Creature Double Feature 5: THE MASQUE OF THE RED DEATH (AIP 1964) and THE TOMB OF LIGEIA (AIP 1965)

Boston’s WLVI-TV 56 ran it’s ‘Creature Double Feature’ series from 1972 to 1983. Though fans remember it mostly for those fabulous giant monster movies starring Godzilla and friends, CDF occasionally featured some monsters of a different kind… 

Roger Corman and Vincent Price had teamed to make five successful Edgar Allan Poe adaptations for American-International Pictures, beginning with 1960’s HOUSE OF USHER (there was a sixth, THE PREMATURE BURIAL, that starred Ray Milland rather than Price). Studio execs James Nicholson and Sam Arkoff, always on the lookout for ways to cut costs, joined forces with Britain’s Anglo-Amalgamated Productions (makers of the CARRY ON comedies) and shipped Corman and company to jolly ol’ England for the final two, THE MASQUE OF THE RED DEATH and THE TOMB OF LIGEIA. Both turned out to be high points in the Corman/Price/Poe series.

1964’s MASQUE OF THE RED DEATH is a sadistic, psychedelic nightmare of a film, with Corman ably assisted by ace cinematographer and future director Nicholas Roeg. Price plays Italian nobleman Prince Prospero, a Satan worshipper and dabbler in the black arts, who locks the lords and ladies of his decadent court in his castle while the plague of the Red Death ravages the villagers. He’s kidnapped local beauty Francesca, her lover Gino, and her father to amuse himself and his guests, trying to force the two men to battle to the death while also attempting to seduce the innocent Francesca. Prospero’s lady Julianna is scheming to make herself the bride of Satan, while guest Alfredo humiliates the diminutive paramour of dwarf Hop-Toad.

Julianna, jealous of Prospero’s fondness for Francesca, gives her the key to the dungeon to free Gino and her dad, only to be stopped by Prospero. This ends badly, as the men are made to slice their arms with daggers, one of which is poisoned, then Father is killed by Prospero’s hand, sending Gino out to face the Red Death. Julianna pays for her treachery against Prospero (following a weird sequence of her in a dreamlike state, surrounded by dancing demons and giving herself to Satan) by being pecked to death by a raven. Hop-Toad gets revenge of his own by giving Alfredo an ape costume to wear to the Masquerade, then tying him to a chandelier, hoisting him up, and burning him alive! The Masquerade itself is a bacchanalian orgy of decadence, interrupted by an uninvited guest… the Red Death personified!

Price is a malevolent force of evil, a sadist who degrades the members of his court and delights in his devilish cruelty. He also gives a powerful soliloquy  on the nature of terror: “Terror? What do you know of Terror, Alfredo?… (a clock ticks in the background) Listen. Is it to awaken and hear the passing of time? Or the footsteps of someone who, just a moment before, was in your room? But let us not dwell on terror. The knowledge of terror is vouchsafed only to the precious few”. Jane Asher (then-girlfriend of Beatle Paul McCartney ) is good as the peasant Francesca, as are horror vets Hazel Court as Julianna and Patrick Magee as Alfredo. The wildly vivid color scheme, shocking debauchery, and pervasive aura of death and decay make THE MASQUE OF THE RED DEATH a horror classic, and a fan favorite.

THE TOMB OF LIGEIA was the last in the Corman/Price/Poe cycle, and in my opinion the best in the series. It’s a melancholy mood piece with supernatural and psychological overtones, and an overwhelmingly gloomy sense of dread. Beautiful Rowena Trevanian (Elizabeth Shepherd), out on a fox hunt, is thrown off her horse, landing at the gravesite of Ligeia Fell. She’s startled by Ligeia’s widowed husband Verden (Price), a sinister sort decked out in dark glasses (“I live at night, my vision is painfully acute”). He takes her to his neglected, cobwebbed abbey home to nurse her wounds, where his only companion is ancient servant Kendrick (Oliver Johnston) and a mysterious black cat.

Rowena’s boyfriend Christopher (John Westbrook) and father Lord Trevanian (Derek Francis) come calling to retrieve her, but Rowena feels strangely attracted to the sorrowful Fell. The attraction is mutual… Rowena is a dead ringer for the deceased Ligeia. Soon the two are married, the abbey is spruced up, and the happy (?) couple give a dinner party, at which Fell gives a demonstration in hypnotism. The results are terrifying, as Ligeia’s spirit temporarily possesses the body of Rowena. The wedded bliss is short-lived, as Rowena is locked away in her room, and Verden is prone to taking long midnight walks. Rowena confides to Christopher she believes Ligeia is still alive, and he unearths her body, only to discover a wax effigy….

Price is appropriately moody, and his slow descent into madness is glorious to behold.  The ending features a battle between Price and that darn black cat ending in one of Corman’s patented frightening, flaming finales. The Vaseline-lensed, slow-motion nightmare sequence with Rowena chased through the abbey by her feline foe is Roger at his trippiest! The whole production looks more expensive than it was, and takes Poe’s story outdoors for the first time in the series. The screenplay by (all in one breath) future-Oscar-winner-for-CHINATOWN-Robert-Towne is dead on point (no pun intended!), and the movie’s score by Kenneth V. Jones is what I consider the best in the series. After THE TOMB OF LIGEIA, Corman grew tired of the horror genre in general, and the Poe pictures in particular, and moved on to more contemporary films. AIP wasn’t quite ready to give up on their cash cow however, and produced a handful of other, lesser Price/Poe outings. With the exception of THE CONQUEROR WORM (which really has nothing to do with Poe), none of them matched the dark, disturbing tales of terror concocted by Roger Corman from 1960 to 1965. Edgar Allan Poe may not have recognized some of them, but I’m sure America’s original Master of the Macabre would approve.

More “Creature Double Feature” posts –

THE BLACK SCORPION and THE KILLER SHREWS

IT CAME FROM BENEATHE THE SEA and 20 MILLION MILES TO EARTH

THE MONSTER THAT CHALLENGED THE WORLD and THE GIANT CLAW

RODAN and MOTHRA

 

Creature Double Feature 4: RODAN (Toho 1957) and MOTHRA (Toho 1961)

Let’s begin “Halloween Havoc!” season a day early by taking a trip to the Land of the Rising Sun for a pair of kaiju eiga films from Japan’s Toho Studios. Both were directed by GODZILLA’s Godfather Ishiro Honda, have special effects from Eiji Tsuurya, and feature the late Haru Nakajima donning the rubber monster suits. But the similarities end there, for while RODAN is a genuinely scary piece of giant monster terror, MOTHRA is a delightfully bizarre change-of-pace fantasy that began Toho’s turn toward more kid-friendly fare.

RODAN was filmed in 1956, and released in America a year later by DCA (the folks who brought you PLAN 9 FROM OUTER SPACE! ) under the aegis of The King Brothers . There’s more A-Bomb testing in the South Pacific, as Americanized stock footage tells us before the movie proper begins. Miners digging deep into the Earth’s crust are trapped by flooding, and a dead man looking like he’s been “slaughtered like an animal”, his face frozen in horror, has been discovered. Officials are baffled until the appearance of… a GIANT PREHISTORIC BUG! The bug is tracked down into the mineshaft, where security finds a whole mess of the nasty creatures. Their bullets can’t stop them (of course not!), when suddenly an earthquake causes a cave-in.

Reports of a UFO spotted around the East puzzle authorities, too, until we learn this earthquake has led to the hatching of Rodan , a giant pterodactyl. Scientists determine Rodan is a 20 million year old flying reptile weighing 100 tons, with a wingspan of 500 feet! Rodan’s great wings cause hurricane-like destruction, toppling buildings and wrecking trains, and panic in the streets. Not only that, turns out there’s two of the massive monsters, and Japan’s military might proves once again ineffective against the fearsome monstrosities. After scenes of the deadly duo’s rampaging carnage, the military comes up with a bold but dangerous plan – bombard the beasts in their volcano hideaway and let nature take its course.

The local citizens are evacuated and the military unleashes its biggest weapons, erupting the volcano and ending in fiery doom for the Rodans. The movie is a blast (pun intended), and Honda keeps things taut and terrifying throughout. Among the dubbed voices you’ll immediately recognize Paul Frees in a couple roles and veteran Keye Luke doing some narration. Allegedly, STAR TREK’s George Takei also did some dubbing. RODAN is one of Toho’s scariest, definitely not for kids. Our next feature is a different story.

MOTHRA (in Toho-Scope!) is pure adventure-fantasy, which seems to have “borrowed” heavily from KING KONG. I watched the original (subtitled) Japanese version, and it was a revelation, a charming take on the genre complete with comedy and musical interludes between the destruction. A typhoon causes a Japanese ship to sink, and some survivors are found on Infant Island, used for atomic testing by the Rolisican government. Don’t worry of you’ve never heard of Rolisica; it’s entirely fictional! Anyway, those survivors show no signs of radiation poisoning, and a joint expedition by Japan and Rolisica is formed, including Rolisican explorer Nelson, Japanese linguist Chinjo, and others… but no reporters allowed! This doesn’t stop intrepid newshawk Zen “Bulldog” Fukuda (played by comedian Frankie Sakai) from stowing away onboard disguised as a cabin boy!

The expedition discovers a lush green jungle valley, and the curious Chinjo stumbles upon a clearing filled with colorful flora straight out of ALICE IN WONDERLAND. He also stumbles upon The Fairies, twin foot-high girls played by Japanese singing sensations The Peanuts (Emi and Yumi Ito). Meanie Nelson tries to snatch them, when the expedition is surrounded by menacing island natives, forcing him to reconsider. But later, when the expedition is finished, Nelson and his thugs return to Infant Island, kill the natives, and kidnap the girls, exploiting them as the main attraction at a Tokyo theater a la KONG’s Carl Denham.

But the twins have the power of telepathy, and use their singing talents to summon the great god Mothra to rescue them. Mothra hatches from her big blue egg (yes, Mothra’s a she), and the immense caterpillar swims her way to Japan. Nelson refuses to give up his miniature meal tickets, and the relentless Mothra crumbles everything in her path before building a cocoon around the Tokyo Tower. Japan and Rolisica team to blast said cocoon with atomic heat rays, which results in the creeping caterpillar emerging as a full-grown giant (and very colorful!) moth! Mothra makes a beeline (or is it mothline) for Rolisica’s capitol, New Kirk City to free the twins, which in turn leads to a strange and wonderful happy ending for all. Except Nelson, of course.

Honda’s direction here is much lighter in tone, and I enjoyed Sakai’s performance as the reporter Fukuda. The Ito Twins also appear in this film’s sequel, GODZILLA VS. THE THING, in which “The Thing” is none other than mighty Mothra! Their singing is a delight (though I didn’t understand a word of it, not being fluent in Japanese), and the score by composer Yuji Koseki is my all-time Toho favorite. RODAN and MOTHRA would make a perfect ‘Creature Double Feature’ for your upcoming ‘Halloween Havoc!’ party.

Speaking of ‘Halloween Havoc!’, it officially kicks off tomorrow with a titanic trio of classic horror stars sending up Edgar Allan Poe! In the meantime, enjoy these links to other posts in the ‘Creature Double Feature’ series:

Creature Double Feature 3: THE MONSTER THAT CHALLENGED THE WORLD (UA 1957) & THE GIANT CLAW (Columbia 1957)

Welcome to another exciting edition of Creature Double Feature, a fond look back at the type of weird and wonderful monster movies that used to be broadcast Saturday afternoons on Boston’s WLVI-TV 56. Today we’ve got twin terrors from 1957, one beneath the sea, the other above the skies. Let’s dive right in with THE MONSTER THAT CHALLENGED THE WORLD, a soggy saga starring former cowboy star Tim Holt and a monstrous giant sea slug!

An earthquake has released the beast in California’s Salton Sea, and when a Navy parachutist and a rescue crew goes missing, Commander “Twill” Twillinger (Holt) investigates. A mysterious, sticky white goo is found on board (no “money shot” cracks, please!), and a sample is taken to the lab of Dr. Rogers (Hans Conreid). Rogers analyzes the substance, a “simple marine secretion” (again, no wisecracks!), later discovered to be radioactive.

Rogers’ secretary Gail (Audrey Dalton) and Twill get off on the wrong foot, so you know their destined to fall in love. That’s just the way it goes in these films. Anyway, Twill and the local sheriff (Gordon Jones, THE ABBOTT & COSTELLO SHOW’s Mike the Cop) pay a visit to the coroner, who tells them the bodies have been “drained of blood and water”, then offers them a sandwich from his cold-storage unit (they politely decline!). Meanwhile, the beaches have been temporarily closed, but some foolish young lovers decide to take a swim, and of course become the monster’s next victims.

Twill decides to “investigate the bottom of the sea”, and some fine underwater photography finds the divers discovering some giant six-foot eggs! One large egg is hauled up by net, pissing Mama Monster off, and she goes on the offensive. Dr. Rogers does his analyzation thing, and proclaims the giant slug is a descendant of none other than the legendary Kraken! A local historian named Lewis Clark Dobbs, played by marvelous Milton Parsons , finds a map of underground waterways, and the Navy blows up the nest. But that egg in the lab hatches thanks to Gail’s daughter Sandy, and terrorizes the girls until Twill arrives, brandishing a fire extinguisher and a steam hose to subdue the menacing mollusk long enough for the forces of good to shoot it down in a hail of bullets.

Holt had been off the screen five years before this film, and he’s looking a little paunchy, but still makes a believable hero. The actor was typecast as a ‘B’ cowboy, rarely getting his chance to show his acting chops (except in THE MAGNIFICENT AMBERSONS and TREASURE OF THE SIERRA MADRE). The rest of the cast is fine, and I enjoyed the bit by horror vet Parsons (is his character’s name an homage to TREASURE’S Fred C. Dobbs? Only screenwriter Pat Fielder knows for sure!). The monster itself is more cute and cuddly rather than creepy, but on the whole the movie’s an okay if by-the-book entry in the giant monster sweepstakes. Director Arnold Laven and producers Arthur Gardner and Jules Levy later had greater success as the team behind TV’s THE RIFLEMAN and THE BIG VALLEY.

Now it’s on to THE GIANT CLAW, a much-maligned film from the King of Schlock Sam Katzman ! This one features one of the most laughable-looking monsters in genre history, a puppet resembling a giant prehistoric turkey! Shades of BLOOD FREAK ! The film follows the formula closely, with sci-fi stalwarts Jeff Morrow (THIS ISLAND EARTH, THE CREATURE WALKS AMONG US), Mara Corday (TARANTULA, THE BLACK SCORPION), Morris Ankrum (INVADERS FROM MARS, EARTH VS THE FLYING SAUCERS ), and Robert Shayne (THE NEANDERTHAL MAN , TV’s ADVENTURES OF SUPERMAN) all on board for a quick, enjoyable romp loaded with unintentional laughs.

Aeronautical engineer Mitch McAfee (Morrow) spots what he thinks is a UFO while flying the wild blue yonder in the Arctic. Mathematician Sally (Corday) scoffs, and the two are quickly at odds. You already know they hook up, right? While on reconnaissance, their plane crash lands, and they’re rescued by an actor with a terrible French-Canadian accent going by the original moniker of Pierre. McAfee and Sally recuperate at the bad-accented guy’s farm, when he hears trouble outside. Pierre is horrified by a sighting of what he thinks is La Carcagne, a mythical beast with “the face of a wolf and the body of a woman… with wings!”.

It’s really a giant turkey from outer space. The bird that is, not the movie! McAfee discovers the bird is flying in a concentric circular pattern, and Big Army Brass (sorry, wrong movie!) gives the order to shoot it down. But planes can’t stop it, “machine guns, cannons, rockets” don’t faze it. “It’s just a bird!”, screams Gen. Buskirk (Shayne), who keeps repeating “guns, cannons, rockets” like he’s shell-shocked! Scientists determine the bird is from “an anti-matter galaxy billions of light years from Earth. No other explanation is possible” because of course there’s not.

The “feathered nightmare on wings” is spotted around the globe, and Earth is in panic mode. A nest is discovered on Pierre’s farm, and McAfee and Sally shoot the egg, naturally pissing the bird off (just like our previous crustacean creature). Pierre becomes bird food, as do some dumb local teenage joyriders. There’s some scientific double-talk about “masic atoms” leading to the creation of a weapon powerful enough to breach the bird’s anti-matter shield. Meanwhile, our giant turkey monster is wreaking havoc in the Big Apple, attacking the UN building and the Empire State Building. That tremor you just felt was KING KONG rolling over in his grave! McAfee and the team commandeer an Air Force jet equipped with the new weapon, and pierce through the bird’s force field, enabling them to destroy the turkey with conventional rockets. Yay, team!

Ray Harryhausen was originally scheduled to handle the special effects, but when his price was deemed too high, the ever-frugal Katzman contracted the work to a Mexican outfit that created the silly looking bird puppet. Despite the fact that the monster is so ludicrous, I really enjoyed THE GIANT CLAW. It’s fast-moving and fun, with nary a wasted minute thanks to El Cheapo Katzman. The likable cast play their roles earnestly, and a good time is had by all. Except for the bird, of course!

Tune in next time for more madness on CREATURE DOUBLE FEATURE!

And check out previous entries in the series:

  1. THE BLACK SCORPION & THE KILLER SHREWS 
  2. IT CAME FROM BENEATH THE SEA & 20 MILLION MILES TO EARTH

 

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