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 from A-Z

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Beast with Five Fingers 1946

Read my Andrea King tribute here:

Beast with Five Fingers directed by Robert Florey and written by Curt Siodmak stars Andrea King as the heroine nurse Julie Holden, Peter Lorre as Hillary Cummins a creepy astrologist and personal assistant to the eccentric pianist Francis Ingram (Victor Francen), and Robert Alda. The film is a classic supernatural horror centered around a disembodied hand (which is locked in a safe). The original tale was written by W. F. Harvey, and published in 1919.

The story is set in a turn-of-the-century secluded Renaissance mansion in a remote Italian village and revolves around the eerie events that unfold after the death of its tyrannical owner, a wheelchair-bound recluse Ingram. Following a visit from a scam artist (Robert Alda), Ingram crashes down the stairs to his death — and a plague of bizarre events ensues that are attributed to the musician’s disembodied left hand. Lorre is superb as usual as he experiences a feverish delirium – persecuted by the five-fingered nightmare.

Ingram a brilliant but reclusive scholar and collector of ancient manuscripts has amassed a remarkable collection, but his greatest fascination lies in the world of the occult and at the heart of the mystery lies the severed hand that possesses a malevolent intelligence of its own.

Brain From Planet Arous 1957

It Will Steal Your Body And Damn Your Soul!

The Brain from Planet Arous is a cult science fiction film directed by Nathan Juran and released in 1957. The movie’s premise revolves around an evil brain from the planet Arous that takes control of a human scientist’s body (John Agar), leading to a battle of wills for control over the Earth.

When a brilliant scientist named Steve March (played by John Agar) stumbles upon a strange, glowing rock in the desert cave, he inadvertently becomes the host for Gor, an evil extraterrestrial brain from the planet Arous. Gor’s intelligence far surpasses that of humans, and he uses his newfound control over Steve’s body to embark on a nefarious plan to dominate Earth. He demonstrates his powers to destroy any target using his mind and his black-eyed radar stare. As Gor’s sinister actions escalate, Steve’s girlfriend, Sally (played by Joyce Meadows) and her father played by Thomas Brown Henry become increasingly suspicious of his erratic behavior. With the help of a benevolent brain from Arous named Vol, who inhabits the body of Steve’s dog, they discover the truth about the alien invasion.

A high-stakes battle of wills ensues as Vol and his human allies attempt to thwart Gor’s diabolical schemes and save Earth from his malevolent control. The fate of the planet hangs in the balance as they race against time to stop the brain from Planet Arous.

The Brain from Planet Arous is a campy and entertaining example of 1950s B-science fiction cinema, known for its over-the-top performances and quirky premise.

Blood of Dracula 1957

Blood of Dracula is a 1957 horror film directed by Herbert L. Strock. It’s a part of the sub-genre of the 1950s horror genre that focuses on teenagers, the supernatural, and the rampant sexuality of burgeoning youth.

Nancy Perkins (played by Sandra Harrison) is a troubled teenager who is sent to the Sherwood School for Girls due to her rebellious behavior and her mother’s new romance which motivates the couple to abandon Nancy. At the school, she becomes the unwitting victim of an experiment conducted by the school’s science teacher, Miss Branding played by Louise Lewis), who secretly wants to release Nancy’s primal force by using an ancient amulet to regress her unleashing her primal nature.

Branding uses Nancy as a test subject for her bizarre and sinister experiments, injecting her with a serum derived from Dracula’s blood. As a result, Nancy undergoes a dark transformation, developing a newfound taste for blood and exhibiting vampire-like tendencies.

As her behavior becomes increasingly erratic and dangerous, the film follows Nancy’s descent into darkness and her attempts to resist the vampiric urges that now consume her.

Blood of Dracula is a classic example of 1950s teen horror cinema, blending elements of the vampire myth with the era’s fascination with juvenile delinquency and science fiction. The film co-stars Gail Ganley as Myra, Heather Ames as Nola, Thomas Brown Henry as Mr. Paul Perkins, Mary Adams as Mrs. Thorndyke, and Malcolm Atterbury as Lt. Dunlop.

The Black Torment 1964

The Black Torment is a British Gothic horror film released in 1964.

Set in the rural English countryside during the 18th century, The Black Torment follows the ominous events that unfold at the mansion of Sir Richard Fordyke (played by John Turner). Sir Richard has recently returned home after marrying the beautiful Elizabeth (played by Heather Sears) from a nearby village.

Shortly after their arrival, strange and unsettling occurrences plague the Fordyke household. Local villagers claim to have seen Sir Richard committing acts of violence and cruelty, including the brutal murder of a young woman. However, Sir Richard vehemently denies these allegations, asserting that he is the victim of a sinister conspiracy.

As tensions rise, the truth behind the accusations remains elusive. Sir Richard’s loyal servants and his new wife, Elizabeth, are torn between their loyalty to him and the mounting evidence of his alleged crimes. Elizabeth becomes determined to uncover the dark secrets hidden within the mansion.

As the suspense builds, the film explores themes of paranoia, betrayal, and the supernatural. It delves into the mysterious history of the Fordyke family and their connections to the vengeful spirits of the past. Elizabeth’s quest for the truth takes her on a harrowing journey through the mansion’s shadowy corridors, where she confronts the malevolent forces that threaten to tear her world apart.

Blood Bath 1966

Directed and written by Jack Hill and Stephanie Rothman, Blood Bath (1966)is a unique and atmospheric horror film that takes viewers on a surreal journey into the twisted mind of an artist turned murderer. Set against the backdrop of 1960s Southern California, the film follows the enigmatic and disturbed character of Antonio Sordi, portrayed by the charismatic William Campbell. Sordi is a deranged artist whose obsession with his belief that he is the reincarnation of a vampire, and this macabre fixation drives him to commit a series of gruesome murders. He uses his victims as subjects for his paintings, turning their violent deaths into grotesque works of art. As the bodies pile up, the police are baffled by the bizarre and seemingly unrelated murders, while the art world begins to take notice of his disturbing creations.

Blood Bath is a visually striking cult classic that blurs the lines between reality and nightmare. With its psychedelic visuals, eerie soundtrack, and a mesmerizing performance by William Campbell, the movie creates a dreamlike, nightmarish atmosphere. The film co-stars Marissa Mathes as Daisy Allen, Lori Saunders as Dorean, Sandra Knight as Donna Allen, and Hill regular Sid Haig as Abul the Arab.

Blood on Satan’s Claw 1971

I’ll be doing a Saturday Nite Sublime to further explore this atmospheric nightmare, for now, enjoy the trailer/teaser.

Blood on Satan’s Claw is a 1971 British horror film set in the 17th century. The story unfolds in a rural English village, where the peaceful community’s harmony is shattered when a young farmer uncovers a mysterious, demonic skull while plowing his field. This gruesome discovery triggers a series of disturbing events as the villagers, particularly the children, become increasingly possessed by an evil force.

As the malevolent influence spreads, the villagers’ behavior takes a dark turn, marked by witchcraft, sadistic rituals, and a descent into madness. A local judge, played by Patrick Wymark, attempts to unravel the sinister mystery and confront the evil that has taken hold of the community.

Blood on Satan’s Claw is a chilling tale of folklore, superstition, and the battle between good and evil, as the villagers must confront the demonic presence threatening to consume their souls. It’s a classic example of British folk horror, known for its atmospheric tension and disturbing imagery. The film is co-stars Linda Hayden as the enigmatic Angel Blake and directed by Piers Haggard credited as assistant director on Blow-Up 1966.

The Bat People 1974

The Bat People (1974) is a chilling and atmospheric horror film that combines elements of science fiction and creature-feature genres. The movie follows the terrifying transformation of a man into a vampire bat-human hybrid and the nightmarish consequences that follow. The bat-man makeup was designed by the great Stan Winston.

Dr. John Beck (played by Stewart Moss) and his wife, Cathy (real-life wife Marianne McAndrew), decide to spend their honeymoon exploring remote caves in rural Texas. Unbeknownst to them, these caves are inhabited by a colony of bats carrying a strange virus. When Dr. Beck is bitten by one of the infected bats, he soon begins to undergo a horrifying transformation into a monstrous creature.

As John’s condition deteriorates, he becomes a nocturnal predator with a thirst for blood. Fearing for his wife’s safety, he isolates himself in a hidden chamber deep within the caves. Meanwhile, Cathy is desperate to find her missing husband and uncovers the shocking truth about the deadly virus and its origins.

This obscure horror film directed by Jerry Jameson from the 1970s is a suspenseful and eerie tale of a man’s descent into madness and monstrousness. With its atmospheric cinematography by Matthew F. Leonetti (a slew of made-for-TV movies – Poltergeist 1982 and the remake of Dawn of the Dead in 2004), creepy cave settings, and practical creature effects, the film delivers a sense of dread and tension. As the Beck’s marriage is put to the test and the townsfolk become suspicious of the mysterious disappearances, “The Bat People” explores themes of isolation, transformation, and the primal fear of the unknown.

“The Bat People” (1974) is a cult classic that offers a unique twist on the vampire genre, blending science fiction and horror that also co-stars horror genre regular Michael Pataki.

Beyond the Door 1974

Beyond the Door is a 1974 supernatural horror film starring Juliet Mills in a role that pays its dues to Linda Blair, featuring episodes of bile-spewing disgust. In one scene underscored by a chilling heightened low-pitched soundtrack by Franco Micalizzi that radiates a disturbing aura of infernal euphoria, Mills floats up to the ceiling in her spectral white nightgown reminiscent of The Exorcist 1973.

Juliet Mills portrays a devoted wife and mother of 2 children, Jessica Barrett, a young pregnant woman living in San Francisco with her husband, Robert (played by Italian stage actor Gabriele Lavia with dubbing), and their two children. Their seemingly ordinary life takes a terrifying turn when Jessica begins to experience bizarre and increasingly disturbing supernatural phenomena.

Jessica’s peaceful life is shattered when her ex-lover, Dimitri (portrayed by Richard Johnson), meets a tragic demise in a car accident. Yet, as Dimitri’s car races toward the precipice of a cliff, an ominous pact is forged between him and a malevolent spirit, granting him an extra decade of existence on earth in return for aiding the devil in a wicked scheme: impregnating a virtuous woman with his evil offspring. Jessica finds herself mysteriously pregnant with an unplanned third child, while Dimitri lurks about. As Jessica’s pregnancy progresses, her behavior becomes erratic, and she appears to be possessed by a malevolent force. Her family is thrown into a nightmarish ordeal as they witness her undergo terrifying transformations, including levitating and speaking in strange tongues.

Co-directed by grindhouse virtuoso Ovidio G. Assonitis the 1974 horror film has acquired a distinct allure over the years. Unforgettable is the film’s remarkable beginning, as Satan himself delivers a captivating introduction. The narrative unfolds with dramatic head-swiveling and disturbing manifestations of demonic possession, It’s an unconventional start to a bizarre take on the ’70s possession flick.

It’s known for its eerie atmosphere, shocking special effects, at times delving into absurd abstractions and idiosyncrasies. The lovely Juliet Mills gives a compelling performance as a woman caught in the grip of a malevolent entity. It remains a classic of 1970s horror cinema, offering a unique and memorable take on the possession subgenre that delivers some unsettling moments. The film also delves into unsettling 1970s sensibilities, including eerie and ambiguous elements such as a possessed Jessica in a scene with her young son that evokes the oddly fixated kiss between Deborah Kerr and Martin Stephens in Jack Clayton’s The Innocents 1961.

Bad Dreams 1988

Bad Dreams is a 1988 horror film directed by Andrew Fleming. The movie revolves around a young woman named Cynthia (played by Jennifer Rubin) who, as a child, survived a mass suicide at a cult led by a charismatic and sinister leader named Harris (played by Richard Lynch). Cynthia wakes up from a 13-year coma to find herself in a psychiatric hospital, haunted by disturbing nightmares of the cult’s traumatic events.

As Cynthia struggles to piece together her past and deal with her traumatic memories, she becomes increasingly convinced that Harris’ malevolent spirit is still pursuing her and the other surviving cult members. The film explores themes of psychological horror and the blurred lines between reality and the supernatural as Cynthia and the other patients in the hospital are plagued by terrifying visions and gruesome deaths.

Richard Lynch (read my piece The Premonition here:) is a prolific actor known for his distinctive appearance, psychological intensity, and commanding presence, often portraying intense villains and the primary antagonists throughout his career in movies and television shows. His acting style was characterized by a brooding intensity and a knack for playing menacing, enigmatic, and morally ambiguous roles conveying torment, obsession, and madness convincingly.

His tall stature, chiseled features, and deep, gravelly voice made him an ideal choice for roles such as sadistic criminals, menacing cult leaders, and power-hungry villains. He had a unique ability to convey a sense of malevolence through his physical presence and facial expressions. Lynch was also adept at portraying characters with layers and complexity, often driven by personal demons. He made a significant mark in the thriller, horror, science fiction, and fantasy genres.

This is your EverLovin’ Joey sayin’ B’EWARE the letter C is up next!

Quote of the Day! Lon Chaney Jr. as Bruno The Chauffeur: Spider Baby (1968)

Lon Chaney Jr. is the sympathetic Bruno the chauffeur, who teaches the kids a little bit about ethics in Jack Hill’s sublime cult horror gem Spider Baby or, The Maddest Story Ever Told (1968)

“Just because something isn’t good doesn’t mean its bad.”

That’s right Bruno-MonsterGirl

We at the Last Drive In wish you a very safe and happy ‘Stuff Yourself til You’re Sick of All the Food and Your Family Day!”

Here’s a little something to go with that side of string bean, shaved almonds and pearly onion casserole that no one ever seems to like…

**“Look Stanley, they’re serving that awful side dish again… you know, the one with those limp string beans, and little onions that look like fish eyes!**“
**Bela Lugosi in White Zombie (1932)**

Be safe and have a happy what ever it is you celebrate! – MonsterGirl

MonsterGirl’s Sunday Nite Surreal: Spider Baby 1968-“This has gone well beyond the boundaries of prudence and good taste.”

Spider Baby or The Maddest Story Ever Told -1968

Virginia – “I caught a big fat bug right in my spider web and now the spider gets to give the bug a big sting. Sting, Sting, Sting, Sting, Sting!”

Spider Baby is one of the most original psychological horror gems that is as queerly frightening as it is endearing. It opens with Bruno the Chauffeur played by Lon Chaney Jr. singing a little nursery song about werewolves and vampires and it’s quite effectively eerie as the opening hymn. Chaney’s character delivers one of my favorite lines–it’s a childish hymn that tributes oddballs in the world who struggle to find their place in the world.

Bruno, The Chauffeur: “Just because something isn’t good doesn’t mean it’s bad.”

The film is special partly due to the presence of Lon Chaney Jr. as Bruno who looks after the Merrye children with undying devotion. Living in the decrepit and crumbling old family mansion, they are the last generation of surviving Merryes occupying the odd space like a whimsical little fun-house.

Because of inbreeding the family has been cursed with a type of mental regression, and arrested development. Bruno sort of cleans up any of the messes or homicidal fatalities that happen due to the Merryes being like wild unchecked gremlins.

Including the postman (Mantan Moreland busy actor in the 40s who often took off on black caricatures for the all-white films he played all jittery or stereotyped buffoonery Hollywood made a brand out of his name and his ebullient persona. Anyway, he should have known better than to try and leave a package any further than the steps, instead of poking his head inside the window and being trapped in Virginia’s theoretical web and being sliced up with a large pair of knives, losing an ear that will be kept in a little box as a token. He was a big bug caught in her net after all.

Directed by Jack Hill (Blood Bath 1966, The Big Doll House 1971, Coffy 1973 and F0xy Brown 1974) who brilliantly populates this queer little world with the perfect characters, all on a budget of $65,000.

Lon Chaney was only paid a flat fee of $2,500 for his role and it was a little poignant to watch his performance with bits of his alcoholism seeping through the character, he had been drinking pretty heavily at that point but had remained sober during filming. The role had meant a lot to Chaney, who got the part after John Carradine turned it down.

Ronald Stein’s music is often lyrical & offbeat (Attack of the 50 Ft Woman (1958), Dementia 13 (1963), It Conquered the World & She Creature (1956) Not of this Earth, Attack of the Crab Monsters, The Undead, Dragstrip Girl (1957) The Girl in Lovers Lane (1960) The Haunted Palace (1963).

The film’s alternative titles are The Liver Eaters. Cannibal Orgy– I assure you there is no orgy, and there isn’t any cannibalism on screen. There is the family bible or a reference book that explains how exclusive Merrye Syndrome affects only that family, where the disease: causes its victims to regress mentally to a pre-infantile state of savagery and cannibalism. The three surviving children of Titus Merrye are Elizabeth who dresses like a little girl (creepy) and Virginia who thinks she’s a giant spider.

The Merrye sisters Virginia (Jill Banner) and Elizabeth (Beverley Washburn) are suited as the demented girls, and then there’s Ralph, adorable feral little Ralph manifested by the quirky Sid Haig who would later take on grittier roles as screen heavies in exploitation films.

Carol Ohmart (House on Haunted Hill 1959) comes into the picture as Cousin Emily Howe who is after the family fortune not expecting to uncover the house of Merrye madness.

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The film has been compared to the work of iconoclast Luis BuÃ±uel. who was considered a moralist director who definitely populated his films with the sense that revolution was necessary to change the stagnant ways people conform to their lives.

I can see the dinner scene as a nod to his The Exterminating Angel, as the table is set where everyone but the guests are vegetarians. Ralph has caught a Rabbit. Unfortunately, it’s the neighborhood cat. When Ralph grabs the ‘rabbit’ and starts tearing into it, Cousin Peter (Quinn Redeker)Â is confused because he thought he was a vegetarian. Bruno tells him “But Ralph is allowed to eat anything he catches!”

Spider Baby creates its own little universe of characters who move in their own orbit with a sense of unorthodoxy. Virginia with that large bow in her hair is ridiculous as it is uncomfortably creepy for an obviously grown young woman to sport a child’s ribbon like a doll, where she evolves into a monstrous assassin with her two sharp knives in her anxious hands elevating her to a truly gruesome character and not just a childish simpleton.

It’s this teetering irony of the film that takes us from darkly whimsical to suddenly going for the jugular that creates the uneasy feeling surrounding the Merrye family.

It’s one of THE definitive Cult films for sure, as it’s witty, macabre, quirky, irreverent, and a bit of film noir in its use of shadows and devious figures doomed from the beginning. Spider Baby is an adult fairy tale with dark corners and speculative questions about madness and responsibility and who gets to make those decisions. And Carol Ohmart just looks damn sexy in her black lingerie as she runs around amidst the ‘old dark house’ trope as the woman in peril.

Jill-Banner — **Savage hunger of a BLACK WIDOW.**

IMDb Fun Fact:

The film was shot in August and September of 1964 with the title “Cannibal Orgy, or The Maddest Story Ever Told”, but its release was held up for years because the producers went bankrupt, which tied up the film in legal limbo. Independent producer David L. Hewitt acquired it for distribution in 1968 and changed the title to “Spider Baby” and “The Liver Eaters.”