AIR PATROL

Willard Parker

AIR PATROL (1962). Director: Maury Dexter. 

A painting worth $350,000 is stolen from a gallery. Since a copter was used in the robbery, Lt. Vern Taylor (Willard Parker of Naked Gun) calls in Sgt. Castle (Robert Dix) of Air Patrol for assistance. Suspects include the gallery owner Murcott (John Holland); his testy secretary, Mona (Merry Anders of The Hypnotic Eye); ex-movie star Millard Nolan, a former owner of the painting (Douglass Dumbrille of King of the Mounties); and a pilot named Dunning (Ivan Bonar). 

Merry Anders

It's a question why Twentieth-Century Fox decided to film this short black and white production in CinemaScope, as the script is distinctly minor-league, like a television pilot for a cop show. However, at least the flick takes advantage of Los Angeles locations, including the Sepulveda Dam and drain tunnels and the Hollywood Bowl. The chase sequence at the end has minimal suspense because none of the good guys or gals are in danger, only the villain of the piece. While the acting is generally good, sometimes the performances give the impression that the actors were handed the script only a few minutes before shooting. Russ Bender of Anatomy of a Psycho is also in the film and plays a cop. Maury Dexter also directed Surf Party. 

Verdict: Acceptable crime drama is nothing special. **1/2. 

RING-A-DING RHYTHM

Craig Douglas and Helen Shapiro

RING-A-DING RHYTHM (aka It's Trad, Dad/1962). Director: Richard Lester.  

The mayor (Felix Felton) of a small British town is convinced that the new music the kids are playing is not only disturbing the peace, but lowering moral values. Craig (Craig Douglas) and Helen (Helen Shapiro) think the answer is to organize a jazz festival to show that the music is not that bad, but who can they get to host it? They travel to a studio to try to find a host, and encounter a large number of both British and American musical acts. But can they convince the mayor of the rightness of their cause?

"Another Tear Falls:" Gene McDaniels

Douglas and Shapiro were minor singers in the UK who were tapped to essentially host this concert movie, which makes use of such acts as The Paris Sisters, Gary (U.S.) Bonds, Gene Vincent, the Brook Brothers, Del Shannon, Chubby Checker, and others, most of whom (with the exception of Checker) are forgotten today. The musical highlight is the very talented Gene McDaniels singing "Another Tear Falls." Douglas has a pleasant voice and appealing manner, but Shapiro's voice is very odd and too deep. John Leyton (of The Idol) is billed as a special guest star, but he only shows up to sing one number. The final segment features some excellent Dixieland jazz bands, and the mayor finally gets to shaking his booty! Director Richard Lester assures that the movie is visually inventive, although producer Milton Subotsky's "script" doesn't amount to much. Lester later directed two films starring the Beatles as well as Superman III. From Amicus studios. 

Verdict: Musically interesting, but not much of a movie. **. 

FIRE MONSTERS AGAINST THE SON OF HERCULES

Reg Lewis as Maciste

FIRE MONSTERS AGAINST THE SON OF HERCULES (aka Maciste contro i mostri/1962). Director: Guido Malatesta.

Aydar (Luciano Marin) and his woman Raya (Birgit Bergen) are menaced by an unconvincing sea monster, and Maciste (Reg Lewis) comes to their rescue, destroying the beast. Aydar is the new leader of the Sun people, a group of nomads who have settled in a valley. The Moon people, who live in dank caves, attack the Sun people, dragging off their women. Maciste leads an attack on the moon people and is aided by Moah (Margaret Lee), a beautiful woman who hates Fuan (Andrea Aureli), the bestial leader of the moon people. Although Maciste gives a good accounting of himself, he still winds up buried up to his neck along with Moah. Unable to free any of his limbs, the situation looks hopeless ,..

Luciano Marin as Aydar

There are actually no "fire monsters" in Fire Monsters, just the aforementioned sea (or lake) monster, underwater fanged snakes, a quick shot of a wandering giant lizard, and a mechanical foam rubber cave beastie that nearly snacks on Maciste and Moah. Fire Monsters is a dubbed Italian peplum film that in its American version is one of the "Sons of Hercules" movies -- they even have their own theme song. The Sun people are depicted as being much nicer than the Moon people, but even they think it's okay to put a woman to death if she doesn't obey her husband. Basically women are treated like garbage. 

Reg Lewis and Margaret Lee

The Moon people try to forge an alliance with the Uma tribe, who are apparently cannibals who snack on their enemies. The best fight scene in the whole movie doesn't concern Maciste, but is the exciting climactic battle between Aydar and Fuan. As for muscle man Reg Lewis, he only appeared in five movies and this was his only peplum film. He was discovered by no less than Mae West and appeared with other body builders in her nightclub act, becoming her frequent escort. 

Verdict: Barely acceptable peplum fare for monster, muscle and Margaret Lee enthusiasts. **1/4. 

THE COUCH

Grant Williams

THE COUCH (1962). Director: Owen Crump

Charles Campbell (Grant Williams of The Monolith Monsters), psychiatric patient and ex-con, phones a police lieutenant (Simon Scott) and tells him he is going to kill someone exactly at 7 PM that evening -- and he does, more than once. Is there method to his madness? Campbell is dating Terry (Shirley Knight) -- the niece of his doctor (Onslow Stevens of Outside the Law) -- who also works as the shrink's receptionist, and boards in the home of the upbeat Mrs. Quimby (Hope Summers) and her nubile daughter Jean (Anne Helm). 

Shirley Knight with Williams

Robert Bloch scripted this post-Psycho "thriller" from an idea by Blake Edwards and director Crump but the results aren't as impressive as you might hope. Even though we know who the culprit is and what he'll do from the first (although there are still some minor surprises on that score), there are still plenty of opportunities for suspense, none of which are exploited that much by Crump, whose direction is generally uninspired. Frank Perkins' score is often quirky and interesting, but it does little to help the picture. On the plus side are the performances, with an especially notable Williams (The Incredible Shrinking Man) making a favorable impression, as does Knight. Another nifty element is that eerie old estate that is visited by the main couple while they're on a date. The amusing postscript is left to Hope Summers, who also scores as the sunny landlady who gets quite a shock at the finale. This is another movie that was in some ways influenced by Agatha Christie's classic "The A.B.C. Murders." Crump mostly directed documentaries and TV shows; this was his only American theatrical film.

Verdict: Williams certainly scores as an especially handsome psycho. **3/4. 

THE INN ON THE RIVER

Joachim Fuchsberger and Brigette Grothum

THE INN ON THE RIVER (aka Das Gasthaus an der Themse/1962). Director: Alfred Vohrer. 

A criminal mastermind known as the Shark is operating in and around a waterfront dive known as the Mekka Inn. The place is run by the shady Nellie Ochs (Elizabeth Flickenschildt of The Terrible People), whose niece, Leila (Brigette Grothum), works as a waitress there. Wearing a scuba outfit  and using a harpoon gun, the Shark dispatches his enemies and sends confederates out to pick up the bodies. Inspector Wade (Joachim Fuchsberger), who is strongly attracted to Leila, matches wits with her aunt while he tracks down the Shark and deals with his generally nasty associates. 

Elisabeth Flickenschildt

The Inn on the River has a typically convoluted Edgar Wallace storyline and one has to pay careful attention to keep track of who's who. The atmospheric locations of docks, sewers, and other underground chambers are the chief assets of the picture, along with the sharp performance of Flickenschildt, although most of the cast is pretty decent. Campy Eddi Arent is again drafted as comic relief and is as irritating as usual. Klaus Kinski plays the usual suspicion person who may or may not be a bad guy. The flick has terrible theme music.

Verdict: Some intriguing aspects but not entirely successful. **1/2. 

FIVE WEEKS IN A BALLOON

The huge cast of Five Weeks in a Balloon

FIVE WEEKS IN A BALLOON (1962). Produced and directed by Irwin Allen. 

Balloonist Fergusson (Cedric Hardwicke) wants to explore Africa by air but also has a deeper concern: beating a group of slave traders to a certain uncharted territory so that it can be claimed for England instead of by them. The balloon eventually fills up with a riot of motley individuals: the fussy Sir Vining (Richard Haydn at his fussiest); Fergusson's handsome assistant Jacques (Fabian), who handles the engine; American ne'er-do-well reporter Donald O'Shay (a miscast Red Buttons); rescued slave, Makia (Barbara Luna); another rescued slave, Susan (Barbara Eden); and even the slave trader himself Ahmed (Peter Lorre). There are way too many people on this balloon!

Buttons, Luna, Fabian

Five Weeks in a Balloon is the second film version of Jules Verne's first novel of the same name. Flight of the Lost Balloon, made the previous year, is a cheaper copy with very different plot points. Released by 20th Century-Fox in CinemaScope, Five Weeks has much better production values. Unfortunately this adaptation is just as loose and silly. After The Brothers Four warble the title tune over the credits, Fabian reprises it twice -- I can't get the damn thing out of my head. It is slightly better than the title tune for Flight of the Lost Balloon. Instead of a drunken fat cannibal queen as in Flight, this version offers an equally fat and drunken sultan. There's a sandstorm that doesn't really amount to much, a few wild animals, minor romances, and a fairly exciting climax in the forbidden city of Timbuktu. 

Chester aka Duchess: a "simian sot!"

Fabian [Bus Stop] actually manages to give a decent performance, although there is absolutely nothing of the 19th century about him, especially his hair style. I had trouble understanding a lot of Hardwick's mushy speech. Hadyn seems to essentially be playing the same part he played in The Lost World and many other films. Eden and Luna are reasonably competent and decorative. Peter Lorre is too cute by far for a rather loathsome and conscienceless slave trader. The slave trade is condemned but not very forcefully and black natives are never mentioned. Henry Daniell shows up briefly as a Sheik, and Herbert Marshall is the prime minister. Chester the Chimp plays the Duchess, who likes her liquor. "A simian sot," Hadyn declares her. Score by Paul Sawtell and photographed by Winton Hoch. 

Verdict: The surplus of silliness works against it. You keep hoping some dinosaurs will show up to enliven things! **1/4. 

OUT OF THE FOG (1962)

David Sumner

OUT OF THE FOG (aka Fog for a Killer/1962). Director: Montgomery Tully.  

Released from prison, George Mallon (David Sumner) takes up residence in a kind of halfway house for ex-cons. He gets a job driving for a furniture company, but can't get rid of the massive chip on his shoulder. Even his own mother (Olga Lindo) wants nothing to do with him. When blond women are strangled on what is known as "the flats" each full moon, George becomes the prime suspect. Sgt. June Lock (Susan Travers) is assigned to get a job at the furniture company and ingratiate herself with George. On the next full moon George decides to forget about going to the movies with June, and instead takes her for a walk in the flats ... 

David Sumner and Susan Travers

Out of the Fog is a minor but well-acted British suspense film that could have used another twenty or thirty minutes of character development as well as a few tense murder sequences. It comes off much more like a 1940's production than something made two years after Psycho. David Sumner with his sensitive features so at odds with the bitter unpleasant character he plays makes a decided impression in the film, and a wide variety of character actors also make their contribution. A ridiculous bit has to do with Det. Supt. Chadwick (John Arnatt) ordering some more men to the flats once he learns June has gone there with George, but considering it was a full moon -- the only time murders occur -- why the hell wouldn't he have had a lot more men there already? Montgomery Tully also directed The Third Alibi. 

Verdict: Very good lead performance with a so-so script. **1/2. 

THE PAINTED SMILE

Liz Fraser and Tony Wickert

THE PAINTED SMILE (aka Murder Can Be Deadly/1962). Director: Lance Comfort.  

Jo Lake (Liz Fraser) and her boyfriend Mark (Peter Reynolds) entrap unsuspecting men, with Liz picking them up and Mark pretending to be her husband. One night Mark is murdered by a gangster named Kleinie (Kenneth Griffith). Jo brings Tom (Tony Wickert) home from the club where he and his pals are celebrating his having one final fling, where they come upon Mark's body. Jo tells a horrified Tom that if he doesn't help her get rid of the corpse, she will tell the police that he is the murderer. Tom's actions after that border on the moronic. The Painted Smile is a lesser melodrama from director Lance Comfort. The acting is more than adequate. Others in the cast include a pre-Blowup David Hemmings as one of Tom's pals and Nanette Newman as Tom's highly supportive fiancee, Mary. Singer Craig Douglas warbles a tune in a nightclub. 

Verdict: Very short alleged thriller that you can easily miss. **. 

THE PREMATURE BURIAL

THE PREMATURE BURIAL (1962). Produced and directed by Roger Corman. 

Convinced that his own father suffered from catalepsy and was buried alive, Guy Carrell (Ray Milland of The Sea Serpent) has a morbid fear of the same fate and takes elaborate steps to prevent it. His wife, Emily (Hazel Court), father-in-law Gideon (Alan Napier), and friend Miles (Richard Ney) convince him to cast off his fears and live life on its own terms. His crypt, with a variety of safety devices should he be entombed while alive, is burnt to the ground, and he starts out on a new life. But he may find that certain forces could be conspiring against him ... 

Guy on the moors

The Premature Burial is one of the best of Roger Corman's "Poe"-influenced vehicles, although the screenplay -- by Ray Russell [The Horror of It All] and Charles Beaumont -- seems more influenced by Robert Bloch or Jimmy Sangster than Poe. Although at first Milland, filling in for Vincent Price, seems a bit stiff, he eventually settles in and gives a good performance, underplaying as if afraid of being too hammy as Price could be. (Originally this was not going to be released by American International, and since Price had an exclusive contract with AIP, Milland had to be hired -- then the film was released by AIP.) Court, Ney, Napier and Heather Angel as Guy's sister, Kate, all give notable performances, as do John Dierkes and Dick Miller (whom I did not recognize) as gravediggers. The moody film is well-shot by Floyd Crosby and Ronald Stein's score adds to the considerable atmospherics. Both gentleman also worked on Attack of the Crab Monsters. 

Verdict: Classy, well-acted, absorbing horror melodrama. ***. 

THIS IS NOT A TEST

Seamon Glass as Deputy Sheriff Colter

THIS IS NOT A TEST (1962). Director: Fredric Gadette. Colorized. 

Deputy Sheriff Dan Colter (Seamon Glass) stops a motley group of people on the highway when he gets news of an impending nuclear attack on a nearby city. These people include Sam and Karen Barnes (Norman Winston and Carole Kent); truckdriver Al Weston (Alan Austin); Junie (Aubrey Martin) and her grandfather, Jake (Thayer Roberts); fast-driving Cheryl (Mary Morlas) and her boyfriend Joe (Michael Greene); and an honest-to-goodness serial killer escapee, Clint (Ron Starr). 

Aubrey Martin and Ron Starr

Colter thinks that the little group may survive if they empty out Al's truck and take shelter inside it, an idea that both Jake and Sam find ludicrous. They figure the blast will probably obliterate the entire countryside and Junie hates the idea of being shut up in the truck with little food, water or air. As tensions arise both inside and outside of the truck, Al and Karen form a sexual connection that leads to tragedy. There are other surprising developments as the picture proceeds; one of the movie's assets is its general unpredictability. 

Carole Kent and Alan Austin

This is Not a Test is clever and memorable low-budget filmmaking. The screenplay, which is generally well-done (if not exactly Oscar-worthy), does not require massive sets or special effects. Most of the story takes place at night time, so there are no worries about inappropriate objects in the background, and a genuine truck serves as the only real set. The cast consists of some talented amateurs mixed in with a couple of professionals and some who'd never make another movie. Seamon Glass, who had many credits afterwards, is perfect as the stalwart, by-the-book, semi-psychopathic police officer, Colton. Aubrey Martin makes perhaps the best impression as Junie, although the other ladies also have their moments. This was the last performance for Carole Kent, who had a number of television credits. This was also true of Alan Austin, who is quite notable as Al, with Michael Greene almost as good; he amassed 120 credits during a long career. Ron Starr had a memorable guest-spot on a classic episode of Perry Mason. This was director Fredric Gadette's only movie. 

While watching This is Not a Test one must remember that back in the day children were instructed to sit under their desks in the event of a nuclear attack, or in the hallway with their heads bent, as if that would do the slightest good. The movie accurately reflects the attitudes that many people had back in that time period. 

Verdict: Surprisingly watchable melodrama with an uncompromising finale. ***. 

KING KONG VS. GODZILLA

Godzilla and Kong duke it out by the seaside

KING KONG VS. GODZILLA (aka Kingu Kongu tai Gojira/1962). Director: Ishiro Honda. NOTE: This is the original Japanese version of the film with English sub-titles. 

A submarine has an unfortunate encounter with Godzilla even as Mr. Tako (Ichiro Arishima), the hysterical head of a pharmaceutical firm, wishes he had something fantastic to help advertise his products. He orders two employees to Faro island to investigate stories of a berry with amazing qualities as well as of the supposed God that lords it over the natives, Kong. Kong turns out to actually exist, and the berries help put the big gorilla to sleep. Kong is captured and taken by boat to Japan, but he breaks free and engages Godzilla -- also on the loose on the mainland -- although their first encounter ends in a draw. Which of the legendary monsters will win in their second epic slugfest? 

Godzilla is ready for his close up

Godzilla/Gojira had already appeared in several Japanese films since Gojira when the idea came to pit the big lizard against the famous Kong, with not very felicitous results. For one thing, although the movie gets a bit more "dramatic" towards the end, it comes off like a parody for most of its length. The "suitmation" FX for the two title characters are pretty pitiful (Kong has a kind of tortured expression under his comical mask, but that may be the angst of the actor in the headgear), and the process work is also poor for the most part. The best sequence actually has to do with a gigantic octopus -- this appears to be the real thing -- that slithers around the native huts and gets driven off by Kong.

Sahara and Takashima

The human characters -- aside from that low comedy bumbler, Tako -- consist of Tako's employee Osamu Sakurai (Tadao Takashima), his sister Fumiko (Mie Hama), Fumiko's boyfriend, Kazuo (Kenji Sahara), and Osamu's colleague, Kinsaburo (Yu Fujiki). At one point Fumiko is picked off a train by Kong and carried around in his humongous paw (everyone else seems to fall from the train to their deaths but there's no reaction to this). The film is shot in widescreen "Tohoscope" and the score by Akira Ifukube is better than the film deserves. Gotta love the chorus sung by the natives as Kong falls asleep!

By the way it is not true that Kong wins the fight in the U.S. version and Godzilla in the original. In both versions they fall into the sea, Kong swims back to his island, and Godzilla is presumed still alive under the ocean. 

Verdict: Kong deserves so much better. Hell, so does Godzilla.  **.