Fall in Love with LAURA (20th Century Fox 1944)

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If you’re like me, you’ve probably watched LAURA more than once. It’s one of the top film noirs, indeed one of the top films period of the 1940’s. LAURA is unquestionably director Otto Preminger’s greatest achievement; some may argue for ANATOMY OF A MURDER or even ADVISE AND CONSENT, and they’re entitled to their opinions. But though both are great films, only LAURA continues to haunt the dreams of classic movie lovers, its main themes of love and obsession transferring to its fans even 73 years after its initial release.

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Preminger, along with scenarists Jay Dratler, Samuel Hoffenstein, and Betty Reinhart, weave an intricate, sinister tapestry around the violent death of beautiful New York ad exec Laura Hunt. Cynical police detective Mark McPherson is determined to solve this particularly gruesome murder; Laura was killed at close range by a buckshot-loaded shotgun blast to the face. McPherson begins by questioning Waldo Lydecker, the acerbic newspaper columnist who relates via flashback how he “discovered” Laura and became her mentor, aiding her career and introducing her in high society circles, circles that contain lowlifes like the freeloading Shelby Carpenter, living off Laura’s Aunt Ann’s ‘generosity’ while becoming Laura’s fiancé.

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McPherson grills both Shelby and Ann, as well as Laura’s loyal housekeeper Bessie. He reads her intimate diary and letters from admirers, immersing himself in Laura’s life so deeply he becomes obsessed, falling in love with the dead woman. Waldo calls him on it, and McPherson lets on he’s uncovered Waldo’s own obsession and outright jealousy through the letters. McPherson gets drunk, falling asleep in the chair under a huge portrait of Laura.

Then Laura Hunt walks through the door, alive and well, and his entire world turns upside down….

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Now the fun really begins, as McPherson must discover who the dead girl was, and who knew what. The first comes easy, the second a bit more complicated. In the midst of all this mystery, McPherson and Laura fall in love, and the killer shows his hand in the exciting conclusion. LAURA has more twists than a pretzel, and is twice as tasty in its unfolding of the tale. The dark, moody cinematography by Joseph LaShelle deservedly won the Oscar that year; LaShelle was also nominated eight other times for films like MARTY, THE APARTMENT, and THE FORTUNE COOKIE. David Raskin’s haunting score includes Laura’s theme, which became a 40’s juke box hit with added lyrics by Johnny Mercer. Louis Loeffler’s skillful editing aids in ratcheting up the suspense.

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Dana Andrews and Gene Tierney are the most romantic couple in noir, and both became genre icons. The pair again teamed with Preminger for 1950’s WHERE THE SIDEWALK ENDS. Vincent Price is the sleazy gigolo Shelby, and Judith Anderson is good as Ann. But it’s Clifton Webb’s portrayal of the acid-tongued Waldo Lydecker who walks away with acting honors. The columnist “with a goose-quill dipped in venom” is simply stunning to watch as a man obsessed, going to any lengths to make Laura his and his alone, resorting to murder to achieve his goal. Webb had appeared in a handful of silent films, but this was his first foray to Hollywood since 1930, and he totally dominates every scene he’s in. He was nominated for, but did not win, Best Supporting Actor; the Oscar went to Barry Fitzgerald for GOING MY WAY. But LAURA put Webb on the map in Hollywood, and he went on to star in films like THE DARK CORNER,   THE RAZOR’S EDGE, TITANIC, THREE COINS IN THE FOUNTAIN, and his signature role as Mr. Belvedere in three film beginning with SITTING PRETTY.

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LAURA was also nominated for Preminger’s direction, Best Adapted Screenplay, and Best Black & White Art Direction, for a total of five. It should have won more, but Leo McCarey’s sentimental GOING MY WAY dominated the Oscars that year. Both are classics, but for my money LAURA’s the better film, its dark look at love, lust, and obsession way ahead of its time. This is Otto Preminger’s masterpiece, a true cinema classic that stands up to the test of time and deserves its reputation. Definitely must viewing for readers of this blog!

 

 

 

Happy Birthday Elvis!: THE TROUBLE WITH GIRLS (MGM 1969)

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Elvis Aron Presley was born on this date in 1935. The King of Rock’N’Roll got the older generation “All Shook Up” when he burst on the national scene in 1956 with hits like “Heartbreak Hotel” and “Hound Dog”. He also made his first film that year, the Western LOVE ME TENDER, and was an immediate box office sensation. His following three films, LOVING YOU, JAILHOUSE ROCK , and KING CREOLE, were well done, but after his stint in the Army, and the success of 1961’s BLUE HAWAII, Presley’s 60’s movies followed a strict formula, thanks to manager Col. Tom Parker, with interchangeable titles like KISSIN’ COUSINS, HARUM SCARUM, and DOUBLE TROUBLE.

By the late 60’s, things had changed. The Beatles  were top of the pops, the psychedelic revolution was in full effect, and Elvis hadn’t had a hit record in a few years. The movies were still profitable, but lacked energy. Presley’s 1968 Comeback TV Special put The King back on his throne, and he ready to move with the times. Reportedly, he was offered the Jon Voight part in MIDNIGHT COWBOY, which the Colonel adamantly refused to let him do, and Glen Campbell’s role in TRUE GRIT, the Colonel again vetoing on the basis of being billed lower than John Wayne (really, Colonel?). One of Elvis’ last movies was THE TROUBLE WITH GIRLS, a departure from the usual formula casting Presley as the boss of a traveling Chautauqua show in 1927 Iowa.

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Elvis is the white-suited, cigar smoking Walter Hale, leader of the troupe of actors, orators, and musicians who pull into the sleepy town of Radford Center. His “Story Lady” who runs the children’s pageant, Charlene, is a union-advocating proto-feminist, refusing to give the mayor’s daughter the lead, preferring the much-more talented Carol. Carol’s mother Nita is constantly being sexually harassed at work by her druggist boss Wilby, and wants a better life for her kid. Young Betty wants to leave small town life behind too, and is eager to get noticed.

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There’s also an illegal blackjack game going on by the riverbank, run by Chautauqua worker Clarence, and when Wilby gets in a fight after accusing the dealer of cheating, his body’s found floating in the river the next day. Clarence is arrested for murder, but Walter discovers Nita did the deed, and finds a way to help her and profit from it by having her confess before a live audience. Charlene is appalled at his exploitation of her, and Walter’s charlatan attitude in general, and quits the company, but sly Walter figures out a way to get her thrown out of town and back on the train for the next stop.

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Walter Hale is a change of pace role for Elvis, as is the film. He does get to sing, but his musical moments are few and far between. His lead Bible Singer gets ill, so he fills in on the traditional Gospel number “Swing Down Sweet Chariot”. He does a bluesy rendering of “Clean Up Your Own Backyard”, and does an introspective “Alone” at the piano near the end. There’s a few bits and pieces of vocalizing, but mainly Elvis acts, and while Walter Hale’s no Joe Buck or Ranger LaBoeuf, it’s certainly different than his usual leading roles, and Elvis does a fine job.

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Presley’s surrounded by a cast of pros. Marlyn Mason (Charlene) is best known for her TV roles. Sheree North (Nita) was a 50’s starlet in HOW TO BE VERY, VERY POPULAR and THE LIEUTENANT WORE SKIRTS, and later appeared as The Duke’s ex-love in THE SHOOTIST Edward Andrews (Walter’s assistant Johnny) is always good. Dabney Coleman’s at his sleazy best as Wilby. Nicole Jaffe (Betty)may not look familiar to you, but you’ll recognize her voice… she’s the voice of Velma from SCOOBY DOO! (Frank Welker, who voiced Fred, is also in the cast) Anissa Jones (little Carol) was Buffy on TV’s FAMILY AFFAIR.

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There are some fun cameos here. Vincent Price plays the erudite Mr. Morality, giving the crowd a lecture on the evils of sin as only Price can. John Carradine pops up as Mr. Drewcolt, a Shakespearian actor (Betty: “Do you think Romeo and Juliet had pre-marital relations?” Drewcolt: “Only in the Des Moines company”). Carradine even gets to recite a snippet of the “To be or not to be” soliloquy from “Hamlet”, which must’ve pleased him no end! Joyce Van Patten is comical as distance swimmer Maude, who discovers Wilby’s body.

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THE TROUBLE WITH GIRLS is entertaining, though anachronistic in places (all the women wear mini-skirts, for example), a solid comedy-drama that gave Elvis Presley a chance to break out of the formulaic “teen musicals” he was getting too old for anyway. There was one more movie on the way, CHANGE OF HABIT with Mary Tyler Moore, before his film career ended, with only a couple of tour documentaries in the 70’s before his tragic death in 1977 at age 42. Elvis left an indelible mark on the world of music, but in movies only a handful tested his mettle as an actor. THE TROUBLE WITH GIRLS tries to break the “Elvis movie” mold, and will satisfy even non-Presley fans. Happy birthday, King Elvis, long may you reign!

Merry Christmas from Vincent Price (A CHRISTMAS CAROL 1949)

What’s Christmas without Dickens’ classic A CHRISTMAS CAROL, and who better to narrate than jolly old Vincent Price! Enjoy this TV treat from 1949 before you eat your Christmas goose, and “God bless us, every one!”.

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.

All That Glitters Is Not Gold: Jane Russell in THE LAS VEGAS STORY (RKO 1952)

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Jane Russell’s  sexy as always, but THE LAS VEGAS STORY falls flatter than the proverbial pancake. This dull little crime drama boasts a good cast and some good moments, but on the whole doesn’t satisfy. One of the problems is Jane’s co-star Victor Mature, who tries but can’t match the cynicism frequent Russell co-star Robert Mitchum would’ve brought to the role of Jane’s jilted ex-lover, now a cop in the City of Sin. The most interesting thing about THE LAS VEGAS STORY is it’s screenplay credits, which we’ll get to later.

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When ex-lounge singer Linda Rollins (Russell) returns to Vegas with husband Lloyd (a subdued but still sarcastic Vincent Price ), she visits her old stomping ground the Last Chance, where she’s greeted by piano player Happy (Hoagy Carmichael) and former boss Mike Fogarty (Will Wright), who’s been bought out by new owner Clayton (Robert J. Wilke). Police lieutenant Dave Andrews (Mature), Linda’s ex, comes along and is still angry over being dumped by Linda.

Lloyd’s got problems of his own, having embezzled big bucks from his firm in Boston, and uses Linda’s $150,000 diamond necklace to get a line of credit from Clayton, which results in him losing both the dough and the necklace. Sleazy insurance investigator Hubler ( Brad Dexter ) has been following the Rollins’s, keeping his eye on the prize. When Clayton is found murdered late one night, Dave arrests Lloyd for the crime, but the real killer is still on the loose…

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Jane’s undeniable charms make the movie watchable, whether it’s in flashback singing “Of Course I Do” (complete with Bettie Page-style ‘do!) or a brief but sexy shower scene. RKO boss Howard Hughes knew how to use her attributes to maximum effect, and her acting ability didn’t suffer for it. When it comes to Victor Mature, he’s good when given the right role (see MY DARLING CLEMENTINE or I WAKE UP SCREAMING for example), but here he’s just dull. Robert Stevenson’s pedestrian direction doesn’t help matters, as even the chase scene through the desert, culminating in a climactic duel at a shut-down army base, fails to kick into high gear. It’s a shame, because the movie had potential, but the lackluster effort put into it causes it to sink under its own weight.

Hoagy Carmichael is good as Happy, and brightens up the proceedings whenever he’s on screen. The composer of standards like “Georgia On My Mind” and “Stardust” acted in films before, most memorably with Bogie and Bacall in TO HAVE AND HAVE NOT, and wrote the songs for this one, including a funny ditty called “The Monkey Song”:

Screenwriter Paul Jarrico (left) at HUAC hearings
Screenwriter Paul Jarrico (left) at HUAC hearings

Earl Fenton and Harry Essex are credited with the uninspired screenplay, but Paul Jarrico also contributed. Jarrico’s name was taken off the credits by Hughes because he’d been named as a communist sympathizer by HUAC (The House Un-American Activities Committee) during the blacklist era. Jarrico, who wrote the films THE FACE BEHIND THE MASK , THOUSANDS CHEER, and SONG OF RUSSIA (a film named pro-Soviet propaganda by HUAC), sued to restore his name and lost, the court ruling Jarrico was in violation of the studio’s morals clause. This in turn gave studios free rein to use blacklisted writer’s work without crediting them, or paying them fairly for their toils, either. Jarrcio was booted out of Hollywood, later making SALT OF THE EARTH with fellow blacklistee Herbert Biberman (which became the only FILM to be blacklisted because of its writer and director!) and moving to Europe to ply his trade for another twenty years.

All this behind-the-scenes bullshit didn’t matter to moviegoers, as THE LAS VEGAS STORY bombed at the box office. The film’s definitely minor league, despite a fine cast, and I really don’t think Mr. Jarrico should’ve wasted his time on it. Neither should you; go watch Jane steam up the screen with Mitchum in HIS KIND OF WOMAN or MACAO instead.

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!: 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!