BRIDES OF HORROR – Scream Queens of the 1960s! – Part 3

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ELSA MARTINELLI

Euro art house director Roger Vadim adapted Blood and Roses in 1960, from Sheridan Le Fanu’s Sapphic vampire novella Camilla, setting down in contemporary Italy.

A lonely and bitter young heiress – jealous of her cousin’s engagement to another woman – becomes dangerously obsessed with legends surrounding a vampire ancestor, who supposedly murdered the young brides of the man she loved (IMDb).

The role of Carmilla was cast by Annette Vadim and Elsa Martinelli plays Georgia Monteverdi engaged to Leopoldo (Mel Ferrer). Camilla is secretly in love with Leopoldo. He and Georgia host a costume party to celebrate their upcoming wedding, which includes fireworks, that wind up unearthing the grave of Milarka, who is Carmilla’s ancestor, a vampiress. Milarka now possesses Camilla and designs to corrupt the lovers. Although the film is in Technicolor, Vadim shoots his impressionistic dream sequence in black-and-white with red-tinted blood.

The film stoked the theme of the lesbian vampire, though not explicit, the trope gained traction in the late 1960s and 70s with Hammer Studios. Martinelli also appeared in The 10th Victim 1965.

Hayley Mills

Hayley Mills comes from acting royalty, she is the daughter of great British actor John Mills and the younger sister of Juliet Mills. I happened to have the good fortune of meeting the gorgeous Juliet Mills twice at the Chiller convention here in New Jersey. I have to say that I’ve never met a more kind and gracious actor who has a profound inner glow. Having already been a fan, I’m even more enamored with her.

Hayley was discovered while at her parents’ home in 1958 by director J. Lee Thompson, who immediately cast her opposite her father in the thriller Tiger Bay 1959. Her breakthrough performance, winning an award at the Berlin Film Festival and being acknowledged in Hollywood by Walt Disney, signed her to a five-year contract. There she starred in Pollyanna 1960 garnering rave reviews, and a second hit was for The Parent Trap 1961. She went on to do That Darn Cat! 1965 and The Trouble with Angels 1966.

Mills had been offered the role of Lolita in Stanley Kubrick’s film (1962) but her parents warned off the part fearing the sexual nature of the role would taint her iconic image of purity. Sue Lyon was cast in the role instead, but Mills regretted not taking the part.

In Twisted Nerve 1968, Hayley Mills plays Susan Harper, who befriends psychopath Martin Durnley (Hywel Bennett), who appears to be a painfully troubled young man, taking on the persona of a six-year-old boy who calls himself Georgie. His mother (Billie Whitelaw) infantilizes Martin. He has a brother with Down syndrome who has been hidden away in an institution. Georgie becomes fixated on the lovely and patiently kind, who realizes there’s something very wrong with Martin, who ultimately goes into a murderous rage.

After Twisted Nerve in 1968, Hayley Mills went on to do more psychological thrillers in the 1970s – Once again co-starring with Hywel Bennett in Endless Night in 1972, and Deadly Strangers in 1975.

ANNA MASSEY

Anna also comes from acting royalty being the daughter of actor Raymond Massey. She is known for her role as Helen Stephens in Michael Powell’s Peeping Tom 1960 starring Karlheinz Bohm as Mark, a disturbed young man who films women as he kills them with a tripod sword so that he can get off on their reactions of terror. Anna plays Helen Stephans, the one girl with whom Mark feels a connection.

Once Mark is drawn to Helen, they begin to spend time together. In Helen’s innocence, she remains out of danger from his dark, deranged eye on women’s suffering.

She also appeared in Otto Preminger’s Bunny Lake is Missing 1965, a psycho-sexual thriller drenched in paranoia. Carol Lynley reports her little girl missing, but there seems to be no evidence that she ever existed. Anna plays Elvira Smollett, one of the teachers at the school where she disappeared.

Massey went on to do two more horror films in the 1970s, Alfred Hitchcock’s Frenzy 1972 and The Vault of Horror 1973 an anthology directed by Roy Ward Baker.

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Movie Scientist Blogathon 2016- The Menacing Altruism of Boris Karloff!

Hosted By Christina Wehner & Silver Screenings

This is a Blogathon I just couldn’t resist, aside from the nifty idea, I always love the opportunity to cover one of my favorite actors… the great Boris Karloff. Corridors of Blood is a fine example of how Karloff’s benevolent charisma always manages to create a sympathetic ‘monster’ either virtual or psychologically. He appeared in several films as the altruistic scientist seeking and working toward the ultimate good, only to inadvertently create a creeping chaos unraveling in a most horrific way.

a13e915fa7b3f37abbb1098e23432017 — Boris Karloff as the evil Mord in director Rowland V. Lee’s Tower of London (1939) not a sympathetic character but a true villain who elicits no “I wish Boris Karloff was my Grandpa” from me while watching this historical horror play.

Speaking for myself and I am assured a gazillion other fans, even at his most nefarious, we never fail to align ourselves with most of Karloff’s characters, perhaps with the exception of the sadistic Mord in Tower of London (1939) and the maniacal Master George Sims in Bedlam (1946). But, for most of his performances, including his poignant portrayal of Mary Shelley’s eternally replicated monster, we began to see the depth of Karloff’s craft. It’s an art form in and of itself to be able to manifest personae that can be simultaneously benevolent and menacing, accessible and yet frightening- the ultimate anti-hero… (Vincent Price has that awesome quality as well). It is this gift that makes Karloff so beloved and so compelling to watch over and over again!

Thanks once again toÂ Christina Wehner and Ruth from Silver Screenings for coming up with a fantastic topic and allowing me to come out and play!

Annex - Karloff, Boris (Frankenstein)_08 — **Boris Karloff as the most sympathetic monsters of all time-Mary Shelley/James Whale/& Jack Pierce’s Frankenstein’s monster!– courtesy of Dr. Macro**

From Boris Karloff More Than a Monster: The Authorized Biography by Stephen Jacobs ” The scriptwriters had the insane scientist transplant brains, hearts, lungs and other vital organs. The cycle ended when they ran out of parts of anatomy that could be photographed decently.” Boris Karloff (1962)

CORRIDORS OF BLOOD (1958)

Source: From A Day-by Day Guide to 366 Horror Films -A Year of Fear by Bryan Senn: According to Senn’s marvelous book that includes some wonderful obscure gems, Corridors of Blood (1958) was promoted with this sensationalist trailer-

“You’ll take shock after shock after shock! Don’t hold in your terror; shriek if you must!”

And this quite sobering historical horror/melodrama at times does create several shocking moments, acid thrown in someone’s face, defenestration that result in death by impalement, asphyxiation by pillow, & surgical amputation without anesthesia.

CapturFiles_10 — Mr Blount: **“A good day’s work, Bolton! You’re getting faster all the time. Beats me how you do it!”** Dr. Bolton: [Bitterly] **“No matter how fast I still can’t save them!”** Mr Blount: **“Yes, most distresing, but, alas, inevitably you can’t have operations without screams. Pain and the knife, they’re inseparable!”** Dr. Bolton: **“I beg to differ. Someday surgery must and will be made painless.”**

Produced by John Croydon, and directed by Robert Day, The Haunted Strangler and Corridors of Blood were shot back to back and released both in 1958.

Directed by Robert Day (First Man into Space 1959, SHE 1965, slew of superior tv movies such as, The House on Green Apple Road 1970, Ritual of Evil 1970, In Broad Daylight 1971, The Initiation of Sarah 1978 and television dramas: The Streets of San Francisco, The Name of the Game, Circle of Fear, Police Story, McCloud, The Sixth Sense, The Bold Ones, Bracken’s World, & Ironside.)

Corridors of Blood stars Boris KarloffÂ as the kindly Dr. Thomas Bolton, Francis Matthews as Jonathan Bolton,Â Betta St. John as Jonathan’s girlfriend Susan, a standout performance by Christopher Lee as Resurrection Joe, a surly and imposing agent of death!

Finlay Currie who believed at first in Karloff's surgical demonstrations — **Finlay Currie as Superintendent Matheson who believed at first in believed at first in Karloff’s surgical demonstrations.**

Adrienne Corri (Doctor Zhivago 1965, A Clockwork Orange 1971, Vampire Circus 1972, Madhouse 1974) as Rachel : “Some day you’ll wiggle that bottom of yours just once too often.” speaking to Yvonne Romain (Circus of Horror 1960, Curse of the Werewolf 1961, Night Creatures 1962), as Rosa. Carl Bernard as Ned, the Crow and Francis De Wolff as Black Ben –all dwellers of The Seven Dials.

CapturFiles — **Corridors of Blood lobby card featuring Yvonne Romain as Rosa and Christopher Lee as Resurrection Joe**

Buxton OrrÂ (Fiend Without A Face 1958, First Man Into Space 1959, Suddenly, Last Summer 1959, Doctor Bloods Coffin 1961 and The Snake Woman 1961) is responsible for the music– a dark and threatening score that underlies some of the more disturbing scenes. Cinematographer Geoffrey Faithfull, (Village of the Damned 1960, Murder She Said 1961, Panic 1963) has done a marvelous job of creating a shadowing world lit with menacing ambiance.

Absent is the traditional monster terrorizing the villagers in the picture, it is more centered around the doctor/scientist who is at the heart of the narrative and his scholarly & personal struggle to find answers hidden in the world of science and medicine. The film opens with the inhabitants of The Seven Dial’s tavern hearing the bell ringer summon the doctor to surgery. The whole effect is very reminiscent of a darkly melancholy Lewtonesque panorama. Once the bell peels throughout the town, even the butcher stops his very aptly to the scene, hacking away at the meat on his table in order to follow to hospital and the operating theater. The camera close up on the door might as well say ‘welcome to hell.’

Continue reading “Movie Scientist Blogathon 2016- The Menacing Altruism of Boris Karloff!” →

Horror Hotel / City of the Dead (1960): A Devilish Lovecraftian Nightmare Shrouded in Smoldering Shadows and Fog

” The basis of fairy tale is in reality. The basis of reality is fairy tales.”-Professor Alan Driscoll

HORROR HOTEL (1960) or The City of the Dead

“Religion. A daughter of Hope and Fear, explaining to Ignorance the nature of the Unknowable.” – Ambrose Bierce

“Religious superstition consists in the belief that the sacrifices, often of human lives, made to the imaginary being are essential, and that men may and should be brought to that state of mind by all methods, not excluding violence.”- Leo Nikolaevich Tolstoy

Horror Hotel poster — **“300 years old! Human blood keeps them alive forever.”**

“Horror Hotel, next to the graveyard”

Remake of City of the Dead due 2013 — **Remake of City of the Dead due out sometime in 2013?**

Horror Hotel (US) or The City of the Dead (British) (1960) is directed by John Llewellyn Moxey, who eventually emigrated to America and became, in my opinion, one of THE best directors of fantasy, horror, and suspense films made for television. (The House That Would Not Die 1970, The Night Stalker 1972, A Taste of Evil 1971, Home For the Holidays 1972, The Strange and Deadly Occurrence 1974, Where Have All The People Gone 1974, Conspiracy of Terror 1975 once again about a secret cult of devil worshipers this time in the suburbs of California, Nightmare in Badham County 1976, Killjoy 1981 and Desire, The Vampire 1982 not to mention contributing to numerous outstanding television series, and other films too many to list here.)

kolchak — ***Darren McGavin* as Kolchak The Night Stalker, produced by *Dan Curtis* and directed by the great *John Llewellyn Moxey.***

With a screenplay by George Baxt (The Shadow of the Cat 1961, Strangler’s Web 1965, Vampire Circus 1972 (uncredited) and his really awful mess, Horror of Snape Island 1972) he was also the scenarist on Sidney Hayer’s Circus of Horrors (1959) Baxt went on to do another witchcraft themed film co-scripted with prolific writers Richard Matheson’s (The Legend of Hell House 1973, Trilogy of Terror 1975) and Charles Beaumont’s (The Intruder 1962, Roger Corman’s Masque of the Red Death 1965) The other screenplay was based on Fritz Leiber’s 1943 novel Conjure Wife, which turned into yet another film directed by Sidney Hayer, and was an equally moody and unnerving piece in the trope of black magic-themed films entitled Night of the Eagle or it’s alternative title best known as Burn Witch Burn (1961).

Horror Hotel / City of the Dead is also a story co-scripted by Milton Subotsky, an American émigré who relocated to England and eventually took over as the head founder of Amicus, the only true rival to Hammer Studios Gothic series of films at the time. Horror Hotel was the first film made by the company, then called Vulcan Productions. Subotsky was also the uncredited producer of the film. Released in the States with the title Horror Hotel, the film used the inane catchphrase “Just Ring For Doom Service,” which is unfortunate as it downplays the truly profound artistic quality of the film’s visual narrative. The film also marks the first appearance of Christopher Lee in the Satanic Cinema genre. Then Lee appeared in The Alfred Hitchcock Hour‘s quite interesting occult-themed sequence rather than Hitch’s usual mystery methodology, an episode entitled The Sign of Satan (released May 8, 1964, from Season 2 episode 27) where Christopher Lee plays the mysterious foreign actor Karl Jorla in an episode that also dealt with devil worship.