Author Archives: Peter Fuller
Over half a century after its original cinema release, this surreal 1953 musical fantasy – conceived and part-written by noted children’s author Dr Seuss – remains one of the most bizarre children’s films ever committed to celluloid.
Little Bart Collins (future Lassie star Tommy Rettig) would rather play baseball than practice his piano scales. Falling asleep, he enters a nightmarish world in which a sinister piano teacher, Dr Terwilliker (Hans Conreid in splendid sinister form), has hypnotised Bart’s mum (Mary Healey) into becoming his assistant (and future bride); imprisoned non-piano-playing musicians in his dungeon; and constructed a gigantic piano to force 500 boys (including Bart) to play his latest composition for all eternity.
Bart’s only chance to free both his mother, himself and the other boys is to convince friendly plumber Mr. Zabladowski (Peter Lind Hayes) of Terwilliker’s maniacal plans…
Although a flop at the box office, director Roy Rowland and producer Stanley Kramer’s bonkers film brilliantly captures the spirit of Dr Suess’ anarchic vision, especially in the fantastic production design featuring sets and matte paintings that look like an colourful mash up of weird Frank Gehry angles, Jean Cocteau fantasia, Fritz Lang expressionism and The Jetsons cartoon futurism.
The music, however, isn’t so memorable. 24 musical numbers were filmed, but 11 ended up being scrapped from the final cut (they were later included on a 2007 CD release). But despite the not-so-great music (except maybe the screwy Hypnotic Duel), this fantasy certainly deserves revisiting – and maybe one day, in right hands, even a musical stage adaptation.
This limited edition dual format Powerhouse Films release (part of the Indicator series) presents a HD remaster of the film – for the first time in the UK – with the following special features:
• Audio commentary with film historians Glenn Kenny and Nick Pinkerton
• Crazy Music: a 2017 interview with musician, singer and archivist Michael Feinstein on his obsession with the filme
• Father Figure: a 2017 new interview with Steve Rowland, son of director Roy Rowland
• Karen Kramer introduction (2007)
• Dr T. on Screen (2007): Cathy Lind Hayes, George Chakiris and others talk about the film
• A Little Nightmare Music (2007): an examination of the film’s music score
• Original theatrical trailer
• Joe Dante trailer commentary (2013) WATCH BELOW
• Image gallery
• New and improved English subtitles
• Booklet with a new essay by Peter Conheim, and extracts from the original press kit, advertising and promotion guide
Belle de Jour (1967) | Luis Buñuel’s exquisite exploration of female desire gets a 50th anniversary 4k restoration release
From Studiocanal comes the newly-restored 4k version of director Luis Buñuel’s Belle de Jour (1967) starring Catherine Deneuve, Jean Sorel and Michel Piccoli.
Séverine (Catherine Deneuve), the reserved wife of successful Parisian surgeon Pierre (Jean Sorel), is prone to masochistic fantasies which reveal her sexual frustration. Driven by a mixture of ennui and curiosity, she pays a visit to a brothel run by Madame Anaïs (Geneviève Page), where she begins to work there during the day under the name Belle de Jour.
Seemingly having found an inner peace through the satisfaction of her clients’ desires, things soon turn sour when Marcel (Michel Piccoli), a loutish friend of Pierre’s, insists on having Séverine all to himself. Panic-stricken, Séverine quits her dangerous day job but is it too late?
Buñuel blends memory, fantasy and reality, seamlessly, in his surrealistic voyage into the mind of Deneuve’s bored housewife to show the deep mysteries of sex without showing the sex act itself – and it is never certain if what is seen is reality or fantasy.
Sumptuously filmed in and around the streets of Paris (many of which you can still visit today), it is a exquisite exploration of female desire, but the film’s moral tone shocked the notorious British social activist Mary Whitehouse into a vocal campaign against the BBC on its first TV screening.
It was, however, Buñuel’s most successful film of his entire career, winning the Best Picture award at the 1976 Venice Film Festival. A spellbinding must-have for your world cinema collection.
The 50th Anniversary Edition is out now on DVD, Blu-Ray and Digital download with brand new extras material (see below) and 6 exclusive art cards.
• Commentary by professor Peter W Evans
• The Last Script
• A Story of Perversion or Emancipation?
• Interview with Dr Sylvain Mimoun
• NEW Trailer
• NEW Jean-Claude Carrière interview (fascinating stuff)
• NEW Masterclass with Diego Buñuel and Jean-Claude Carrière (also very illuminating)
To accompany the re-issue and to celebrate work of the Spanish surrealist director, Buñuel: The Essential Collection, a box-set of 7 of the director’s most significant films, will be released next week (and I can’t wait).
Shock Treatment (1981) | You’ll be jumping like a real live wire after seeing Arrow’s fan-bloody-tastic HD release of the cult musical
From Richard O’Brien, the writer and director of The Rocky Horror Picture Show comes not a sequel, not a prequel… but an equal – Shock Treatment, out in a limited edition HD release from Arrow Video.
This riotous, toe-tapping 1981 musical sees Jessica Harper (Phantom of the Paradise) and Cliff De Young taking on the iconic roles of Rocky’s Brad and Janet Majors alongside Barry Humphries, Ruby Wax and a very young Rik Mayall, plus Rocky alumini Patricia Quinn, Charles Gray and Richard O’Brien.
Now leading a quite life in Denton, USA: The Mecca of America, The Bethlehem of the West, The birthplace of the virtuous and the home of happiness, Brad and Janet find their marriage put to the test when they take part in a hugely-popular TV show, only for Brad to end up being institutionalised on the TV station’s medical show while Janet becomes an overnight reality star. But what are the real motivations behind the kooky DTV crew and their enigmatic head-honcho, Farley Flavors?
Mental illness and mass consumerism are fair game in the hands of O’Brien director Jim Sharman, who use some eye-watering day-glo visuals and some witty songs (that certainly rival Rocky) to serve up their blackly comic attack on reality TV (and pre-dating The Truman Show by some 17 years to boot). Time to slip into a little black dress or some green hospital scrubs, grab some friends over and tune into all the crazy madness. Altogether now: ‘You need a bit of ooooh, Shock Treatment!’
Arrow’s release comes in two designs – Cosmo and Nation (named after O’Brien and Quinn’s characters in the musical), and feature the following contents in each brightly coloured digipak, featuring artwork from Graham Humphreys. You’d better hurry and snap them up on Amazon because they’ve now sold out on Arrow’s own store.
• High Definition Blu-ray (1080p) presentation
• Original Stereo 2.0 and 5.1 DTS-HD Master Audio
• Isolated music and effects track
• Optional English subtitles for the deaf and hard of hearing
• Archive audio introduction by Richard O’Brien
• New audio commentary with actresses Patricia Quinn and Nell Campbell
• Archive audio commentary by “Mad Man” Mike and Bill Brennan
• DTV Presents: A Shockumentary – retrospective making-of featurette
• Let’s Rock ‘n Roll: Shock Treatment’s Super Score – archive featurette on the music of Shocky
• The Rocky Horror Treatment – vintage behind-the-scenes documentary
• Patricia Quinn in Conversation with Mark Kermode
• Fan featurettes & cover songs
• Promo gallery featuring trailers, radio spot and stills
• Collector’s booklet
• Set of exclusive Shock Treatment Mix ‘n’ Match Cards
• Exclusive double-sided “D-E-N-T-O-N” poster
• Complete Soundtrack CD
Journey to the Center of the Earth (1959) | The Jules Verne adventure classic starring James Mason thrills again in 4k
A landmark in Hollywood adventure film-making, 20th Century Fox’s 1959 adaptation of Jules Verne’s 1864 sci-fi novel, Journey to the Center of the Earth, thrills again following a glorious 4k restoration.
Five years after playing Captain Nemo in Disney’s 20,000 Leagues Under the Sea, James Mason stepped into the shoes of another classic Verne character – geologist Otto Lidenbrok (renamed Professor Sir Oliver Lindenbrook), who leads a daring mission into the bowels of the Earth after discovering a hidden message from Icelandic pioneeer Arne Saknussemm.
Tagging along is dedicated ‘Scottish’ geology student Alec McEwan (Pat Boone), the widow of Lindenbrook’s late partner, Carla (Arlene Dahl), and local Icelander Hans (Pétur Ronson) and his pet duck Gertrude. Heading down a fissure inside the Snæfellsjökull volcano, the amateur explorers soon find themselves in a world within a world populated by prehistoric creatures and strange natural phenomena. But following close behind is Saknussemm’s murderous descendent (Thayer David), who wants to claim the centre of the Earth for his own…
No matter how many times I have watched this film, I never tire of it. It’s a masterclass in adventure film-making and a big influence on Spielberg’s Raiders of the Lost Ark (check out the rolling boulder) and Jurassic Park. The colourful subterranean sets are spectacular and work seamlessly with the gorgeously lit scenes shot in New Mexico’s Carlsbad Caverns, while composer Bernard Hermann fills the colourful cavernous landscape with a tremendous music score that makes everything seem ominous and outer wordly.
Of the 11 prehistoric animals that appeared in Verne’s novel, only a couple end up on screen – a family of dimetrodons and a giant megalosaurus. And although they are just magnified rhinoceros iguanas with glued-on fins and a painted Tegu lizard, they’re still pretty effective and way better than the ones in Irwin Allen’s The Lost World.
James Mason is a joy to watch playing the ever curious scientist. But he wasn’t the producers original choice. That went to Clifton Webb, who had to drop out after suffering a double hernia. Mason, however, does make a great sparring partner for Arlene Dahl’s plucky widow, and it’s a nice change to see a middle-age romance blossoming before our eyes (you don’t see much of that today on the big screen).
Christian pin-up, singer Pat Boone may not convince as a Scot, but he does make for a fun hero – and also a bit of eye candy as we get to swoon over his lithe surfer bod and deep Californian tan (how very un-Scottish) when he loses his shirt and most of his tartan trousers.
The film’s other star is, of course, Hans’ pet and best friend – Gertrude the Duck. She has so much character (and I love her painted eyes), and provides the film with one of its most memorable (and tearful) scenes. Along with Captain Nemo’s pet sea lion Esmeralda in Disney’s 20,000 Leagues Under the Sea, Gertrude established the tradition of having a loveable critter join its human cast in daring adventures (remember Herbert the Rooster in 1965’s Wargods of the Deep? or Heidi the Dalmatian in 1975’s The Hindenburg?)
Eureka Classics’ 4K restoration really showcases the much-loved adventure’s fantastic production design and sound, making this a must-have in any film collection and one to watch over and over.
- 1080p presentation from a definitive 4K restoration
- Optional stereo PCM soundtrack and 5.1 DTS-HD Master Audio options
- Isolated music and effects track (not included on my screener)
- Optional English subtitles
- Audio commentary with actress Diane Baker and film historians Steven C Smith and Nick Redman (not included on my screener so I can’t comment)
- Interview with author Kim Newman (very informative)
- A short clip featuring film’s restoration over the years
- Original theatrical trailer
- Booklet featuring Bosley Crowther’s 1959 New York Times review, archival images and poster gallery, and viewing notes.
Available to purchase here http://amzn.to/2tir1l6
This 1982 Canadian psycho shocker maybe somewhat implausible, but it’s so tightly constructed that you soon forget it’s flaws.
Michael Ironside (who made an explosive hit in David Cronenberg’s Scanners the year before) gives a genuinely unsettling performance as Colt Hawker, a closeted homicidal psycho who enjoys photographing his victims as he stabs them to death.
Bearing a deep-seated hatred of women (his mother disfigured his abusive father with boiling oil when he was a small child), he’s incensed when TV journalist and women’s rights crusader Deborah Ballin (Damien: Omen II’s Lee Grant) voices her views on TV over a murder case in which a battered woman claimed justifiable defence against her abusive husband.
Following Deborah home, Colt brutally attacks her – but she survives, and ends up being admitted to a local hospital to recuperate. But that doesn’t stop Colt from gaining access to the hospital, where he begins his killing spree in his bid to corner and kill her…
Now ever since 9/11 security in public facilities like hospitals and government has really stepped up to the max in North America. But even back in the 1980s, you’d expect a major hospital like the one featured in Visiting Hours would have the minimum of security. But it doesn’t. Even the police seem to miss Ironside’s suspicious-looking psycho creeping about.
But if you look past this flaw, then you’ll discover a masterful exercise in suspense from Québécois director Jean-Claude Lord, who brings a claustrophobic, giallo-esque feel to his first English-language film,. It also has some genuine scares and is bolstered by skilful performances, especially Grant, who brings great believability to her victimised Deborah.
In a nice twist to the standard woman-in-peril story, Lord introduces a sub-plot involving kindly nurse Sheila (played by Matlock’s Linda Purl) who also finds herself on Colt’s hit list. This leads to a nail-biting showdown between the maniac and the two women. Wasted, however, is William Shatner, whose only purpose here is getting another star name onto the credits.
Bizarrely, this one featured on the UK’s notorious Video Nasty list, but ended up being shown on ITV uncut in 1989. It was also a firm favourite at my local video rental back in the day. Revisiting it now, courtesy of Final Cut Entertainment’s new dual format (Blu-ray/DVD) release, I’ve not only found a new appreciation for the film itself, but also for the cinematography, which had been previously muddied by inferior VHS transfers. This suspenseful slice of 80s slasher is well worth the revisit.
The Final Cut Entertainment dual format release also includes the following special features:
• Interview with Lind Purl (9 mins)
• Interview with director Jean Claude Lord (15mins)
• Interview with writer Brian Taggert (15 mins)
• Interview with producer Pierre David (17mins)
• Stills Gallery
• Double Sided Sleeve
Dr Cyclops (1940) | ‘Honey, I’ve shrunk the scientists!’ – Technicolor thrills await in the vintage sci-fi adventure
Deep in the South American jungle, physicist Dr Thorkel (Albert Dekker) is using a seam of radium in his mysterious experiments. When his eyesight starts to fail, he invites three scientists from the US to help him to help him complete the project.
Refusing to return home without proper explanation as to the exact nature of Thorkel’s work, the scientists, their mule driver and Thorkel’s assistant end up being shrunk down to doll size. A cat-and-mouse game then ensues as they try to escape Thorkel’s compound…
Based on a short story of the same name by Henry Kuttner, Paramount’s Dr Cyclops was the first attempt since The Mystery of the Wax Museum to use Technicolor in a horror film. It also marked a return to the genre for director Ernest Schoedsack, best known for Most Dangerous Game and King Kong, who really goes to town on the special effects, which would earn the film an Oscar nomination.
In his Classics of the Horror Film, renowned film researcher, collector and regular visitor to the UK’s famed Gothique Film Society, William K Everson, called Dr Cyclops ‘diverting hokum – but one of the wasted opportunities among films’. It’s a bit harsh, but not without some truth.
Yes, there’s virtually no horror on display, with the miniaturised cast mainly running and hiding amongst the oversized props and from a giant hand, and feigning distress in sequences featuring back projection shots of Thorkel’s snarling black cat Satanus (great name) and stock footage of a variety of animals and birds (kookaburras – in the Amazon?). While the lush colours and gay musical score does turn it into something akin to a live action cartoon adventure.
Looking like a cross between Peter Lorre’s Mr Moto and Donald Pleasence’s Blofeld with his shaved head and thick, round glasses, Dekker brings much sympathy to his scientist with a God complex (I blamed the radiation for his increasing mania); while the rest of the cast (Thomas Coley, Janice Logan, Charles Halton, Victor Kilian and Frank Yaconelli) are all effective in their respective stereotype roles.
There are, however, some genuine thrills, notably the death of one of our little heroes (who’s killed when he learns the miniaturisation effects are only temporary), the group’s efforts to train a rifle on their sleeping tormentor, and the gripping climax. Perfect for younger viewers and for revisiting on a rainy Sunday afternoon.
Dr Cyclops is available on DVD in the UK from Fabulous Films
This semi-sequel/remake of Herschell Gordon Lewis’ Blood Feast (1963) was written by Michael Sonye (aka Haunted Garage’s Dukey Flyswatter) and directed by Jackie Kong. It follows two weirdo brothers Michael (Rick Burks) and George (Carl Crew) and the reanimated brain of their serial killer uncle Anwar (Drew Godderis) as they attempt to resurrect an ancient Lumerian goddess, Sheetar, using the body parts of immoral young women and the sacrifice of a virgin to awaken Sheetar’s powers…
Given only a limited release back in 1987, Blood Diner’s cult reputation has grown over the years. Now, I do remember seeing it lurking in VHS bargain bins back in the day, but I never saw it until now as it’s been dusted off and given a HD Blu-ray makeover as part of Lionsgate’s Vestron Video re-issues – and I must say Blood Diner certainly belongs in the ‘it’s so-bad it’s good’ section of my cult film library.
The music is a bizarre mix of dire synth score, 1960s soul and mambo; while the acting (featuring the worst accents ever) is abysmal, but it’s all shot with such energy and OTT garishness – just like the Troma films of the day – that I’ve actually gone back for a second helping.
Featuring hilarious gross-out sequences and lots of blood, gore, cartoon violence and projectile vomiting, Blood Diner is one seriously insane ride. It also boasts the kind of way-out characters you’d expect from an early John Waters movie, including a burger bar owner whose ventriloquist dummy does all the talking, an obese food critic, a manic archaeologist, and that talking brain in glass jar.
Naked female flesh – and their entrails – are high on the menu alongside some quite nasty acts of violence against women and misogynist humour like ‘Every heard of battered girlfriends?’, which made me question whether the film’s female director was making some kind of a statement or not? There’s also some broad swipes against health food fanatics and the homeless which border on being just a little too unkind.
Filling out the running time is a unnecessary wrestling match involving an Ayran bloke wearing a Hitler moustache and Nazi insignia, while the film’s big set piece is the ‘blood buffet’ where Sheetah, now resurrected, and sporting what looks like a man-eating vagina with teeth in place of her stomach, causes complete mayhem.
Given the cult status that Troma’s Toxic Avenger has acquired over the years, this insane 1980s horror comedy is certainly in the same league. And now that its been restored and remastered – you never know, we might just see a stage musical adaptation one day soon. I know I’d pay to see that (just minus the misogyny).
Blood Diner is released through Lionsgate Home Entertainment UK, and includes the following special features:
• Audio commentary with director Jackie Kong
• Six Blood Diner featurettes: Queen Kong; The Cook, The Uncle, and The Detective; Open for Business; Scoring for Sheetar; You Are What They Eat!
• Archive interview with project consultant Eric Caidin
• Trailer, TV Sports and Still Gallery
The Evil Within (2017) | Andrew Getty’s surreal Poe-esque psychological horror is destined for cult status!
Originally called The Storyteller, this surreal horror was 15 years in the making. Its writer/director Andrew Getty became a virtual recluse as he became consumed by the project, which he self-financed to the tune of some US$6million (courtesy of the family fortune). But he never saw it completed, as he tragically died, aged 47, in March 2015 from a bleeding ulcer. And it’s a real shame, as his twisted tale is more than just a billionaire’s vanity project – it’s a visually arresting psychological horror that’s worthy of cult status.
Special needs LA teen Dennis (Frederick Koehler) suffers from sleep paralysis, in which he sees a demonic entity (The Hills Have Eyes‘ Michael Berryman) at the foot of his bed, and is haunted by a childhood nightmare involving a carnival ghost train that never ends.
When his brother John (Dead Zone’s Sean Patrick Flanery) redecorates his room at their Hollywood Hills mansion [Getty filmed everything at his own home, which was once owned by composer Miklos Rozsa], Dennis gets upset over an antique mirror which he recognises from his nightmares. But the mirror soon begins to exert a malevolent influence over Dennis, who starts conversing with his articulate reflection – that may (or may not be) the demonic entity in disguise.
Offering to ‘fix’ his brain, his ‘reflection’ convinces him to turn to killing: starting first with animals and children, before graduating to adults. But when he’s then told to kill the object of his affection – an ice-cream parlor attendant, Dennis becomes convinced the entity is using him as a pawn to enter the real world… Meanwhile, John has his own inner demons to contend with – and they all rest on guilt. So what is he hiding?
Getty’s weird, disturbing tale is a contemporary fusion of split personality psychological horror, archetypal pact with the devil story, and Edgar Allan Poe’s The Tell-Tale Heart. It’s visually inventive, thanks to Getty’s meticulous home-made special effects, which put a spotlight on Dennis’ turmoil of being trapped in a body that is not fully ‘right’ (you’ll discover why as the mystery thickens); while also serving to elicit some genuine scares (beware the giant spider!) and to disorientate the viewer as to what is real and what is imagined. And this really plays out when the film enters The Twilight Zone as John and his girlfriend Lydia (Dina Meyer) wander around a seemingly-deserted LA with only Will & Grace‘s Tim Bagley for company.
But the film rests soley on Koehler, who brings two very distinct characters to life: his awkward but likeable teen Dennis, in which he channels Charles Laughton’s Quasimodo, and his dominate and downright scary sociopath reflection. It’s a mesmerising dual performance that puts everyone else in shadow – even guest star Kim Darby, best known for fighting off goblins in the 1970s TV movie classic Don’t Be Afraid of the Dark. I’ve watched this twice now and can’t wait to sit through it again. A true outsider cult hit in the making.
The Evil Within is out on DVD and Blu-ray in the UK from 4 September 2017 from Screenbound Pictures.
Recently, I got a hold of Universal’s The Mummy: Complete Legacy Collection on Blu-ray, which gave me a chance to revisit not only the Karloff original, but also the 1940’s Kharis Mummy movies, which I had not seen since I was a kid.
Now released in HD for the first time, they sure look great, but – boy! – aren’t they a perfect example of the law of diminishing returns? Here’s a look back at the shuffling mis-adventures of Kharis, the ancient Egyptian avenger…
The Mummy’s Hand, 1940
Starring Dick Foran, George Zucco, Cecil Kellaway.
Director: Christy Cabanne.
Eight years after Boris Karloff donned bandages for Karl Freund’s The Mummy, Universal resuscitated the movie monster (now called Kharis, as Karloff’s Im-Ho-Tep had crumbled to dust) for four new adventures. Cowboy star Tom Tyler is the black-eyed Egyptian avenger restored to life (with the fluid from a handful of Tana leaves) by Andoheb, George Zucco’s-newly appointed High Priest of Karnak, to wreak revenge on the archaeological team who are trying to locate the tomb of the Princess Ananka (whom Kharis tried to raise from the dead back in 1472 BC, but ended getting buried alive with his tongue cut out).
Dick Foran is the archaeologist, Steve Banning, and Wallace Ford is his wisecracking sidekick, Babe Jenson; while Cecil Kellaway is the travelling magician who funds their doomed trip, and Peggy Moran is his daughter who gets carried away by Kharis (literally) when Zucco’s Andoheb decides to make her immortal – much to Kharis’ annoyance.
To save on the budget, Kharis’ back-story incorporates Karloff’s incarceration from the 1932 film, while the temple from Universal’s 1940 adventure Green Hell is also re-used as Zucco’s secret lair in the Hill of the Seven Jackals. Looking at it today, the film is a bit of a joke as there’s no real horror on display, suspense or drama (although Tyler’s weird black eyes still disturb). It plays more like a comical adventure serial, and nobody bothered to double-check the hieroglyphics (which are meaningless), the Arabic (misspelled), or doing any historical research (Zucco’s temple is more Mayan than Egyptian, and his character mistakes the Incas as coming from Mexico).
Except for the odd flash of inventiveness that recall Universal’s 1930s glory days when German expressionism informed its production design, it’s a poor start to the Kharis series. Thankfully, Hammer would put their own macabre stamp on the iconic creature when they used this film and its sequel, The Mummy’s Tomb, as the basis for their 1957 Technicolor version.
The Mummy’s Tomb, 1942
Starring Lon Chaney Jr, Dick Foran, Turhan Bey.
Director: Harold Young.
30 years after the Banning Expedition desecrated Princess Ananka’s tomb in The Mummy’s Hand, Kharis (who survived his blazing demise) is transported to a cemetery in Mapleton, Massachusetts by Mehemet Bey (Turhan Bey, aka the Turkish Delight), under the orders of George Zucco’s expiring Andoheb (who somehow survived being shot multiple times in the previous entry) to hunt down and kill the remaining members of the dig and their descendants.
Purists have often wondered whether it really is Lon Chaney Jr all the time under Jack Pierce’s make-up and bandages (as there are three stunt people also credited, including Eddie Parker); and whether playing a role in which he neither speaks nor is recognisable was a wise career choice. His shuffling Kharis is pretty poor. Moving at a snail’s pace with one lame arm, it’s incredible that any of his victims don’t just run away – instead they stay put (as though frozen in fear), or pretend to be cornered so that he can lunge at them with his one powerful arm (he was supposedly restored partially paralysed in the first film because of a lack of Tana leaf juice) and strangle them to death.
To keep the budget small and to fill out the running time, extensive flashbacks from The Mummy’s Hand are used before we get a repeat of the previous film’s revenge plot – only minus the wise cracks and pratfalls. The film does have some atmospheric cinematography and lighting effects, courtesy of George Robinson (Son of Frankenstein, Tower of London), especially the scenes set in the American gothic-styled cemetery. And it all looks a treat in this HD Blu-ray presentation, although it does show up the rubber mask on the Mummy as well.
Like the first film, it ends with a frightened lovely (Elyse Knox) dressed in another stunning Vera West gown being carted off by Kharis, so that the infatuated High Priest can make her his immortal bride. And, once again, the villain is shot while Kharis goes up in flames…
The Mummy’s Ghost, 1944
Starring Lon Chaney Jr, John Carradine, George Zucco.
Director: Reginald LeBorg
My favourite of the Kharis mummy series, this one starts off just the last two, with George Zucco again playing the withered old High Priest (who seems to have more lives than a cat) who tasks another acolyte, this time a youthful John Carradine (as Youssef Bey) with bringing Ananka and Kharis back home to Egypt.
Bizarrely, Ananka’s protectors aren’t the High Priests of Karnak now, but Arkam. However, those Tana leaves are still lurking about – but with added mythology. Just as wolfbane can cure lyncathropy if prepared during a full moon, the fluid taken from the Tana leaves during the same lunar cycle can usher forth Kharis’ ghost (hence the title).
While the film is basically the same plot as the previous two, director Reginald LeBorg does stir things up by having the Princess reincarnated in the shapely form of former pin-up Ramsay Ames. She plays Amina Mensori, a student of Egyptology who is based in the very same town that Kharis shuffled amok years beforehand. LeBorg brings much flair to the proceedings, and there’s a real effort to make Chaney’s Mummy more menacing looking (BTW: his appearance ended up being used as the template for Aurora’s classic glow in the dark model kit that I have had since I was a kid).
In a clever nod to The Bride of Frankenstein, Ames gets a white streak in her perfectly-coiffured bonnet, which turns pure white as Ananka’s soul takes over (causing her to age rapidly) when Kharis ends up carrying her down into the murky depths of a nearby swamp in the film’s climax.
The Mummy’s Curse, 1944
Starring Lon Chaney Jr, Virginia Christine, Martin Kosleck.
Director: Leslie Goodwins.
Five months after the release of The Mummy’s Ghost, Universal rushed out this final sequel for a Christmas release, thus completing Lon Chaney Jr’s trio of turns as the shuffling undead Kharis (although he did spoof the character in an episode of Route 66 in 1962’s Lizard’s Leg and Owlet’s Wing). And – except for one sequence – this is the worst of the lot.
Unlike today, Universal had little care for their franchise and totally stuffs up the continuity and mythology by setting this follow-up in Louisiana instead of New England. When the swamp where Kharis and Ananka drowned is planned to be drained the Scripps Museum sends two representatives, Dr James Halsey (Dennis Moore) and an Egyptian colleague Zandaab (Peter Cobb), to retrieve their bodies. Of course, Zanbaab is secretly a high priest of the Arkam set, and he has help in construction worker Ragheb (Martin Kosleck), who has Kharis’ body interred at an old abandoned monastery.
Meanwhile, Princess Ananka emerges from a muddy coffin and ends up a Jane Doe in the care of Halsey and his girl Betty (Kay Harding). Of course, its not long before Kharis arrives on the scene and whisks her away for the final showdown at the monastery… which ends badly for one and all, especially poor Ananka.
This was a rare horror entry from British-born director Leslie Goodwins, who was better at low-budget comedies, and also marked the feature debut of Virginia Christine, who’d go onto light character roles. It’s quite poor, and reeks of racial stereotyping, especially the Cajun Joe character. Chaney only gets one good scene, at the end, as the monastery collapses on him (watch him keep his composure as a heavy brick smashes into his face); and the day-for-night shots are infuriating. But it does have one scene which still haunts, and that’s when Christine’s Ananka emerges from her resting place in the swamp. It’s a striking scene, especially in the way in which Christine plays it.
Of course, Universal couldn’t keep their Mummy down for too long. In 1955, Abbott and Costello got their chance to have a date with Klaris (a pun on Kharis) for their 28th and final film comedy, with Eddie Parker wearing what looks like a onesie decorated with a bandage motif. Except to fans of the comic duo and their verbal gymnastics, this was a poor end to their feature film careers.
Magic Circle (2017) | A trickster theatrical descent into the occult zone with Brother Wolf and Kim Newman
In what must be a first for the British stage, the Brother Wolf theatre company is conducting an arcane magic ritual for their latest production, Magic Circle, a two-handed mystery written by novelist Kim Newman, whose inspirations include real-life magician Aleister Crowley, the weird fiction HP Lovecraft and Dennis Wheatley’s occult masterpiece The Devil Rides Out. And if you are a fan, then you are in for a treat.
It’s circa 1970 and in a room at Calme Manor, where some gruesome murders have taken place, a protective chalk circle has been drawn. Inside sits Professor Harry Cutley (Michael Shon), an academic and occultist who plans to spend the night undoing a dangerous spell cast by a former acolyte.
Outside the intangible barrier stands the no-nonsense Inspector Nicholas Gammell (James Hyland) who doesn’t like having an unsolved case on his books and considers Cutley a suspect. What follows is a battle of wills as Gammell interrogates Cutley and hidden agendas begin to emerge from out of the shadows…
This is the first full-length dramatic work for Kim Newman, best known as the author of the Anno Dracula novels (and comics) and for his insightful film reviews, and I must admit I was crossing my fingers that it would be better than his first stage production, The Hallowe’en Sessions – part of the portmanteau chiller The Ghost Train Doesn’t Stop Here Anymore – which played at the Leicester Square Theatre but was stifled by mis-direction. But I got my wish, as director Phil Lowe has successfully breathed theatrical life into Newman’s intelligent and witty script (OMG! Sooty’s a satanic avatar!), which explores the power of words via an occult narrative (clever stuff indeed).
The intense proceedings are maximised by the use of the most minimal of sets, equipped with little more than that chalk circle, some ceremonial magic items, and a bundle of clothes neatly folded in a corner of the blacked-out stage – plus a pentagram designed with Newman’s own esoteric symbols. Such minimalism allows the audience to visualise the off-stage action (like the deaths describes in gory detail) and to ponder over the true intentions of Shon’s obsessive Professor of Comparative Religions and Hyland’s skeptical copper, who is trying to lure the hip occultist out of his circle, but never can cross (now why is it?).
Both actors excel in their respective parts, with Hyland’s surly copper coming off like a cross between Alfred Marks’ DS Bellaver in Scream and Scream Again (1970) and Laurence Olivier’s down-at-hell Archie in The Entertainer (1960), while Shon’s hippy occultit possesses the same arrogance as Dean Stockwell’s Wilbur Whateley in The Dunwich Horror (1970). And thanks to Newman’s trickster narrative, the duo get to showcase their vast range as they lure audiences into the author’s eerie mystery – one that’s guaranteed to leave you breathless by the end.
Catch Magic Circle next at…
BARTON UPON HUMBER – ROPERY HALL
Maltkiln Road, Barton upon Humber, North Lincolnshire, DN18 5JT
01652 660 380 www.roperyhall.co.uk
STAFFORD – GATEHOUSE THEATRE
Eastgate Street, Stafford, ST16 2LT
01785 254 653 www.staffordgatehousetheatre.co.uk