ABBOTT AND COSTELLO MEET FRANKENSTEIN

Franky (Glenn Strange) goes after Lou Costello

ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948). Director: Charles Barton. 

Wilbur (Lou Costello) and Chick (Bud Abbott) work for a shipping company and are told to bring two items to a House of Horrors without fail. One item is a coffin that contains the living Count Dracula (Bela Lugosi of The Corpse Vanishes) and the other is a crate that holds Frankenstein (Glenn Strange), whom the vampire has under his control. Meanwhile Sandra (Lenore Aubert of The Catman of Paris) romances Wilbur because she wants to put his simple-minded brain in Frankenstein's body so that the monster will be more easily manipulated. Two other people get involved in the frenzied, comical action: Larry Talbot (Lon Chaney Jr.), who turns into the Wolfman when the moon is full and warns the boys about what's going on with Drac and Franky; and Joan (Jane Randolph of The Mysterious Mr. M), an insurance agent for the shipping company. Will poor Wilbur become subjected to a brain transplant?

Gruesome twosome: Bela Lugosi and Lenore Aubert

Abbott and Costello Meet Frankenstein is practically a textbook case of how to do a spoof the right way. The trick is that everyone pretty much plays it straight except for the two stars, who by this point were old hands at their comical schtick. The movie is not only consistently funny, but even exciting and suspenseful at times, and is also very well-produced. Frank Skinner's excellent score makes the most of every sequence. Other cast members include Frank Ferguson as the testy owner of the House of Horrors (whose exhibits turn out to be alive), and Charles Bradstreet as the handsome Professor Stevens, who works with Sandra but has no idea what she's really up to. 

Verdict: Classic comedy with the fellows in top form and a very adept and enthusiastic supporting cast. ***1/2. 

THE TRAP SNAPS SHUT AT MIDNIGHT

Jerry Cotton (George Nader) goes into action!

THE TRAP SNAPS SHUT AT MIDNIGHT (aka Um Null Uhr schnappt die Halle zu/1966). Director: Harald Philipp.  

A small-time operator named Hatton (Gert Gunther Hoffmann) steals a truck and is alarmed to discover it is stuffed with vats of nitroglycerine. The cool blonde Maureen (Dominique Wilms of OSS 117 -- Panic in Bangkok) acts as go-between for him and big-time operator Larry Link (Horst Frank of Eye in the Labryinth), but Hatton isn't in the picture for long. Link contacts the authorities and threatens to use the nitro to blow up Manhattan if he isn't paid one million smackers. FBI agent Jerry Cotton (George Nader) and his partner Phil Decker (Heinz Weiss) are assigned to get the crooks and find the nitro -- before a summer heat wave causes it to explode! 

Dominique Wilms and George Nader

This is the third of the West German Jerry Cotton films starring George Nader, and as usual it's entertaining and well-played. The film is distinguished by two exciting action scenes: when Jerry masquerades as a window washer and nearly falls to the sidewalk far below; and a tense sequence on the Manhattan Bridge when Jerry has to fight off a thug and get rid of a bomb attached to one of the nitro canisters at one and the same time. The editing manages to blend Jerry and the other characters into the New York City exteriors quite well, and the irritating theme music is used sparingly for a change. 

Verdict: More than decent action film from West Germany. ***. 

KILL ME, DEADLY

KILL ME, DEADLY (2015). Director: Darrett Sanders.

In this film noir spoof set in 1947 and shot in black and white a private eye, Charlie Nickels (Dean Lemont), goes to see a client (Lesley-Anne Down of In the Devil's Garden) who fears her life is in danger and sure enough she is shot to death not much later. Suspects include her nerdy son, Clive (Nicholas S. Williams), sexy daughter, Veronica (Raleigh Holmes), the fired gardener and butler, and a chubby femme fatale named Mona (Kirsten Vangsness) who is a sultry singer in a nightclub. This should all be great material for a hilarious satire but the movie is slow and dull and shockingly unfunny, with only a couple of mild chuckles throughout. Occasionally the dialogue is clever, but more often cliched. The stylized performances aren't especially amusing either, defeating the whole purpose of the movie, although some of them, especially Vangsness -- who does a mean imitation of Kathleen Turner -- and Down, give it their all. The climax is a little bit interesting, but not enough to save the movie. This was based on a stage play that might have worked with the right players, but Carol Burnett herself might have been stumped by the material. Vangsness was the executive producer and two of her co-stars on Criminal Minds have parts: Shemar Moore in a bit as a piano player and Joe Mantegna as Bugsy Siegel.

Verdict: This is deadly all right. Watch Kiss Me Deadly instead. *1/2. 

BAREBONES 19

 barebones 19. (2024). Edited by John Scoleri and Peter Enfantino.

The latest issue of barebones, # 19, edited by John Scoleri and Peter Enfantino, features articles on Jack the Ripper; the classic western show Rawhide; films directed by W. Lee Wilder (Billy's brother), such as Killers from Space; Mike Shayne Mystery Magazine; the first Bond novel, Casino Royale, and its TV and film adaptations; and my own piece on the wild series YANCY DERRINGER starring Jock Mahoney.

And even more!

You can buy a copy on Amazon here!

SUNSET SERENADE

Roy Rogers listens as Gabby Hayes sings

SUNSET SERENADE (1942). Director: Joseph Kane.

Although Vera Martin (Joan Woodbury) thought she was going to inherit a ranch from the deceased owner, it actually goes to his nephew, a one-year-old baby in the care of Sylvia Clark (Helen Parrish of X Marks the Spot). Sylvia doesn't know that Vera and her friend, Jackson (Onslow Stevens), are scheming to get the ranch away from her for a song. Wouldn't you know that Roy Rogers, Gabby Hayes, Bob Nolan (of Heldorado) and his Sons of the Pioneers ((including Pat Brady) are in the vicinity, out of work cowboys who are practically starving. In exchange for vittles, most of which are "et" by Gabby, Roy and his buddies help out Sylvia. Later on they have a shoot-out with Jackson's gang when he tries to steal cattle that Sylvia just sold to Clifford Sheldon (Frank M. Thomas) and Roy saves the man from a rushing river when a dam is exploded. There are also some forgettable songs sung by Roy, Bob, Pat and even annoying Gabby. Trigger doesn't have much to do in this one. Roy Barcroft of G-Men Never Forget plays one of the gang of bad guys. A "modern" western from Republic studios. 

Verdict: Acceptable but mediocre Roy Rogers entry. **. 

THE CRAWLING EYE

The alien eye creatures go on the attack!

THE CRAWLING EYE (aka The Trollenberg Terror/1958). Director: Quentin Lawrence. Colorized.

Alan Brooks (Forrest Tucker of The Strange World of Planet X) travels to the Trollenberg mountain in Switzerland at the behest of scientist Crevett (Warren Mitchell), whose observatory is studying cosmic rays. Crevett feels that something weird that happened years ago in the Andes is now happening on the Trollenberg. There are strange deaths of climbers, some of whom wind up decapitated, and a radioactive cloud that is able to move independently. All of this is disturbing to Anne Pilgrim (Janet Munro), who is one half of a telepathic act with her sister Sarah (Jennifer Jayne), and who picks up "thoughts" from whatever it is on top of the Trollenberg. Brooks and the sisters, along with reporter Philip Truscott (Laurence Payne of The Tell-Tale Heart), try not to panic when the cloud starts moving downwards towards the village and they finally see what's inside ...

Telepathic: Janet Munro picks up signals from the mountain

Based on a British mini-series, The Crawling Eye is a highly creepy and suspenseful horror show with more than competent acting, an eerie premise, and several memorable sequences. The FX work is crude and low-budget, but nevertheless effective, and there's a good score by Stanley Black (there's an especially nice passage during a scary sequence at a cabin which is slowly being enveloped by a freezing mist). A particularly tense scene occurs when the cable on the car taking frightened passengers up to the observatory begins to freeze ... As usual in films of this nature, there is plenty of illogic. When one little girl leaves her mother's side near the lower landing of the cable car to look for her ball in the inn below, one can't imagine this toddler being able to make it such a distance in so short a time. (This could have been corrected if the shot of the inn made it seem much closer.) The sequence in the cabin as shot also seems a bit impossible. But the movie is such gruesome fun that it scarcely matters. The color definitely adds a new dimension. 

Verdict: Giant eyeballs with tentacles, severed heads -- what more can you ask for? ***. 

THE D.A.'S MAN

John Compton

THE D.A.'S MAN (1959). One season and 26 half-hour episodes.

Shannon (John Compton) is a former private eye who is now working with the district attorney's office in Manhattan as an undercover investigator. He reports to assistant D.A. Al Bonacorsi (Ralph Manza), and often works with another ADA named Ed Carney (Alfred Shelly). Although Compton was almost illegally good-looking, the stories rarely make references to his appearance, -- "a face like a Greek God," a woman says in "The Duke" --  although there are indications that he's a bit of a ladies man. 

"Iron Mike Benedict:" Wm Fawcett; Compton

Among the more memorable episodes: "The Actress" features an excellent Whitney Blake as a junkie waiting for her fix to arrive as an undercover Shannon waits with her and tries to help her. "Manhattan Gigolo" has Shannon "dating" an old woman as part of an investigation into a murderous Park Avenue safecracker (Paul Burke). William Fawcett gives a fine performance as "Iron Mike Benedict," one of the alcoholic victims of Stafford Repp, a bar owner who poisons customers for their insurance money. In the touching conclusion, Mike comes to see Shannon, in disguise as a bowery bum, as the son he never had. 

Alfred Shelly with Compton

Robert Ellenstein grooms young ladies for prostitution in "Mr. Santa Claus." Shannon goes undercover as a boxer to trap men who murder fighters who refuse to take a dive in "Club Fighter." In "Shakedown," in which phony cops and a pretty gal scam lonely out-of-town businessmen, Compton puts on a very convincing hayseed impersonation. In "The Duke" John Hudson heads a gang of fur thieves at a bar-hangout which Shannon infiltrates. Shannon investigates a murder in a small town in "Girls Best Friend."

The D.A.'s Man was an interesting series that was too short-lived to make much of an impression or help Compton's career. Compton's performances were a little uneven, as well, sometimes quite perfunctory, and other times -- especially when he was in character as part of his cover -- much more impressive. All but a couple of the episodes are available on youtube. 

Verdict: Some good stories and a handsome lead actor never hurt. **3/4. 

UNDER CALIFORNIAN STARS

Roy Rogers 

UNDER CALIFORNIAN  STARS (1948). Director: William Witney. 

Roy Rogers is celebrating his tenth year in pictures and goes home to his ranch for a special radio broadcast. There he learns that his employee, Cookie (Andy Devine), has hired another of his relatives, Caroline (Jane Frazee) but at least this one is pretty. Roy also befriends a little lame boy, Ted (Michael Chapin), whose evil stepfather Lige (Wade Crosby), helps his employer, Pop (George Lloyd), kidnap Trigger for ransom. Ted doesn't tell Roy all that he knows for fear of reprisal, but helps save the day in the end. 

Rogers with Jane Frazee

This is an amiable Roy Rogers Western that benefits greatly from pleasing players and from a a score cobbled together from various sources and composers. Jane Frazee is appealing but perhaps not quite distinctive enough. Michael Chapin also went on to have a number of credits, mostly on television. The lovable Andy Devine gets a few laughs in this, and Trigger -- the only one billed above the title aside from Roy -- goes through his dramatic paces as well. Of course there are the Sons of the Pioneers and a few catchy songs, the best of which are "Dust" and the title tune.  

Verdict: Songs and sentiment plus the thrashing hooves of Trigger! **3/4. 

WITH A MIND TO KILL

 WITH A MIND TO KILL. A James Bond Novel. Anthony Horowitz. 2022; Harper. 

This novel takes place directly after Ian Fleming's excellent final 007 adventure, The Man with the Golden Gun. In that story an amnesiac Bond had been captured by Russians, brainwashed, and sent to kill M, a plot which fortunately fails. Bond was then deprogrammed, and sent into action against assassin Scaramanga -- he proves that he still has the right stuff when he succeeds in his mission. So now M decides on a daring plan -- he will be supposedly assassinated by Bond, who will return to Russia as a fugitive, still brainwashed -- (or so it is hoped that the Russians will believe) -- to find out what's up with a new organization, Stalnaya Ruka (Steel Hand)  that is planning some deadly offensive action. 

Right away Bond falls under suspicion from Colonel Boris, the master of mind control. He also has to convince Boris' beautiful colleague, Katya Leonova -- another person who supervised his brainwashing -- that he is still under their influence. Bond has very mixed emotions about Katya, hating her for her part in what was done to him, but also feeling an undeniable attraction toward her, and coming to feel that she had no choice but to do what she did to him. She is a fascinating character.

Although Bond privately refers to the bullet wound given to him during his adventure with Scaramanga, it is somewhat improbable that M wouldn't have had this taken care of, as it indicates that Bond was somewhere where he shouldn't have been during those months he was supposedly in England. it is even more improbable that none of the Russians notice this wound and wonder or ask about it. 

As the novel progresses the suspense increases as Bond has to pass certain tests, including the elimination of a certain agent in the (architecturally-stunning) Komsomolskaya subway station. As Bond and Katya grow closer he wonders if he can truly trust her. Then Bond is given an assignment to assassinate a certain party in East Berlin at the state opera. Even if he's successful in his mission, will he be able to get out of East Berlin? 

Verdict: Despite some moments that might give the reader pause, this is an exciting and memorable Bond adventure. ***. 

THE SAINT'S GIRL FRIDAY

Louis Hayward as The Saint, Simon Templar

THE SAINT'S GIRL FRIDAY (aka The Saint's Return/1953). Director: Seymour Friedman. Colorized. 

"Did you really drop a man into a vat of acid?" -- elderly lady partygoer.

"No. It was a woman." -- Simon Templar.

When Simon Templar (Louis Hayward of Son of Dr. Jekyll) learns that Judy, an old girlfriend of his, died in a mysterious car accident, he flies to London to investigate, whereupon Chief Inspector Claude Teal (Charles Victor) warns him to stay out of trouble. Learning from her guardian that Judy had huge gambling debts, Simon tries to find which illegal gambling club she was a patron of, and then who the mysterious chief is who owns the place. He enlists the aid of Carol (Naomi Chance) who works for the club to pay off her own debts, and whom Simon affectionately calls his girl Friday. She resists helping him and he and his butler Hoppy (Thomas Gallagher) try various stratagems to collar the gang -- called the River Mob -- and its unknown chief. Then they learn Carol is in serious danger ...

William Russell and Naomi Chance

The always-debonair Louis Hayward makes an excellent Simon Templar and gives a smooth and expert performance. The other cast members, including Jane Carr as the effervescent Katie French; Diana Dors [Berserk] as a lascivious blonde moll in a bad guy's apartment; Fred Johnson as counterfeiter Irish Cassidy; William Russell as gambleholic Keith Merton; and Ian Fleming as his father, Lord Merton, among others, are all quite effective. Sam Kydd has a small role, too. Hayward hadn't played the Saint in fifteen years, since The Saint in New York, and would never play it again. This is fast-paced, has a degree of suspense, and a couple of surprises to boot. For my money, the colorizing adds to the enjoyment. Although it is considered the 9th and final entry in the RKO Saint series, this is a British film from Hammer studios. 

Verdict: Easy to take intrigue from the UK. **3/4.  

THE MURDER MANSION

THE MURDER MANSION (aka La mansion de la niebla/1972). Director: Francisco Lara Polop. 

Hitchhiker Laura (Lisa Leonardi) is first picked up by Porter (Franco Fantasia of Kommissar X: Kill Panther Kill), who can't keep his hands to himself, and then given a motorcycle lift by Fred (Andres Resino). As they travel to Milan on a foggy night, they are nearly run off the road by a Mercedes with two occupants. Traveling the same dark byway are Elsa (Analia Gade), whose husband Ernest (Alberto Dalbes) is off with his mistress, Ellen (Ingrid Garbo); and Elsa's friends Mr. and Mrs. Tremont (Eduardo Fajardo and Yelena Samarina). Most of this bunch wind up in a secluded mansion near a cemetery which is owned by hostess Martha (Ida Galli of A White Dress for Mariale). Martha tells the assemblage a tale about how 12 people were murdered in one night in the mansion by vampires, which may include her Aunt and the old lady's chauffeur (Jose Luis Velasco), both of whom died decades before and supposedly haunt the graveyard. As everyone decides to spend the night despite the absence of electricity, Fred decides to explore the basement level of the building, determined to figure out if there are supernatural elements at play or not. Before he arrives at the solution, there is more than one death. 

In the basement crypt: Andres Resino and Lisa Leonardi

The Murder Mansion is a weird one. Its greatest strength is its unpredictability, although after awhile you get a bit impatient for things to happen and to make sense. The acting seems credible even if the dubbing is strange, and there's a degree of atmosphere. A very strange sequence has Fred and Laura encountering a cloaked man on the roadway who is carrying a huge scythe, and they don't even remark upon it! Even at the end of the film you may not be entirely certain as to exactly what has happened, but it's entertaining enough. Dalbes and Samarina both appeared in Night of the Skull. 

Verdict: Oddball Spanish-Italian co-production will have you guessing or put you to sleep. **1/2. 

FEDERAL OPERATOR 99

Lorna Gray and George J. Lewis

FEDERAL OPERATOR 99 (12-chapter Republic serial/1945). Directors: Spencer Gordon Bennet; Richard Cherwin; Yakima Canutt. Colorized. 

Two determined men are out to get one another. On on side is crime lord Jim Belmont (George J. Lewis of Radar Patrol vs. Spy King) -- with his female partner Rita Parker (Lorna Gray of Flying G-Men) -- and on the other is Jerry Blake (Marten Lamont), aka Federal Operator 99, who is out to stymie everyone of his schemes with the help of feisty "secretary" Joyce Kingston (Helen Talbot). Jim is supposedly a great lover of classical music, but the only piece he ever plays is "Moonlight Sonata." In addition to Rita, he's got Farrell (Hal Taliaferro) and other gunsels working for him, while Jerry has agent Fred Martin (William Stevens). 

Jerry (Marten Lamont) in disguise

Federal Operator 99 is practically a textbook case of how a cliffhanger serial should be handled. The actors play with enthusiasm, the stunt work and fight scenes (with virtually every stick of furniture being smashed) are excellent, there are several outstanding cliffhangers, and the exciting pace never flags. Poor Joyce is nearly cremated at one point, and has a huge propeller heading in her direction at another. Jerry is caught in a room with bars and fiery flame jets and engages in lively fisticuffs with Tom Steele (who plays several roles). There's a highly suspenseful business involving a bomb at a barn door. Joyce and Rita have a "catfight" in the cab of a speeding truck, with the former throwing the latter out on her keister. And there's a thrilling climax in an abandoned theater where our villains come to their richly-deserved fates. This version is colorized and eliminates the opening and closing credits of each chapter. Sometimes we see our heroes escaping a doom trap before we see the trap itself, but this is a minor problem.  

Verdict: Outstanding serial is great fun and even better in color. ***1/2.  

SUPER-ACTION: THE COPPER AGE OF DC COMICS

SUPER-ACTION: THE COPPER AGE OF DC COMICS. William Schoell. BearManor Media; 2024. 

Here is my latest installment in the history of super-hero comic books, this one focusing on DC Comics in the 80's and 90's, the so-called "copper" age. You can read about the rise of the maxi-series, such as Crisis on Infinite Earths, in which DC streamlined its universe and eliminated all of its parallel worlds (for a time at least). Then there's writer-artist John Byrne's big reboot of Superman (which did not last as long as intended, at least not with Byrne at the helm). George Perez' new take on Wonder Woman, in which the lady was turned from a joke into the star of a must-read series. In other developments Batman's partner Dick Grayson grew up, changed his name to Nightwing, and became leader of The New Teen Titans, a series so popular it rivaled Marvel's X-Men for a time. Batman got two new boy partners, Jason Todd and Tim Drake, one of whom is murdered by the Joker in the excellent (if wildly-contrived) "A Death in the Family." Flash. Green Lantern. Suicide Squad. Power of the Atom. More maxi-series than you can shake a stick at: Cosmic Odyssey, Legends, Armageddon 2001, Millennium. Read how DC Comics faced the challenge of Marvel and held its own!

Available on Amazon!

MANHATTAN NIGHT OF MURDER

Heinz Weiss and George Nader

MANHATTAN NIGHT OF MURDER (aka Mordnacht in Manhattan/1965). Director: Harald Philipp. 

In New York a group of thugs called The Hundred Dollar Gang are terrorizing business owners who don't pay the monthly protection fee of $100. During an attack on a restaurateur, the man is shot to death, but apparently not by any of the gang members. FBI agent Jerry Cotton (George Nader) and his partner, Phil Dekker (Heinz Weiss) investigate, and obtain the help of gas station owner Sophie (Elke Neidhart) while doing their best to protect little Billy (Uwe Reichmeister) who witnessed the shooting. Jerry and Phil eventually arrive at the Goldfish Club, where there are "mermaids" in a tank and a cool blonde named Wilma (Silvia Solar of Death and Diamonds) advises the gang members. But she is not the true leader -- that is something Jerry and Phil have to determine before they can put this case to bed.

George Nader

This is the second of eight German action films starring Nader as Cotton, and it is generally entertaining and fast-paced although it drags in some spots. The musical score, featuring the Carnival-like Jerry Cotton theme, becomes pretty annoying, however. Nader makes a good Cotton and the other performances are also adept. There is a terrific scene when one of the thugs, who screwed up, is tied to a chair with a bomb that will go off if anyone opens the door, and Jerry has to enter the room another way to prevent both of them from being killed. There are some fairly exciting fight and chase sequences. The identify of the ultimate gang leader is a small surprise. There are enough location shots to preserve the illusion that this actually takes place in New York City, although one suspects that this was filmed mostly in Germany. This follows The Violin Case Murders and is preceded by The Trap Snaps Shut at Midnight. 

Verdict: 2nd entry in an interesting series. **3/4. 

HELDORADO

A disheveled Roy Rogers after a fist fight 

HELDORADO (1946). Director: William Witney.

In this "modern" western, Nevada State Ranger Roy Rogers (Roy Rogers) nearly arrests Gabby Hayes (also playing himself) for putting up posters for the annual Las Vegas celebration and defacing government property. (Although the posters for the event all through the movie read "Helldorado" with two "l"s, the movie's title has only one "l" -- go figure!) Roy "meets cute" with heiress Carol Randall (Dale Evans), who is dating Alec Baxter (Brad Dexter) without knowing he's a crook helping to pass phony cash in the casinos. Carol has not only been made Queen of Helldorado -- or Heldorado -- but also an honorary deputy sheriff, and she annoys Roy by taking her duties too seriously, trying to find out who murdered Alec when his body is found with bullets in it. Which of them will get to the killer or killers first? And how many songs will Roy sing with or without the Sons of the Pioneers?

Brad Dexter as playboy Alec

Heldorado is certainly not an awful movie but I wish it had been more entertaining. Even serial specialist William Witney, who certainly knew how to pace a movie, can't do much with mediocre and over-familiar material. Like Rogers' voice, the songs are perfectly pleasant, although the title tune sounds as if it were ripped off from somewhere else. The best performance is probably from Brad Dexter as the amiable mountebank Alec. Paul Harvey (of Unmasked) is also effective as the deceptively friendly Driscoll, a bad guy who locks Dale in a refrigerator at one point. The Sons of the Pioneers, with Bob Nolan and Pat Brady, are along for the ride and sing as well. There's also a treasure hunt that doesn't have much to do with the rest of the story, but seems to function as padding.

Verdict: Nothing's too terrible if Roy Rogers is in it! **1/4.