. Brown and Rhubarb The Cat (more on him later!).

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Price  is Waldo Trumble, the besotted, greedy proprietor of Trumble & Hinchley Funeral Parlor. He’s cruel to wife Amaryllis (Joyce Jameson), a failed opera singer (“I wish her vocal chords would snap”) who he married only to gain control of the company from her doddering old, half-deaf father Amos. “Demon rum will get you yet!”, she tells Waldo, to which he replies, “I look forward to that occasion with anticipation, madam”. Waldo keeps trying to give Amos a dose of poison, which the elderly man thinks is medicine, and Amaryllis keeps stopping him, causing the befuddled Amos to wail, “I don’t believe you care whether your poor old father lives or dies!”.

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Business has been off lately, and landlord Mr. Black (the Shakespeare-spouting Rathbone ) demands his year’s worth of back rent or he’ll throw them all out within 24 hours (Waldo calls him a “penny-pinching old pig”). Soon Waldo and his assistant, the fugitive Felix Gillie (Lorre , who’s wanted for “sundry illicit peccadillos”), go and drum up some business on their own, murdering a well-to-do local. They get the stiff’s funeral, but the widow stiffs them, running off to Boston without paying, leading Waldo to a morbid conclusion: he’ll “kill two birds with one pillow” by murdering Mr. Black, thus billing for an expensive funeral and ridding himself of his overdue rent obligations.

This leads to total chaos when Black, who suffers from catatonia, refuses to stay dead! “What place is this?”, he bellows as he rises from his coffin, causing Waldo and Felix to kill him again. Black’s finally laid to rest in his family crypt, but rises again, scaring the beejesus out of the cemetary caretaker (Big-mouth Brown in his final screen appearance). While Waldo and company celebrate their success, Black grabs an axe and heads for the funeral parlor in a rainstorm, ready to unleash mayhem on the lot of them!

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Price is at his hammy best as Waldo, with one snide remark after the other. When he finds out the first victim’s widow has run off, the murderous undertaker moans, ” Is there no morality left in the world?”. On Amaryllis’s singing, he growls, “Will you stop that ungodly caterwauling!”. He and Lorre (who calls Waldo ‘Mr. Tremble’) are like a macabre version of Abbott & Costello with their homicidal wordplay and bumbling pratfalls (performed by stunt doubles). Rathbone gets to shine too, spouting Shakespeare alone in his bedroom while fencing with shadows, and continuously popping back from the dead with lines like “What jiggery pokery is this?”.

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But its King Boris who truly steals the show as the feebleminded Amos Hinchley. Karloff shows a flair for comedy rarely seen in his films with just a look and a quick quip. Boris stands out amidst all the absurdity, and his soliloquy at the dinner table, babbling about embalming methods, is a scream:

“Old Ben Jonson, buried standing up… Edward III, buried with his horses… Alexander the Great, embalmed in honey, so they say, heehee… Egyptians used to hollow ’em out and fill ’em full of rosin… Egyptains used to bend ’em in two and stick ’em in a vase of salt water… give ’em false eyes, yank their brains out with a hook!”.

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Joyce Jameson holds her own with the seasoned vets as the off-key Amaryllis. She’d acted with Price and Lorre in a segment of the horror anthology TALES OF TERROR, and appeared in films from THE APARTMENT to DEATH RACE 2000, but is best remembered as one of the “Fun Girls” from Mt. Pilot on THE ANDY GRIFFITH SHOW . Then there’s Rhubarb the Cat, who slinks his way throughout the film as Cleopatra. The Orange tabby, who’s real name was Orangey, was a star in his own right, winning two Patsy Awards (the animal equivalent of the Oscar)  for RHUBARB (costarring with Ray Milland) and as Audrey Hepburn’s pet “Cat” in BREAKFAST AT TIFFANY’S. The feline was one of trainer Frank Inn’s animal stars, and his science-fiction credits included THIS ISLAND EARTH and THE INCREDIBLE SHRINKING MAN.

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Richard Matheson’s  screenplay sends up his Poe films with wit and black humor. Jacques Tourneur takes a break from serious filmmaking like CAT PEOPLE and OUT OF THE PAST , and lets the veteran horror actors take free reign. All the old AIP behind the scenes gang contribute to the madness (DP Floyd Crosby, music score Les Baxter, editor Anthony Carras, art director Daniel Haller), and have a good time doing it. But it’s the four Masters of Terror that make this worthwhile, especially Karloff’s comical performance as Amos. Sandwich this one between ABBOTT & COSTELLO MEET FRANKENSTEIN and YOUNG FRANKENSTEIN for a triple bill of horror and humor on All Hallows Eve, and have yourself a hysterically horrific Halloween!