CITY OF SHADOWS

Victor McLaglen and John Baer

CITY OF SHADOWS (1955). Director: William Witney. Colorized. 

Small-timer "Big Tim" Channing (Victor McLaglen) meets up with Dan Mason (John Baer of Guns Girls and Gangsters) when the latter is just 12-years-old and putting slugs in slot machines. The two form a bond and inspire each other until Tim becomes a big-time racketeer and Dan is about to graduate law school, using his and other's expertise to keep Tim out of jail. Dan changes his tune when he falls in love with Fern (Kathleen Crowley of The Flame Barrier), the daughter of a prominent lawyer whose brains Dan wanted to pick. He decides to help Tim go legit, but is unaware that Tim's associates are still playing it fast and loose. Before long Tim, Dan and Fern are all on the run from gangsters. 

Baer with Kathleen Crowley

City of Shadows tosses in a lot of over-familiar elements but the picture works because it's fast-paced and well-acted by all. McLaglen plays the usual Hollywood version of a gangster, all joviality and with a heart of gold, although this type is generally seen in comedies. Good-looking and adept, Baer displays leading man charisma and ability as Dan Mason, and Kathleen Crowley offers another one of her solid and effective portrayals. Others in the cast include Frank Ferguson [The Big Night] as the D.A., Anthony Caruso as another mobster, Richard Reeves as a bad-tempered gunsel, Richard Travis as an undercover agent, and June Vincent as a secretary to Mason when he starts his own insurance/security firm but who secretly reports to Caruso. The script for this could have come out of the thirties. Serial specialist William Witney keeps things moving, and there's an exciting climax and chase on a ski lift. 

Verdict: More than acceptable crime thriller with a good cast. ***. 

KING DINOSAUR

King Dinosaur licks his chops

KING DINOSAUR (1955). Director: Bert I. Gordon.

A new planet named Nova is orbiting around the sun, closer to the Earth than any other planet. A team of four scientists are sent by rocket ship to explore this new world. They are Ralph Martin (William Bryant), his fiancee Pat Bennett (Wanda Curtis), Nora Pierce (Patti Gallagher) and Richard Gordon (Douglas Henderson of Invasion of the Saucer Men). On Nova they discover that the planet is very Earth-like, but as Earth was during the prehistoric era. After encounters with an alligator and a giant ant -- which none of the four even remark upon -- they decide to explore an island and discover it is full of carnivorous monsters! A particularly hungry lizard, referred to improbably as a T-Rex -- hence "King" Dinosaur --  is hell bent on having them for a snack! 

Bryant, Curtis, Gallagher, Henderson

King Dinosaur was the directorial debut for Bert I. Gordon, Mr. BIG, who came out with several movies starring outsized monsters, such as Beginning of the End with its huge grasshoppers. King Dinosaur is not an auspicious debut by any means, but the movie has a certain zero budget charm to it. Although some of the musical score reminds one of a poor man's "Bolero," it whips up some suspense and excitement during the climax on the island. The sound FX are excellent, as they generally are in giant monster flicks. The actions of our heroes are at times inexplicable, and it's also hard to believe that an iguana -- I believe that's what King D actually is -- could beat a crocodile in a fair fight! Both Bryant and Henderson had a long list of credits. Patti Gallagher did only a few films, and Curtis, who was basically a singer, appeared only in this movie. 

     

Verdict: Low-grade monster flick is of interest to Mr. BIG fans. **1/4. 

TARANTULA

Tarantula on the rampage!

TARANTULA (1955). Director: Jack Arnold. Colorized. 

When lab assistant "Steve" Clayton (Mara Corday) comes to work with Professor Deemer (Leo. G. Carroll) in a small desert community, she has no idea what she's getting into, and neither does the local doctor, Matt Hastings (John Agar), who falls for her. They have no clue that Deemer has been injecting animals with a synthetic nutrient that contains a radioactive isotope, and that during a fire caused by another assistant, a tarantula has escaped into the desert. Before long skeletons of cattle and humans are being found alongside huge pools of what turns out to be spider venom! 

Get out of town! Look what's coming!

Tarantula is one of the best fifties giant bug movies, done with enthusiasm and skill, and boasting some good acting, a nerve-wracking score, good FX work, and very chilling sound effects. The movie is horrific but it doesn't need to show chewed up corpses or limbs flying through the air; it gets it points across without them. A stand-out sequence is when the two prospectors or campers sort of cling to each other as the mandibles of the arachnid descend upon them, and we mustn't forget the sight of the stupendous spider just waiting on the top of a hill before it moves downward towards some horses and the unfortunate rancher who owns them. Then there's the spider advancing on Professor Deemer's house and peeking in, mouth parts working, on "Steve" before it demolishes the entire house. And the spider moving across the valley floor as the terrified inhabitants can only helplessly watch its inexorable progress. 

Edwin Rand, Corday, Agar, Paiva

Agar, Carroll and Corday are stalwarts who play the roles straight and are all the better for it. Nestor Paiva of The Mole People is especially good as the town's sheriff, and Hank Patterson ("it's gettin' to be a fast world" he says as he observes how quickly Steve and Matt make each other's acquaintance) adds some welcome humor as the hotel clerk, Josh. Others in the cast include Ross Elliot [The Adventures of Superboy] as a reporter, Raymond Bailey (Mr. Drysdale of The Beverly Hillbillies) as a scientist named Townsend, and Clint Eastwood in a bit as a pilot. There have been many movies about giant spiders since the long-ago release of Tarantula, but most of them are campy and grisly stinkers  This remains the best monster arachnid movie. NOTE: This is not to be confused with Bert I. Gordon's Earth vs. the Spider, which is fun but not quite as good.

Verdict: Once that humongous spider starts moving, watch out! Even creepier in color!  ***. 

SHADOW OF FEAR

Jean Kent and Mona Freeman

SHADOW OF FEAR (aka Before I Wake/1955). Director: Albert S. Rogell. Colorized. 

April Haddon (Mona Freeman of Angel Face), who has been in the U.S. for several years, comes home when her stepmother, Florence (Jean Kent), notifies her that her father has died in an accident. April is very suspicious of Florence, especially when she tells her that her late mother, who was nursed by Florence, was supposedly a hopeless drunk, something April refuses to believe. She also uncovers incriminating evidence about the boat  accident in which her father died. April's old boyfriend,  Michael (Maxwell Reed), now a doctor, listens to April but is unconvinced that her stepmother, whom everyone loves, is the monster she portrays her as. April learns that the fortune her father left her will be in trust until she turns 21 in three weeks -- but April is convinced her stepmother plans to do away with her before the time is up. Florence was left the house and money but April fears that she wants it all ... 

Mona Freeman and Maxwell Reed

Shadow of Fear is a low-budget but absorbing British thriller with good performances, especially from Jean Kent as Florence, who keeps the audience guessing as to whatever her true character, motivations, or plans may be, sinister or otherwise. Mona Freeman is also excellent as the distraught daughter who finds her efforts to get justice for her parents continuously stymied. Marshall Reed was a British matinee idol who was once married to Joan Collins and he's stalwart enough as the good doctor who comes to April's aid after being initially dismissive. Supporting performances are all on target and the film is quite enjoyable. 

Verdict: Minor but entertaining suspense film with good performances. ***. 

ALIAS JOHN PRESTON

Christopher Lee

ALIAS JOHN PRESTON (1955). Director: David MacDonald.

Sally Sandford (Betta St. John), who lives with her parents in the staid British town of Deanbridge, is rather unsatisfied with her boyfriend, Bob (Peter Grant), even though he's felt they would get married ever since childhood. Into town comes the striking and wealthy industrialist John Preston (Christopher Lee of The Gorgon), who begins buying up buildings and businesses and sweeps Sally off of her feet. When Sally accepts John's proposal, the latter realizes that he needs to enter married life with a clean slate, so to speak, so grudgingly speaks to psychologist Peter Walton (Alexander Knox of Son of Dr. Jekyll) about recurring nightmares in which he murders a blond woman, Sylvia (Sandra Dorne), with the complicity of her jilted French husband (Patrick Holt). But are these really dreams, or is something more sinister going on? What do you think?

Patrick Holt with Lee

It's a good thing Christopher Lee wound up in Horror of Dracula or he might have been doomed to be in lousy movies like Alias John Preston for the rest of his career. Clumsily directed and edited, the film has virtually no suspense or excitement. Lee gives a good enough performance, as do most of the other cast members, but as a mystery -- if that's even what this is -- the flick is a stinker. Sally seems rather plain to be attracting so many men from the town and Bob turns out to be not so tightly wrapped. Lee has decided presence in the film, but even his participation can't save it. Another low-budget British misfire. Sandra Dorne and Patrick Holt appeared together in The Gelignite Gang. 

Verdict:  Stick with Lee in Hammer horror films where he really made an impression. *1/2. 

SUDDEN DANGER

Bill Elliott with Beverly Garland in background mirror

SUDDEN DANGER (1955). Director: Hubert Cornfield.

Wallace Curtis (Tom Drake of Date with Disaster), who has been blind since an accident, comes home to discover his mother dead from gas. A note suggests that she wants her son to use the insurance money (from a suicide?) for an operation. Detective Lt. Andy Doyle (Bill Elliott) is suspicious of Curtis, especially when he learns that he supposedly argued with his mother about her paying for his operation, lied about the fact that she caused the accident, and discovering that the suicide note was created on his girlfriend, Phyllis' (Beverly Garland), typewriter. As Curtis wonders if the operation will be a success, Doyle seemingly builds a case against him.

Minerva Urecal and Tom Drake

This is the second and one of the best of former western star Bill Elliott's cop movies, with a good suspenseful script, a good score (Marlin Skiles), sharp cinematography by Ellsworth Fredericks, and solid performances from everyone -- Elliott is professional if not a great actor. Drake makes a sympathetic figure but he doesn't give away his guilt or innocence, and Garland [Twice-Told Tales] is as expressive and credible as ever. Minerva Urecal scores as Curtis' harridan of a landlady, and Dayton Lummis and Helene Stanton [New Orleans Uncensored] are fine as a business executive and his much-younger squeeze, a model. Ellsworth Fredericks also photographed Invasion of the Body Snatchers the following year. 

Verdict: Surprisingly effective little B mystery. ***. 

DIAL RED O

Bill Elliott as Det. Andy Flynn

DIAL RED O (1955). Written and directed by Daniel B. Ullman. 

After receiving divorce papers, a highly-decorated marine, Ralph Wyatt (Keith Larsen), sneaks out of the psych ward at a L.A. veteran's hospital. Lt. Detective Andy Flynn (Bill Elliott) fears that Wyatt may do something to his wife, Connie (Helene Stanley), a "good-time gal," so has a policewoman, Gloria (Elaine Riley), go undercover in bars. Meanwhile Connie has taken a lover, Norman (Paul Picerni of The Untouchables), but he has no intention of leaving his wife. When Gloria tells Norman she's pregnant, all hell breaks loose. This leads into a manhunt, but it may not be for our troubled veteran. 

Paul Picerni and Helene Stanley

Dial Red O was the first of five cop films starring former western hero "Wild" Bill Elliott as an L.A. detective. In this first film his name is Flynn, but it was changed to Doyle for the next four films. Dial Red O is not badly done, and Elliott makes a convincing detective, but the suspense is minimized because the murder is shown and the killer revealed halfway through the movie. Mort Mills of Psycho and Rick Vallin have smaller roles. Keith Larsen makes a positive impression as Wyatt. He appeared mostly in B movies and on television, also wrote and directed, and was married to Vera Miles for eleven years.

Verdict: Solid B effort which gives away its secrets too soon. **1/2. 

FEMALE JUNGLE

Burt Kaiser and Lawrence Tierney

FEMALE JUNGLE (1955). Director: Bruno VeSota.

An actress is strangled to death and a heavy-drinking cop, Jack Stevens (Lawrence Tierney), fears he may have had something to do with the murder in a black out. Suspects also include columnist Claude Almstead (John Carradine of Death at Love House), who was in love with the actress, and caricaturist Alex Voe (Burt Kaiser), who is married to waitress Peggy (Kathleen Crowley of The Flame Barrier) but is carrying on with Candy (Jayne Mansfield). As the night proceeds Almstead takes Peggy out for a ride and Stevens and Sgt. Duane (Duane Grey) interrogate Almstead; Duane is convinced that the columnist is guilty. But on this he may be fatally mistaken.

John Carradine

Female Jungle has only been remembered, if at all, because future brief star Jayne Mansfield has a small role. She has a credible death scene but otherwise her performance is undistinguished; leading lady Crowley is much, much better. Tierny and Carradine are solid, but the most impressive performance is given by Burt Kaiser, who also co-wrote the screenplay and produced. Despite his good looks and acting ability, Kaiser only made one film and had a very few TV credits. Connie Cezon, who plays another club employee, was receptionist Gertie on Perry Mason. Director Bruno VeSota gives himself a small role -- Cezon's husband -- but his direction is nothing to rave about and even in a clear print the film is criminally under-lit. Dull in spots, the picture goes on too long after the climax.

Verdict: Some good acting and a decent plot, but the execution is mediocre. **.   

PANTHER GIRL OF THE KONGO

Phyllis Coates vs Gorilla

PANTHER GIRL OF THE KONGO (12 chapter Republic serial/1955. Director: Franklin Adreon. 

Dr. Morgan (Arthur Space of The Crimson Key) and his cohorts Cass (John Daheim) and Rand (Mike Ragan) have discovered diamonds in an abandoned gold mine and want to scare the natives out of the territory so they can work it without interference. To that end Morgan uses a formula to enlarge crawfish to giant size, creating "Devil Monsters" that terrify the tribesmen. Wildlife photographer Jean Evans (Phyllis Coates), who is known as the Panther Girl due to her heroic actions regarding a rogue panther, and who frequently rides around on an elephant, wants to film and possibly capture one of these monsters with the assistance of Larry Sanders (Myron Healey). This is something Cass and Rand try to stop on a regular basis. 

Claw Monsters go at it

The "claw monsters" are the most interesting feature of this entertaining serial, which frequently uses stock footage from Republic's previous jungle cliffhangers. Amazingly, the natives are portrayed by actual black actors! I believe the monsters are photographed in slow motion which almost makes them seem to be products of stop-motion animation at times, although the time factor would make that unlikely. Trying to prove the existence of these creatures for the authorities with her home movies, Jean photographs them separately so that there's nothing to show their actual size in relation to everything else. In reality everyone would just assume she was taking pictures of ordinary craw fish! 

Myron Healey and Phyllis Coates

Dr. Morgan also drugs the natives to make them compliant and to work against Jean and Larry along with his two nasty hirelings. In the cliffhangers, Jean's arm is grabbed and nearly torn off by a giant claw; Larry is almost run over by a jeep rushing toward his prone form on the road; a maddened gorilla goes after Jean for heaven knows what purpose; and Larry gets caught in deadly quicksand even as the natives lob arrows at him and his would-be rescuers. The entertaining serial moves at a swift pace and boasts excellent theme music by composer R. Dale Butts. The serial was shown on television in an abbreviated form as The Claw Monsters.  

Verdict: Thrills, fistfights, gun battles, and yucky giant monsters! ***. 

POSTMARK FOR DANGER

Robert Beatty and William Sylvester

POSTMARK FOR DANGER (aka Portrait of Alison1955). Director: Guy Green.

Artist Tim Forrester (Robert Beatty) learns that his brother, Louis, has been killed in a car crash along with a young woman named Alison (Terry Moore). Alison's father (Henry Oscar) hires Tim to paint a portrait of her and gives him some photographs and a dress she was fond of. But Tim later discovers that the painting has been ruined and finds the dress being worn by his model, Jill (Josephine Griffin), who has been murdered. We learn early on that Alison is actually alive and that she and Tim's other brother, Dave (William Sylvester of House of Blackmail), are mixed up in a diamond smuggling racket with people who play for keeps. Will Tim and Alison become the latest casualties?

Robert Beatty and Terry Moore

Postmark for Danger is yet another insipid British so-called thriller. It has a fairly good fight scene near the end, and the identity of the chief architect of the diamond operation comes as a bit of a surprise, but other than that, this is the kind of minor movie that you forget even while you're watching it. Robert Beatty was the unseen voice of The Invisible Man in the fifties UK TV series, and was also in Tarzan and the Lost Safari. Terry Moore is most famous as the star of Mighty Joe Young and the supposed widow of Howard Hughes. Her acting in this is adequate. 

Verdict: This is no Laura. Skip it if you can. *1/2.

TARANTULA

The spider plans a midnight snack at the ranch

TARANTULA (1955). Director: Jack Arnold. 

Professor Deemer (Leo G. Carroll) is conducting experiments with a food supplement in an isolated Arizona laboratory. The food supplement makes baby animals reach adulthood much sooner, and it also increases their size. During a fire one of the lab experiments, a tarantula the size of a large dog, escapes into the desert, where it rapidly grows to tremendous proportions and begins snacking on cows, horses, and people. Dr. Hastings (John Agar of Bait), Deemer's pretty assistant, Stephanie (Mara Corday), and Sheriff Andrews (Nestor Paiva) discover this all too clearly when the spider demolishes Deemer's house then -- as big as a mountain-- advances on the town itself!

Peekaboo! The big spider looks for a meal

After the success of the giant ant movie Them, there was no doubt that more giant insect/arachnid films would be in the offing, and Tarantula was the first of them and probably the best. Although the process work is imperfect, the monster looks and acts a lot better than the giant spiders in modern low-budget CGI offerings. With a creepy, suspenseful musical score, Tarantula also manages to work up plenty of chills as the creature advances on a ranch, overturns a truck, corners two fleeing hobos who huddle together in horror as it bears down upon them, and in a bravura sequence approaches Deemer's mansion and prepares to tear it apart after first spying on Stephanie in her bedroom, its mouth parts moving back and forth expectantly in the window.

One friggin' big spider!

Tarantula is able to get across the horror of its concept without throwing one severed limb at the viewer after another or becoming too gross to be amusing, although there is some gruesome stuff involving skeletons and huge pools of spider venom. The performances are more than adequate, and the byplay between characters is often intentionally comical. The sound FX for the creature are typically disquieting. Clint Eastwood has a bit part as a pilot who drops napalm on the spider as it moves rapidly towards the town. John Agar did a number of sci fi films, and Mara Corday did a few more monster movies as well. Two years later Jack Arnold would deal with another tarantula when he helmed The Incredible Shrinking Man. 

Verdict: Entertaining semi-classic creature feature. ***. 

THE FLAW

John Bentley has a fatal flaw

THE FLAW (1955). Director: Terence Fisher.

Paul Oliveri (John Bentley) is a race car driver who sweeps a wealthy woman named Monica (Rona Anderson) off her feet. Paul marries Monica for her money, and makes sure his mistress, Vera (Tonia Bern), gets enough of it to live on. He also makes sure that Monica makes out a will leaving him everything. When Monica learns of the mistress from her solicitor and friend, John (Donald Houston), she decides to divorce him. So Paul concocts a scheme to get rid of John so that his body will never be found, and then murder Monica for her money. But while John is at Paul's mercy he tells him his plan has a fatal flaw ... 

John Bentley and Rona Anderson

The Flaw -- which could refer to sociopathic Paul's character flaws as well as the flaw in his murder plot -- is another of the British crime films directed by Terence Fisher before he became famous as a horror filmmaker. This one is somewhat better than others, but still no world-beater. John Bentley proves a more interesting actor as a bad guy than as a hero, although one can't quite say he's a George Sanders. I don't wish to generalize but I often find that British thrillers of this nature never quite have the oomph of American melodramas of similar theme -- maybe they're just not lurid enough -- admittedly there are exceptions to this rule. Rona Anderson and Tonia Bern look enough alike that at times you're not certain if Paul is talking to his wife or mistress, who doesn't show up very often anyway. There's one okay twist at the end and the song "Getting Away with Murder" that plays in a club sequence is catchy. 

Verdict: Too short a running time to make this especially compelling. **1/2. 

THIS ISLAND EARTH

Domergue, Reason and Morrow

THIS ISLAND EARTH (1955). Director: Joseph M. Newman. 

Scientist Cal Meachum (Rex Reason) is sent a manual that has instructions for building a device called an "interlociter." Being a genius, Cal is able to construct the machine, and through it is contacted by a mysterious man called Exeter (Jeff Morrow of Legacy of Blood). Exeter makes Cal an offer: to get in a plane he is sending for him and come work for him. His curiosity ignited, Cal soon arrives at Exeter's estate, where he meets fellow physicists Ruth Adams (Faith Domergue of It Came from Beneath the Sea) and Steve Carlson (Russell Johnson of Attack of the Crab Monsters), as well as other scientists who walk around like zombies. There is also another guy named Brack (Lance Fuller), who resembles Exeter. It isn't long before Cal realizes that something about this operation is not on the up and up, and Exeter is actually an alien ... Flown off of the earth, he and Ruth find themselves helplessly embroiled in a war between planets. 

This Island Earth was one of the big sci fi "thrill" pictures of the fifties and all these years later it is still a well-made and very entertaining movie. Morrow is excellent as Exeter, and both Reason and Domergue are effective as the lead characters. The film benefits from the blaring score that Universal-International used for virtually all of its sci fi films in the fifties (the work of various composers) and its FX work is fine for the period and still works well enough by today's standards. There is a certain inevitable quaintness to the film, however. A hilarious moment occurs when Exeter says to Ruth "don't tell me that as a woman you're not curious about our destination?" They're heading for a distant planet light years away but Exeter thinks it's only Ruth's sex that might make her curious? Really?

The scenes that take place on Metaluna, Exeter's planet, employ cartoon animation to good effect. There are also those wonderful, tall, bug-eyed "mutants" that serve as especially ugly security guards and come after poor Ruth at one point. The "science" in the film as it pertains to space travel and other matters is strictly of the "fantastic" variety. 

Verdict: Well,paced, exciting -- a big colorful comic book of a movie. ***. 

EARTH VS. THE FLYING SAUCERS

Curtis, Marlowe, Taylor and Blake 

EARTH VS. THE FLYING SAUCERS (1956). Director: Fred F. Sears. NOTE: This is the colorized version.

"When an armed and threatening power lands at the steps of our capital, we don't greet them with tea and cookies!" -- Adm . Enright

Scientist Russell Marvin (Hugh Marlowe) and his wife, Carol (Joan Taylor of 20 Million Miles to Earth), encounter a flying saucer while driving to his office at Operation: Shyhook, where rockets are being blown out of the sky. Russ can't figure out how the aliens are communicating with him, so he misses a message about their arriving at the base. Stupidly, armed forces start firing at the aliens when they land, but it wouldn't have made much difference, as these representatives of a dying universe are here to take the earth for themselves no matter what. Now it's up to Russ to come up with a weapon that can bring the multitude of saucers crashing down before they can destroy Washington, D.C. and before their disintegrator beams can destroy him and the weapons.

Russ and Carol enter the main saucer

Earth vs. the Flying Saucers is a fun if minor sci fi movie distinguished by some very good Ray Harryhausen effects. Though the FX genius couldn't add too much personality to these saucers as he could living animals, the UFOs still perform quite well, and the other effects are generally okay considering the very low budget -- an entry foyer into one of the spaceships actually rattles as the characters step into it. The sound effects are unnerving and creepy, however. 

Morris Ankrum

Marlowe and Taylor offer professional performances, and the latter is able to summon up the necessary emotion when required. Morris Ankrum [Beginning of the End] is notable as Carol's father, who comes to a bad end, and there are also appearances by Thomas Browne Henry as an Admiral who's itching to fight the nasty aliens; Donald Curtis as a Major who tries to assist Russ and his wife; Harry Lauter as a technician working with Russ; and Larry J. Blake as an ill-fated motorcycle cop. Curtis and Lauter were both in Harryhuasen's It Came from Beneath the Sea. 

The saucers invade Washington, D.C.!

For me the biggest problem with the movie is that not one of the many characters ever register the slightest awe or sense of wonder at the fact that aliens from a faraway world even exist, let alone that they've come to earth. (This was also a problem with the much later alien invasion movie Independence Day). You'd think this sort of thing happened every day. Russ and Carol at least seem a bit amazed and frightened when they first spot the saucer, but that aspect is quickly jettisoned. The whole movie is on the intellectual level of a cliffhanger serial along the lines of King of the Rocket Men. Just as Universal used the same music cues in its sci fi movies over and over again, Columbia studios did the same thing in its sci fi films, so the score for this is very familiar. Fred F. Sears' direction is totally routine.

Verdict: Not quite a fifties sci fi classic but entertaining on its own terms. **3/4. 

NEW ORLEANS UNCENSORED

Beverly Garland and Arthur Franz

NEW ORLEANS UNCENSORED (1955). Director: William Castle. 

New Orleans, the second busiest port after New York City, has become a hotbed of crime and violence. Dan Corbett (Arthur Franz) only wants to fix up an old rust bucket of a ship and start his own business, but for now he works on the docks. Dan gets involved with two women: Alma Mae (Helene Stanton), who is the sexy girlfriend of mob boss "Zero" Saxon (Michael Ansara); and Marie Reilly (Beverly Garland of Soldiers of Fortune), whose husband, Joe (William Henry of Uranium Boom) works for Saxon and later winds up dead. Dan agrees to help the authorities expose Saxon's corruption by going to work for him undercover, even though he knows he's putting himself in harm's way. 

Arthur Franz and Helene Stanton

Frankly, there's enough material in this picture to have made an exciting thriller, but New Orleans Uncensored just ambles along without ever once igniting. The performances are all credible, although the cops and other authorities are played by real-life policemen. The suspenseful climax the film has supposedly been building to never quite materializes. Other cast members include Mike Mazurki as Saxon's dumb enforcer, and Ed Nelson as a dock worker. This same year Helene Stanton played a blonde goddess in the Jungle Jim film Jungle Moon Men. 

Verdict: Surprisingly, a rather dull William Castle movie. **. 

IT CAME FROM BENEATH THE SEA

An absolutely humongous octopus

IT CAME FROM BENEATH THE SEA (1955). Director: Robert Gordon. NOTE: This is a review of the colorized version. 

Cmdr. Pete Mathews (Ken Tobey) and the crew of his atomic submarine have a strange encounter with what turns out to be an unknown marine animal. Dr. John Carter (Donald Curtis) and Professor Lesley Joyce (Faith Domergue of Cult of the Cobra) are called in by the Navy to find out what they can about this beast. Said beast is a stupendously big octopus that has become radioactive from atomic testing, and risen from the Mindanao Deep in search of food. Its normal food supply has been cut off because the fish have built-in Geiger counters that warn them off. The trio institute a search for the monster, but after one scary encounter on the beach, it attacks San Francisco in all its glory. Can even their bombs put paid to the beast?

Octopus versus Golden Gate

It Came from Beneath the Sea has one great selling point, and that's the monster, which is brought vividly to life by the stop-motion artistry of Ray Harryhausen -- even the tentacles of the monster seem to have a sentience of their own, and the shots of those huge appendages hovering over the streets of San Francisco and sweeping away highly unfortunate humans are rather startling and horrifying, as are the shots of the creature trying to pull itself out of the bay. The monster also has an encounter with the Golden Gate Bridge, with the bridge being the loser, as well as a tramp steamer that loses nearly all hands. 

Beach confab: Tobey, Domergue, Curtis

A problem with the movie is that no one ever expresses any sheer awe at the mere existence of this gargantuan animal who can cause havoc and massive death on the shore without even leaving the water. The only fear our heroes display is during the aforementioned scary beach encounter in which a sheriff (Harry Lauter) comes to a bad end. Robert Gordon's direction of the non-monster sequences is flat and prosaic, with no real attempt to create suspense or tension. The romance worked up between Tobey and Domergue is never convincing, and is even comical at times, with the former's character being so aggressive in some instances that his actions border on harassment. 

Domergue, Tobey and Harry Lauter

On the other hand, the movie has a decided feminist slant, with Dr. Carter trying to make the commander understand "the new breed of woman" who doesn't need or like to be coddled or condescended to. The performances of the three leads are competent but they, including the sexy Domergue, can't make much of an impression next to that hungry, roaring octopus. Many of the supporting roles are filled by people who don't even appear to be actors, but may instead be sailors or officials doing double-duty. NOTE: To read more about this and other movies like it, see Creature Features: Nature Turned Nasty in the Movies. 

Verdict: A lively monster and some great Harryhausen effects keep this flick afloat. ***. 

SOLDIERS OF FORTUNE

John Russell and Chick Chandler

SOLDIERS OF FORTUNE 1955 - 1957 syndicated television series.

This half hour show lasted two seasons and concerned the exploits of two adventurers who would do just about anything and go anywhere if the pay was right: Tim Kelly (John Russell) and Toubo Smith (Chick Chandler). The show used old sets from Republic films and serials as well as a lot of adroitly-employed stock footage. Russell and Chandler -- the former tall, handsome and macho, with a splendid physique, the latter short and plucky -- complimented each other perfectly.

Chandler and Russell

In one first season episode Kelly suggests that Toubo is getting too old and tired, should settle down and marry, he's over the hill. "A friend shouldn't say that to a friend," says an offended Toubo. "Who says you're a friend," replies Kelly "We travel around together," protests Toubo. To which Kelly replies, "I'm just keeping you out of trouble." The viewer honestly doesn't know if Kelly is joking or not, but in an episode in the second season, Kelly clearly risks his life to save his buddy's when the latter is nearly sacrificed to natives, so there's no doubt that there is a genuine bond of friendship between the two men.

John Russell before his Lawman TV series mustache

Soldiers of Fortune was not a classic series, but it was entertaining and (via stock footage and standing sets) managed to send the boys all over the world. Among the more memorable "A" episodes were the following: a woman is plagued by a voodoo cult in "Drums of Far Island;" a Chinese salesman in Limehouse is embroiled in a smuggling plot in "Hatchet Man;" sabotage holds up construction of an underwater tunnel in Cuba in "Sandhogs;" and the boys go undercover on a cargo ship with a sinister crew in "Crew of the Dolly D." 

Chick Chandler

Out of fifty-two episodes I have managed to see all but five, but at least half are of B+ quality. Guest-stars include Henry Brandon ("Greatest Beast" -- was an oil man killed by a Tibetan monster?); Jay Novello ("Vanishing Island" -- that  occasionally rises to the surface and holds a treasure); Beverly Garland ("Lady and the Lion" -- intrigue on an African film set); Jean Byron ("Tattooed Lady of Torima" -- a beautiful woman runs a diamond racket in Columbia); Michael Emmet ("Skull of the Inca" -- an educated native returns to headhunter land to find treasure and encounters giant lizards from One Million B.C. instead). 

"City of Doom" with Pamela Duncan

Also Grant Williams ("Lady of Rajmahal" -- a rajah's frightened wife wants to leave home with some priceless art treasures); Adele Jurgens ("Danger Sisters" -- two gals with a knife-throwing act get into trouble in Tangier); and Pamela Duncan ("The City of Doom" -- a maharajah's sister fears that a cult that is against progress will eventually destroy the city). Many episodes featured women whom at first seemed warm and sympathetic and turned out to have a dagger up their sleeves, and duplicitous characters of both sexes abounded. 

Verdict: Basically a fun if imperfect series that was easy to take. **1/2. 

CULT OF THE COBRA

Faith Domergue as Lisa

CULT OF THE COBRA (1955). Director: Francis D. Lyon.

Several soldiers are in Asia in 1945 when they encounter a man named Daru (Leonard Strong), who tells them he can get them in to see the rites of a snake-worshipping cult  -- the Cult of the Cobra -- for a price. Unfortunately, while the ceremony is going on, one of the men, Nick (James Dobson), stupidly takes a photo with a flash bulb! Pandemonium results, one cultist is killed, and a death curse is placed on the heads of the fleeing G.I.s. 

Leonard Strong, Jack Kelly, Reynolds, Janssen

Back in the U.S., Tom (Marshall Thompson) learns that Julia (Kathleen Hughes), who dated both Tom and his roommate Paul (Richard Long), has decided to marry the latter. A despondent Tom is happy to meet a beautiful new neighbor, Lisa (Faith Domergue of Legacy of Blood), and they quickly fall for each other. In the meantime, Tom's G.I. buddies -- Rico (David Janssen), Carl (Jack Kelly), and Pete (William Reynolds) -- begin dying in mysterious ways, and Lisa takes surreptitious walks late at night. The Cult of the Cobra. also known as Lamians, always claimed some of the cultists could change from human into snake ... 

On the rebound? Marshall Thompson

Cult of the Cobra is an entertaining picture with an interesting cast. Although Domergue may not seem like the perfect choice to play an Asian snake goddess, she gives a generally good performance, as does Marshall Thompson. Domergue convincingly gets across her distress that she may be forced to kill a man that she is falling in love with. The other actors show little emotion as their buddies start dropping like flies. The picture has no atmosphere or much directorial flair, although it does generate some suspense towards the end. Kathleen Hughes is decorative as Julia. A confrontation between her and Domergue is over just as it starts to get interesting. 

Verdict: Worth one look but probably not another. **1/2.