THE BRIDES OF FU MANCHU

Christopher Lee and Tsai Chin

THE BRIDES OF FU MANCHU (1966). Director: Don Sharp. 

In this sequel to The Face of Fu Manchu, the diabolical Chinese doctor (Christopher Lee of Alias John Preston) is kidnapping the daughters of prominent scientists so that he can force their fathers to work on a devastating weapon with which he hopes to conquer the world. His chief adversary, of course, is Nayland Smith (Douglas Wilmer), accompanied by Dr. Petrie (Howard Marion-Crawford), while Fu's assistants include his daughter Lin Tang (Tsai Chin), the faithful Feng (Burt Kwouk), and the quisling Nikki Sheldon (Harald Leipnitz of The Sinister Monk). Franz Baumer (Heinz Drache) takes the place of one of the fathers so that he can lead Smith to the Temple of Karna where the prisoners are held and Fu has the controls for his weapon. Fu succeeds in vaporizing one ship and all of its passengers -- we see little children playing on the boat deck before this happens -- and has set his sights on destroying all of the participants in a political conference unless he can be stopped ... 

Douglas Wilmer

With a wealth of material from Sax Rohmer's atmospheric, detailed, and suspenseful novels about Fu Manchu, it's a shame that the British films featuring the character are comparatively bland and tame. Sure, we have one poor woman thrown into a pit of vipers, but Brides has none of the outre creatures or torture devices employed by Fu in the books. The super-weapon the scientists develop is pretty lame, especially when you compare it to similar devices in spy movies of the period. As usual Fu himself is completely one-dimensional, where there was more substance to him in the novels. 

The "brides," Carole Gray, Rupert Davies

Brides is a step down from Face of Fu Manchu, which was also directed by Don Sharp. The only real period atmosphere is provided by the automobiles, and the film has little urgency or real excitement. As Nayland Smith, Wilmer is okay, but not as good as Nigel Green in the first film. Lee is also okay, but seems a bit disinterested, treading water -- he would get worse. An interesting, if under-developed character is Abdul (Salmaan Peerzada) who surreptitiously works against Fu Manchu and does his best to help the shanghaied ladies. Carole Gray plays Michelle, one of the women, and Rupert Davies is her father. All in all, it's just a bit bleh. 

Verdict: Acceptable but minor-league Fu film. **1/2. 

SWORD OF VENUS

"catfight" at the Black Cat tavern: Clarke, Stapp, De Marco

SWORD OF VENUS (1953). Director: Harold Daniels.

Robert Dantes (Robert Clarke) is the gal-and-life loving son of Alexander Dumas' famous Count of Monte Cristo, who got revenge on those who had him falsely convicted and confined. Now some of these enemies, especially Baron Danglars (Dan O'Herlihy), want to get even with the Count via a diabolical plot to frame his son and steal the family fortune. At first Claire (Catherine McLeod) goes along with the scheme to entrap Robert, but later her conscience gets the better of her. Nevertheless Danglars forces her to continue, along with certain associates, such as the drunken lawyer Valmont (William Schallert). Sentenced to hard labor in a rock quarry, how can Robert get his life back?  

Robert Clarke and Marjorie Stapp

Robert Clarke is best-known for a number of low-budget sci fi films, but he did work in other genres, including this sequel to "The Count of Monte Cristo." It has many of the diabolical twists and turns of Dumas' original book, but the film itself is only moderately successful. Both Clarke and especially Dan O'Herlihy, marvelously underplaying in a most sinister fashion, give good performances, along with the rest of the cast, but a certain intensity and panache is missing. The liveliest sequence is when Robert takes the married Countess Lily (Marjorie Stapp) to the notorious Black Cat tavern, where she gets into a catfight with the dancer Suzette (Renee De Marco). The two really give each other some good whacks! 

Verdict: Minor-league historical melodrama with some good performances and a zesty "catfight." **1/2. 

PHARAOH'S CURSE

Mark Dana and Ziva Rhodann

PHARAOH'S CURSE (1957). Director: Lee Sholem. 

"It was never Robert's fate that he should meet a peaceful death." 

In 1902 Egypt Captain Storm (Mark Dana) travels with a woman named Sylvia Quentin (Diane Brewster) to her husband's archaeological site in the Valley of the Kings. Native uprisings against the Crown have necessitated a bodyguard for Mrs. Quentin and Storm is elected. Along the way they encounter a mysterious female named Simira (Ziva Rhodann), whose brother, Numar (Alvaro Guillot), is working at the dig. Sylvia basically wants a divorce from her husband, Robert (George N. Neise), but bigger problems develop when they open the tomb of King Rahotep, and there is a transfer of souls from the mummy into Numar, who instantly ages and even turns into a blood-drinking vampire. 

A vampire that looks most unwell

Pharaoh's Curse has some atmosphere and isn't badly acted but it never develops into a truly memorable horror film. In his vampire form, Numar manages to drain every ounce of blood from both animals and humans, but he does it in such a record-breaking amount of time that it's almost comical -- one can imagine him slurping up a person's entire blood supply in a matter of seconds. The fact that he hardly seems animated or energetic enough to do much of anything makes it even funnier. George N. Neise seemed to make a specialty of playing immoral and weasel-like characters. This was the first film credit (after one TV appearance) of Ziva Rhodann, an Israeli actress who was first billed as Ziva Shapir in this film and others; she did mostly  television work. From those fine folk at Bel-Air Studios. 

Verdict: Mediocre vampire-mummy movie. **1/4.  

THE CATMAN OF PARIS

Who is the Catman?

THE CATMAN OF PARIS (1946). Director: Lesley Selander. 

Charles Regnier (Carl Esmond) is a well-regarded French writer who has come out with a controversial novel based on a famous murder case, a book that has the authorities nervous. Therefore, he is not that surprised when he becomes the suspect in a series of strangulations where the victims are clawed as if by a cat. Inspector Severen (Gerald Mohr) is convinced the murders are the work of a man and not an animal. Charles' friend Henry (Douglass Dumbrille) suggests that Charles should get out of Paris and take his lady love, Marie (Lenore Aubert) with him. Then the Catman strikes again. 

Fritz Feld and Gerald Mohr

The Catman of Paris is a low-budget horror flick from Republic studios, and it does boast some period atmosphere and interesting settings. Carl Esmond, in a rare starring role, is okay as the author, but the picture is stolen by Dumbrille. Fritz Feld plays a dramatic part for a change as the Prefect of Police, and is as good as ever. Aubert and Adele Mara as Charles' cast-off fiancee are perfectly decorative and adept and even Mohr makes his mark as a French policeman (!). Charles shows little concern over the victims in the story. The Catman's make up is well-done, but the movie itself is completely unexceptional. Once you find out who the Catman really is, a sequence concerning a murder in a coach is utterly impossible the way it's played. 

Verdict: Fair to middling Republic horror. **1/4.