Barbra plays Daisy Gamble, a woman based on Bridie Murphy, who knows when the phone’s going to ring, and talks to flowers helping them to flourish. She seeks help from a doctor who specializes in hypnosis to help her quit smoking. Once she’s under, she becomes regressed back to several past lives and quite a few animated personalities, one of which he falls madly in love with. Co-Starring Yves Montand and Jack Nicholson, Simon Oakland, Larry Blyden and Bob Newhart.
With music by Burton Laneand lyrics by Alan Jay Lerner, sung by the unchallenged songstress of the millennia Barbra Streisand, here’s just one of the spectacular, and transcendental songs of the film.
On a Clear Day You Can See Forever sung at the film’s coda
"Most people's lives"¦what are they but trails of debris, each day, more debris… more debris"¦ all long trails of debris. With nothing to clean it all up. Finally death."
To me no other playwright manifests more compelling characters, turns a phrase or extracts a poignant moment quite like Tennessee Williams. I want to continue discussing Suddenly, Last Summer, however sensationalist the films climax chooses to eradicate any trace of the central albeit unseen character’s transgression of homosexuality, Tennessee Williams the tormented, sensitive genius who’s homosexuality informed much of his work, also wrote short stories that explore isolation and disconnection within the family dynamic and fringe collections of misfits and loners, somewhat comparative to the characterizations by Edgar Allan Poe or Robert Aldrich.
Tennessee Williams, Paris, 1959 photo by Gisèle Freund.
In a 1948 essay in The New York Times, Williams wrote about the questions that people would ask him about his plays and his characters: "Why do you always write about frustrated women?"
“To say that floored me is to put it mildly, because I would say that frustrated is almost exactly what the women I write about are not. What was frustrated about Amanda Wingfield? Circumstances, yes! But spirit? See Helen Hayes in London's Glass Menagerie if you still think Amanda was a frustrated spirit! No, there is nothing interesting about frustration, per se. I could not write a line about it for the simple reason that I can't write a line about anything that bores me. Was Blanche of A Streetcar Named Desire frustrated? About as frustrated as a beast of the jungle! And Alma Winemiller? (Summer and Smoke) What is frustrated about loving with such white hot intensity that it alters the whole direction of your life, and removes you from the parlor of the Episcopal rectory to a secret room above Moon Lake Casino?”
Geraldine Page as Alexandra Del Lago and Paul Newman as Chance Wayne in Tennessee William’s Sweet Bird of Youth 1962
I think it’s such a seminal piece of work by Williams because it places the conversation in the mainstream of a very culturally conservative 1957. So to continue with my thoughts and impressions about this nuanced melodrama that at times behaves like Grande Guignol.
Party grotesque because of its dealings with American psychiatry and asylums, Williams’ struggle to embrace his homosexuality while entering into psychoanalysis with the famous Dr.Lawrence Kubie whose work included many closeted writers of that time period, it’s been said that it was playwright William Inge who actually made the introductions to Kubie who had also held a position as a military psychologist in the 1940s working to keep homosexuals out of the service.
Tennessee Williams scaring the pigeons in Jackson Square New Orleans – thank god it’s not a flock of vicious devouring black birds going for the soft under belly!
It was during the arduous therapy sessions that Kubie urged Williams to not only give up his sexual proclivities but to abandon his writing as well. Williams ignored the advice of his analyst and remained with his long-time lover Frank Merlo, In fact as I stated in Part I, he actually finished Suddenly, Last Summer at the end of their work together. It was ultimately his writing that served as catharsis, than any prescribed deprivation by Kubie. The one positive by-product of their discussions about William’s dysfunctional family life helped spark a re-energized creative force that proved prolific.
Williams does seem to charge his story with a negative view of American psychiatry. Using the threat of a lobotomy as a weapon is pivotal to the narrative. It is not only William’s condemnation of neurosurgery as a tool of eradicating the identity of the self, his sister Rose and Catherine Holly, but it goes to the argument that the mental health establishment was attacking homosexuality by wiping out the ‘desire’, his choice to live his life the way he wanted to, and was too comfortably supported by the norms of a society that would rather have ‘homosexuals’ just disappear, ‘the cure’ essentially being the same as wiping out the ‘disease’ from the soul. Violet insists that Sebastian was “chaste.” In death, he could remain so.
The incarnation of Sebastian Venable- A white silk suit with no face
Suddenly, Last Summer’s protagonist Sebastian is literally and figuratively absent. He has died before the film begins. There is something to the narrative that makes him somewhat of a blank page, not unlike or symbolically like the empty pages of his yearly poetry notebook that Mother Violet carries around with her like the bible. She assaults Catherine with it, furiously, as a testimony to his inability to write his last Poem of Summer without his mother there to support his creative force. The very books of poetry themselves are "˜ambiguous.'
In this story, Sebastian’s persona, his physical body haunts the narrative, veiled, disambiguate, and elusive. As Violet describes him to Dr. Cukrowicz it is as if she is discussing a ‘work of art’, almost unreal, inhuman, superlative, and divine.
Sebastian Venable is not present as a stable or unifying entity, he merely represents the fragmented consequence of his desires, therefore you cannot assign any definitive boundaries around his identity. The one constant that is pervasive is that he is an absolute symbol of ‘desire’. He and it are one and the same.-though veiled in secrecy and only revealed at the end. The only evidence or declaration of his existence is his white silk suit, cultured accouterments, and ob*je d’art cluttering his Atelier.
Since Williams did cease working with Kubie, and he continued to self-identify as a queer man, it has to conflict with Williams’ detractors who claim, Suddenly, Last Summer was a condemnation of his own homosexuality. The film creates too much of a negative and sinister environment surrounding Lions View, demonizing lobotomies and it’s inherent medieval barbarism, and rallying against the self-denial of Violet Venable. All factors explore how the world imposes it’s will on an individual’s personal freedom.
THE SELF-LOATHING HOMOSEXUAL AND WILLIAM’S STORY OF THE VENABLES.
THE TRUE MONSTERS OF SUDDENLY, LAST SUMMER. The Hollies, Dr. Lawrence J. Hockstader: head of Lions View Sanitarium who seeks funding for barbaric surgeries, the Devouring Mother Violet Venable, the Natural World, the Lady Venus Fly Trap, and God himself.
Norman Bates’s mom. An archetypal devouring mother, based on a historical serial killer from Wisconsin Ed Gein’s domineering yet stuffed mother.
So this leads to another lurking question about the play, the story, and the film’s adaptation. Is Suddenly, Last Summer the ultimate example of The Self Loathing Queer? While Sebastian Venable is a character who might be considered a predator, a parasite, a procure, or a user, who ‘baits’ the objects of his desire with the women in his life. The truth is he is not the only focal point of the story, he is the impetus, the catalyst, with which the story sparks.
 “Blondes were next on the menu,” Catherine explains to Dr Cukrowicz, “He was fed up with the dark ones and was famished for blondes….that’s how he talked about people, as if they were – items on a menu. – ‘That one’s delicious looking, that one is appetizing’…”
He is also a figure manifested and manufactured by a devouring mother incestuous and domineering who taught her son well, how to use his social capital to manipulate, exploit, and ultimately consume. Even to the exclusion of her deceased husband whom she abandoned while he was dying, just so she could be with her son when he had considered renouncing all his worldly possessions and becoming a Tibetan Monk. We see through a spectrum of maternal monologues the tenuous line between motherly love and oedipal internment. A devouring mother with a goddess complex who intones the ritualistic invocation of his name – "My son, Sebastian” – throughout the film setting forth a solid declaration of ownership to her son as well as giving him a place in the framework of her life’s meaning.
“Sebastian always said, ‘Mother when you descend it’s like the Goddess from the Machine’… it seems that the Emperor of Byzantium – when he received people in audience – had a throne which, during the conversation, would rise mysteriously into the air to the consternation of his visitors. But as we are living in a democracy, I reverse the procedure. I don’t rise, I come down.”
In fact, William’s portrayal of mostly all the heterosexual characters in the story radiates a nature that can be qualified as reprehensible, greedy, vicious, and downright morbid. Violet Venable is as much or more a grotesque character than Sebastian’s homosexuality, she is the striking monster of the story if you will.
Catherine Holly is literally raped surrounded by the wild Oaks, the image evoked as if it were a rite performed by evil spirits emanating from the ancient Oaks themselves, although she was violated by a married man of low stature in the community no less. Catherine’s violation itself is a monstrous aspect of the story and might harken back to the accusation of rape that William’s sister Rose made toward her own father, the reason, Edwina wanted her daughter quieted.
Catherine’s own mother and brother easily tune out the reality of the invasive and irreversible brain damage that drilling into her skull would cause, just so they can grab their piece of the Venable fortune. The Hollies are all too eager and willing to sign commitment papers from the malevolent Aunt Violet not only to confine her to Lion’s View but subject her to a lobotomy in order to get their hands on Sebastian’s inheritance. Monstrous.
Suddenly, Last Summer was a one-act play by Tennessee Williams. It opened off-Broadway on January 7, 1958. It was part of a double bill with another one-act play of Williams’ called Something Unspoken. Suddenly, Last Summer is considered one of Williams’ starkest and most poetic works, and I tend to agree.
While writing this post, I discovered the same story surfacing about the working atmosphere on the set of the film, concerning the tensions between film stars Katharine Hepburn as well as Liz Taylor toward Mankiewicz’s abominable treatment of actor Monty Clift who had been struggling on the set with alcohol and drug use due to a car accident that disfigured his face. The actors had grown increasingly disgusted with the director’s blatant homophobic abuse of Clift who was openly gay.
Film director-Joseph L. Mankiewicz.Montgomery Clift in I Confess (1964).Dr. Cukrowicz talks with Catherine at the convent.Liz and Monty on the set of Place In The Sun 1950
Apparently, this tension culminated in a moment of rebellion by Ms. Hepburn, who waited til the final scene was shot, and then proceeded to spit in Mankiewicz’s face. I have to say, that while Hepburn is not on my list of actors that I idolize nor whose film career I follow closely, I commend her intrepid defense, and would have expected more of a face slap with a long white linen glove. I am saddened by the revelation, if it is accurate that Mankiewicz was a homophobe. I just finished watching his film, Letter to Three Wives 1949 with 3 of my best-loved actresses Ann Southern, Jeanne Crain, and Linda Darnell. Not to mention his contribution to All About Eve 1950. It’s often hard to separate the person from the work, and while I will always admire his work as a director, it does taint the waters to think that Mankiewicz could be a Neanderthal in his thinking.
Letter to Three Wives (1949) starring Ann Southern, Linda Darnell, and Jeanne Crain.All About Eve 1950.Joseph L. Mankiewicz on the set of Suddenly Last Summer with Elizabeth Taylor.
Producer Sam Spiegel submitted Gore Vidal’s screenplay to the MPAA’s review board before production began, the board having expressed objections to the story’s subject matter. Spiegel wanted to let Joseph Mankiewicz shoot the film as it was intended. Although the board first refused to approve the film, they gave the go-ahead, after a few minor changes were made. Thus, the word homosexual never materialized at any time in the film.
The movie supposedly differs from the stage version, using added scenes, and characters. Also adding a few subplots. Due to the strict Hollywood Production Codes that were enforced, they had to cut out any explicit references to homosexuality.
Elizabeth Taylorconjures the psychically injured Catherine Holly with a volatile poignancy, Katharine Hepburn icy and filled with misconstructions about the relationship with her son Sebastian, emerges from her gilded elevator like a throne, as Mrs.Violet Venable. Both stars were up for Academy Awards for Best Actress in A Leading Role that year, but both lost to Simone Signoret for her role in Room at The Top (1959).
Diane McBainplays Shayne the ruthless head of a motorcycle gang who is obsessed with punishing and getting her ex-lover Jeff (Ross Hagen) to come back to her no matter what it takes. Shayne ignites a sadistic onslaught against her ex-lover and his new bride Connie.(Sherry Jackson)
Patty McCormack as little Rhoda Penmark in Mervyn LeRoy’s 1956 psychological thriller THE BAD SEED
Battleship Potemkin 1925- Sergei Eisenstein known for his montage framing and editing offers up the epic dramatization of the social uprising in Russia, which brought about a grim massacre with an iconic scene of the baby carriage plummeting down the great stone steps.Dr. Caligari’s somnambulist, Cesare (Conrad Veidt) ascends the abstraction of a stairway to nowhere…in The Cabinet of Dr. Caligari (1920)F.W. Murnau’s 1922 masterpiece of shadow and light. With subtle prominence, the silhouette of the stair rails makes cogent the sinister outline of Max Schreck’s Nosferatu all the more.Alfred Hitchcock’s crime thriller Blackmail (1929).She 1935 Irving Pichel and Lansing C Holden’s fantastical saga based on H. Rider Haggard’s novel about an ancient esoteric civilization reigned over by the cruel high priestess She who must be obeyed, upon the steps by the secret eternal flame of everlasting youth! with an intoxicating score by Max Steiner.Again in 1935, SHE was released in both B&W and a gorgeous colorized version. I’ll be doing a larger overview of the film very soon. Using images from both. Steps upon steps, leading to divinity, or leading to death?Thorold Dickinson’s hauntingly sinister fable- The Queen of Spades 1949- See the intricate network of elaborate stairs that wind within the vast manor house, which lead to the infamous lady who bet her soul away to the devil in order to win at a game of cards.In Alfred Hitchcock’s Notorious (1946) Cary Grant carries Ingrid Bergman to safety down the moonlit stone steps.
Charlie Chaplin in City Lights 1931.
Alfred Hitchcock’s Psycho 1960.
Jack Clayton’s The Innocents 1961 starring Deborah Kerr.
In notorious (1946) Claude Rains stands alone facing his fate up those moonlit stone steps…the end scene.
Directed by Mark Robson, produced by David Weisbart and Helen Deutsch, with a screenplay by Dorothy Kingsley and Harlan Ellison. Cinematography by William H. Daniels (CAT ON A HOT TIN ROOF 1957, IN LIKE FLINT 1967).
Film editing by Dorothy Spencer (STAGECOACH 1939, TO BE OR NOT TO BE 1942, LIFEBOAT 1944 and CLEOPATRA 1963) Set Direction by Raphael Bretton (HUSH HUSH SWEET CHARLOTTE 1964 and THE POSEIDON ADVENTURE 1972) and Walter M Scott. (THE SOUND OF MUSIC 1965 and BUTCH CASSIDY AND THE SUNDANCE KID 1969) Art Design by Richard Day (ON THE WATERFRONT 1954, A STREETCAR NAMED DESIRE 1951 and THE GRAPES OF WRATH 1940) and Jack Martin Smith (BATMAN 1966 and PLANET OF THE APES 1968) and wardrobe by Travilla.
With all that creative talent on board, you can call the film trashy, but it sure has a lot of style!
Starring Barbara Parkins (THE MEPHISTO WALTZ 1971 never looking more beautiful in my opinion. One of my favorite horror films of the 70s, I plan on doing a long winded overview of it this Winter 2012.)
The incredible Barbara Parkins…and her killer boots!
From the moment the utter fabulousness of this tawdry pulp icon of the 60s starts rolling on screen with Barbara Parkin’s heavenly visage gazing out the train window, and Dionne Warwick starts confessing the movie’s theme song with her soulful voice… I get verklempt.
Doll a euphemism for little colored pills of varying types of barbiturates… ‘uppers’ and ‘downers.’
It is based on the best-selling explosively trashy novel by Jacqueline Susann and directed by, of all people, Mark Robson. (THE SEVENTH VICTIM 1943, THE GHOST SHIP 1943, ISLE OF THE DEAD 1945, and well his telltale progression into melodrama land with PEYTON PLACE 1957 and eventually into darker territories with DADDY’S GONE A- HUNTING 1969)
Growing up as a little girl in the ’60s, there wasn’t a coffee table or bookshelf that I didn’t see a copy of Valley of the Dolls sitting atop next to a hardcover of a best-selling self-help book by Dr. Thomas A. Harris’, I’m Okay You’re Okay which was first published in 1967, the year Valley of The Dolls was released.
There was certainly a copy of it in my own house and I remember seeing the film either during its theatrical release or later on the huge Magnavox cabinet tv with only three dials. At first, I was struck by the incredible score from composer John Williams and songs by Andre Previn and lyrics by Dory Previn. And then I fell under the spell of the badness and the beautifulness of it all…
Standing out is its vivid colors of the 60s film processing, the vogue style couture, flashy set design, and mod art direction. Populated by the campy, over-the-top acting in all the right places, of course, by the entire cast, it makes for one hell of a ride through the tunnel of tragic love in high-dramaville. As cliche after libidinous, compulsive, and histrionic cliche prance across the screen as a story of meandering disassembled desire by the needful women and their male companions.
It’s campy and tawdry and melodramatic trash, and that’s a GOOD THING for us junkies of melodramatic trashy & campy flicks from the 1940s -1960s.
Lee Remick plays bank teller Kelly Sherwood who is being terrorized by ‘Red’ Lynch (Ross Martin) a psychopath with an asthmatic voice like sandpaper who schemes to use her in a plot to steal $100,000 from the bank where she works. Lynch kidnaps Sherwood’s younger sister Toby played by Stephanie Powers, and then threatens to kill her, if she tells the police. Enter Glenn Ford as F.B.I. agent Ripley who is now on the case… setting off a feverish game of cat & mouse between Remick, Martin and Ford.
Directed by Blake Edwards, this is one hell of a gripping Film Noir/ Thriller, with a screenplay by The Gordons, based on Mildred and Gordon Gordon’s 1961 novel Operation Terror.
I love Ross Martin’s portrayal of the murdering, smarmy crushed velvet jacket wearing, tv host art critic Dale Kingston in Columbo’s “Suitable for Framing”
… and Martin inhabits ‘Red’ Lynch giving him a most bizarre sort of vicious earning him the persona here as Fiend of The Day!
If you’ve been following my blog for a while, you would have figured out, that I’m a singer/songwriter & recording artist, because I’ve mentioned it, oh about a zillion times…So here I go again taking a song of mine ‘Savage Bliss‘ off my lo-fi neo classical album The Amber Sessionsand mashing it up in the editing bowl with Jean Cocteau’sLa Belle et la Bete (1946) Starring Josette Day and Jean Marais.
I love working with the films that have inspired me, adding my musical voice to the images, not because I flatter myself as a couch surfing filmmaker, rather as a way of expressing my eternal gratitude for the release and fulfillment that film has given me since I was a little monster girl singer/songwriter. So without any further adieu…!
Here’s to the beauty and the beast in all of us… cheers-MonsterGirl
Urbane master of horror Vincent Price stars in one of William Castle’s atmospheric carnival rides as Dr. Warren Chapin, a pathologist whose milieu is the autopsies of executed prisoners from the State prison.
Chapin is driven by a curiosity to find out the source of the mysteriously evil force that creates the SENSATION of fear, and so he sparks a theory that there is an organism called… The Tinglermanifests itself at the base of the spine when one is experiencing abject fear. The Tinglerhowever is subdued by the act of screaming. This nightmare from the vertebral id looks like a giant centipede or a flat lobster with mandibles, lots of legs, and armored scales.
Each of us is inhabited by one of these creepy crawling death grippers, which grow larger as our fear expands, but because of our ability to scream, it lays dormant, incognito, and in repose at the base of our spines.
At first, Chapin locks himself in his lab, experimenting by taking doses of LSD and trying to induce fear first in stray cats and then in himself.
So it goes until Chapin meets Ollie and Martha Higgins who own a revival silent movie theater, and oh yes, Martha happens to be a deaf-mute, who also has an extreme phobia of the sight of blood.
As you know, I adore Judith Evelyn and am not very happy when it’s suggested that Chapin injects her with some LSD instead of a sedative in order to induce some nightmarish experiences, in which Martha will not be able to ‘scream’ therefore unable to suppress the little monster waiting to grip her when the moment of fear takes hold…
Click on the image, to see the ghostly chair at work…
In one of the most memorable classic horror movie sequences, Martha (Evelyn) during her presumed lysergic acid journey is stalked through her modest, bleak, and sinister apartment by a ghoulish phantom, who hurls a hatchet at her and then maneuvers her into the bathroom, where blood runs from the sink taps and the white porcelain tub fills with actual red-colored blood (the film is of course in B&W) An arm rises from the tub and clutches toward Martha, who is in the throws of primeval fear, made all the more brutal by the fact that she cannot utter a sound thus not… scream out!
Dying of fright on the bathroom floor, Ollie wraps her up in a sheet and brings her to Dr. Chapin’s house. Sensible, skip the police and straight to the autopsy I say!
Chapin had figured that Martha’s extreme fear would enable the Tingler to grow to its veritable actual size, and thus give him the opportunity to catch a living specimen, by slicing open Martha’s back and peeling the monster from her spinal column.
Having set out to try his experiment, he was unaware that husband Ollie equipped with a ghoul mask, axe, and tub filled with tomato red blood ( in a B & W film, using special focus lenses for the colored sequences) was plotting to scare his poor wife to death, and appropriate Chapin’s LSD inducing experiment to frighten Martha to death.
Once Chapin has the Tingler, Ollie takes his de-tinglered wife back home and Chapin’s wife Isabel (Price always seems to have a scheming hussy for a wife in these flicks) slips him a Mickey and lets loose the Tingler on her unconscious husband, which proceeds to clutch at his throat like a tick on a sunny august hound dog. Luckily sister-in-law Lucy arrives just in time to… SCREAM!
“Don’t you hate it when your neighbor’s dog fluffy humps your leg whenever he’s out for a walk!”
The Tingler lets go of its death grip, Chapin puts the thing in a pet carrier and goes off to Ollie’s apartment to put the darn thing back onto Martha’s backbone. He soon realizes that Ollie murdered his wife, a fight ensues, and the Tingler gets loose, slipping through the floorboards, and is now inside the movie house looking for someone to death grip!
From Guilty Pleasures of The Horror Film page 137- Article by Tom Weaver
William Castle had told Price that:
“Usually people who are frightened scream, and that keeps their Tingler from growing. Judith Evelyn will play a deaf-mute who runs a silent movie theater. Experimenting you scare the hell out of her, but because she can’t utter a sound she’s unable to scream-her Tingler grows, crushing her to death, you operate, remove the Tingler from her spine, but it escapes and gets into the silent movie theater. Well then, make believe that the theater is actually where the picture is playing…all hell breaks loose!”
In Weaver’s article, he discusses the waning horror movie genre after WWII and how Henri-Georges Clouzot’sDiabolique in 1955 was at the vanguard of cinema.
Vera Clouzot in her husband’s masterpiece Le Diaboliques 1955.
Castle was so impressed with how much the younger audiences had a hunger to be scared pantless, that supposedly it was this French thriller, that inspired Castle to try scaring the pants off audiences as well.
Many a Film Noir was tinged with elements of the horrific, with dark undertones and psychological angles that became very influential in American and British cinema. Where else did darker cinema have to go in order to funnel its often transgressive, unorthodox, taboo energies but through the Psychotronic, Cult, or B-Movie horror genres?
The very bizarre, disturbing, and surreal Shanks directed by William Castle.
Just a little later in the early 60s, I think of The Stranglerwith Victor Buono in 1964 or Grant Williams in The Couch in 1962, The Nanny in 1965, or The Naked Kiss 1964 which filtrated pretty grotesque narratives of, Pedophilia, deranged psychosis, incest and again, the Oedipus complex.
Aldrich had ushered in a whole new persona for Bette Davis and Joan Crawford with his Grand Dame Guignol tour de force, What Ever Happened To Baby Jane 1962.
The trumpets were hailing for Castle to step up and create his own uniquely tacky ballyhoo! While not Freud in the inkwell, certainly at least some kitschy Schadenfreude.
Castle could see that young Americans were starving for entertainment that was part horrific and a little exhibitionist. He purchased a copy on the cheap of a horror/mystery novel called The Marble Forest and got television writer Robb White to put a screenplay together, and hey while they were at it, why not give it a french sounding title as a tout to Diabolique!
That’s when they released Macabre 1958which actually didn’t come until 3 years after the release of Diabolique. Weaver doubts Castle’s accuracy about certain details in his relatings about the series of events but then again William Castle was admittedly a showman, a huckster, the PT Barnum of Horror films, and didn’t deny that he could tell big whoppers at times. It was all in fun…!
William Castle and Mia Farrow on the set of Rosemary’s Baby!
There are even conflicting stories as to how the project for The Tingler came about. White who also wrote the script for House on Haunted Hill claims that it was makeup man Jack Dusick who showed White a foot-long rubber worm that he had created. “This worm, it haunted you… it scared you!!!”
White thought about the idea and went to Castle and told him that they should find out “where fear comes from” and they’ll use the WORM!
Actually, the concept of FEAR itself becomes a vital character to the narrative of The Tingler, although I’m sure Castle couldn’t give a hoot about the real ‘why’ more likely it was the ‘how’ to go about doing the ‘how’! He was more of the discount provocateur than an auteur. He had vision, it was just in 3D.
According to Castle, he asked an artist at Columbia’s art department what a Tingler should look like, ” Sort of like a lobster but flat, and instead of claws, it has long slimy feelers!”
Of course, the cast thought the script preposterous, but Price always approached anything he did with style, and an urbane dignity.
For the promotion of The Tingler, some theaters even had boxes in the lobby, where a live Tingler was being held. You were warned not to panic, but to SCREAM if it breaks loose!
White had written that they couldn’t find anything to make the Tingler look more frightening until Castle (Bill) came in one morning with a small vibrator which eventually saved the picture.
It was his idea to take out all the motors from thousands of vibrators and screw them under the theater seats, then rig everything up at crucial moments so that the audience would suddenly begin vibrating in waves, six rows at a time!
Again, whether this is true or not, Castle claims he got the idea one night after he got a violent electrical shock from changing a light bulb on his bedside table. William Castle wrote in hisStep Right Up! “I’m going to buzz the asses of everyone in America!”Â
By installing little motors under the seats of every theater in the country, the projectionist would get the special cues on the film itself, then press a button once the Tingler appears on screen to ‘jolt’ the audience, leading them to believe that the Tingler was loose in the actual theater!
Dona Holloway the Associate to the Producer dubbed the process PERCEPTO!
Now that I’m back in the NYC area, I have to see if the Film Forum on Houston Street still runs their horror/sci-fi/fantasy Festivals. Years ago, I happened to catch a showing of The Maze 1953 where they passed out 3D glasses to the audience. At one time the Film Forum ran The Tingler complete with Percepto! I would love to have had my ass in one of those seats…
As far as Robb White, he considered these films dumb, “I hated ’em” and “And for years didn’t see some of the films I made with Bill Castle. I mean they’re so dumb God!- there’s not a worm in your backbone when you get scared.”
