THE SPIDER'S WEB

The Spider goes into action!

THE SPIDER'S WEB (15-chapter Columbia serial/1938). Directors: James W. Horne; Ray Taylor. Colorized. 

Criminologist Richard Wentworth (Warren Hull of A Bride for Henry) leads a dual life as the Spider, a take-no-prisoners crime-fighter. His colleagues are girlfriend, Nita (Iris Meredith), Jackson (Richard Fiske of Flying G-Men), and Ram Singh (Kenne Duncan of The Crimson Ghost). He has two main opponents: the masked Octopus, who is out to take over all of the power companies for his own illicit gain and who may be a member of the board of the Bureau of Power and Light; and Commissioner Kirk (Forbes Murray), who is a friend of Wentworth's but is always out to unmask him as the vigilante Spider. 

Ram Singh and Nita in a deadly water trap!

The Spider's Web is based on a whole slew of pulp novels featuring the character, and does not make many changes to the hero in the transition from page to screen. Hull makes a convincing hero, and is particularly good when he is in disguise as low-level criminal Blinky McQuaid. The other performers play with enthusiasm, especially Marc Lawrence as the hired gun, Steve Harmon. At one point the devilish Octopus uses a deadly ray gun to knock airplanes out of the sky. Cliffhangers include a deadly water trap, a plunging elevator, a trap with hot steam, and a bit when some dangling wires are cut, almost dooming our hero. 

The Octopus!

Although Wentworth is solicitous to a paper boy who is run over by escaping gunsels, it's odd that a young man named Charlie (Dick Durrell) and who helps the Spider, is pretty much forgotten after he is murdered by a confederate of the Octopus. The Spider's Web is an exciting and fast-paced serial with lots of action, its only deficits being a kind of hokey musical score, and a disappointing climax that is much too brief. As well, it perhaps doesn't create enough suspense over the identity of the Octopus as it could have. Ann Doran, Byron Foulger, Gloria Blondell, Nestor Paiva, and Tom Steele, have smaller roles. 

Verdict: As much fun and excitement as the famous pulp novels! ***. 

KING OF THE MOUNTIES

Allan Lane returns as Sgt. Dave King

KING OF THE MOUNTIES (12-chapter Republic serial/1942). Director: William Witney. Colorized version.

After the success of King of the Royal Mounted, Allan Lane was brought back as Sgt. Dave King of the RCMP in this new cliffhanger with even more formidable adversaries. A deadly triumvirate consisting of Japanese admiral Yamata (Abner Biberman); German Marshal Von Horst (Wilhelm von Brincken); and Italian Count Boroni (Nestor Paiva) are working behind the scenes to destroy Canada. Professor Brent (George Irving of Spy Ship) has invented a special device that can detect the activities of the Axis trio's "Falcon," a rocket-controlled aircraft which takes the group into their HQ inside an active volcano. Traitors working for the Axis include Blake (Bradley Page) and Harper (Douglass Dumbrille of The Catman of Paris), with Anthony Warde and Jay Novello on board for more nefarious activity. William Bakewell plays another Mountie and associate of King's, Peggy Drake is Brent's daughter, Carol, and Duncan Renaldo is Harper's right-hand Pierre. 

Axis trio: Paiva, Biberman and von Brincken

King of the Mounties is another exciting serial with Lane making the most of his role, and such memorable cliffhangers as a car exploding with Carol inside it; King being dropped right out of the bomb bay of the Falcon; planes colliding in mid-air; and a runaway car that smacks into King as he stands at the edge of a cliff. As usual, you can easily lose count of how many fist fights with broken furniture there are -- at least two in every chapter -- and there are plenty of chases and breathless escapes. The actors are all game as well. There's a splendid climax inside the exploding volcano where our villains come to a satisfying ending. 

Verdict: Fine follow-up to King of the Royal Mounted. ***. 

CREATURE FROM THE BLACK LAGOON

Stunning portrait of the Gill Man

CREATURE FROM THE BLACK LAGOON (1954). Director: Jack Arnold. Colorized.  

A group of scientists go the Amazon to search for more fossils from a presumably extinct creature, possibly the missing link. Dr. Reed (Richard Carlson), his girlfriend, Kay (Julie Adams) Dr, Maia (Antonio Moreno), Dr. Thompson (Whit Bissell), and the ambitious project head Dr. Williams (Richard Denning) should have known something was up after they find the torn bodies of Maia's crew, but they proceed to the "black lagoon" where this creature hangs out anyway, upon the advice of ship's captain, Lucas (Nestor Paiva). Williams wants to capture the creature and bring it back to civilization for study, but as this clawed and dangerous animal begins to decimate the members of the party, this seems more and more unlikely ... 

the gill man is fascinated by Kay swimming above

Creature from the Black Lagoon gets points for being something decidedly different from the other Universal monsters. Although at times the creature looks perhaps more comical than frightening, he is still a formidable figure. Creature is often illogical -- and forget about the "science" of the piece -- but that doesn't matter up against the tension and atmosphere that the film often generates. The best scene has the lonely gill man (why does no one wonder if he has a mate or if there are others of its kind in the vicinity?) swimming underneath Kay and reaching out to nearly touch her, a strangely erotic moment. 

Denning, Paiva, Adams, Carlson

The acting is credible even if no one in the film has much of a reaction to the horrible deaths of the hired men, and the characters only seem to show emotion towards the end when one of their number is mauled. The colorization process is generally good on the version I watched, giving the film a new dimension, and helping with the often murky underwater scenes. The blasting musical score, from a variety of sources, helps put over some of the slower sequences. There were two sequels to this film, although neither were as good, and a projected remake never materialized. Originally shown in 3-D.

Verdict: Entertaining classic horror flick with a very lively and unusual monster. ***. 

FEAR

Peter Cookson

FEAR (1946). Director: Alfred Zeisler.  

Medical student Larry Crain (Peter Cookson) is weeks behind in his rent when he learns that he will no longer be able to get a scholarship. Feeling that a person should be allowed to be above the law if the situation warrants it, he murders Professor Stanley (Francis Pierlot), a miserly unlicensed pawnbroker, for his money, although things don't go quite as planned. As his relationship with a young lady named Eileen (Anne Gwynne) deepens, he is followed and interrogated by two policemen, Schaefer (Nestor Paiva) and Captain Burke (Warren William). Will guilt begin eating away at Larry? When another man is arrested for the crime, Larry may think he's gotten away with murder ... 

Anne Gwynne with Cookson

Who would have ever thought that Monogram studios would dare attempt their own version of Dostoevsky's "Crime and Punishment" or that it would be as credible as it is? Now let me make it clear from the first that this is by no means on the level of the book or of such previous film versions as Crime and Punishment with Peter Lorre in the lead, but it is also not the disaster that you might imagine it would be. Although the notion that guilt is eating away at Larry does not quite come across -- not because of any insufficiency in Cookson's acting but because of the very short running time -- Cookson delivers in a role that generally doesn't call for his usual charm or suavity. Anne Gwynne is not quite up to her more dramatic moments, but William and Paiva are perfect as the police officers. Without giving too much away, the film has two endings: one is more or less tragic, and the other -- well, let's just say it's rather "dreamy" and leave it at that. With another half hour of character development, this really might have amounted to something, but it's still interesting as it is. Jackson Rose's cinematography is an asset, as is the score by Edward J. Kay. 

Verdict: Crime and Punishment with a happy ending? ***.   

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!  ***. 

THE MOLE PEOPLE

John Agar, Nestor Paiva, Hugh Beaumont

THE MOLE PEOPLE (1956). Director: Virgil W. Vogel. Colorized. 

A group of archeologists including Roger (John Agar), Jud (Hugh Beaumont of Pier 23), and LaFarge (Nestor Paiva) ascend a mountain to come across some Sumerian ruins. A section of ground collapses, revealing a deep tunnel. The men descend, ostensibly to find the body of the scientist who fell through the crack, but are much more interested in finding the rest of the lost city. A rock slide kills another man and the survivors are trapped underground. (No one bothers to mourn or even remark upon either of the dead men.) There they find the lost city, which has inhabitants, humans as well as weird creatures who can burrow into the ground and are treated like slaves. King Nazar (Rodd Redwing) and the High Priest Elinu (Alan Napier) at first think the three men are gods, messengers of Ishtar, and that their flashlight is a mystical weapon. But when the batteries wear down the scientists may find themselves in a spot of trouble ... Elinu doesn't want anyone threatening his power.

Right into real estate: Cynthia Patrick as the doomed Adad

The early climbing scenes of The Mole People are well-done and the movie begins auspiciously, but after awhile what began as a fun popcorn flick becomes a little tedious and constantly threatens to turn into utter schlock. For some feminine pulchritude the movie introduces Adad (Cynthia Patrick), a beautiful serving wench who is somehow different from the rest of the lovely ladies -- she doesn't get burned to a crisp when they are exposed to sunlight, for instance (not that this does her much good, considering her ultimate fate). Patrick had mostly bit parts both before and after appearing in Mole People and eventually went into real estate. The other actors do the best they can with a silly screenplay. The music helps a lot. Virgel Vogel also directed the superior The Land Unknown and even The Kettles on Old MacDonald's Farm!

Verdict: This gets worse with each viewing and the color doesn't help. **1/4. 

SENSATION HUNTERS (1945)

Doris Merrick and Robert Lowery

SENSATION HUNTERS (aka Club Paradise/1945). Director: Christy Cabanne.

Julie Rogers (Doris Merrick) has an unpleasant home situation with a grumpy father (Byron Foulger), drunk brother, pregnant sister-in-law and so on, but she does have a sympathetic boyfriend in aspiring musician Ray (Eddie Quillan). But things go awry when Ray takes her gambling and the joint is raided, resulting in Julie being thrown out of the house. She goes to work as a dancer at a dumpy gin mill called the Paradise Club. As Ray rises in the world and gets his own band, Julie becomes hung up on a good-for-nothing heel and gambler named Danny Burke (Robert Lowery), but this relationship may only lead to tragedy. 

Constance Worth and Lowery

Sensation Hunters could easily be sub-titled "When Good Girls Go Bad Due to Bad Guys." At 62 minutes the film certainly moves fast, but it could have used a lot more character development. Lowery is okay in the thankless and generic role of the good-looking creep who essentially lives off of women and has little back story. Doris Merrick's part is also under-written, but she does get across the confusion and desperation of her character. Constance Worth of G-Men vs the Black Dragon is excellent as Irene, the lady who runs the Paradise Club and is also carrying a torch for Danny. Wanda McKay of Roaring City scores as Helen, Julie's alleged friend who romances Ray and then goes after Danny herself. Isabel Jewell plays a singer at the Paradise who has seen better days, and Nestor Paiva is a loan shark who is after Danny for money. This is the second of two films that Monogram Studios released with the title of Sensation Hunters. Robert Lowery was the second screen Batman. 

Verdict: Not as sensational as you might hope. **. 

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. ***.