Feature & Interview with Iconic Actress, Dancer, and Photographer, Barbara Parkins

The Raven-haired sylph who: "walks in beauty like the night"¦ Of cloudless climes and starry skies; And all that's best of dark and bright; Meet in her aspect and her eyes"¦" "” Lord Byron

Barbara Parkins is an icon of the 1960s, appearing in two of the decade's most popular and legendary film and television productions.

Barbara's exquisite beauty is undeniable, but her captivating performances in Peyton Place and Valley of the Dolls truly secured her legacy in Hollywood history and our collective consciousness. As beloved – Betty Anderson in the television series Peyton Place and as Anne Welles in the notorious adaptation of Jacqueline Susann's sensational novel Valley of the Dolls (1967). These memorable roles continue to resonate with audiences today.

But beyond any of it, the glamour, serious drama, pulp fiction, or even the camp, there is an actress who possesses an otherworldly beauty and a depth of character and quality. Not only has she touched our hearts with her performances as these two classic heroines, but she is also one of those recognizable actresses who project strength, confidence, and poise.

Barbara Parkins will undoubtedly be remembered for her portrayal of Betty Anderson Cord in the iconic 1960s prime-time operatic melodrama Peyton Place, which ran from 1964 to 1969.

Based on Grace Metalious's "˜dirty book,' Peyton Place blew the lid off of the hypocritical conformity of small-town America, capturing the complexities of American morality through high drama, showing the dark underbelly of a quaint community of "˜wholesome' families striving for normalcy amid controversial issues. That everything is not safe, it's not always comfortable, and it is without real struggle. And sometimes, life can be downright ugly. Her novel captures the "complexities of human existence"”the dramas, highs and lows, conflicts, and teenage sexuality"”depicting life’s un-romanticized, unvarnished reality. While the book offended some readers, it intrigued others, and despite being a popular show, critics often deem it shocking yet captivating." (The Baltimore Sun 1999 Laurie Kaplan article THE WOMEN OF PEYTON PLACE)

“Barbara Parkins has caught the public's eye, partly because of her beauty, partly because she is a capable little actress. But mostly because she seems to have an inner fire. She's a volcano in a tight dress.'' (From an article BARBARA PARKINS: MOST PROMISING NEWCOMER – Niagra Falls Gazette March, 1965 by Dick Kleiner)

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TAM LIN 1970 & BABA YAGA 1973 – Ava Gardner & Carroll Baker: THE FAERIE QUEEN"¦ & VALENTINA'S DREAM: Two Hollywood icons in search of mythology. Part 2

Baba Yaga or the Devil Witch the (United Kingdom) titles, or Kiss Me, Kill Me/Black Magic (1973) the (US) titles

“Weird {is} the operative word here. Though framed by a simple story, director Corrado Farina's approach to the film is every bit as avant-garde and surrealist as its source material. The plot had me scratching my head in bewilderment. Compelling visuals kept me watching.'' "” from Brian Lindsey’s Eccentric Cinema review.

â˜ž SPOILER ALERT:

READ PART 1 Tam Lin HERE

In Slavic/Russian folklore, the Baba Yaga is a strikingly revolting witch who flies around in a giant pestle – and steals and eats children. In the middle of a Russian forest, she lives in a shack built on top of giant chicken legs that can move at will. The folklore Baby Yaga is a sinister, macabre mythological presence, unlike the deviant sensual being that Carroll Baker portrays in Corrado Farina's Euro-horror film. This iteration of Baba Yaga is the seductive sorceress who manages to summon – with simmering antagonism, a world of pain – "˜symbolically' baring her predatory, wanting lips, which desire the heroine – Valentina.

According to the Monthly Film Bulletin review from 1974, critic Geoff Brown noted that he reviewed an 81-minute dubbed version of the film Baba Yaga. Brown stated that “due to 20 minutes of the film being cut and through the English-language dub, “the film had lost some of Farina’s socio-political arguments.” However, Brown also commented that most of these removed elements were reduced to “modish chit-chat” on topics ranging through various ideas.”

In the 70s, while exploring Giallo and Euro-exploitation films, I remember my first shudder and first impression of Baba Yaga. I had the feeling that something odd and erotic had taken place, and for me, it was like waking up from a hazy, surreal dream. Carroll Baker has always captivated me, and in the role of Baba Yaga, I felt she brought a level of Old World Hollywood class to a very provocative horror film.

An Italian/ French co-production, Baba Yaga is a delirious mixture of the supernatural, psychoanalysis, dream interpretation, vivid color schemes, pop art, eroticism, and fetishistic imagery. Baba Yaga, the film, revamps Russian folklore and transports the story into contemporary Milan.

As a stylish arthouse horror film from the 1970s, Baba Yaga explores the borderline between reality and imagination, embracing the sleazy allure of after-dark cinema"”fascinating and perhaps too challenging to define. There are striking elements that establish themselves with a clear sapphic element that already existed in Crepax’s work, creating an eroticized vision seen through the heterosexual ‘male gaze’ and driven by what Laura Mulvey termed "to be looked at-ness" that are kept in Farina’s film.

While I am still drawn to the film as an artifact of this decade's concentrated influence on an unmistakably hybrid genre (Horror, Euro-Exploitation, Giallo), Baba Yaga still manages to weaponize the straight male visual pleasure of actualizing their faulty version of lesbianism and bases the narrative around male sexual fantasies.

Farina and Crepax reveal the inherent bias fueled by a male-centric culture through a lens shaped by a male-centric point of view, which emphasizes the heteronormative expectation of female-female sexual exploitation.

Setting these critical observations aside"¦ The backdrop of Baba Yaga's 1970s fashion and Italian pop culture adds washes of a chic, mod, and bold cinematic experience.

Director Corrado Farina, who had previously envisioned another strange art-horror film, They Have Changed Their Faces (1971), now delivers this strange film with a mesmerizing array of visuals. The film seamlessly transitions from sharp pop design to muted Gothic hues and vents into full-fledged experimental cinema. Farina roams free with unrepentant visual skill frame by frame.

Baba Yaga, adapted from the risquÃ© S&M erotic graphic novel series "˜Valentina' by Guido Crepax, thrives on its invocation and sense of a comic book world. Crepax, who earned his reputation as the world's most seductive cartoonist, stands as one of the eminent figures in the realm of adult comics and garnered greater recognition during the 1960s and 1970s.

Crepax's prominence stems not only from his introduction of erotic themes but also from his innovative approach to storytelling within the medium, incorporating nudity and daring themes.

Continue reading “TAM LIN 1970 & BABA YAGA 1973 – Ava Gardner & Carroll Baker: THE FAERIE QUEEN"¦ & VALENTINA'S DREAM: Two Hollywood icons in search of mythology. Part 2” →

TAM LIN 1970 & BABA YAGA 1973 – Ava Gardner & Carroll Baker: THE FAERIE QUEEN"¦ & VALENTINA'S DREAM: Two Hollywood icons in search of mythology. Part 1

"I shall waste you and waste you and waste you"¦"

The Ballad of Tam Lin, Tam Lin, Games and Toys or The Devil’s Widow 1970

"McDowall builds a broodingly enigmatic sense of menace out of stray allusions and apparitions that hover without ever really being explained or over-exploited: the snatches of [Robert] Burns intimating the presence of diabolic machinations; the girl terrified by her own unspoken Tarot prophecies; the dialogue that rings like blank verse, as though it had been used over and over again. Above all, though, this menace is effective chiefly because it is rhymed with a mounting sense of quiet decorum, as though reality, the world of the ordinary, everyday banality, were suddenly present to Tom for the first time.""¨"” Tom Milne,Â Monthly Film Bulletin, June 1977

“She Drained Them Of Their Manhood–And Then Of Their Lives! “

That’s the tagline American International Pictures exploited to promote this obscure British fantasy/horror film. Made as a last hurrah at the close of the 1960s, The Ballad of Tam Lin or Tam Lin, emerged from a singular blend of McDowall’s audacious, unwavering, and fearless vision to subvert cinematic tradition and bring on board first-rate talent to see that vision realized.

Back in the day, I was armed with my VCR at the ready to capture those late-night TV excursions into obscure horror. Tam Lin would be one of those hidden gems that still lingers in my mind like a nostalgia hangover.

Dear friends, Ava Gardner and Roddy McDowall on the Tam Lin set.

"The film is a gothic fairytale modernized. When viewed in those terms and in the context of the original folklore – it makes perfect sense." -McDowall.

Legendary Hollywood Goddess Ava Gardner is the evil “Queen of the Fairies” in Roddy McDowall's wickedly provocative adult fairytale. Initially presented as a horror film, Tam Lin, with its hauntingly beautiful narrative, emerges more as a tragic fable of love and revenge. Or it can be seen as a dark, cautionary adult fairytale with a tangible Brother's Grimmesque tale of beware the wrath of a slighted Queen, or there is terror amidst the remote woods. With the emergence of the counterculture of the 1960s, there was a growing fascination with all things pagan and folk-sy, with the use of symbolism, iconography, and formal tropes. For instance, the use of bridges we see throughout Tam Lin has often represented those liminal spaces between divergent realms.

Among its myriad titles, at the heart of Tam Lin lies Michaela "˜Micky' Cazarete – a worldly Aesthete orÂ ‘sorceress,’ however you choose to see her… embodied by the luminous Ava Gardner in one of her 44th and final leading roles. As ravishingly beautiful as ever, Gardner plays the succubus-like enchantress always wrapped in stunning, opulent attire and a flickering flame, drawing the wings of any naive lad she captures for her bed.

â˜žThis post contains SPOILER!:

READ PART 2 BABA YAGA: HERE

The story retells the artfulness of a wicked enchantress, a queen of the faeries who enraptures the young with her otherworldly beauty and beguiles and mesmerizes them to drain their vitality. And there is a cruel twist to this Gothic fable. At sunset of the seventh year, she is compelled to sacrifice her favorite male love to replenish her (life force or her desire.) Eternally restless, she is a damned soul; she is a paradox both breathtaking and horrifying, filled with a hunger that can never be satiated.

Psychedelic Folkloristic cinema like Tam Lin represents a cultural paradigm situated at a point in time where things were poised to move away from the psychedelic utopianism and iconoclasm of the 1960s, which began to pivot towards more introspective, darker turns. Similar in an impressionistic aesthetic, Tam Lin evokes for me another moody art piece horror, Queens Of Evil, aka /Le Regine 1970/Il delitto del diavolo.

Above are two images from Queens of Evil (1970).

Both films stylistically point to the florid decadence that was evolving into the weary and hostile era to come. Like Ian McShane, with his piercing and intense blue eyes crowned by dark brows and lashes, the charismatic bad boy with a sculpted physique, Ray Lovelock, is lavished with adoration within an idyllic setting until he is ultimately led as a lamb to the slaughter.

A striking parallel exists between the archetypal narratives of wayward, virile princes ensnared within a pastoral paradise and the insatiable, evil queens and seductive sirens who seek to possess them. This clash of archetypes"”the untamed masculine spirit versus the ruthless feminine intellect"”reflects the deep-seated cultural anxieties and preoccupations surrounding the nature of power, desire, and the fear of women's primacy"”in particular, as with Tam Lin, older women's primacy.

Scene from The Night of the Iguana 1964.

Ava Gardner circa 1960.

I can include another early 70s horror favorite that registers with its mod/post-modern indulgence Â – Messiah of Evil 1973. Messiah of Evil began to show signs of a crack in the shimmery good vibes of the 1960s as it dips its toes – heavily – Â into the stark contrast of the coming brutal, gritty tone of later 1970s horror films. Tam Lin and Queens of Evil feel akin to the Psychedelic Folkloristic cinema, which captures that brief moment when fashionable trends were turning towards folklore motifs. Films thrive on a strong narrative, and legends are fed by things that are false and things that are true.

Some critics consider it as one of the original folk horror films. Others see it as an improvisation of the post-Rosemary's Baby cycle of genre films.

Above are two scenes from the folk horror film The Wicker Man (1973).

A pioneering work of folk horror, Tam Lin can be considered a proto-folk horror film. Not only does it predate The Wicker Man by four years, but it shares some striking thematic similarities. Both films delve into the darkness of cults, driven by a need to appease deities through ritual sacrifice. An unsettling yet obscured supernatural atmosphere permeates both narratives, further accentuated by their remote, rural settings "“ fertile ground for tales of witchcraft and pagan practices. Notably, both films boast innovative and provocative British soundtracks and share the distinction of being primarily filmed in the evocative landscapes of Scotland.

Tam Lin anticipates Blood on Satan's Claw, released in 1971, and yes, once again, likeÂ The Wicker Man in 1973, showcasing its creeping pastoral horrors. The film's ’60s art-house decadence and its aesthetic serve as many of the films that could be perfectly placed inside a time capsule from the merging decades of the late ’60s & 1970s. A film movement that draws inspiration from the rich period of European art cinema. Tam Lin’s dreamy and, at times, barely lucid tone frames this moody lyrical love story set in the bucolic countryside of Scotland until it moves into a horror-filled, phantasmagorical manifestation of the original poem the story is based on. Midway, the film shows a visual shift of spiritual flight, transformation, and salvation from supernatural retribution.

Continue reading “TAM LIN 1970 & BABA YAGA 1973 – Ava Gardner & Carroll Baker: THE FAERIE QUEEN"¦ & VALENTINA'S DREAM: Two Hollywood icons in search of mythology. Part 1” →

Beverly Washburn: Reel Tears – Real Laughter! Part 2

This is the second of two features about Beverly Washburn. You can read Part One here.

THE INTERVIEW:

1. Your first part in a film was for the 1950 film noir classic The Killer that Stalked New York starring Evelyn Keyes. You were supposed to be the first victim, a little girl who gets smallpox from Keyes who is on the run spreading the plague. And it was a speaking part. The script said, "˜'There sits little Walda Kowalski with her great big brown eyes and brown hair'' but you had blonde hair and blue eyes. You immediately thought that you wouldn't get the part. But Western star Jock Mahoney lied to the producers of the film at Columbia Studios after he saw you in the lobby while auditioning for the part of Walda. Mahoney met you 3 months earlier at one of your sister Audrey's shows. He was very taken with you, so he raved to the producer that you had done all this work even though you had no credits. And you got the part!

Essentially it was Mahoney's misdirection that helped your career! "¨"¨Does it ever make you laugh that it took a harmless lie, a few speaking lines, and tragically dying from smallpox in a Columbia Studios production to give you the leverage you needed to move forward in your acting career? Can you tell us about that experience?

Getting my first big break was perhaps a little unusual particularly since it was based on a little lie!
I had met Jock Mahoney a few months prior to the audition for the role in “The Killer That Stalked New York” which was to be filmed at Columbia Studios. At 6 years old, I had an agent who had sent me on countless auditions, none of which I ever got due to the fact that I had no experience other than having worked as a model of children’s clothes.

The role of little Walda Kowalski was listed in the script as a little girl with big brown eyes and brown hair. Now that description wasn’t pertinent to the actual role, however when a writer writes in a character, he or she typically envisions what they might look like. Well, right off the bat, it seemed apparent that I wasn’t what they were looking for because I had blue eyes and blonde hair.Â As I was sitting in the lobby among many little brown-eyed and brown-haired other hopefuls and my not having any experience, it seemed that this would just be another letdown and another rejection for me. As I waited to go in, something marvelous happened. Jock Mahoney happened to walk through the lobby!Â He remembered me as we had met at the Veteran’s Hospital in Long Beach California where he had been the guest of honor and where my sister was performing her act for the Veterans.Â He asked my mother what I was doing there and when she told him I was reading for the part of Walda, he said “I’ll be right back.” What we found out later was that he went into the office of the Casting director and told them that I was perfect for the role, that I had done this and I had done that,Â when the reality was, I hadn’t done a thing other than model!Â He was under contract at the time and had some clout,Â so they took his word for it. So as the story goes, he lied, they believed him and I got the part!

I do laugh sometimes thinking about how that all came about. I think about him from time to time and realize how blessed I was to have it unfold the way it did because after I had that one speaking role, it was then that I was able to continue on."¨ It’s such a “catch-22 ” situation because they don’t want to hire you if you don’t have experience, but how do you get the experience if they don’t hire you? I of course will forever be grateful to him for allowing me that one break, albeit he had to tell a little white lie in order for them to give me the role!

Continue reading “Beverly Washburn: Reel Tears – Real Laughter! Part 2” →

Beverly Washburn: Reel Tears – Real Laughter! Part 1

This is the first of two features about Beverly Washburn. You can read my interview with her here .

First off, I'd like to thank Beverly Washburn who graciously lent her valuable time in collaborating with me and guiding me to make this a proper tribute.

Two times a year (every April and October) I get to ramble through the crowds of unwavering fans at The Chiller Theater Convention here in New Jersey.

These events allow us to meet and engage in conversations with beloved actors who stir up a sense of nostalgia for their classic films and television roles, all having now achieved cult status. We celebrate these fond memories and possess a vast appreciation for the legacy of their work. We go to Chiller fanatical about these guests. Some may be a bit austere, but so many are incredibly gracious, funny, down to earth, and grateful for our devotion.

In October of 2023, I went to spend time with my friend Sara Karloff. but also to get the chance to meet someone I've had a long-time fan affection for: Beverly Washburn.

Beverly turned out to be a charming, kind, and genuine person who still possesses that unique intonation to her voice. She has the same sweetness and organically winsome smile she had as a young actor. And I would be careless if I didn't state up front that she is also a champion of animals and has become a true friend.

She might be legendary for her adeptness at weeping, but she can also laugh on a dime. Her laughter comes off without a hitch. It’s a very natural practice for her, showing her marvelous sense of humor with a lightness that flickers from her blue eyes.

Her biography Reel Tears: The Beverly Washburn Story ‘Take Two' ( click the link to purchase) is filled with truly poignant, humorous, and engaging anecdotes about the golden age of Hollywood and beyond. Her writing is refreshing, delightful, and unpretentious. But she is also a courageous writer who shares with bare honesty her very personal journey sometimes tinged with tragedy and her productive career in television growing up as a beloved child actor. Her memoirs include an affectionate forward by her friend Tony Dow of Leave It To Beaver fame.

During the golden years of Hollywood, Beverly Washburn graced the silver screen as a luminary child actor in the 1950s and 1960s. She found the careful balance between comedy and "˜real tears' with the uncanny gift of crying on cue.

A consummate performer, she effortlessly cut across the terrain of both humor and drama, leaving an everlasting mark on the hearts of her audience.

Beverly as Lisbeth Searcy in Old Yeller (1957).

Not only is she the timeless muse who appeared in some of the most cherished movies of the time, but during the Golden Age when television was redefining American culture, Beverly appeared in countless shows as a natural whenever she was featured in the storyline. She always summoned the ability to adopt a serious mood or show with an aptitude for humor that began the moment she stepped on the stage with comedian Jack Benny in 1952. As a favorite child actor during the rise of live television in the 1950s, the little blonde pixie eventually grew into a very pretty ingenue taking the teen fan magazines by storm in the 1960s.

Beverly Washburn appeared in nearly 100 television shows. During her Hollywood years, many of her feature films were nominated for Academy Awards. She worked with some of the most notable directors such as Cecil B. DeMille, George Stevens, and Frank Capra. She also worked alongside some of the greatest Hollywood actresses including Jane Wyman, Anne Baxter, Piper Laurie, Dorothy McGuire, and Barbara Stanwyck.

She was the girl who could not only cry on cue but could reduce the audience to tears. Often asked how she was able to cry so easily on screen, she has said in interviews that she's overly sensitive and just tried to put herself in the character's place in that situation.

Talking to her now, she feels extremely blessed when looking back over her long career, and she never forgets to express the love she has for her fans whenever she's been interviewed. She is also very grateful that her parents were very supportive yet they never pushed her into acting.

She writes in her wonderfully colorful biography filled with joyful photographs and hilarious anecdotes that even though there may have been times when her family might have had only a half of a bean, her mom would share it with anyone. Beverly’s mom and dad were by her side every step of the way and were very well-liked by both cast members and crew. Her mom kept her grounded, humble, and realistic and helped her stay on a good path while navigating the business.

Beverly Washburn grew up in a humble middle-class home in Hollywood California. Acting was something that she realized she wanted to do and truly enjoyed. Beverly is not only incredibly grateful to her many fans, she readily embraces them as the reason she has remained so popular and valued as an actor. And it makes her truly happy when she puts a smile on someone's face.

She followed in the footsteps of a talented family of entertainers, her father's brothers and sisters were in Vaudeville, traveling the circuit with a song and dance act called The Four Pearls. In the 1950s her sister Audrey went to Hollywood High and was a classmate of Carol Burnett. The two became friends and both worked as ushers at the Egyptian Theater on Hollywood Boulevard. Audrey became Penny Marshall's stand-in for Laverne & Shirley and wound up singing backup for Marlene Dietrich in Las Vegas. It was Audrey's show biz career that eventually led Beverly down that path.

Beverly was merely 3 years old when she started modeling children's clothes. When Beverly was 5 years old, she tagged along with her mom and sister Audrey, an acrobat, to entertain veterans at Long Beach Hospital. On one particular occasion, she had a dancing gig at the Capitol Theatre in Yakima Washington. The emcee asked Beverly to come up on stage and sing ‘I'm a Big Girl Now.’ Beverly felt very comfortable in front of an audience. She was a natural.

There she met Western movie star Jock Mahoney – the Range Rider. She was mesmerized by this tall handsome cowboy. He would play a role in setting Beverly's career in motion. Her lack of experience was a hurdle but she and her mom persevered. Beverly's mom saw her potential and hired an agent, Lola Moore, who represented some of the best-known child actors in Hollywood at the time. It wasn't easy at first to get this notable agent's attention. She was turned away by Moore's overwhelmed secretary. But her tenacious mother was not willing to take no for an answer even when Moore's office in Hollywood was overflowing with anxious little girls looking to be the next child star.

In the busy agent's office, her mom managed to catch sight of Lola Moore's photo, so she and Beverly waited in the parking lot. When Moore got back from her meeting at 20th Century Fox, she was met by a little blonde cutie who wasn't afraid to speak her mind. " I sure like your hat, Miss Moore." Beverly flashed that bright smile of hers. Moore who had been an imposing figure had no time for anything but serious business. Studying Beverly with delight, she answered with a hearty " Well you're the only one who does! Know why I wear such large hats?” "No Ma'am I don't." "It's my signature. I want people to know I'm around. I want them to see me coming.''

Beverly was an honest and polite child who looked straight at Moore she said, "I don't know how they could have missed you anyway.''

Lola Moore found this refreshing and laughed and invited the two up to her office to talk. Understanding that Beverly had no acting experience, or whether the camera was going to take to her, Moore set her up with a drama coach Mildred Gardner and she began taking voice lessons, diction, and other important acting techniques. Though Beverly had no formal training, she was a natural. She never got involved as a Method actor. She was briefly taught by Gardner but after a few weeks she informed Beverly’s mother, ” Your daughter has a natural ability to act, and taking lessons would only ruin it.”While the utmost compliment, Beverly has imagined how far she might have gone if she had formerly studied.

This is where she perfected her famous ability to "˜cry' so well. Beverly has described this gift stating that she would think of what she was supposed to be crying about, imagining herself in that situation, and the waterworks would follow. Beverly says of herself that she's a very sensitive and emotional person. TV guide wrote a two-page article entitled BEVERLY WASHBURN EARNS HER SALT BY CRYING ON CUE. In the book Ladies of the Western written by Boyd Majors and Michael Fitzgerald, they included a chapter called ‘Queen of the Criers.’

Beverly loved to be in front of the camera, but when she was ready she was faced with a dilemma. Every time they sent her out on an interview she didn't get it because she had no experience or credits to her name. It was a real Catch-22.

Beverly with Evelyn Keyes in The Killer That Stalked New York (1950).

Then, essentially fate stepped in a couple of months later while auditioning at Columbia Studios for a speaking part in the classic film noir thriller The Killer That Stalked New York which would be released in 1950. Beverly was 6 at the time of filming. Jock Mahoney who was under contract with Columbia, happened to be walking through the lobby and remembered meeting her at sister Audrey's show.

Beverly didn't fit the description of Walda Kowalski, the little girl the script describes as having "˜brown hair and brown eyes' in the film. She thought she wasn't going to possibly get the part because she had blonde hair and blue eyes. Her mother told her in a very soft-spoken voice,” Honey you're not gonna get this part, but just go in and do your best.''

Mahoney asked Beverly's mother why she was at the studio, and she told him that she was going to be reading for a part in the film, and had been getting turned down numerous times because she had no experience. He told her " I'll be right back.'' Later she would come to find out that he went to the producer and raved about all the work she had done even though she hadn't done a darn thing. They believed him and she got the part. On the first day of shooting, Beverly was excited to be sitting in the big makeup chair getting her makeup and hair done which they put in little curls, possibly trying to make her look like Shirley Temple which was fine with Beverly since she was a big fan of Shirley Temple.

The Killer That Stalked New York (1950) is a classic film noir about a woman, Evelyn Keyes, who smuggles jewelry into New York from Cuba. After she contracts smallpox she goes around infecting everyone she meets in the city. The authorities try to track her down before an epidemic breaks out.

Beverly plays the first victim who gets smallpox from Keyes, and that's how they learn about the outbreak. She had two scenes in the motion picture. One is where Keyes gives her a pretty brooch and the second is when she buys the farm. The makeup department afforded her a deathly look by making her as pale as possible, which in B&W made her look grayish. Shown in an oxygen tent, it was a very melodramatic death! After The Killer that Stalked New York, she continued to go on auditions but now she had a big credit to go with her name.

Here Comes the Groom (1951) starring Bing Crosby and Jane Wyman. Beverly with Jacques Gencel.

Because of that one speaking role for Columbia Pictures, other opportunities opened up. After the noir thriller, she was called to a screen test for her next film Here Comes the Groom in 1951. It would be a role in a motion picture directed by Frank Capra and starring Bing Crosby, Jane Wyman, Alexis Smith, and Franchot Tone. The film also featured fashions by costume designer Edith Head and cameos by Louis Armstrong, Dorothy Lamour, Phil Harris, Cass Daley, and Frank Fontaine. Here Comes the Groom was a huge B&W musical, and an important part throughout the film. She plays a refugee who speaks very little French, makes the funniest faces, and shows off a natural sense of comedy at such an early age, as she plays off Jacques Gencel.

Beverly worked on the film for 3 months, afterwards Bing Crosby gave her a beautiful doll that she named Dixie, after Crosby's wife at the time. After filming wrapped up, Crosby signed a photograph for Beverly saying, " I hope to play in your next picture.”

This would not be the only wonderful treasure Beverly would receive from actors. Even Jane Wyman gave her a beautiful dress. While the motion picture was not a huge success at the box office, it did win an Oscar for Best Song "˜'In the Cool, Cool, Cool of the Evening'' written by Hogie Carmichael and Johnny Mercer.

In 1951, her next little part took the form of a theatrical film featuring the iconic superhero, Superman. Titled Superman and the Mole-Men, this film served as the pilot for the subsequent TV series starring George Reeves as the eponymous hero and Phyllis Coates as Lois Lane, the fearless reporter. The TV series ran from 1952 to 1958.

Beverly had so much fun cast as a little girl who plays with a radioactive ball in her bedroom. Two of the mole men (who are not space aliens but come from inner earth) climb through the window and she plays with them until her mother discovers the strange little men with her daughter and screams!

Continue reading “Beverly Washburn: Reel Tears – Real Laughter! Part 1” →

A Trailer a Day Keeps the Boogeyman Away! Halloween A-Z

I

I Married a Witch 1942

I Married a Witch is a 1942 romantic comedy fantasy directed by RenÃ© Clair. The movie combines elements of witchcraft and romance in a lighthearted and whimsical tale.

The story revolves around a 17th-century witch named Jennifer, played by Veronica Lake, and her father Daniel (Cecil Kellaway), who are burned at the stake by the Puritans. Before their execution, they curse the descendants of the man responsible for their demise, the Wooley family.

In a quest for vengeance, Jennifer cast a malevolent curse upon all future generations of the Wooley family, ensuring that each of their sons would be destined to marry the wrong woman, leading to a lifetime of unhappiness.

Their spirits have been trapped in a tree for centuries.

Fast forward to the 20th century, and lightning strikes the tree, releasing the spirits of Jennifer and Daniel. Jennifer, still a mischievous and enchanting witch, is determined to seek revenge on the Wooley family. However, when she meets Wallace Wooley, played by Fredric March, a descendant of her accuser, she finds herself falling in love with him.

Jennifer decides to abandon her vengeful plans and use her magical powers to win Wallace’s heart. She brews love potions, casts spells, and creates humorous chaos in the process. As their love story unfolds, Jennifer’s magical antics lead to a series of comical and unexpected situations.

I Bury the Living 1958

I Bury the Living will be a film I cover in-depth for Sunday Nite Surreal. So stayed tuned

I Bury the Living is a 1958 horror-thriller film directed by Albert Band. The strange and offbeat story uses a graveyard as its primary stage, to follow Robert Kraft (played by Richard Boone), a cemetery manager who discovers that the placement of black and white pins on a map (a map that is a matrix of a sardonic, animated face) of the cemetery seems to affect the fate of the individuals they represent. When he mistakenly places a black pin in a plot reserved for a living person, mysterious and tragic events begin to unfold the first time the uncanny deaths occur is when Kraft sticks the wrong pins in the plot owned by newlyweds, and winds up dead. The question of the film is, was it a mere coincidence, or can Kraft control who lives or dies?

As the body count rises, Kraft becomes increasingly obsessed with unraveling the deadly secret behind the map, leading to a suspenseful and chilling exploration of fate, superstition, and the boundaries of reality. Theodore Bikel plays Andy McKee. Frederick Gately’s (Wicked, Wicked 1975, mostly working in television) cinematography almost gives the film the effect of being a stage play.

The Incredibly Strange Creatures 1964

An oddity, Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies!!? is a cult film released in 1964, directed by Ray Dennis Steckler, who also appears in the film as the character Jerry (Ray Dennis Steckler aka "˜Cash Flag'). The movie is often considered one of the worst films ever made and has achieved a certain notoriety in the realm of cult and exploitation cinema. The low production values, amateurish acting, and incoherent plot have contributed to its reputation as a “so bad it’s good” movie.

The film’s plot is quite bizarre and disjointed, featuring a mix of elements like romance, hypnotism, murder, and musical numbers, and yet nothing is ever fully explained such as the reason for the acid-disfigured victims kept in a cage. It follows bad boy Jerry and his friends as they attend a beach carnival, where Jerry becomes hypnotized by Madam Estrella and is compelled to commit murder. The film then follows his efforts to resist the urge to kill and uncover the secrets of the sinister Madam Estrella though the motives of Madam Estrella and her aide, Ortega, are also unclear.

Unemployed jerk Jerry (Ray Dennis Steckler credited in this oddity as "˜Cash Flag') is pals with sidekick Harold (Atlas King), but he’s a lousy boyfriend to Angela (Sharon Walsh). When he takes her on a date to the beach carnival, they go to see a mysterious fortune-teller named Madam Estrella (Brett O'Hara). Jerry is attracted to one of the dancers at the carnival named Carmelita (Erina Enyo) which pisses off Angela. Jerry is invited to come backstage and is put under a hypnotic spell by Madam Estrella and soon begins to go on a murder spree killing dancers, beginning with headliner Marge Neilson (Carolyn Brandt). Jerry is haunted by strange hallucinations and soon learns the news of the carnival killings. When he seeks out Angela, he gets a wave of murderous lust again and nearly kills her too. Jerry is determined to learn Madam Estrella's hidden secrets.

Also, the film features various dance costumes and scenes from the carnival midway, which are noted for their historical interest as they capture the atmosphere of the Long Beach Pike in the early 1960s.

Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies!!? has garnered a cult following among fans of low-budget and exploitation cinema. It is often appreciated for its unintentional humor and its unique blend of genres and elements. Interesting note:

The three cameramen who started their careers under Ray Steckler’s guidance would go on to leave indelible marks in the film industry. Joseph V. Mascelli, for instance, authored a widely acclaimed cinematography manual, plied his trade as a cinematographer for Arch Hall Sr., and even took a shot at directing his own Z-horror film, “Monstrosity.”

In parallel, the camera operator Vilmos Zsigmond and his assistant, LÃ¡szlÃ³ KovÃ¡cs, who had fled Hungary in the tumultuous year of 1956, embarked on their ascent with the Hollywood camera profession. Their involvement in “Incredibly Strange Creatures” marked one of the early steps in their dedicated climb, how ironic – they began their remarkable careers with one of the worst films ever made.

Island of Terror 1966

Island of Terror is a 1966 British horror film directed by Terence Fisher. The story unfolds on a remote island off the coast of Ireland, where a group of scientists led by Dr. Brian Stanley (played by Peter Cushing) and Edward Judd as Dr. Davis West becomes embroiled in a terrifying ordeal.

A series of gruesome deaths occur on the island, with victims reduced to skeletal remains, and the local population is gripped by fear. Dr. Stanley and his team soon discover the cause of these horrors: the island has become infested with deadly, gelatinous creatures resembling turtle-like amoebas with tentacles, which suck the bones out of their victims, leaving them as lifeless husks. The monocellular creatures are reminiscent of those in Caltiki, the Immortal Monster 1959Â which also features a scene in which one of the characters loses a hand.

In the pursuit of a potential cancer cure on a remote island nestled off the Irish coast, the project’s esteemed scientist unwittingly creates a monstrous new organism that thrives by devouring all other living creatures.

As the scientists and the island’s inhabitants attempt to combat the horrific creatures, they realize that traditional weapons are ineffective against them. The film explores themes of scientific curiosity, survival, and the desperate struggle to find a way to defeat the relentless, bone-devouring monsters. The film also stars Niall MacGinnis as Mr. Roger Campbell. Offering support to David West is his beloved socialite girlfriend, Toni Merrill (Carole Gray).

Island of Terror features two well-known actors in British cinema, Sam Kydd plays the constable, John Harris who discovers a missing farmer dead in a cave. The frightening discovery reveals the body is a mass of jelly. Eddie Byrne (Hammer’s The Mummy, The Vengeance of Fu Manchu) is the island doctor, who mocks mere simplicity used to describe the gruesome condition of the corpse: “There was no face, just a horrible mush, with the eyes sittin’ in it.”Â

Fisher knows how to create an eerie landscape and in this horror/sci-fi hybrid, the mood is suffocating due to the isolation and the inescapable reality that they are all marooned on this remote island. The village is encircled by these insatiable parasites, as they try desperately to survive while scrambling to find a way to exterminate these organisms before catastrophe strikes. Of course, there’s a twist ending… the scenario repeats itself in Japan.

The Incredible Two-Headed Transplant 1971

The Incredible 2-Headed Transplant is a 1971 science fiction horror film directed by Anthony M. Lanza. The story revolves around an ambitious scientist, Dr. Roger Girard (Bruce Dern), who conducts a groundbreaking and ethically questionable experiment.

Dr. Girard successfully performs a head transplant, attaching the head of a convicted murderer, Max (played by Albert Cole), to the body of a mentally disabled man, Danny (played by John Bloom). The result is a grotesque and unnerving two-headed lumbering mess. Max and Danny’s conflicting personalities and desires create chaos and tension within their shared body.

As Dr. Girard struggles to control his increasingly unhinged creation, Max’s criminal tendencies resurface, leading to a series of violent and deadly actions. The trashy pick also stars Pat Priest (The Munsters) Berry Kroeger, and Casey Kasem.

The Incredible 2-Headed Transplant is known for its cheesy, campy, and exploitative nature, more ridiculous than bizarre, or macabre. It has become a cult classic for all the obvious reasons.

This is your EverLovin’ Joey saying ‘I’ will see you around the snack bar while I pick up an icy cup of the letter J!

John Carradine-I am a ham! Part 1

Read Part Two here

Actor John Carradine attends the premiere of Dark Eyes on March 23, 1981, at Warner Beverly Theater in Beverly Hills, California. (Photo by Ron Galella/Ron Galella Collection via Getty Images)

"I am a ham! And the ham in an actor is what makes him interesting. The word is an insult only when it's used by an outsider – among actors, it's a very high compliment, indeed."

In the history of cinema, there are stars that burn white hot. Then there are those who wind up taking a detour – yet they've earned the vibrancy and a willingness to explore even the vast floor of the ocean's bottom – this is emblematic of a beloved cult B actor. Those who tickle us with a zeal for chills and chagrins, guffaws and gadzooks, individualism and inimitability, captivating and crapola!

In his later years, John Carradine would come to be known as one of these"¦ the crime is… he was a damn sensational actor!

"I never made big money in Hollywood. I was paid in hundreds, the stars got thousands. But I worked with some of the greatest directors in films and some of the greatest writers. They gave me the freedom to do what I can do best and that was gratifying."

In regards to his horror legacy, this is what he had to say in 1983 in an interview for KMOX tv:

“That’s the least of my work. I’ve done almost 400 films and only 25 have been horror.”

When you think of John Carradine you might recall his brilliant performance as Casy in The Grapes of Wrath. Carradine had worked with some of the most notable actors and directors in the history of cinema and by the end of his career, he also managed to plumb the depths with some of the crummiest.

Then again you might be excited by his translation of the Dracula mythos in five films: two from Universal’s finely tuned House of Frankenstein (1944), House of Dracula (1945), and three from the later decade’s trash heap – Billy the Kid Versus Dracula (1966), Vampire Hookers (1978), and Nocturna (1979).

On Bela Lugosi in 1956: "Lugosi was a craftsman. I've known him for 25 years. He was a considerate and kind gentleman. As for the parts we both played, he was the better vampire. He had a fine pair of eyes. Nobody will ever be able to fill his shoes. He will be missed by us all."

Like Whale's Frankenstein monster, Carradine actually missed out on playing the monster and the lead role in Dracula (1931).

With 354 film and television credits to his iconic career, John Carradine was known for his distinctively deep baritone voice and tall, thin frame, a "˜towering, craggy frame' which often earned him roles as villains and sinister characters, mad doctors, Draculas, hobos, drunks and a slew of nefarious Nazis devils!

At times he had the charm of a jaunty Grim Reaper. Even those smart pale blue eyes that flicker cannot be obscured by that quizzical squint.

William Beaudine on the set of The Face of Marble 1946.

He often worked with director John Ford but you've no doubt seen him playing a mad scientist in Captive Wild Woman 1943, The Face of Marble 1946, and The Unearthly 1957.

But one thing that links all these archetypes together is Carradine’s range of either an austere penetrating reserve or a flamboyant spirit framed by his willowy shape. Carradine can intone with either his whispering rumination from a well-written script or summoning his grandiose voice as he reads aloud the trashiest, tackiest dialogue that only he can make appear as a highfalutin soliloquy.

His nicknames were the Bard of the Boulevard and The Voice.

The Face of Marble (1946) An Odd John Carradine Obscurity with an “Identity Crisis”

Carradine's career includes significant Academy Award-worthy roles, but in contrast, once he started his descent into the madness of acting obscurity, he embodied figures of grotesques and unsavory types. Eventually, he appeared in films more like a drifter just passing through in overambitious garbage Z movies. And now, he will always be considered one of the big-time heavies of the horror genre.

Still, he has left behind a legacy of striking screen performances: the sinister Sgt. Rankin in The Prisoner of Shark Island, and the somber "Long Jack" of Captains Courageous. He played a melancholy Lincoln in Of Human Hearts, a treacherous Bob Ford in Jesse James, the curious stranger Hatfield of Stagecoach, and one of his greatest contributions to the acting craft, as earnest dispirited preacher Casy in The Grapes of Wrath. All masterful characters in Hollywood's golden age of filmmaking.

Carradine appeared in eight Oscar Best Picture nominees: Cleopatra (1934), Les MisÃ¨rables (1935), Captains Courageous (1937), Alexander's Ragtime Band (1938), Stagecoach (1939), The Grapes of Wrath (1940), The Ten Commandments (1956), and Around the World in 80 Days (1956). Only the last of these won.

He has appeared in eight films that have been selected for the National Film Registry by the Library of Congress as being “culturally, historically or aesthetically” significant: The Invisible Man (1933), The Bride of Frankenstein (1935), Stagecoach (1939), The Grapes of Wrath (1940), Johnny Guitar (1954), The Court Jester (1955), The Ten Commandments (1956) and The Man Who Shot Liberty Valance (1962).

Though he was known for his ability to bring a kiss of intensity and an air of mysteriousness to his characters, often cast in villainous and sinister roles – he was highly regarded for his versatility and range as an actor. Despite his status as a horror icon, Carradine was more than just a genre actor and never wanted to be known for his long involvement with horror pictures, as he called them.

He was transitional in all genres such as historical dramas, war and spy films, film noir, westerns, horror, sci-fi, mystery thrillers, and romantic comedies. His career ran the spectrum of storytelling.

Carradine was capable of serious dramatic reverie, and earnest and sober performances til ultimately – schlocky b movies, ‘The "˜Divine Madness' of this flamboyant, grand old man of the theater and Hollywood, Carradine's persona emerged as a confluence between the individualist and distinguished gentleman.’ (John Carradine: The Films edited by Gregory Willam Mank)

But after all this superior work in an industry that chewed up and spits out great actors, even after his contribution to the horror genre that once saw him as one of the ruling class in Universal's horror films such as House of Frankenstein and House of Dracula. There is a place for him amongst the aristocracy of Boris Karloff, Bela Lugosi, Christopher Lee, and Peter Cushing, though he might be considered the vagabond of the horror pantheon, as he will undoubtedly be remembered for his role in B horror and exploitation films.

"I have shot, strangled, or otherwise disposed of many a victim on the screen in my day. However, more mayhem has been committed on me than I ever committed on anyone else. I have been poisoned, drowned, shot, pushed off cliffs, hanged, strangled, electrocuted, and run over by subway trains."

05 May 1983, Los Angeles, California, USA — 5/5/1938- Los Angeles, CA: Screen villain sculptor in spare time. John Carradine, who plays the part of a sinister scoundrel in the movies, is quite a sculptor on the side. He is shown here putting the finishing touches to the head of his five-year-old son, Bruce. This work is included in the current art show by non-professional artists in the film industry at the Stanely Rose Gallery here. — Image by Â© Bettmann/CORBIS

John Carradine is a noble eccentric, a cult icon who enjoyed photography and painting, sang opera, loved sculpting, knew the Bard's work by heart, and could recite Shakespeare at every opportunity. Interviews and commentary from other people in the industry would relate stories of John Carradine getting potted with a drink in hand and spouting Shakespeare and funny anecdotes. "He had a repertoire of bad jokes and off-color reminiscence of Old Hollywood." He was famous for that as much as for his acting.

Carradine is known for his theatricalizing, his out-of-control drinking, and his private life which was a circus. A life bombarded with non-conformity, chaotic marital trials and tribulations, arrests for not paying alimony, drunk driving, prostitution scandals, and bankruptcy that left him destitute.

With all the disorder in Carradine's life, the reputation that the actor built from his earlier career took a ruinous insult over the years.

By the end, the actor didn't bother to read a script, he learned his part no matter how ridiculous yet he took anything that came his way so he could pay the rent, finance his dream of having his own theater company and support his boys.

"An opera cape, top hat, ebony stick, and glittering diamond studs set John apart in a town where a tuxedo is considered formal dress. At intermissions, he stands gracefully in the lobby, smoking a long Russian cigarette and twirling his cane"¦ It is the kind of exhibitionism that made Hollywood, in its colorful beginnings, the most talked about town on Earth"¦"

John Carradine with his actor sons, John, Keith, and Robert courtesy Getty Images date unknown.

Fred Olen Ray: "He was both a prince and a rascal" "¦" He was colorful and dramatic"¦ He had a sweeping, majestic personality and an extraordinary voice that somehow managed to make the worst dialogue sound good."

Keith Carradine: "Here was this Shakespearean actor who, in the 1950s to feed his children, did a lot of horror movies. That's mostly what he's known for. I think it sort of broke his heart."

We know him for his deep voice, that low-pitched booming voice that sounds like well-worn leather and warm spices-cinnamon, sandalwood, and clove. He delivers his dialogue more like a fustian oratory, a sagacious silver-tongued scholar intoning a sermon instead of reading his lines straight.

From an interview with KMOX tv:

What do you think made you so successful as an image that I think maybe that incredible voice?

“I think the voice helped and another thing that helped I think was the fact that – well my face Darryl Zanuck was once heard saying when he came out of the rushes for something that I was in. He said "that guy Carradine got the god damndest face (He laughs) What he meant by that I don't know but I think that was part of it. Well I think the voice helped a lot. Cecil DeMille said I had the finest voice in the business and he was right I did have the finest voice in the business. Still have. But it's because I had been because I spent so much time in the theater and because I did Shakespeare. As I told my boys if you want to. Be an actor play all the Shakespeare you can get your hands on. Cause if you can play Shakespeare you can play anything. And I did a lot of Shakespeare. Cause that's why I became an actor because I wanted to be a Shakespearean actor.”

John Carradine is an actor that commands a parade of imagery and similes. He's just that darn interesting. I find him to have an almost regal symmetry that strikes me as handsome.

He is wraithlike and sinewy, withered, worn to a shadow, and as thin as a rake yet his presence is boundless.

A lanky actor wafting around the screen like a willow tree, hollow-cheeked, rawboned, and lantern-jawed, the opposite of Herculean – but make no mistake his presence is immortal.

And in a not-so-flattering light, he's been referred to as cadaverous.

"I wasn't eccentric in those days. I was just trying to learn my craft and improve what I had"¦ cadaverous I'm a very thin man Cadaverous means looking like a cadaver and at least I do look alive. I look like I might live another five minutes!"

Continue reading “John Carradine-I am a ham! Part 1” →

John Carradine “I am a ham!” Part 2

Carradine found himself accepting ludicrous parts in Poverty Row and low-budget chillers to fund his ambitious theatrical productions. By the 1960s, he was degraded by taking on roles just to pay the bills.

He traveled to Africa for Paramount's Tarzan the Magnificent and acted on Rod Serling's The Twilight Zone 1960 episode ‘The Howling Man.’

When David Ellington (H.M Wynant) seeks refuge at a remote monastery where Carradine is the solemn Brother Jerome in a heroic white beard, robes, and staff and the brotherhood stands guard over the devil (Robin Hughes) whom they trapped and locked away. Ellington disregards their warning and unwittingly releases evil upon the earth. This was a more sedate role for Carradine.

On February 8, 1960, he was awarded a Star on the Hollywood Walk of Fame at 6240 Hollywood Blvd.

In 1962, he returned to Broadway in Harold Prince's production A Funny Thing Happened on the Way to the Forum. He played Marcus Lycus, the scheming whoremaster of a Roman house of ill repute. The show saw 964 performances in New York's Alvin Theatre.

“A Funny Thing Happened On the Way to the Forum” – Zero Mostel, right, is the lead performer in the Broadway musical “A Funny Thing Happened On the Way to the Forum,” along with (left to right:) John Carradine and Jack Gifford.

Carradine also appeared in several television series. Lock Up 1960 – as James Carew in the episode "˜Poker Club.'Â He made an appearance in The Rebel 1960 as Elmer Dodson in episodes "˜Johnny Yuma' and "˜The Bequest.'

These were difficult times for Carradine. He wasn't making it financially for all his film and television work. In 1960, he starred in an episode of NBC’s Wagon Train called ‘The Colter Craven Story,’ directed by John Ford.

Considered his favorite experience working in the horror genre – was appearing in Boris Karloff’s superior horror/film noir anthology series Thriller 1961, which ran from 1960 to 1962.

From an interview with KMOX in 1983:

What was your favorite horror film that you did?

“Oh god I don't know. Eh, I don't think I had one. I think it's probably something I did with Boris. I did several for Boris. He had his own series that he introduced as a host and on a couple of them he worked also on as an actor. And I did two or three of those with him and for him. And I think that was the best part of the horror genre that I did.”

What was he like to work with.?

“Oh, charming. He was a charming man. And I first worked with him on the first thing he did in this country. We had a play down in Los Angeles, the old Egan Theater which was a 400-seat theater down on Figueroa street. And we did a play together called Window Panes which he played a brutalized Russian peasant immigrant unlettered. And I did a Russian peasant half-wit and there was a character sort of a Christ-like character who was wanted by the authorities as he was, was a rebel. But the ignorant peasantry took on him almost as a Christ figure and I did that for ten weeks and we moved over to the Vine Street Theater which is now the Huntington Hartford in Hollywood. And Boris played the brutalized Russian peasant and played it to the nines. And we became very good friends then. And that was in 1928. And we remained good friends until he retired and went back to England.”

For Thriller, Carradine was cast as Jason Longfellow and Jed Carta in ‘The Remarkable Mrs. Hawk’ starring Jo Van Fleet and directed by John Brahm, and ‘Masquerade’ starring Elizabeth Montgomery and Tom Poston directed by Herschel Daugherty and blessed with a whimsically macabre score by Mort Stevens.

Carradine as Jason Longfellow with Hal Baylor in Thriller episode ‘The Remarkable Mrs. Hawk’ 1962.

Above are two images from the episode ‘Masquerade.’

For the series, Carradine appeared in two of the most comic and compelling episodes. In ‘The Remarkable Mrs. Hawk’ and ‘Masquerade’ he was both sardonic and sinister.

In Masquerade, airing in 1961, Carradine plays Jed Carta, leader of a depraved family of murderers and cannibals who entraps wayward travelers, stealing their money and butchering them like hogs. When Tom Poston and Elizabeth Montgomery stumble onto the creepy, dilapidated house to get out of a rain storm, Carta greets them with dark glee, trading menacing cracks with Montgomery. What lies beneath the surface might be something more nefarious than the mere suggestion of evil cloaked in black humor that surrounds the Carta family and Carradine's spooky wisecracks. He's magnificently droll, skulking around the dreadful house, with Poston and Montgomery being assailed by disembodied cackling and dimwitted Jack Lambert, who wields a large butcher knife lumbering around. Dorothy Neumann plays the feral Ruthie chained to the wall, spewing animosity for the Carta clan and demonstrating an itchy type of lunacy. It’s both comical and arouses jitters simultaneously. In my opinion, it is one of Carradine's most underrated roles in the horror genre, emphasizing his ability to shuffle both dark humor and horror equally.

Boris Karloff’s Thriller The Remarkable Mrs Hawk: A Modern Re-telling of Homer’s Odyssey, Circean Poison with a Side of Bacon.

In ‘The Remarkable Mrs. Hawk,’ starring Jo Van Fleet as Mrs. Hawk/Circe, Carradine plays Jason Longfellow, an erudite transient who stumbles onto Mrs. Hawk’s true identity and the secret of her ‘Isle of Aiaie Home of the Pampered Pig.’

Cultivated and shrewd, Longfellow is a scheming vagabond who plans to use his revelation about Mrs. Hawk to his advantage"”much to an ironic end.

It's an inspiration for writers Don Sanford and Margaret St. Clair to transform a classical tale from Greek mythology and position it within a southern Gothic rural setting, using a hog farm and a visiting carnival/State Fair that adds a layer of mystique and mayhem. There's a great scene that utilizes theatrical anachronism wonderfully when Cissy Hawk (Van Fleet)Â carries the bowl, or "˜Circe's cup' the night she feeds the pigs grapes and proceeds to turn Johnny (Bruce Dern) back into a man for a while. Under the moonlight, she conducts an ancient rite on modern rural farmland as Pete (Hal Baylor) watches in fright and disbelief from his window.

Not only is this particular episode so effective because of Jo Van Fleet’s performance as the modern-day witch, but it’s also due to the presence of the ubiquitous John Carradine, whose facial expressions alone can be so accentuated by his acrobatic facial expressions that make him so uniquely entertaining to watch not to mention listening to his Shakespearean elucidations, hard-bitten insights, and crafty machinations.

Carradine enters the story: A train whistle is blowing in the backdrop. There is a close-up of Jason's (John Carradine's) face. Carradine is the perspicaciousÂ Jason Longfellow, an erudite transient, shabby and unshaven, dressed like a gypsy with white tape holding his black-framed glasses together. Skinny, almost skeleton-like, and lanky. Longfellow’s razor-sharp acumen betrays his urbane sensibilities that travel incognito like a stowaway. He may look like a scraggly bum, but he is a highly educated defector of society. He also enjoys giving his companion Peter grief, waging his intelligence that he uses as a refuge. Pete is a wayward boxer who looks to Longfellow as a mentor. This horror-themed, fable-like episode is overflowing with ironic, comical repose until the baleful scenes leap out at you when Circe wields her powerful magic.

A Pan flute is trebling a child-like tune, a delightful wisp of scales. To the left of the screen are a pair of black & argyle socks with holes worn in the toes, tapping out the melody in the air with his feet. A fire is burning in the trash can. This is a slice-of-the-night mystique of the hobo's life. Carradine, as Jason Longfellow is sitting in a cane back fan rocking chair, a junkyard living room, and a cold tin coffee pot atop an oil drum.

Suspecting their friend Johnny's disappearance is connected to Mrs. Hawk (Jo Van Fleet) and the rumors about her young handymen all gone missing.

"If I knew Johnny's fate, my friend, I'd understand why Mrs. Hawk's farm is designated Caveat Accipitram among the brotherhood." Jason's eyes bulge out of the sockets with glee and rancor.

Carradine manifests an exquisite mixture of the facial expression of a malcontent. Pete seems stupefied –" Hhm?" "Come on.. speak American, would ya?" Jason raises his voice and changes his tone to indicate the hierarchy in their educational backgrounds." Caveat Accipitrum… Caveat AccipitrumÂ Â BEWARE THE HAWK"¦." Longfellow ends his little lesson for Pete with emotive punctuation.

He grunts/laughs dismissively, "Oh"¦Hey!" and looks away. He takes a drag of his cigarette with his bone-like fingers, squinting his thoughtful blue eyes (not obscured by the black-and-white film) as if in deep contemplation about the matter. Longfellow was written for Carradine.

Following Thriller, John Carradine made nine guest appearances on the popular The Red Skelton Hour 1961.

Carradine as Major Starbuckle in The Man Who Shot Liberty Valance 1962.

Ford found working with Carradine a trial because of his free-spirited style, but he cast him once again, this time joining him in 1962 with The Man Who Shot Liberty Valance, starring James Stewart and John Wayne. Carradine played the bombastic Senator Cassius Starbuckle.

Carradine's cameo happens toward the end of the film in a scene at the political convention with him kicking up a fuss "soldier, jurist, and statesmen." he's a mouthpiece for the cattle ranchers opposed to statehood. This would be Carradine's last significant role with director John Ford.

"Offering up a caricatured portrayal of a bombastic Southern blue-blood blowhard, he strikes poses, grandstands, and dishonestly paints his political foe (Stewart) as a killer not fit for government. Without half trying Carradine was capable of exuding just the right sort of seedy grandeur in this pompous scoundrel role; his theatrical oratory enlivens the final reel of a movie. " (Mank)

In 1963, he directed Hamlet at the Gateway Playhouse on Long Island, where he performed the melancholy Dane.

Carradine made appearances on the television series The Lucy Show in 1964 as Professor Guzman in the episode ‘Lucy Goes to Art Class.’

Also in 1964, he appeared with Carroll Baker, Karl Malden, and Richard Widmark, with Carradine playing Major Jeff Blair, a gambler who joins James Stewart in a card game in Ford's western Cheyenne Autumn 1964.

The Wizard of Mars and Curse of the Stone Hand, where he appeared for one minute as part of director Jerry Warren's added footage in order to use Carradine's name in the credits for his movie pieced together from two French dramas creating an incoherent mess.

Throughout the 1960s he worked constantly in Summerstock – appearing in Enter Laughing, Arsenic and Old Lace 1965 and in Oliver as the sly Fagin in 1966.

Carradine in John Ford’s Cheyenne Autumn 1964 starring Carroll Baker.

Carradine with Andrea King in House of the Black Death 1965/71.

in the low-budget House of the Black Death, Carradine had more of a prominent role as Andre Desard, plays the patriarch of a family of Satanists and werewolves, with Lon Chaney, Jr. playing his evil brother Belial who sports a pair of horns and battles over their ancestral home. The film also stars Tom Drake and noir star Andrea King.

1966 saw Carradine cast as a smarmy Dracula once again in the bottom basement horror/western Billy the Kid vs Dracula directed by William "˜one shot' Beaudine, with supportive roles by Virginia Christine and Marjorie Bennett. Carradine is painted as looking like a pasty-faced, maniacal magician with a greasy satanic goatee mustache, widow's peak, frills, cravat, and top hat. Traveling by stagecoach in the Old West, Dracula meets James Underwood on his way to the cattle ranch to see his niece Betty (Melinda Plowman). When the passengers are killed by Indians, he assumes Underhill's identity and seeks out Betty as his next undead bride. Carradine comes under suspicion for a series of unexplained murders. His Dracula sleeps in a bed, not a coffin, and moves around in broad daylight. Whenever Carradine exerts his hypnotic stare, Beaudine uses a colored spotlight that turns his face a bright red, with Dracula dashing in and out of the frame in a badly designed special effect.

"I have worked in a dozen of the greatest, and I have worked in a dozen of the worst. I only regret Billy the kid versus Dracula. Otherwise, I regret nothing"¦ it was a bad film. I don't even remember it. I was absolutely numb."

He had a small role in Munster, Go Home in 1966 for Universal, where he played the oddball butler Cruikshank. On television, he appeared on episodes of Daniel Boone in 1968 and Bonanza in 1969 as Preacher Dillard.

In 1967 he hosted five horror tales as part of Gallery of Horrors – Not to be confused with the superior portmanteau – Amicus' Dr. Terror's House of Horrors. Five short tales of the supernatural introduced by Carradine, who does appear in the first edition as a 17th century Warlock in "˜The Witch's Clock' about a young couple who find a cursed clock that can raise the dead.

‘The Witch’s Clock’ segment of Gallery of Horrors.

Continue reading “John Carradine “I am a ham!” Part 2″ →

What a Character! 11th Annual Blogathon 2023 Elisha Cook Jr. – Like it says in the newspaper I’m a bad boy

It’s the 11th Annual What a Character! Blogathon. Not only is it my favorite gathering of bloggers paying tribute to actors who deserve our recognition, but it also gives me a reason to dive in and binge their films and television appearances. Thank you, Aurora at Once Upon A Screen, Kellee at Outspoken & Freckled, and Paula at Paula’s Cinema Club Â for hosting this year’s wonderful event!

Impish pint-sized, blue-eyed, and baby-faced with aÂ raspy voice, American character actor Elisha Vanslyck Cook Jr. was born on December 26, either 1903 or 1906 (sources vary) in San Francisco, California.

Cook spent his childhood in Chicago, Illinois, and his first job was selling programs in the theatre lobby. He attended St. Albans College and the Chicago Academy of Dramatic Art, debuting on the stage at age 14, and was an assistant stage manager at age 17. He later traveled with a repertory company as a stage actor, appearing in vaudeville, debuting in the vaudeville act Lightnin.' He worked in stock companies where he got his first big break after Eugene O’Neill cast him in the lead role of his production of Ah, Wilderness on Broadway.

At age 23 Cook debuted on the Broadway stage in 1926 as Joe Bullitt in the musical comedy Hello, Lola. He also appeared as Dick Wilton in Henry Behave 1926, Many a Slip, Hello, Gertie 1926-27, The Kingdom of God 1928-29 – (featuring Ethel Barrymore), and Her Unborn Child 1928Â at the Empire Theatre. In 1963 he returned to the stage as “Giuseppe Givola” in “Arturo Ui” on Broadway, written by Bertolt Brecht from The Resistible Rise of Arturo Ui. The show featured the music of Jule Styne.

Elisha Cook Jr. then moved to Hollywood where he settled in 1936. He made his film debut revising his stage role as the romantic young lead in the film version of Her Unborn Child 1930 alongside Francis Underwood. "A vividly dramatic all-talker of the Broadway stage hit which rocked the nation with its frankness." After Hollywood spotted the young actor’s fun-sized flair, he would not return to the stage until 1963.

The diminutive actor co-starred in over 220 films and television shows from the 1930s to the 1980s. His film career, including his later television roles, lasted almost 60 years. Cook a flexible actor, played a wide range of characters. ‘Cookie’ as his friends referred to him, was cast in a wide variety of genres starting out in musical comedy, westerns, crime dramas, and most notably film noir and B horror movies.

“Few actors could claim to have played as many memorable roles in as many recognized classics or to have become the answer to so many Hollywood trivia questions,” – Robert Thomas, Jr., in a New York Times obituary.

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A Trailer a Day Keeps the Boogeyman Away : Goodbye Andrew Prine Oct 31, 2022

LOOK HOMEWARD ANGEL-GOODBYE ANDREW PRINE

It’s sort of poetic that Andrew Prine left us on Halloween… Though the lanky actor is beloved for his supporting roles in classic Westerns (winning the Golden Boot Award in 2001) both in film and television, I’ll always have a strong affection for his contribution to the B-horror, sci-fi and exploitation genres. I think he had it in his DNA to bring his cocky, seraphic sex appeal to the scary screen. (The Invaders 1967,V mini series 1983 and V: The Final Battle 1984, Star Trek: The Next Generation 1993, Star Trek: Deep Space Nine 1995, Weird Science series 1994-98) Later on in his career,Â he wouldn’t turn his back on a genre that embraced him, looming grim as the nightmarish surgeon Dr. Hopkins who deals in body parts in the outre gruesome Sutures in 2009, also appearing as Reverend Jonathan Hawthorn in Rob Zombies -The Lords of Salem in 2012.

In the 60s Prine was cast in supporting roles in supernatural oriented television episodes of One Step Beyond 1960, Boris Karloff’s THRILLER ‘The Guilty Men 1960’, ALFRED HITCHCOCK PRESENTS ‘The Faith of Aaron Menefee’1962’.

You can catch him in the made for tv movie Night Slaves 1970, Kolchak: The Night Stalker ‘Demon in Lace’ 1975, The Evil 1978, and Amityville II: THE POSSESSION 1982.

Personal Quote[on the 70s exploitation films he starred in] “Then I did a couple of headrollers, and I did them for the money – they paid me a lot of money to do them. I was never a guy who was unhappy on a set. I enjoyed the game, the circus – and I enjoyed the girls. We always had a bunch of fun girls on those movies. The only one I regretted making – I didn’t regret The Centerfold Girls (1974) or The Evil 1978, which turned out to be pretty good. But I didn’t like Terror Circus (1973) [a.k.a “Barn of the Naked Dead”]. When I got into that I thought, “You’ve gone too far, my boy.” I couldn’t imagine my way out of it, though they paid me a lot of bucks. I thought, “Let’s not do this again.”