THE GIANT BEHEMOTH

The behemoth stomps through London

THE GIANT BEHEMOTH (1959). Director: Eugene Lourie. American version of Behemoth, the Sea Monster. Colorized. 

The coast of Cornwall is covered with loads of dead fish. A fisherman is found horribly burned to death on the shore. A huge animal emitting waves of radiation comes out of the sea to destroy a farm and its inhabitants. And then an ocean liner. Steve Karnes (Gene Evans) and Professor Bickford (Andre Morrell) team up to try to find this "behemoth" that may be responsible for the devastation. Bickford isn't so certain that this creature exists, but the paleontologist Dr. Sampson (Jack MacGowran) insists it is a "paliosaurus" that has somehow managed to survive until modern times. And then it emerges from the river Thames and stomps through London ... 

The behemoth dwarfs a bus

I have seen this fun, creepy and often intense movie dozens of times but I must say that the colorizing process made me feel like I was seeing it for the first time. It definitely adds a new dimension. As usual, I find it interesting how midway through the film the monster switches from being an unknown animal created by radiation to just another dinosaur that has become irradiated. One suspects this change happened because director/writer Eugene Lourie also helmed the superior Beast from 20,000 Fathoms (there is also a colorized version of that). 

Monster hunters: Evans and Morrell

The scenes of people being turned to cinders by the monster's radiation have even more of a grisly impact in color. Evans and Morrell play with sincerity, John Turner is effective as the Welsh fisherman John Duncan, and Henri Vidon as Tom Trevethan has a great death scene on the beach as he intones the word "behemoth." Leigh Madison is merely decorative as his daughter. Maurice Kaufman is realistically frightened as the mini-sub captain who sneaks up on the behemoth in the climax. Jack MacGowran plays his role in somewhat campy fashion. The effects in this low-budget movie are uneven but Willis O'Brien and Pete Peterson contributed some rather good stop-motion sequences. Edwin Astley's score is a plus as well. The original British version may have a slight edge on the American print. 

Verdict: What can I say? I dig this movie (others beware). ***. 

THE KILLER RESERVED NINE SEATS

Chris Avram

THE KILLER RESERVED NINE SEATS (aka L'assassino ha riservato nove poltrone/1974. Director: Giuseppe Bennati. 

Patrick Davenant (Chris Avram) recently broke off his engagement to Vivian (Rosanna Schiaffino) -- who then married Albert (Andrea Scotti of Mission Bloody Mary)  -- while Patrick took up with the younger Kim (Jane Agren). Patrick seems unaware that Kim is still fooling around with Russell (Howard Ross) and that she is more interested in Patrick's money than anything else. Inexplicably, Patrick invites these and other people -- including his sister Rebecca (Eva Czemerys), her lover Doris (Lucretia Love), Patrick's daughter, Lynn (Paola Senatore) and her boyfriend Duncan -- to a theater he owns, and which has not been in use for decades. Apparently mass murders took place there a hundred years ago on this very date. An uninvited guest is the mysterious Pat (Eduardo Filipone), who seems like some kind of guru. It isn't long before one of the party turns up stabbed to death ... 

Rosanna Schiaffino

One thing you have to say about The Killer is that it is absorbing and suspenseful, as you do get caught up in wondering which of the cast members is offing the others. In addition to this killer, there are also supernatural events to confuse the issue, with a creepy underground finale. The violence is not too horrific, although the killer has the habit of stripping female victims of their clothing and dignity before slaying them. There are some unanswered questions even after the revelations, and Patrick emerges as someone who will never win a prize as Father of the Year!  

Verdict: Somewhat arresting Italian giallo film is wildly imperfect but some fun. **1/2. 

BARE BONES 17

 bare bones 17 Winter 2024. 

Yes the new barebones 17 is now out and available on Amazon. This scholarly and fun publication, edited by Peter Enfantino and John Scoleri, is chock full of fascinating articles. We've got pieces on THE FUGITIVE TV show; on the Mexican NOSTRADAMUS movies; ALFRED HITCHCOCK'S MYSTERY MAGAZINE; surveys of sleazy paperback thrillers; Randall D. Larson on fanzines; and much more including a piece on the forgotten post-Peter Gunn Craig Stevens series MAN OF THE WORLD by yours truly.

https://www.amazon.com/Bare.../dp/B0CW9VLMVT/ref=sr_1_1...

PARANOIA/A QUIET PLACE TO KILL

Carroll Baker and Jean Sorel

PARANOIA/A QUIET PLACE TO KILL (1970). Director: Umberto Lenzi. 

After an accident, Helen (Carroll Baker), a race car driver, is invited by (whom she thinks is) her ex-husband, Maurice (Jean Sorel), to his estate, where he now lives with his wealthy wife, Constance (Anna Proclemer). Helen discovers that Constance actually issued the invitation, and there are early hints -- later discarded -- that she has a yen for her. Maurice is an unapologetic gigolo who left Helen when her money ran out. Constance has good reason to hate Maurice -- one revelation is kept towards the end of the film -- and offers Helen $10,000 if she'll help her kill him. But as usual in these kind of movies, things don't go as expected. 

Proclemer with Sorel

Carroll Baker gives a very good performance in this, one of several thrillers she did for director Umberto Lenzi. Sorel, who may or may not be dubbed, is comparatively listless, however. Proclemer makes a better impression, as does Marina Coffa as Constance's nubile daughter, Susan. Another film inspired a bit by Diabolique -- wife and ex-wife as opposed to wife and mistress -- the lack of originality, despite some minor twists, keeps this from being memorable. The theme song, "You," is horrible and horribly sung! A nominal giallo film essentially devoid of grisly murders. 

Verdict: The picture pulls one along but there's no pay-off. **.  

BOMBAY WATERFRONT

Dainton, Bentley and Arthur Hill

BOMBAY WATERFRONT (aka Paul Temple Returns/1952.) Director: Maclean Rogers. 

Scotland Yard man turned mystery writer Paul Temple (John Bentley of Calling Paul Temple) and his wife, Steve (Patricia Dainton of The Third Alibi), get embroiled in the case of a mysterious figure known only as the Marquis, who has committed multiple murders for unknown reasons. Steve comes to suspect Inspector Ross (Ronald Leigh-Hunt) to the incredulity of his boss, while Paul is highly suspicious of the strange Sir Felix Raybourne (Christopher Lee of Alias John Preston) whose beautiful home is full of incense and other weird accoutrements. Others involved in the case include Storey (Grey Blake), whose fiancee was one of the victims, and Slater (Robert Urquhart), an actor who once appeared in one of Temple's plays and is now in the employ of the villain. 

Patricia Dainton with Christopher Lee

Bombay Waterfront is smooth and entertaining, with Bentley as good as usual as Temple -- his third and last time playing the character -- but Chris Lee, as expected, offers the most flavorful performance as Felix Raybourne. Grey Blake is also notable as the distraught Storey. Dan Jackson plays Sakki, the brother of the Temples' original Indian manservant. Arthur Hill has a very small role as a friend of the Temples. While the musical score is too often inappropriate, the picture does manage to build up suspense, and there are a few exciting scenes, although many will not be much surprised when the Marquis' identity is finally exposed.  

Verdict: Satisfying if unspectacular Paul Temple adventure. **3/4. 

THE LOUISIANA HUSSY

Peter Coe and Nan Peterson

THE LOUISIANA HUSSY (1959). Director: Lee Sholem. A Bon-Air Production. 

In a stretch of the bayou called The Pit, brothers Jacques (Peter Coe) and Pierre (Robert Richards) love the same woman, Lili (Betty Lynn), but she prefers Pierre. On their wedding day a stranger who calls herself Minette (Nan Peterson of The Hideous Sun Demon) shows up in town, and is taken in by the newlyweds. Right away Minette is making passes at Pierre -- which he initially does little to reject -- and then moves in on -- and with -- Jacques. Pierre and Lili are convinced that Minette is bad news so they decide to investigate her past, bringing them to an estate and a drunk, grieving widower named Clay Lanier (Harry Lauter of It Came from Beneath the Sea). 

Betty Lynn, Robert Richards, Harry Lauter

An atmospheric melodrama, The Louisiana Hussy is reasonably absorbing and mildly titillating, although some of the love scenes are kind of intense for a fifties movie. Although Nan Peterson is rather  average-looking to play a femme fatale, with her push-up bra she manages to assert her sexuality in scene after scene. Betty Lynn is best known as Barney Fife's girlfriend on The Andy Griffith Show and she's bland but adequate in this. Richards had only a few credits, Peterson twice as many, and Coe amassed over eighty appearances. Also in the cast, as a doctor, is Tyler McVey of Attack of the Giant Leeches. 

Like many movies from this period and after, the film is hypocritical when it comes to the question of marital affairs. This is one of those films in which the trampy gal who goes after married men is seen as being much, much worse than the husbands who simply don't abstain, and get all moralistic about the mistress while ignoring and justifying their own behavior. Lee Sholem also directed Pharaoh's Curse.

Verdict: Sizzles but never quite boils. **1/4. 

THE STRANGE VICE OF MRS. WARDJ

George Hilton and Edwige Fenech

THE STRANGE VICE OF MRS. WARDJ (aka Lo strano vizio della Signora Wardh/1971). Director: Sergio Martino. 

In order to get away from her abusive lover, Jean (Ivan Rassimov), Julie  (Edwige Fenech) married her more pliable husband, Neil Wardh (Alberto de Mendoza), first secretary at the American embassy. Jean is still pursuing her when she meets the cousin, George (George Hilton), of her friend Carol (Conchita Airoldi), and with some initial reluctance begins an affair with him. Meanwhile a mad razor slasher is running around the city of Venice where they all live, brutally murdering young women. The latest victim, who went to a park to confront a man blackmailing Julie over her affair, is Carol. Unable to deal with it all, Julie runs off to Spain with George, where her final fate awaits her ... 

the underground garage sequence

The Strange Vice of Mrs. Wardj is better-known in shortened versions under the titles Next! or Next Victim! or Blade of the Ripper. Although listed on imdb.com as being 81 minutes long, Strange Vice actually runs 97 minutes (and could have used a little trimming frankly). Still, it's an intriguing giallo film under any title. There is a terrific sequence in an underground parking garage where the killer pursues Julie, and another suspenseful sequence in the gardens of the Schonbrunn Palace. And, of course, the umpteenth shower murder sequence, although this is not done with much elan. Sergio Martino's direction is adequate but not exactly stylish. 

Ivan Rassimov

Edwige Fenech, who made a career starring in movies like this and stripping to her birthday suit at the drop of a hat, is adequate as the unsympathetic heroine, but she was never hired for her acting skills. Born in Uruguay, George Hilton has a certain presence and appeared in a large number of foreign productions, as did Ivan Rassimov, who was actually born in Italy. He was also in Planet of the Vampires. Sergio Martino also directed Torso. 

Verdict: A twisty and unpredictable script will keep you guessing. ***.  

THE LITTLE SISTER Raymond Chandler

THE LITTLE SISTER. Raymond Chandler. 1949.  

Private eye Philip Marlowe is hired by a young lady whose brother has gone missing. As he looks for this fellow, who seems a bit on the shady side, Marlowe keeps tripping over dead bodies. The trail leads to a glamorous movie star, Mavis Weld, who is afraid of scandal, and her friend and rival, a tempestuous Spanish beauty who makes more than one play for Marlowe. There's a lot of discussion about a photograph taken of Mavis in a nightclub in which she is sitting with a gangster who was supposed to be in jail at the time. And there are more corpses and murderers before the story is done.

Perhaps it's because so many years have gone by since the publication of Little Sister, but the book today almost reads like a parody. Of course there have been so many similar types of stories in the years between, and Chandler -- who is a good writer -- was one of the earlier practitioners of the 

genre, but much of the book borders on the idiotic, and the dialogue doesn't often ring true. The worst thing I can say about the book is that it is neither especially suspenseful nor even entertaining. Were this the first book of Chandler's I'd ever read, I would probably not have read another. There are some good sequences, however, such as when Detective French defends his police department. The story was filmed as Marlowe with James Garner playing the private eye.

Verdict: Chandler has written better books, but this one hasn't stood the test of time. **. 

THE DARK IS DEATH'S FRIEND

Devil's deal: George Hilton; Antoine Saint-John

THE DARK IS DEATH'S FRIEND (aka L'assassino e costretto ad uccidere ancora/1975). Director: Luigi Cozzi. 

Giorgio (George Hilton) has started to realize that it is getting more difficult to control his wealthy, suspicious wife, Norma (Terre Velazquez). One evening Giorgio happens upon a strange man (Antoine Saint-John) as the latter is disposing of the body of his latest blond victim. Giorgio offers the stranger a large of sum of money if he will make Norma the man's next victim. The stranger accepts the offer, but after he puts Norma's body in the trunk of his car, he discovers a young couple, Luca (Alessio Orano) and Laura (Cristina Galbo), have driven off in  his mercedes! 

Alessio Orano and Cristina Galbo

The Dark is Death's Friend begins so well, with an excellent initial premise, but then pretty much collapses into tedium. Most of the film is actually taken up with the uninteresting antics of Luca and Laura as they make their way in the stolen car to the seashore and break into an empty villa. The stranger follows them to this house. A blond that Luca picks up when he goes to get food is savagely stabbed to death by the stranger, a brief spurt of action. The picture simply has no urgency and very little suspense. One plus is that the dubbing is not only very well done, but the voices have been chosen with great appropriateness, aside from Laura, whose nattering becomes very annoying. Nando de Luca has written effective credit music, but the rest of the score is very uneven. French actor Antoine Saint-John has a very distinctive presence and gives the best performance. 

Verdict: Starts well, then becomes routine. **. 

HAMMER THE TOFF

Patricia Dainton and John Bentley

HAMMER THE TOFF (1952). Director: Maclean Rogers. 

Susan Lancaster (Patricia Dainton of The House in Marsh Road) is the niece of a professor (Ian Fleming, not the creator of James Bond), who has developed a secret formula for a certain process useful in defense. When he is murdered via a hypodermic needle in a briefcase, Richard Rollison (John Bentley of The Flaw), aka The Toff, takes it upon himself to protect Susan from a nefarious character called the Hammer. Up to now the Hammer has been seen as a kind of Robin Hood, helping the poor people of the East End of London, but now he and his gang are resorting to murder. Or is there another person calling himself the Hammer? With the help of Inspector Grice (Valentine Dyall), Sergeant Barrow (Ben Williams) and Rollison's major domo Jolly (Roddy Hughes), the Toff tries to find out the truth. Then Susan is kidnapped ... 

John Robinson with Bentley 

Hammer the Toff is the second of two films starring Bentley as the John Creasy creation the Toff -- the first was Salute the Toff -- and it is much better than the first, with a more complicated storyline and a lot of action. Bentley is perfection as the Toff. The entire cast plays this kind of light yet dramatic material with panache. John Robinson gives a smooth performance as a suspect and never quite gives away his guilt or innocence. Wally Patch is the crusty but likable bar owner who briefly turns against the Toff when he thinks he's betrayed an associate to the police. 

Verdict: Well turned out British suspense film. ***.