INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL

Harrison Ford as Indiana Jones

INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008). Director: Steven Spielberg. 

In 1957 some Russians, led by Irina Spalko (Cate Blanchett), attack a U.S. military base and carry off an artifact that is stored there. Indiana Jones (Harrison Ford) manages to survive the attack, and even lives through an atomic test by sheltering inside a refrigerator in a model town filled with dummies. Teaming up with a young man named "Mutt" (Shia LaBeouf) he later learns that his mother is Marion Ravenwood (Karen Allen) and that Mutt is his son. The whole group, along with Irina and her boys and an addle-pated Professor Oxley (John Hurt) ,wind up in South America, where they discover the hidden "El Dorado" as well as the remnants of alien beings who have skulls made of crystal. Or something like that. 

Ford, Allen, Blanchett

The trouble these days with the Indiana Jones movies, which were originally imitations of the classic cliffhanger serials, is that there have been so many imitations and rip-offs of the franchise -- everything from the National Treasure movies to the Da Vince Code and so on and so on -- that any originality has been completely eradicated. The very over-familiar elements in this include grumpy Jones' relationships with ex-girlfriend and son, the maps and codes that will lead to the treasure, the aliens (who resemble the monster in Alien in some ways as well as the aliens in Close Encounters), the locales that we've all seen before etc. etc. There is absolutely nothing fresh and new in the film. Obsessive fans probably won't care, finding the cliches comforting and endearing. 

LaBeouf and Ford

Steven Spielberg directs by the numbers. I've often felt that the FX people and cinematographers do all the work, actually, in some movies like this. Some of the action sequences in Crystal Skull are quite well-done -- not always the case in heroic thrillers -- but you are always getting the sensation that it's all stuff you've seen many times before -- the amazing leaps, the foolhardy jumps into space, driving off of cliffs etc. Is there anything unusual about any of this? The movie does have, for me at least, one knock-out sequence, and that's when the characters are besieged by very large and voracious ants who move with frightening swiftness. (Of course, there's nothing original about that, either, but it does look great!) The underground sets look too new and are always over-lit, making them much less creepy than they could have been. 

Allen, Ford and Hurt

As for the actors, well Ford could probably play this part while asleep. Blanchett is effective, although she seems to be channeling Natasha from Rocky and Bullwinkle most of the time. Allen remains perky and attractive in her way. It is probably not LaBeouf's fault that Mutt comes off as being rather obnoxious through much of the movie. I found the whole flick too cutesy and obvious by far and was annoyed that a sequence at the very end rips off Journey to the Center of the Earth. 

Verdict: You'll swear you've already seen this even if you haven't. **1/2. 

SHADOWZONE

creature sneaks up on Louise Fletcher

SHADOWZONE (1990). Written and directed by J. S. Cardone. 

In an isolated underground bunker on an abandoned base, scientists are doing experiments for NASA related to test flights. When one of the test subjects dies, Captain Hickok (David Beecroft) is called in to see what's up. There he meets the project head Dr. Van Fleet (James Hong), his assistant Dr. Erhardt (Louise Fletcher), Dr. Kidwell (Shawn Weatherly), technician Wiley (Miquel A. Nunez Jr.) and others. Their subjects are put in a deep sleep below the dream state which somehow opens up a doorway into a parallel dimension, and through that doorway comes a monstrous creature that can read minds and change its shape to look like anyone or anything. Worse, the creature is radioactive so security devices have locked everyone inside with it ... 

David Beecroft and Shawn Weatherly

Shadowzone sounds much better than it is. The movie has interesting elements but little is done with them, especially as it pertains to the monster's ability to metamorphose. The movie actually becomes less interesting when the monster gets loose because nothing that happens is that exciting. The creature doesn't look bad (well actually it looks pretty awful but you know what I mean)! Shadowzone has some atmosphere, a good location, and is well-acted by most of the cast. David Beecroft makes a convincing macho officer and struts his handsome stuff with the best of them. Poor Louise Fletcher, looking like something the cat dragged in, is also convincing enough even if the script doesn't offer her the most exiting part. James Hong is a good, very busy, and very familiar actor who's been working since the early fifties and is still working today, as is Miquel Nunez. 

Verdict: Like a comic book story from the fifties and about as scientifically accurate. **. 

OSS 117: MISSION FOR A KILLER

Frederick Stafford

OSS 117: MISSION FOR A KILLER (aka Furia a Bahia pour OSS 117/1965.) Director: Andre Hunebelle. 

After a series of suicide bombings which seem to be committed by solid citizens who have been drugged, Agent 117 (Frederick Stafford) is sent down to Rio to investigate. There he meets two lovely ladies: supposed secretary Consuela (Perrette Predier), who's in league with the bad guys, and Ana-Maria (Mylene Demongeot), who is being targeted by them because she knows too much. Ana-Maria and her brother Miguel (Jacques Riberolles) are friends with a man named Leandro (Raymond Pellegrin) who may or may not be in league with Carlos (Francois Maistre), who wants to bring about a New World Order from his base in the jungles of Brazil. 

Stafford, Demongeot, Riberolles

After Kerwin Mathews finished two OSS 117 films for director Andre Hunebelle, the latter discovered Czech actor Stafford and cast him as the secret agent in his first movie. Like Mathews, Stafford plays a super-cool, seemingly unflappable and mostly unemotional  spy. While he isn't better in the role than Mathews, he does seem a touch more likable. In addition to widescreen photography and color, the film greatly benefits from intriguing and colorful locales and some spectacular scenery. 

Spectacular scenery

Mission for a Killer has several memorable scenes: a gunman opens fire in an operating theater, killing the patient, shooting doctors and nurses, and nearly killing 117 and Ana-Maria. There's a terrific sequence in which a felon uses a flame thrower on 117 and doesn't care if he burns up his own partner or the entire house. Then there's a lively battle on a plane over the Amazon where the balance of power quickly shifts from one side to the other and back again. A climax on a waterfall boasts a truly spectacular setting. While Mission for a Killer isn't quite up to the level of the best of the Bonds, it is still a superior eurospy movie. Stafford later starred in Alfred Hitchcock's Topaz. Followed by OSS 117: Mission to Tokyo. In French, with English sub-titles.

Verdict: Smooth, fast-paced entertaining spy stuff. ***. 

Listen to SAURIAN

JUST OUT: My vintage horror novel SAURIAN can now be listened to on Audible as well as read. This audio book is read beautifully by Andrew Gibson! This is from Encyclopocalypse Publications.

"It appeared mysteriously, at night, and destroyed the town with amazing swiftness. Houses were flattened, the bodies of men, women, and children were crushed and mangled, hundreds were missing, vanished without a trace. No one knew what had happened or why. Years later, the sole survivor of the holocaust, Tom Bartlett, began to suffer blinding visions—visions of a huge creature, unparalleled in size, intelligence, and evil. He was frightened, but something was calling him back to the ruins of his boyhood home. He was the only man alive who had even guessed at the creature's existence, and he knew he must find it before it struck again. What he didn't know was that while he was searching for the beast, it was searching for him...."

          Available on Amazon. 

COUNTRY MUSIC HOLIDAY

June Carter Cash and Ferlin Husky

COUNTRY MUSIC HOLIDAY (1958). Director: Alvin Ganzer. 

Returning from Japan after a stint in the army, Vern Brand (Ferlin Husky) finds that his pal Clyde Woods (Faron Young) has become a big country music star. Vern's Pappy (Rod Brasfield) is convinced that Vern is more talented and could do even better. Former bookie turned music producer Sonny Moon (Jesse White) wants a singer who can rival Clyde and sends him a bus ticket to Manhattan. There Vern tours the nightclubs for publicity and becomes acquainted with Zsa Zsa Gabor (playing herself), who takes a shine to him. Back in Tennessee, Vern's girlfriend Marietta (June Carter Cash) reads of all this and decides to take off for New York ... 

Zsa Zsa Gabor and Jesse White

Although released by a major studio, Country Music Holiday comes off more like something from Monogram. Although Husky, a genuine country music star, is not Olivier, he can act and has a degree of charm (although I could have done without his putdown of a true genius like Tchaikovsky). Jesse White is as obnoxious as ever. Zsa Zsa Gabor manages to give a decent and amusing performance playing herself. Faron Young was also a country star and is appealing. June Carter (Cash) manages to get across her fear that Vern will forget her once he goes to New York without having to even say it. Another cast member is Rocky Graziano, also playing himself as an assistant to Sonny Moon. Two characters named Al Fisher and Lou Marks also play themselves, former Army buddies of Vern's who become his manager -- they are pretty awful. There are numerous -- far too many -- people playing assorted agents, TV producers, variety show hosts and so on. Patty Duke, in her first movie, plays Vern's sister, but you won't recognize her. 

June Carter Cash and Ferlin Husky

The movie's only justification are the generally memorable musical numbers. Faron Young sings "The Face of Love" and does a swingin' version of "When It Rains It Pours" with Elvis-like gyrations. Ferlin Husky's numbers include the title tune (by David and Bacharach), "My Home Town," "Terrific Together" and "Wide, Wide World," all of which are quite catchy. When Zsa Zsa first meets Vern she refers to country music as "peasant" music! Love that Zsa Zsa! The screenplay for this is pretty bad, which is probably why Husky wound up in even worse crap like Hillbillies in a Haunted House!

Verdict: Husky deserved better. **. 

HILLBILLIES IN A HAUNTED HOUSE

Joi Lansing and Ferlin Husky

HILLBILLIES IN A HAUNTED HOUSE (1967). Director: Jean Yarbrough.

Singer Woody Wetherby (country star Ferlin Husky), his girl singer, Boots Malone (Joi Lansing), and his manager, Jeepers (Don Bowman), are traveling to Nashville for a concert when bad weather and automobile trouble forces them to seek shelter in a creepy old mansion. They don't realize that the new owner, Madame Wong (Linda Ho), is running an espionage outfit that employs Max (Lon Chaney Jr.), Gregor (Basil Rathbone) and Dr. Himmil (John Carradine of Female Jungle), not to mention a bad-tempered gorilla named Anatole (George Barrows). Will Jim Meadows (Richard Webb of The Invisible Monster), secret agent for MOTHER, be able to save Boots from the Iron Maiden and make the world safe for democracy? 

Slumming: Rathbone and Carradine

Hillbillies is actually the second of two films starring Husky as Wetherby, following Las Vegas Hillbillies, in which Boots Malone was played by Mamie Van Doren and Jayne Mansfield also had a part. The first one couldn't possibly have been worse than this awful concoction, which wastes the talents of virtually everyone, especially Carradine and poor Basil Rathbone. The last ten minutes are a concert with songs being performed by Molly Bee, Merle Haggard  and Marcella Wright ("Strangers"). Husky himself does a nice job with "One Bridge I Have Never Crossed." In his heyday and for many years Husky was a very, very popular entertainer. As for Joi Lansing, who always seemed to play the perennial dumb blonde, it's ironic that in this picture she plays it straight! Jean Yarbrough also directed Inside Job and a great many other movies. 

Verdict: Aside from some of the songs there's little point in sitting through this. *1/2. 

FRIGHT

 FRIGHT (1971). Director: Peter Collinson. 

Amanda (Susan George) comes to an isolated mansion to babysit the little son, Tara (Tara Collinson), of Helen Lloyd (Honor Blackman of Account Rendered) and her husband, Jim (George Cole). Helen's ex-husband, Brian (Ian Bannen), the father of Tara, has been institutionalized since he tried to murder both Helen and their son. As the Lloyds have dinner and talk things over with Brian's shrink, Dr. Cordell (John Gregson), Amanda has the feeling that someone is stalking the grounds of the estate. A wannabee boyfriend, Chris (Dennis Waterman), shows up, wanting sex, but there's a far worse visitor in store for the terrified babysitter.

Fright has some genuine scenes of suspense, tension and creepiness, but the final quarter is far too drawn out, so that you're almost screaming for the damn thing to finally be over. Susan George gives a generally good performance, while Blackman and Ian Bannen are really top-notch. Bannen, in particular, seems always on the edge of a terrible violence. The film is rather unpleasant, however, and some may not enjoy the fact that a small child is endangered throughout. The boy is portrayed by the director's own four-year-old son. Another problem with the film is that it has several illogical moments. In at least one sequence you have to wonder why the heroine doesn't just run out the back door? Collinson also directed the 1974 version of Ten Little Indians for producer Harry Alan Towers.

Verdict: Comes quite close but somehow drops the ball. **1/4. 

 

LURE OF THE ISLANDS

Robert Lowery and Margie Hart

LURE OF THE ISLANDS (1942). Director: Jean Yarbrough.  

During WW2 two American agents -- Wally (Robert Lowery of Sensation Hunters) and Jinx (Guinn 'Big Boy' Williams) -- are told by the skipper (Tristram Coffin) to swim to a Tropical island paradise that may be a nest of Axis agents. There the boys encounter two women: Brooklyn-born Tana (Margie Hart), who hopes Wally will marry her and take her back to the U.S.; and Maui (Gale Storm of Nearly Eighteen), who is only interested in Jinx when Tana fibs that he's a pig millionaire. In this not terribly serious "war" film with song numbers, the foursome have to deal with a Nazi commandant (Ivan Lebedeff) and some Japanese who hope to turn the island into their base. 

Williams and Storm

Margie Hart was a burlesque stripper -- a competitor of Gypsy Rose Lee's -- who tried to kickstart a movie career by starring in this Monogram cheapie, which throws in everything but the kitchen sink. Unfortunately, Hart proved to be barely adequate as an actress. Although she later took acting lessons and did some theater, Lure of the Islands was her first and last movie. However, this is the kind of schlock that Lowery, Williams and Storm could probably do in their sleep, and they make a better impression. Hart warbles the pretty title tune (although she may have been dubbed) and Gale does a very cute number entitled "My Tahiti Sweetie" that boasts some clever and amusing lyrics. Kahala and Odetta Bray are the pretty native dancers and singers. 

Verdict: Another weird low-budget melange from Monogram. **1/2. 

HOUSE OF A THOUSAND DOLLS

George Nader, Martha Hyer and Vincent Price

HOUSE OF A THOUSAND DOLLS (aka House of 1000 Dolls/1967). Director: Jeremy Summers. 

Dr. Stephen Armstrong (George Nader of Sins of Jezebel) and his wife, Marie (Ann Smryner), are vacationing in Tangier when their friend, Fernando (Sancho Gracia), tells them that he's searching for his missing fiancee, Diane (Maria Rohm). Diane was last seen in Vienna where she was made to disappear by stage magician Manderville (Vincent Price) and his assistant, Rebecca (Martha Hyer of First Men in the Moon) -- and she was never seen again. Diane has been shanghaied to the House of 1000 Dolls, a house of prostitution where most of the kidnapped girls are forced to service wealthy clients and are mistreated by the staff, including Madame Viera (Yelena Samarina). When Fernando is found murdered, Stephen begins his own investigation, but he doesn't realize that this will cause a lot of trouble for himself and his wife ... 

Magician Manderville (right) checks out Dr. Armstrong

House of a Thousand Dolls, whose villains are truly loathsome, has a certain sinister atmosphere throughout and holds the attention, if for no other reason than you hope to see the bad guys get their comeuppance at the finish. Manderville, Rebecca, and the others report to a mysterious King of Hearts whose identity isn't revealed until the end. The actors are all professional, although Price -- probably contemplating which piece of art he will buy with his paycheck -- doesn't put himself out too much. Luis Rivera makes an impression as Fernando's sexy friend, Paul. For some reason Stephen is remarkably obnoxious to the police inspector (Wolfgang Kieling of Our Man in Jamaica) in the case, which seems foolish for someone who may need the man's help in the future. There's a fairly exciting chase scene with two desperadoes pursuing Stephen through a series of interesting locations (the film was actually shot mostly in Spain). Reportedly a racier version of the flick was shown in Europe. The villains in this don't really get the vicious fates they so richly deserve. 

Verdict: Minor but entertaining and smooth Euro-thriller. ***.  

FEAR IN THE NIGHT

FEAR IN THE NIGHT (1972). Produced and directed by Jimmy Sangster.

Newlyweds Peggy (Judy Geeson of Berserk) and Robert Heller (Ralph Bates) have moved into a cottage on the grounds of a boys school owned and run by headmaster Michael Carmichael (Peter Cushing of The Beast Must Die). Michael has a much younger wife named Molly (Joan Collins). Peggy has already been attacked by a man with a prosthetic arm back in the city, when this same man breaks into the cottage. Robert, who knows that Peggy was seeing a doctor after a nervous breakdown, isn't certain whether to believe her or not. One evening he has to go on an errand for Michael, and Peggy is left all alone in the house. Bad things are going to happen ... 

Ralph Bates and Judy Geeson

Fear in the Night is an intriguing and suspenseful Hammer thriller with some excellent performances. Even if you get clued in to some of the things that are going on, there are still some interesting twists to the story. Once everything has unfolded there is also a degree of pathos when you realize how cruelly one of the innocent characters has been used. The great Peter Cushing adds some class to the picture as he generally does, Bates doesn't give away if he's keeping secrets or not, Collins is suitably tough and forceful in her portrayal, and Geeson generally manages to deal with all of the sinister goings-on with aplomb. Sangster, who also co-wrote the screenplay, never lets the pace flag. It all builds to a quite satisfactory conclusion. 

Verdict:  Notable Hammer suspense film with fine performances. ***. 

THE GHOST OF SIERRA DE COBRE

A ghost confronts Judith Anderson and Martin Landau

THE GHOST OF SIERRA DE COBRE (1964 telefilm), Produced, directed and written by Joseph Stefano. 

"Psychical" investigator Nelson Orion (Martin Landau) -- who makes most of his money as an architect -- is called in when blind, wealthy Henry Mandore (Tom Simcox) starts receiving disturbing phone calls that are supposedly from his dead mother. Afraid of being buried alive, she had a phone installed in her crypt, and the calls are coming from this line. Accompanied by Henry's wife, Vivia (Diane Baker), Orion investigates the crypt and Vivia encounters a scary and bloody female spirit. Orion's no-nonsense housekeeper, Mrs. Finch (Nellie Burt) doesn't believe in ghosts, and neither does the Mandore's housekeeper, Paulina (Dame Judith Anderson), but the latter seems to know a lot more about what's going on than anyone else does. 

Diane Baker and Martin Landau

The Ghost of Sierra de Cobre was the pilot for what was supposed to be a follow-up series to The Outer Limits, with the focus on horror and the supernatural instead of science fiction. I assume that Nelson Orion was to be a continuing character from week to week. It's too bad that that didn't work out for one reason or another, as it might have made a compelling series. Stefano's plot has some interesting twists and turns to it -- although it never seems quite real --  and skillfully blends the supernatural with other sinister events that have natural explanations. Stefano's direction -- he replaced the original director -- although good, isn't quite as assured, but Conrad Hall's expert cinematography helps smooth over the rough edges. 

Landau with Tom Simcox

Ghost features a generally excellent cast. Landau proves he could certainly handle the lead on any TV show, and Anderson, cast as yet another creepy housekeeper, rises above the stereotype and offers a highly proficient and intense performance as Paulina. Diane Baker isn't quite on the same level and seems a bit "off" at times, but is effective. Tom Simcox certainly gets into the mood as the handsome, haunted husband who is afraid he is going out of his mind. Nellie Burt is a burst of fresh air as the other, happier housekeeper. Orion makes a hasty date with a blonde on the beach -- nothing ever comes of this -- and the blonde is billed as Delores Starr, but I swear she looks just like Diane McBain. Simcox studied meditation with the Beatles in India!

Verdict: Creepy if flawed telefilm with good performances and a very interesting plot. ***. 

SHAZAM! FURY OF THE GODS

Zachary Levi as Shazam

SHAZAM: FURY OF THE GODS (2023). Director: David F. Sandberg.

Two goddesses, Hespera (Helen Mirren) and Kalypso (Lucy Liu), are furious that Billy Batson (Asher Angel) was given the power that they feel rightfully belonged to their father, Atlas, and hence to them. They cause havoc in a museum in Greece, turning several tourists to stone, and shattering the likable museum guide to pieces. (Leaning of this, our heroes don't seem as appalled as they should be, and there is no talk of finding out if the victims' rock-like state can be reversed.) A third sister, Anthea (Rachel Zegler), is kinder and gentler and bonds with Billy's brother, Freddy Freeman (Jack Dylan Grazer) and his super-hero alter ego (Adam Brody). Turning into his own super-hero counterpart, now christened Shazam (Zachary Levi) instead of Captain Marvel (for copyright reasons), Billy Batson gathers together the other children in his family, and they transform into their super-powered counterparts in order to take on not only Hespera and Kalypso, but a host of demonic creatures and a huge, malevolent dragon named Ladon.

Mortgage payment? Helen Mirren and Lucy Lui

This sequel to Shazam, which itself was no world-beater, is a cut below the original. Although Billy Batson is now nearly 18, when he switches to Shazam he acts much more childish and nerdy than he does as himself. Zachary Levi gives an adept-enough comic performance, but while the Captain Marvel stories of the 40s were pretty silly, there's no reason to make this modern movie quite so ridiculous. (The far superior Black Adam was cut from the same universe more or less but it rarely descends into camp. Here's hoping that Shazam does not join the Justice Society!) Helen Mirren and Lucy Lui, especially the former, give excellent performances (as does Rachel Zegler as their sister), but one has to wonder why an actress of Mirren's stature chose to appear in this shit. A mortgage coming due?

Ladon the dragon has no personality

Another problem with the movie is that the action sequences are not put together that well, the cinematography is disappointing (there isn't one single strikingly composed shot), and even the over-familiar special effects fail to impress -- you've seen it all before, and better. The movie is full of phony sentimentality -- so much hugging and crying while the original victims are completely forgotten. Shazam! Fury of the Gods wears out its welcome about halfway through -- you just wait for the damn thing to end.

Verdict: How much silliness can you stand. *1/2. 

WHISPERING SMITH VS. SCOTLAND YARD

WHISPERING SMITH VS. SCOTLAND YARD (aka Whispering Smith Hits London/1952). Director: Francis Searle. 

Famous American detective Steve "Whispering" Smith (Richard Carlson) comes to England for a Welsch vacation but is immediately importuned to solve a murder in London. A young woman named Sylvia has been found drowned, an apparent suicide, but her father is convinced it was murder. His secretary, Ann Carter (Rona Anderson of The Flaw), begs Smith to take the case but at first he seems more interested in romancing her. Smith goes about interviewing several people who knew Sylvia: her lawyer, Hector Reith (Alan Wheatley); her fiance, a puppeteer named Roger Ford (Herbert Lom of Mysterious Island); and one of her best friends, Louise Balfour (Greta Gynt). When someone tries to run over Smith and Ann it's clear that somebody is violently opposed to his investigation. 

Richard Carlson and Greta Gynt

Whispering Smith, a character first introduced in a novel and then in movies, was actually a 19th century railroad detective known for being rather quiet, hence "whispering." Alan Ladd played the part in a 1942 western. In this one-shot movie starring Richard Carlson the character has been updated to the 20th century, but he doesn't seem very quiet, but rather brash in the way of most American private eyes. Carlson gives a very good performance, Rona  Anderson is cute and charming, Greta Gynt radiates a certain sensuality and menace, and Wheatley and Lom make convincing antagonists; Lom is especially effective, as usual. Reginald Beckwith [Doctor in Love] is cast as a man who was a victim of vicious blackmail. Usually a comic figure, he gives a good, if brief, dramatic performance in this. An interesting element has to do with a sinister nursing home called Star Opaque, which is actually a mayhem-for-hire outfit run by the creepy Dr. Taren (Daniel Wherry). An early production from Hammer studios, this is better than their usual mysteries, well-acted, with an interesting plot (even if the ending is not that big a surprise) and characters and a swift pace. Nice score by Fred Spencer.

Verdict: Some more Whispering Smith films with Carlson would have been welcome. ***. 

THE LOST JUNGLE

THE LOST JUNGLE: Cliffhanger Action and Hollywood Serials of the 1930s and 1940s. Guy Barefoot. University of Exeter Press; 2017. 

If you're expecting a fun and colorful book examining the cliffhanger serials of old, be forewarned that The Lost Jungle is from an academic publisher and has different fish to fry. Author Barefoot looks into the minutia of serials, sometimes comically spelling out the obvious in great detail, but his enthusiasm for his subject triumphs over the approach and the book is much more absorbing and entertaining than you would expect. For one thing, Barefoot's prose is accessible and generally not pretentious. Barefoot looks into the notion that serials were just for kids, and gives convincing evidence that adults could and did enjoy these action-packed cliffhangers as much as any child. With a grant from the British academy (some authors have all the luck!), Barefoot flew to the U.S. to do extensive research in various libraries. While it may seem a bit odd that money would be paid so that a writer could explore these old serials, of all things, at least Barefoot has come up with a wealth of information and successfully argues that the cliffhangers were more popular than realized and are worthy of study.  

Verdict: Somehow the fun of the serials comes through despite the scholarly approach. ***. 

THE HARDY BOYS: THE MYSTERY OF THE CHINESE JUNK

Rick Gates as Frank and Tim Matheson as Joe

THE HARDY BOYS: THE MYSTERY OF THE CHINESE JUNK (1967). Director: Larry Peerce. 

Frank (Tim Matheson) and Joe (Rick Gates) Hardy of Bayport decide to start a ferry service to Rocky Island with their pals Biff (Rickey Kelman) and Chet (Stephen Jahn). Another friend, Jim Foy (Brian Fong), directs them to an old Chinese junk that they can buy, and they do so. But there seem to be others who have an abnormal interest in the junk -- including George Ti Ming (James Shigeta) -- and another ferry boat operator, "Clams" Daggett (Malcolm Atterbury) is a bit put out that he might have competition. The boys encounter the secretive Dr. Montrose (Edward Andrews) as part of their investigation. Then the Hardy Boys' father, Fenton (Richard Anderson), trying to find a criminal called The Chameleon, is attacked and disappears. It all comes to a head in a dank cavern on Rocky Island.  

Mystery of the Chinese Junk is based on the novel, which was published around 1960. Although there were some changes made -- Chet doesn't take up spelunking, for instance -- the telefilm, a failed pilot, apparently, is pretty faithful to the story. For inexplicable reasons Frank is made a blond and Joe becomes a brunette, although it was the other way around for about fifty years. Fenton Hardy doesn't appear to have a wife in this -- perhaps he's been turned into a widower -- but Aunt Gertrude is around, played in so-so fashion by Portia Nelson. Anderson makes the perfect Fenton Hardy, Atterbury is a reliable Clams, and Andrews is, as usual, quite good as Dr. Montrose. Shigeta is pretty much wasted as Ti Ming but is good. Jan-Michael Vincent appears briefly singing a rock number as Tony Prito. Chet is not as lovable as he is in the books, and there is the addition of a dog for the Hardys, a Great Dane named Tiny who is probably borrowed from the book The Secret Warning, wherein the dog was named Tivoli. The cinematographer, Joseph Biroc, also shot Hush ... Hush Sweet Charlotte and many others. Aside from the serials on the old Mickey Mouse Club show, the Hardy Boys did not get a weekly series until ten years later and then they were played by Parker Stevenson and Shaun Cassidy. 

Verdict: Much better than one would have imagined. ***. 

NIGHT OF THE BLOOD BEAST

Ed Nelson and Michael Emmet

NIGHT OF THE BLOOD BEAST (1958). Director: Bernard L. Kowalski. Produced by Gene Corman. Executive Producer: Roger Corman. 

Major John Corcoran (Michael Emmet) has flown deeper into outer space than anyone before. Unfortunately, when his rocket lands back on earth he appears to be dead. Along with his heartbroken fiancee, Dr. Julie Benson (Angela Greene), his body is taken back to a make-shift lab by Dr. Wyman (Tyler McVey of Teenage Thunder), Dave Randall (Ed Nelson of Attack of the Crab Monsters), Steve Dunlap (John Baer), and Donna Bixby (Georgianna Carter). But in the lab they discover that John's blood pressure is normal and he doesn't quite seem to be deceased. There's something strange about his blood, and there appear to be organisms using his body for a breeding ground. John eventually revives, even as the monstrous parent of said organisms -- a bear-like creature with claws and a parrot-like head -- breaks in and causes havoc. 

John Baer and Angela Greene

Night of the Blood Beast isn't as well known as other Roger Corman productions, but I believe it has been seen by many filmmakers who were undeniably influenced by it. (The creatures inside John's chest remind one of Alien). The actors all play with conviction, and show the fear and upsetment, indeed depression, that they would be feeling under the circumstances. They also have to deal with the dilemma of wondering if the alien is benign, despite his gruesome murdering of one of their number, or as dangerous to the human race as an initially sympathetic John comes to believe. The creature itself, a stunt man (Ross Sturlin) who must have been sweating like crazy under the costume, is effective enough for this low-budget outing. 

Michael Emmet

Aside from Ed Nelson, none of the others became part of executive producer Corman's stock company. Gorgianna Carter had only two more credits after this, although Angela Greene had over a hundred credits overall. Tyler McVey had over 200 credits! John Baer starred on the TV series Terry and the Pirates and also amassed quite a few credits. An amusing aspect of Night of the Blood Beast is the outlandish notion that only a mere handful of people -- and not one of whom is a physicist or rocket scientist -- are on hand when the rocket crashes back to earth! The other scientific aspects of the script are also a bit fantastic. But the movie is still creepy, atmospheric, and fun. Michael Emmet also had a good part in director Kowalski's Attack of the Giant Leeches; he was actually a good actor. 

Verdict: I confess I have a higher opinion of this movie than most people. ***. 

THE SCARF

Mercedes McCambridge and John Ireland

THE SCARF  (1951). Written and directed by E. A. Dupont. 

John Barrington (John Ireland of Railroaded) was convicted of strangling a woman with a scarf, but has no memory of it. Sentenced to life in an institution, he manages to escape and winds up on a turkey farm with a grizzled old-timer named Ezra (James Barton). John gives a lift to a somewhat hard-boiled lady named Connie (Mercedes McCambridge). Like Ezra, Connie learns the truth about John but doesn't turn him in, not even for the $5000 reward. John goes to see his old friend, Dr. David Dunbar (Emlyn Williams), who tells him he actually witnessed the murder and knows that John committed it. But is this the truth? Then John's father (Basil Ruysdael) comes into the office with the police in tow ...

James Barton

Frankly, I didn't believe The Scarf for a minute. A lot of good actors are trapped within a screenplay that is half-baked and ludicrous. You can see the denouement coming from a mile away, and the characters seem to exist for only the amount of time they are on-screen -- despite the good acting they never quite seem like real people. Ireland and McCambridge, who were also in All the King's Men together, do the best they can but Broadway star Barton and Williams -- author of Night Must Fall and The Corn is Green in addition to being an actor -- make the best impression. There is also some good work from Lloyd Gough as another psychiatrist, David Bauer/Wolfe as bar owner Louie, and Iris Adrian as a drunken floozy. King Donovan [The Magnetic Monster] is the piano player in the gin joint where Connie works and sings (McCambridge betrays a not-bad voice). Lyle Talbot [Batman and Robin] gives a dull performance as a cop. The music and photography are good but not enough to make this memorable.

Verdict: Flavorful performances, but you won't believe a minute of it! **.

ZIS BOOM BAH

Jan Wiley, Peter Lind Hayes, Mary Healy

ZIS BOOM BAH (1941). Director: William Nigh.

Vaudeville star Grace Hayes, playing herself, has apparently endowed a college where her son, Peter Kendricks (Peter Lind Hayes, the real son of Grace Hayes) is a student. For reasons never satisfactory explained Peter doesn't know who his mother is, only that she's an entertainer. Grace is very disappointed in her son as she finds him to be egotistical and irresponsible. Although Annabella (Jan Wiley of Dick Tracy vs. Crime Inc.) has set her cap for Peter, the latter is attracted to Grace's assistant, Mary Healey (also playing herself -- she and Hayes had tied the knot the previous year). Grace buys a soda shoppe, converts it to a nightclub, and importunes the students to put on a show so that they can keep the college from going under. 

Grace Hayes with son and daughter-in-law

I didn't hold out high hopes for Zis Boom Bah, but the flick is entertaining and well-played. Both Hayes and wife Healey have very nice voices and deliver their songs with aplomb. The songs are tuneful: Put Your Trust in the Moon; Miss America; Annabella; I've Got to Smile Again. There's also a smooth trumpet player; a very talented kid dancer (Roland Dupree); and the inimitable Huntz Hall [Blonde Dynamite], who dances in drag with Hayes at one point and is a riot. Hayes does great impressions of Charles Boyer and Ronald Colman. Grace Hayes is pretty much forgotten today -- not to mention Peter Lind Hayes and Mary Healy -- but she is quite snappy and appealing in this picture. William Nigh also directed A Bride for Henry. 

Verdict: This family affair is more fun than you would imagine. ***. 

SCIENCE FICTION CONFIDENTIAL: Interviews with 23 Monster Stars and Filmmakers. Tom Weaver. McFarland; 2002. 

Tom Weaver has assembled another crop of interviews with old time actors, producers etc. who at one point or another were involved with genre films, especially science fiction. Many of the names in this book are really obscure: Phoebe Dorin, who did a nightclub act and appeared on The Wild, Wild West with diminutive Michael Dunn; Russ Doughton, who produced The Blob, but there are a couple of more familiar names such as Dan O'Herlihy (who doesn't quite seem to belong in this book), David Hedison of The Fly and Voyage to the Bottom of the Sea, and Warren Stevens of Forbidden Planet fame. Not to mention prolific producers Richard and Alex Gordon. Speaking of The Blob, people involved with that production don't seem to be aware of earlier "blob" films such as The Creeping Unknown and Caltiki, the Immortal Monster (or just didn't want to admit it was a rip-off). Some of these people had genuine careers while others had only a brief flirtation with crazy "show biz." Some, like the very talented Jacqueline Scott [Macabre], have long careers without ever becoming quite famous. In any case, their stories are almost always interesting. 

Verdict: More interviews with a couple of greats and many not-so-great. ***. 

THE SHE CREATURE

Chester Morris and Marla English

THE SHE-CREATURE (1956). Director: Edward L. Cahn. 

Dr. Carlo Lombardi (Chester Morris) claims he is able to get in touch with the past lives of his subject, Andrea (Marla English of Runaway Daughters), by putting her in a trance. Andrea can give details of her 16th century life as a woman named Elizabeth. Lombardi can not only also regress Andrea to an ancestor from thousands of years ago, but call this ancestor -- a kind of humanoid, prehistoric sea creature -- up from the sea, where it proceeds to kill people. Dr. Ted Erickson (Lance Fuller of This Island Earth) is out to debunk Lombardi, while Timothy Chappel (Tom Conway of Bride of the Gorilla) wants to turn him into a star -- for 50% of the profits. But things get sticky when Red and Andrea fall in love ... 

Lance Fuller with William Hudson in the background

The She-Creature is one weird and nonsensical movie. Chester Morris, in an unusual role for him, gives a good account of himself, but we never learn how he knew that Andrea was once this strange creature nor is it explained why or how he can materialize it from the sea. It simply makes no sense. On the other hand, there simply isn't enough of the creature and its attacks to keep the excitement level up, and the film eventually becomes tedious. The actors, including Fuller and English, do the best they can and are generally more than adequate.

close-up of the She-Creature

Others in the cast include Cathy Downs [Missile to the Moon] and Frieda Inescort (as Conway's daughter and wife), Ron Randell [Captive Women] as a police lieutenant, El Brendel as Conway's comical butler, Frank Jenks as Randell's associate, Jack Mulhall as Lombardi's lawyer, and William Hudson as a tippling party guest who has a thing for Downs. These last two were both in The Amazing Colossal Man while English, Fuller and Conway also appeared in director Cahn's production of Voodoo Woman. The She-Creature, portrayed by Paul Blaisdell, has claws, intense eyes and large breasts.

Verdict: Sounds like fun but really isn't. **. 

THE BEAST OF YUCCA FLATS

Tor Johnson as the Beast

THE BEAST OF YUCCA FLATS (1961). Written and directed by Coleman Francis. Colorized version.

Brilliant scientist Joseph Javorsky (Tor Johnson) is caught in an A-bomb blast in Yucca Flats where he's trying to escape from spies, and is turned into a crazed, incoherent murderer. Cop Jim Archer (Bing Stafford), a former paratrooper, and his partner Joe Dobson (Larry Aten), find the body of one of Javorsky's victims in a cave. When Art Radcliffe's (Alan Francis) two young sons wander into the missile range, he goes looking for them and is mistaken for the deranged killer by Jim, who nearly kills the man. Will Jim and Joe stop the maddened, hulking "beast" before he can kill the missing kids or anyone else?

A rabbit befriends Tor -- sort of 

Less than an hour long, The Beast of Yucca Flats deserves it's reputation as one of the world's worst movies. In a way this is a shame as the film has a workable premise and is not badly shot. (The colorizing process of this version makes the movie look much better than it deserves.) Apparently the sound track was either lost or screwed up (possibly it was filmed silent) as the film is overdubbed, there is little dialogue and way too much pretentious narration. It's hard to judge the acting but the cast seems to consist of amateurs. Tor Johnson of Plan Nine from Outer Space infamy doesn't so much act as lurch around as if he were looking for the nearest bathroom -- or lunch counter. The pre-credit sequence features an odd ticking noise on the soundtrack and suggests that the female victim is raped after being strangled to death. The ending has poor Tor bonding with a rabbit before expiring. The music, culled from stock libraries, is almost always overdone and inappropriate. Johnson managed to amass 52 credits! Writer-director Coleman Francis appeared as an actor in T-Bird Gang. 

Verdict: Even the rabbit can't save it! *1/2. 

THE IRON CLAW

The Iron Claw looms in

THE IRON CLAW (15-chapter Columbia serial/1941). Director: James W. Horne. 

Old reprobate Anton Benson (Forrest Taylor) pretends to be ill in his sprawling mansion and jealousy guards knowledge of a cache of gold that everyone both within and outside of his family wants to get their hands on. Anton is assisted by the butler, Gyves (John Beck), who knows much more about what's going on than he reveals. Other greedy characters include Anton's jailbird brother, Roy (Norman Willis), Anton's daughter, Millie (Edyth Elliott), her husband Simon Leach (Allen Doone), Dr. James Benson (Alex Callam), and others. Anton's brother, Culver (James Metcalfe), is murdered in the first chapter. Gangster Silk Langdon (Charles King) and his cohorts are also after the treasure, as is a mysterious figure known only as the Iron Claw, who sneaks about the mansion's corridors and many secret passages. 

Joyce Bryant and Charles Quigley

Into this merry gathering come Anton's niece, Patricia (Joyce Bryant), reporter Bob Lane (Charles Quigley of Daredevils of the Red Circle), and his photographer, Jack "Flash" Strong (Walter Sande), with the hapless Captain Casey (James C. Morton) along for the ride. Much of the action shifts down to Mexico, where Anton -- and virtually everyone else -- go to find the treasure deep in a mine. The treasure winds up being tossed back and forth between participants while the final chapters take place both around and inside Anton's mansion. During all this the Iron Claw, who never really seems especially scary, seems to become a guest-star in his own serial, as there are far too many players to keep track of. Cliffhangers include explosions, cave-ins, a pit filled with spikes, a room with hot jets of burning steam, and so on, all recorded at a breathless pace. 

Sinister shadow of the Iron Claw

There are times when The Iron Claw resembles nothing so much as a screwball comedy, and there's too much alleged comedy relief. The fight scenes, which occur frequently, can best be described as riotous, with each melee a free-for-all in which lots of furniture is gleefully smashed along with heads and faces. These almost approach the level of the fisticuffs in later serials from Republic. Super-fast-paced and generally entertaining, it's a shame that there is no great copy of The Iron Claw in existence, to my knowledge. A copy in four parts on youtube is better than a copy I have on DVD -- at least you can see what's happening in the night-time sequences -- but there are still gaps, sound distortions, a murky visual quality and so on. The cast is certainly enthusiastic. 

Verdict: Fun, but you might want to wait until this is digitally remastered. **3/4.