🚀 Keep Watching the Skies! Science Fiction Cinema of the 1950s: The Year is 1953

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BUD & LOU, CAT-WOMEN, JEKYLL & HYDE, HOSTILE BRAINS and HOSTILE MARTIANS… IT CAME FROM… AND MUCH MUCH MORE!

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They’re too wild for one world!

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Source-courtesy of Getty Images

Directed by Charles Lamont. Starring those 2 brilliant comedians Budd Abbott and Lou Costello, as Lester and Orville. With Mari Blanchard as Allura, Robert Paige as Dr. Wilson, Horace McMahon as Mugsy, Martha Hyer as Janie Howe, Jack Kruschen as Harry, Jean Willes as Capt. Olivia and Anita Ekberg as a Venusian guard.

From Keep Watching the Skies by Bill Warren –“To children in the 1940s and on until the mid-50s, a new Abbott and Costello movie was better than a trip to the circus.”

We all noticed that Bud Abbott was the straight man and Lou Costello was the mechanism to draw out the comic gags. At times Bud even came across as Warren says, “cruel” to Lou and I know for me it made me a bit uncomfortable even back then. Lou was lovable and wasn’t considered an idiot, but rather like a little boy trapped in a man’s body. Again I cite Bill Warren who sums it up beautifully-“His curiosity and haplessness got him into trouble and assured that he would stay there, but the film’s essential unreality always made us feel that Lou and Bud would be out of problems by the end…[…] There was always a sadness to Lou Costello, as there is with almost every clown.”

Go to Mars

Directed by Charles Lamont who did all of Bud and Lou’s films here, Abbott and Costello Go to Mars (1953) Bud plays Lester, a handyman who works for a rocket research institute, and Lou plays Orville, a handyman who works at an orphanage. Of course the story’s title indicates that they take a trip to Mars, when the pair accidentally launch one of the rockets with them on board! They take a short trip, a very short trip as unbeknownst to Lester and Orville they haven’t landed on Mars, but in New Orleans during Mardi Gras. So when the outlandish and bizarre costumes parade around the duo, they have no reason not to think they’ve landed on another planet…

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The film co-stars two wonderful character actors Horace McMahon who plays Mugsy  (Naked City tv series 1960s) and Jack Kruschen who plays Harry– both are bank robbers on the lam, who have used spacesuits they stole from the ship as a disguise when pulling the heist. The two criminals hide away on the spaceship equip with paralyzer guns and lots of science fiction gadgets. And it gets launched yet again with our two characters Lester and Orville. This time they are heading for Venus. To go with this silly gendered plot line you’ll have to take it that Venus is run by a Matriarch name Queen Allura (Mari Blanchard)

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Allura has banished all the men from the planet 400 years earlier because the King had been unfaithful to her. She also falls in love with Orville. Lou has eyes for Anita Ekberg (who wouldn’t…) she plays a Venusian guard. Queen Allura finds out that Lou is also unfaithful ‘like all men’ and goes crazy with anger. The passengers of the renegade ship manage to get away and crash land back on Earth.  There’s a funny scene as they zip around Manhattan in the ship they make the Statue of Liberty duck then they zoom thought the Holland Tunnel giving New York a piece of science fiction slapstick. The film also co-stars Robert Paige as Dr. Wilson, Martha Hyer as Janie Howe, and Jean Willes as Captain Olivia.

In Jim Mulholland’s The Abbott and Costello Book he talks about the film, “The futuristic sets on Venus look expensive , but the film is so silly and is so obviously geared to kiddie matinee audiences that it is almost impossible to endure.”

Well if the adult child in you still adores seeing the antics of Bud & Lou then it should be included in their list of films you want to see.

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Mary Blanchard as Queen Allura

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Anita Ekberg as a Venusian Guard

Venusian #1: “What is it?”

Allura: “I could be wrong, but I think it’s a man.”

Venusian #2: “That’s a man?”

Abbott and Costello Meet Dr. Jekyll and Mr. Hyde

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The Laughs Are Twice as MONSTER-OUS as Ever Before!

Again directed by Charles Lamont. Lee Loeb and John Grant wrote the screenplay working from a story by Sid Fields, based off the character from Robert Louis Stevenson’s immortal science-fiction fantasy novel. With camera work by cinematographer George Robinson (Son of Frankenstein 1939, Frankenstein Meets the Wolfman 1943, Tarantula 1955)

With make up both Mr. Hyde and the mouse mask by Bud Westmore!

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Our two heroes Slim and Tubby meet Boris Karloff as Dr. Jekyll/Mr. Hyde.

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Bud and Lou had already met Frankenstein, Dracula, the Invisible Man and The Wolf Man, it was just a matter of time until they met the conflicted dual personality of Dr. Jekyll and his darker alter ego Mr. Hyde. It was the first time the boys came up against a monster since 1951.

Bud and Lou are American detectives who tag along Scotland Yard, and come to find out that that the menacing Mr. Hyde has been terrorizing London for years. Meanwhile the mild mannered Dr. Jekyll is one and the same man… Boris Karloff. Of course, Lou tries so hard to get Bud to believe that the kindly Dr. Jekyll is actually Hyde. The other players in the film include Craig Stevens as Bruce Adams a newspaper reporter who is in love with Vicky Edwards (Helen Wescott) which poses a problem as Dr. Jekyll himself is in love with Vicky as well.

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Bill Warren writes- “This romantic triangle is extremely artificial-Karloff at all time seems avuncular, not predatory-and was apparently added for the obligatory romantic elements, to enlarge the plot beyond Bud & Lou fleeing from Hyde.”

The film shows as Warren points out a “series of set pieces” as they chase Hyde around a wax museum, filled with homages to other films like wax likenesses of the Frankenstein’s monster and Dracula.

Sadly, the film was not well received, people had started to tire of the ‘meet’ films of Bud and Lou and the popularity was waning. Universal had actually been planning a Abbott and Costello Meet the Creature from the Black Lagoon but it never got off the ground.

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Craig Stevens co-stars as Bruce Adams, Helen Wescott as Vicky Edwards and Reginald Denny as the Inspector with John Dierkes as Batley.

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Abbott and Costello Meet Dr Jekyll and Hyde

Slim: Now look! You can’t make two persons out of one. If there’s a monster, there’s a monster. If there’s a Dr. Jekyll, there’s a Dr. Jekyll. But one can’t be the other.

Tubby: Now listen Slim. All I know is that I locked up the monster and when I came back, Dr. Jekyll was there. You know I’m no magician.

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The Beast from 20,000 Fathoms

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FANTASTIC SEA-GIANT CRUSHES CITY!

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Eugène Lourié who was an art director working with Jean Renoir. Directed The Colossus of new York 1958, The Giant Behemoth 1959, and Gorgo 1961. He started out designing ballets in Paris, was the art director for Strange Confession 1944, The Strange Affair of Uncle Harry 1945, Limelight 1952, Shock Corridor 1963, The Naked Kiss 1964, The Strangler 1964. Eugène Lourié  designed one of Renoir’s most influential films, Rules of the Game (1939), he also designed work on The Southerner (1945) Diary of a Chambermaid (1946) and The River (1951) To say the least he has had a wide range of eclectic films.

Eugène Lourié  worked with the master Ray Harryhausen on the special effects and the creature which are spectacular!

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Screenplay by Bronx born Fred Freiberger ( Garden of Evil 1954, Beginning of the End 1957)

The film stars Paul Hubschmid as Professor Tom Nesbitt, Paula Raymond as Lee Hunter, Cecil Kellaway as Prof. Thurgood Elson foremost paleontologist , veteran science fiction hero Kenneth Tobey (The Thing 1951, It Came from Beneath the Sea 1955) as Col. Jack Evans, Lee Van Cleef as Corporal Stone, Steve Brodie as Sgt. Loomis, Ross Elliot as George Ritchie, Frank Ferguson as Dr. Morton and King Donovan as Dr. Ingersoll.

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A ferocious dinosaur awakened by an Arctic atomic test terrorizes the North Atlantic and, ultimately, New York City. The film begins when they are testing a nuclear device inside the Arctic Circle, which winds up freeing a prehistoric ‘Rhedosaurus’ which is a carnivorous giant beast that walks on four legs and lives under water and can walk on land too! Tom Nesbitt played by Paul ‘Hubsschmid’ Christian is the only survivor to tell about the prehistoric creature, but no one believes his story.

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Eventually the Beast emerges again and sinks a small ship with that survivor telling the same story, identifying the ‘Rhedosaurus’. Cecil Kellaway plays a well known paleontologist that Nesbitt seeks out for help. Now the Beast starts moving toward New York City believed to be the ancestral origin and breeding ground for the Rhedosaurus. It comes ashore on Manhattan, right near the Fulton Fish Market. Elson is lowered in a type of diving bell called a bathysphere so the paleontologist can study the creature up close. Unfortunately he becomes a tasty morsel, a hard candy with a soft center… Yikes!

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It then proceeds to smash and stomp everything in it’s path, until it returns to the river. What complicates things is that while it becomes wounded, they discover that it’s blood is highly infectious and deadly, so they need to find a way to destroy it even more than ever.

The wounded Rhedosaurus takes refuge in an old fair ground on Coney Island near a roller coaster which it takes out it’s aggression on by snapping it like twigs in it’s massive jaws and claws.

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Prof. Thurgood Elson: [in the diving bell, to view the monster] “This is such a strange feeling, I feel as though I’m leaving a world of untold tomorrows for a world of countless yesterdays….[…] It’s unbelievable he’s tremendous!”

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Professor Tom Nesbitt: “The world’s been here for millions of years. Man’s been walking upright for a comparatively short time. Mentally we’re still crawling.”

George Ritchie: [referring to the A-bomb test] “You know every time one of those things goes off, I feel as if I was helping to write the first chapter of a new Genesis.”

Professor Tom Nesbitt: “Let’s hope we don’t find ourselves writing the last chapter of the old one.”

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Cat-Women of the Moon

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SEE: THE DEADLY CAVE OF MOON-GOLD!

SEE: THE BLOOD-THIRSTY BATTLE OF MOON MONSTERS!

SEE: THE LOST CITY OF LOVE-STARVED CAT WOMEN!

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Directed by editor Arthur Hilton, who worked on noir classics  The Killers 1946, and Scarlett Street 1945. The film stars Sonny Tufts as Laird Granger, Victor Jory as Kip Reissner, Marie Windsor as Helen Salinger, William Phipps as Doug Smith, Douglas Fowley as Walt Walters, Carol Brewster as Alpha, Susan Morrow as Lambda, Suzanne Alexander as Beta, Cat-Woman are Bette Arlen, Roxann Delman, Ellye Marshall and Judy Walsh. originally in 3D– it’s Schlock at it’s very best!

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An American space crew is led by the uptight straitlaced Laird Granger (Sonny Tufts) who does everything by the book, but as Kip (Victor Jory) says “some things aren’t in the book” And that’s for sure, when you wind up on a planet with Cover Girls in black leotards. From the moment they leave the base on route to the moon, the crew find themselves in trouble when a meteor creates trouble for the ship, a fire in the bottom of the craft started by acid forces them to land, suggested by Lt. Helen Salinger who is the ship’s navigator and Laird’s girlfriend. She picks the area in between the dark and light sides of the moon. This makes Kip very suspicious though he’s pretty skeptical about most things that’s why he carries a gun with him at all times.

Don’t be too impressed with Windsor’s character playing a Lt, after they crash land she still has to grab for her compact and fix her face, and powder her nose. Marie Windsor (whom I adore) is sultry and perfectly suited for film noir (Force of Evil 1948, The Sniper 1952, City that Never Sleeps 1953, The Killing 1956, The Narrow Margin 1952 ), and is a joy to see in this film even if it’s a true stinker! She’s much better suited for the science fiction obscure gem that has it’s shocking moments, The Day Mars Invaded Earth (1963).

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Helen leads the crew when they go out to investigate their surroundings and find a nearby cave, they realize that the atmosphere is exactly the same as it is on earth. There’s water and oxygen and so it is safe to take their space suits off. The gang is attacked suddenly by some cheesy hairy horned spiders which they manage to kill. In the meantime someone has stolen their spacesuits and helmets. They go deeper into the cave until they stumble onto an ancient Greekesque city inside the moon where they are greeted by women who look like a dance troupe for Martha Graham and Twyla Tharp in their black leotards. Helen slips away to meet Alpha (Brewster) the leader of the Cat-Women who are telepathic.

They are called Cat-Women for no reason I can glean, or that emerges from the entirely silly narrative. Alpha tells Helen- “Our generation predates yours by centuries.”

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The Cat-Women led by Alpha (Carol Brewster) has been in telepathic communication with and controlling Lt.Helen Salinger for years, unbeknownst to the men in the crew. There are no men on the moon but Zeta (Alexander) explains, “We have no use for men.”

Alpha tells Helen-“You are one of us now.”

Alpha has been controlling Helen by imprinting an image of the moon, a white spot on her hand. Once this spot is covered it breaks the control over her.

It’s not that the Cat-Women haven’t been enjoying their lives cavorting around with each other dancing and creeping around in their oh so Mod-erne leotards, it’s that their planet’s atmosphere is breaking up and in order to survive they must seek out a new planet. So the plan is to steal the crew’s rocket and go to Earth, c0ntrol the mind of the Earth women  and eventually take over the planet! First they must truly gain Helen’s male compatriot’s confidence in order to find out how to run the ship.

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Of course the cynical Kip doesn’t want any part of these gorgeous moon gals…

Kip secretly in love with Helen gets her alone, puts his arms around her, which breaks Alpha’s spell, and Helen tells him what’s going on.

Once Kip (Jory) figures this out he covers Helen’s hand and quickly asks her three questions, two that inquire whether she’s truly in love with Laird or him, the other is to find out how to get away.

But Alpha has already gotten information out of Laird and Walt has taken Zeta back to the ship to show her how it operates.

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It was Alpha who helped Helen get her assignment to the space crew. Of course, the men become enamored of Cat-Women in leotards, except for Kip (Victor Jory) who is suspicious of these beguiling tribe of moon temptresses. Walt Willis (Douglas Fowley) wanders off with one of the women to explore the cave that is filled with gold, she stabs him but not before he teaches her how to fly their spaceship. Another of the Cat-Women has fallen for one of the crew members, Lambda (Susan Morrow), falls hard for Doug Smith (Bill Phipps) the radio operator. All she wants is to go back to earth with Doug, romp around on a sandy beach drinking a Coca Cola.

In this soap space opera, the staid and steady Laird has fallen for Helen, and under a sort of mind control has given all the information the Cat-Women need to take over. They make plans to return to earth with Alpha and Beta (Suzanne Alexander). Lambda tries to intervene but gets brutally conked on the head with a large rock and killed. Kip shoots the evil Zeta and Alpha off screen, the remaining earth crew kill the rest of the Cat-Women, escaping with Helen and head back to earth.

Cat-Women of the Moon is one of those so bad it’s good movies that’s just fun to watch! It’s more space soap opera than science fiction but those girls are so outré Mod-erne in their black leotards BUT no physical attributes that make one think of any similarity to cats, their features nor feats of skill… The best part of the film is the dance scene by the Hollywood Cover Girls in their unlike cat costumes. The film was remade in 1959 called Missile to the Moon.

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As Bill Warren illustrates how badly filmed this is and in particular how ‘excruciatingly stupid’ the script and visuals are… (i.e.) the chairs the crew sit in are standard swivel desk chairs that roll around the floor on castors.– “Take the spaceship cabin. Ignoring the fact that it looks like someone’s front room and that down is always in the direction of the floor, even when the ship spins end-for-end in an effort to make the meteor fall off (which it does), there is still enough in the room to make a good technical director faint.”

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Laird Grainger: “The eternal wonders of space and time. The far away dreams and mysteries of other worlds. Other life. The stars. The planets. Man has been face to face with them for centuries, yet is barely able to penetrate their unknown secrets. Sometime, someday, the barrier will be pierced. Why must we wait? Why not now?”

Alpha: “Four of us will be enough. We will get their women under our power, and soon we will rule the whole world!”

 

Donovan’s Brain

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Directed by Felix E. Feist (The Devil Thumbs a Ride 1947, The Man Who Cheated Himself 1950)

Based on a story written by Curt Siodmak who wrote the script for The Wolf Man 1941, with the script co-written with director Feist. This above average Science Fiction suspense stars Lew Ayres as Dr. Patrick J. Cory, Gene Evans as Dr. Frank Schratt, Nancy Reagan as Janice Cory, Steve Brodie as Herbie Yokum, Tom Powers as Donovan’s Washington Advisor, Lisa Howard as Chloe Donovan.

Donovan’s Brain is perhaps the caviar of Brain in a Tank films to all the other Velveeta films of that sort. Although it is a remake of the quite engaging Lady and The Monster (1944) and Vengeance (1962) both based on the novel Donovan’s Brain by Curt Siodmak.

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Siodmak’s story has been retold several times, first with director George Sherman’s  The Lady and The Monster (1944) starring Erich von Stroheim, Richard Arlen and Vera Ralston. Then in 1962 it was re-visioned as a British Sci-fi chiller directed by Freddie Francis called The Brain starring Anne Heyward. Because of Siodmak’s talent at storytelling the film is an intelligent and compelling film

And there was at least one radio adaptation I believe through the Suspense series, which is a wonderful version, I own cast with Hans Conried, Jerry Hausner, John McIntire, and Jeannette Nolan.

And Boris Leven’s set design lays out the eerie ‘science gone awry’ landscape, with tanks filled with brains, it doesn’t hearken back to Strickfaden’s elaborate mad scientist milieu but it works for this particular science fiction/horror narrative.

Bill Warren-“One of the few sets apparently actually constructed for Donovan’s Brain is the laboratory, which looks satisfactorily jury-rigged and inexpensive. Unlike most ‘mad scientists’, Pat Cory hasn’t bothered to build elaborate consoles with labeled switches. The tank for the brain is literally a large tropical fish tank, again adding to the air of improvised science.”

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Essentially Dr. Patrick Cory (Lew Ayres) and his associate Dr. Frank Schratt (Gene Evans) are doing brain research, they’ve been trying to remove a monkey’s brain and keep it alive outside of the body, though the foundation for doing these experiments aren’t truly spelled out. We just hear that it’s “for the good of humanity.” In these fascinating Science Fiction tales where science hubris and it’s idolization by often well meaning doctors –often see their experiments go awry.

Assisting them is Pat’s wife, Jan played by Nancy Davis, who had just become Mrs. Ronald Reagan. Now, the experiment with the monkey was encouraging –“A brain without a body, alive!” I suppose in 1953, these three hadn’t met Jan in the Pan (The Brain that Wouldn’t Die 1962), or they wouldn’t have been that excited over the prospect of live brains in tanks looking like a benefit to humanity.

As fate would have it, the same day they have success with the monkey brain, a small plane crashes very close to the lab, being doctors Cory and Schratt are called upon to help the victims. There is but one survivor, a multi-millionaire named Warren H. Donovan. Donovan is close to death so the two operate on him, but it’s no use and the millionaire dies. But, it is Dr. Pat Cory who has the idea –“Science can use Donovan’s brain,” though his wife Jan and partner Frank fervently object at first. “What an idea, stealing a man’s brain”-they go along with Pat’s operating to remove the dead man’s brain and keep it alive in the tank…

In many ways, looking past the sci-fi elements of the story, it is a stark crime thriller about the evils of power. This is also one of those science fiction morality plays that informs us that is it ‘science’ itself that is the villain and is ‘evil and dangerous’, especially in the hands of a scientist, even if he is altruistic at heart. Dr. Pat Cory is a good man, who happened to trigger a very bad series of events. It is a story about “tampering with things man (and women) was not meant to know.” In the end he tells us, “I did many foolish things.”

The 1953 film is the closest to the novel. Dr. Patrick Cory, the scientist, attempts to save the life of millionaire Donovan “Donovan carried to an extreme the independence of the self-made man”, Dr. Pat Cory, who is working with the research of the powers of the brain, seduced by the potential of unlocking the secrets of the brain, seizes the opportunity to explore his theories. The danger ensues once he removes Donovan’s brain from the severely damaged body and under very clandestine experimentation not unlike our old Dr. Frankenstein, Dr. Pat Cory manages to keep the brain alive in a tank in his laboratory.

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W.H.Donovan had been a very famous yet shady character in his business dealings, so his death draws a lot of media attention. So Pat and Frank have to keep their experiment a dark secret. The two scientists also run into a free-lance journalist Herbie Yocum played by Steve Brodie, who wants to take some sensational photos like the operating table where Donovan died. This, Pat Cory agrees to because he doesn’t want to create any suspicion around his death, especially near his laboratory. But Yokum takes a photo of the brain in the tank.

The experiment is a success and Donovan’s brain is taking in all the nourishment it needs to become stronger, it actually begins to increase in size. The equipment in the lab also indicates that there are thought waves occurring in the brain. Donovan’s brain is actually sending out thoughts telepathically. “Donovan’s brain is giving out thoughts. All I have to do is use my brain to receive them.” Pat Cory tells Frank. So he sits in front of the tank and concentrates leaving his mind open, and it works, he goes into a trance and starts to write notes in W.H. Donovan’s handwriting. This terrifies Jan and Frank, who worry about Pat’s state of mind. The next day, Donovan’s brain takes hold of Pat once again, this time actually causing him to limp the same way Donovan used to when he was alive. At this point Donovan is in complete control of Dr. Pat Cory.

But Donovan alive was a very powerful and ruthless business man , one of the wealthiest men in the world who is still asserting his influence from his remote tank. He forces his will over the poor scientist and actually possesses Dr. Pat Cory like an evil demon.  Lew Ayres is a wonderful actor who does a great job of playing Dr. Pat Cory. So good at playing sensitive civilized men, here he is at the mercy of a very strong willed cutthroat, who wants to see his missions carried out as planned right before his plane crashed. Pat charters a plane where he takes Donovan’s favorite suite in a hotel he was famous for hanging out in, and he closes out his bank account for $27,000 that Donovan kept under a false name. He purchases new equipment so the poor doctor can now boost his brain power even more. He even orders suits like the ones Donovan used to wear and takes up his dirty business dealings.

Pat runs into Yocum, who has figured out the truth behind all the secretive veil surrounding Donovan’s death/life. He knows that Donovan is still alive and starts to blackmail Pat Cory.

Steve Brodie who plays the smarmy reporter Yocum pays the price of finding out about Dr. Cory’s stealing Donovan’s brain and his plan to blackmail the doctor backfires. It isn’t long before, the ruthless mind of W.H. Donovan takes over Cory’s body again hypnotizing Yocum and sending him off into the desert so he can drive his car off a cliff into a fiery mess…

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Gene Evans is very subtle as the inebriated colleague Dr. Frank Schratt. Donovan forces Dr. Pat Cory to continue his tax evasion scheme. He also cuts Donovan’s children out of his will, and plans to have his brain placed in permanent residency at a special installation to house and protect his criminal brain..

Frank tries to shoot the brain in it’s tank-“It’s unnatural, unholy”-but it forces him to shoot himself instead.

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From Bill Warren- “When the brain takes over, Ayre’s transformation from Good Dr. Cory to Bad W.H. Donovan are subtle and powerful.”

During a moment when Donovan is not in control, Pat Cory takes the opportunity to send a message to his wife, with instructions on how to destroy the monstrous brain, but we do not hear what he instructs her to do. Later Donovan thinks that Frank (Gene Evans) and Janice (Nancy Reagan) are in the way and plans on having them taken care of the same way he did with Yokum. That’s when Frank tries to shoot the brain as it forces him to turn the gun on himself. Once Donovan has taken over Pat Cory’s body fully, the doctor no longer exists. He tries to strangle Janice Cory, during a thunderstorm, when a bolt of lightning strikes the lab’s lightning rod, which we now learn was part of Dr. Pat Cory’s instructions. He has hook up a special conduit so when the bolt of lightning hits, the juice charges the tank and Donovan’s brain becomes fried dumplings.

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Of course Dr. Pat Cory must pay for his profane crime of tampering with science and using an unauthorized brain in his experiments,but his faithful wife Janice promises to wait for him.

Gene Evans (The Giant Behemoth 1959, Shock Corridor 1963) plays the good friend who drinks too much, but he’s dependable and likeable. And have no fear, though he shoots himself he does not die by the film’s end.

Dr. Patrick J. Cory: [after Cory wakes Dr. Schratt up from a drunken stupor] “My dear Dr. Schratt, you sober up with more—[pauses and shrugs] grace than anyone I ever saw. You’re terrific. C’mon, let’s go.”

Dr. Frank Schratt: “Are you kidding?—[He hold out his shaking hand]—Look! Nope.”

Dr. Patrick J. Cory: “Frank, don’t let me down.”

Dr. Frank Schratt: “What’s more useless than a surgeon with a hangover? I’m a drunken zero.! I pass!”

Dr. Patrick J. Cory: “No, you don’t. I’d rather have you do a corneal transplant for me drunk than anyone else sober—[Pulls him by the arm] Let’s go boy.”

Dr. Frank Schratt: “You’re brilliant but not normal.”

Dr. Patrick J. Cory: [Laughs] “So are you, but are you and who is?”

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Dr. Patrick J. Cory: [after Cory wakes Dr. Schratt up from a drunken stupor] “My dear Dr. Schratt, you sober up with more.” [pauses and shrugs]
… Grace than anyone I ever saw. You’re terrific… C’mon, let’s go.”

Dr. Frank Schratt: “Are you kidding?” [He holds out his shaking hand]
… Look! Nope.”

Dr. Patrick J. Cory: “Frank, don’t let me down.”

Dr. Frank Schratt: “What’s more useless than a surgeon with a hangover? I’m a drunken zero.! I pass!”

Dr. Patrick J. Cory: “No, you don’t. I’d rather have you do a corneal transplant for me drunk than anyone else sober.” [Pulls him by the arm]
… Let’s go boy.”

Dr. Frank Schratt: “You’re brilliant but not normal.”

Dr. Patrick J. Cory: [Laughs] “So are you, but are you and who is?”

Donovan's Brain 1953

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Dr. Patrick J. Cory: -“Perhaps I’ll cure Frank and every other alcoholic if I can solve the mystery of Donovan’s Brain. I think it’s a matter of chemistry how the brain thinks. The problem is to find out what chemical combinations are responsible for success… failure… happiness… misery.”

Janice Cory: “Sounds impossible.”

Dr. Patrick J. Cory: “But it is not. It can’t be. There has to be a way.”

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Four Sided Triangle

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Directed by Terence Fisher this is a rare and obscure little film! Stars Barbara Payton as Lena/Helen, James Hayter as Dr. Harvey, Stephen Murray as Bill, John van Eyssen as Robin, Percy Marmont as Sir Walter.

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Photo courtesy of: Alamy

1950s had some memorable science fiction films within the genre that entertained us in the decade that saw the heyday of the illusory American dream—where the books and films forged out of fantasy were a great release from the anxiety of WWII and the advent of McCarthy Era paranoia. It was rarity to find American science fiction films of the early 50s that were based on novels of the same name. This was even more of an oddity for British films. Then there was the very provocative Four-Side Triangle, adapted from the novel by William F. Temple and scripted by the prolific Terence Fisher who also directed, co-scripted by Hungarian born Paul Tabori who went on to write several science fiction novels himself, the most well known being The Green Rain. The novel was published in 1939. A first fantasy feature by Hammer with director Fisher’s that predates his stint with the Hammer brand horror/sci-fi The Curse of Frankenstein (1957) and Horror of Dracula (1958)

Four-Sided Triangle wasn’t received very well, and it’s still considered quite dreary and so it remains pretty obscure today.

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And I find it sort of possesses an air of deviance and a serious curiosity piece concerning a love triangle that becomes a twisted kind of quadrangle. The films stars Barbara Peyton who plays a dual role —the object of both men’s desire.

Lena who returns to her English home town to see her old child hood friends, Robin (John Van EYSSEN) and Bill (Stephen Murray) have invented a machine that can duplicate objects by reconstructing matter into energy. Not unlike the transportation device in The Fly (1958) that messed with atomic particulars that re-assembled matter then sends it to another location re-assembling it, sans any contamination in the field like let’s say a house fly… “Eeeeeee….Help me, Help me!”

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They try out their experimental machine first using a totally innocuous  object — a watch, which they manage to duplicate. Meanwhile Lena and Robin get engaged and leave to get hitched, leaving Bill to mess around with their new discovery. He uses a living subject instead of just an inanimate object. He’s also madly, tragically in love with his brother’s girl, Lena. This is where the story becomes if not risqué it bares the element a of twisted Sci-Fi melodrama. His brother Robin returns from the honeymoon and heads out to London on business. Poor lovesick Bill asks Lena to please submit to his very profane request… to allow him to duplicate her, using the machine, so that he may fulfill his desire for her in some way.

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Lena actually agrees to this, and her doppelgänger Helen is born. But as they say careful what you wish for, and while the machine is effective in duplicating the subject, it does exactly that! And what happens… Helen falls in love with brother Robin as well. Oh what a tangled web we weave. It’s a theme about life’s song of irony and the lesson that we shouldn’t meddle with nature. The constant trope that runs through most to all Science Fiction stories. Not to play god, not to tamper with the nature of things, nor to be as bold to force our will upon other people or the natural world, at least not without paying the consequences for these sacrilegious actions.

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Of course Bill is devastated by the outcome, and instead of learning his lesson, he delves deeper in the dark recesses of his lower self and tries to wipe out Helen’s memory, in hopes of being able to seduce a blank slate. Bill does wash her mind clean, by electronically eradicating Helen’s memory but there is a fire in the laboratory and one of the women is killed.

I’m sorry, but you get what you deserve when you’re willing to create a woman in a machine that mimics the object of your desire. It is pathetic and outré creepy, and it says that that any woman will do as long as she’s from the same atomic particle ‘mold’ rather than accepting fate. It doesn’t create much sympathy, even if it is born out of a broken heart. Get over it, or get a puppy!

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Lena: An empty mind… and a new beginning!

Invaders from Mars

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Murderous Martian creatures from out of space! From out of space… came hordes of green monsters! Mankind’s oldest fear…The Alien’s last conquest!

Directed by innovative designer William Cameron Menzies who directed (Things to Come 1936) a surreal & beautiful science fiction dreamscape with a screenplay by Richard Blake. Starring Helena Carter as Dr. Pat Blake, Arthur Franz as narrator/Dr. Stuart Kelston, Jimmy Hunt as David MacLean, Leif Erickson as George MacLean, Hillary Brooke as Mrs. Mary MacLean, Morris Ankrum as Col. Fielding, Max Wagner as Sgt. Rinaldi William Phipps as Sgt. Baker, Milburn Stone as Capt. Stone.

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Cinematography by John F. Seitz (The Lost Weekend 1945, Double Indemnity 1944, Sunset Boulevard 1950) and music composed by Raoul Kraushaar (Cabaret 1972)

Invaders From Mars is perhaps one of the most recognizable science fiction gems of the 1950s partially due to William Cameron Menzies eye and experience for artistic design, he creates a dreamlike colorful yet terrifying landscape, with the feel of a comic book horror/sci-fi/fantasy. It’s a vision of alienation, alien occupation and paranoia that we can all relate to at some point in our lives. I know it effected me as a kid, while not growing up in the 1950s I certainly was fed a substantial dose of the product of horror/sci-fi/fantasy that came from the contribution of literature and film that preceded my childhood growing up in the following decade of the turbulent 60s.

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The story uses as it’s protagonist a little boy who experiences a nightmare journey that recycles itself in the end, creating the dreaded sense of entrapment. The young protagonist finds his “Own reality is being twisted into the kind of horror…[…] the story is literally a nightmare.”

The story is told from the point of view of David MacLean played by Jimmy Hunt. Bill Warren in his terrific overview Keep Watching the Skies published by McFarland. “Children operate with a different kind of logic than adults: events proceed from cause to effect, but the causes adults and children see don’t produce the same effects, and vice versa. Adults and children are not frightened of all of the same things, nor do they find the same things interesting. It takes a special imagination to achieve this kind of viewpoint.”

David is a young star gazer who is awakened one night by a flash of bright light when he looks out his bedroom window and sees a flying saucer land out over the hill. He wakes his parents, George and Mary (Leif Erikson and Hillary Brooke) to inform them of what he’s seen. The artistic direction and color palette reminds me of Finnish painter Hugo Simberg. The set pieces have a surreal, simplistic yet fantastical color scheme and composition.

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Menzies art directions were “like a daisy chain” of dream sequences.

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In the morning, father George goes out to investigate near the place David saw the craft go down, the fence seems to disappear into the sand dune. A mysterious hole in the sand swallows up George, who doesn’t return home, his wife phones the police, until George suddenly comes back but with a completely different temperament. He seems like a changed man. He has no emotions at all, yet he bares a strange ill-tempered streak, verging on violent when unprovoked he strikes David hard with the back of his hand, when David questions him about a strange mark on the back of his neck.

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“Say dad when you were out there did you see anything?”
“lets not start that flying saucer nonsense again.’

he notices the implant in the back of his father’s neck “Hey dad” “Yeah what do you want!” “what happened to your neck, it looks like there’s a ….?”

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Imagine the nightmare of a twist of fate where the people who love you now hate you and the ones who are supposed to keep you safe, become the most dangerous!

The next to disappear in the sand pit are the two policemen Douglas Kennedy and Charles Kane -called out to find David’s father. Once they return they appear to have the same eerie ill mood as George, zapped of any human emotion. Now, when a little girl also disappears, seemingly swallowed up by the sand and disappears in front of David, he tells his mother, but she too returns just as a fire starts in the basement of the little girl’s house. David panics and goes to the police station. Seeking out the symbol of authority and protection right… wrong…!

The little guy talks to the chief. “You wouldn’t believe me.”

“What makes you think the chief will?”

One of the cops who has been taken over by the invaders asks, “What’s the trouble Mac?”
it’s a very creepy tone, that seems menacing in it’s coldness…

David sees that the guy has the same wound on the back of his neck. Pulling his collar over it to conceal it.

When the little guy runs into the police station asking to see the chief, it goes to that place where we feel most vulnerable and the panic sets in when we realize there is no one you can trust, no one to believe you. There is no safe place. And those you love are gone. The threat goes to the issue of trust and sense of safety and not just about creepy aliens lurking around. A film of paranoia and insecurity.

Spielberg says that Menzies gave himself the license to work on the film doing homages using BERTOLD BRECHTIAN sets, because it was a dream. Also the fear that it kept recurring is the notion that there isn’t any escape you can wake up from the nightmare, but it only begins all over again. “It’s a trap. It’s absurd. it’s deadly frightening.”

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There the chief of police Bert Freed has also been taken over by the Martians who have submerged themselves in the land behind his house. David is locked up until a psychologist Dr. Pat Blake played by Helen Carter who comes to see him and realizes how genuinely frightened he is. He is petrified when his parents come to pick him up, his mother now showing the same frozen demeanor as his father. So Dr. Blake keeps David in her care and takes him to see a colleague Dr. Stuart Kelston played by Arthur Franz. Dr. Kelston is also an amateur astronomer who not only believes that David saw a space craft land in the back field, but that the earth could very well be under siege by Martians, an immanent invasion could be near. That they might be trying to interfere with local rocket experiments being launched in the area. And of course, that’s where David’s father works.

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Kelston has a telescope and he, David and Dr. Pat Blake see David’s father lure General Mayberry (William Forrest) to the sand dune that swallows him up. Soldiers are sent to surround the sand pit, overseen by veteran science fiction supportive actor Morris Ankrum who plays Colonel Fielding along side Sergeant Rinaldi (Max Wagner). Meanwhile the Martians are systematically sending out their possessed humans to sabotage the works. The Martians act like puppet masters who can also control their subjects by exploding the devices implanted in their brains –the marks on their necks are where they’ve been drilled. Lovely thought…

David is told that his parents are getting their control devices taken out through surgery, just as the sand trap opens up right under his and Pat’s feet, they fall beneath the sand into the underground lair that the Martians have been operating from. We get to see two green Martians who walk like they shuffle (excuse me for saying, back in the day my older brother used to say that they walked like they had shit in their pants) actually these Martians do sort of qualify as ‘pants monsters’.

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Anyway, the two Martians bring David and Pat unto the grand Martian leader, a very kitschy Martian –a goldish green head including shoulders with nasty tentacles encased in something like a glass orb. The main Martian telepathically uses it’s eyes to communicate it’s creepy menacing power not with squinting veracity but more with a comical sort of soulessness.
The nefarious Martian Intelligence is portrayed by Luce Potter.

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Thank God the military saves the day as Fielding, (poor General Mayberry gets killed), enter the Martian’s underground chambers and rescue David and Pat, she was just about to get her brain drilled into, they blow up the spacecraft. After this climatic seen as David is on the surface running away, he awakens from this nightmare, (the rolling flashback in his head is a terrific touch) as it was truly a nightmare… runs into his parents bedroom, thank god the nightmare is over, he goes back to his room falls asleep until he is again awakened by a space craft landing out in the field behind his house, the entire cycle of events to repeat all over again. It’s quite a stunning conclusion… that doesn’t give us any release.

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In honoring Menzies incredible eye for design, and how the film was envisioned as if we are experiencing the nightmare through a child’s eyes, I defer to the way Bill Warren sums up some of the visual highlights of the film- “The jail set is especially impressive. The only things on the set are those that would impress themselves on a boy; (I’ll ignore that presumptive gender bias) there is a police chief, one sergeant at a towering desk, and on the wall behind him a clock with hands that don’t move, one cell and one key to the cell. The walls are white and almost not there at all; the hall from the front door to the desk is long and tall, it is a set out of a dream, as if it is only partially real…[…] The interior of the Martian flying saucer is equally imaginative and equally minimal. It’s composed almost entirely of greenish plexiglass. There are no instruments visible at all, there are a couple of tubes which reach up out of sight and a large inexplicable hole in the floor. The sphere with the Martian Intelligence inside rests on a pillar, and is brought to it brought to its perch by the giant green mutants.”

Not to mention the surreal space behind David’s house, the sand pit and the fence that disappears out of site, the winding trees that melt into space. It’s all very much a dreamscape. A reduction of images in which the minimalist elements actually add to the eerie atmosphere the opposite of Grand Guignol and Gothic old dark house set pieces. How can something so simplistic be so menacing. I guess that’s why Menzie’s film is still so gorgeous to experience today.

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Actor Mark Hamill-“The Invaders From Mars were no angels. They were here to bend our minds. They were the thieves of love and trust. The film was directed by the great art director William Cameron Menzies who gave it a memorably surreal design on a tiny budget.”

Director Steven Spielberg talks about how Invaders From Mars turned his world around “it got to a primal place which basically says the first people not to trust is your father and mother.”

Director James Cameron “What is the deep seated psychological fear that’s happening here. Maybe it’s a simple and elemental as you’re in a relationship with somebody whether it’s child/parent  husband/wife but you never really know what that other person’s thinking. And they might be evil.”

Steven Spielberg “It certainly touched a nerve among all the young kids like myself who saw that movie at a very young age. That you would come home and that you would not recognize your mom and dad they would have changed into people who hate you.”

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When the father hits his son so violently that it knocks him down, as Spielberg says “it’s a shattering primal attack on us.”

I had the same reaction, I came home one night and felt like my parents had been exchanged somehow. they were not cruel like David’s parents in Invaders from Mars, yet I felt that they were somehow duplicates. I walked around the block for an hour afraid to go inside the house. These movies certainly made impressions in that deep rooted primal way. The subtleties of films like Invaders from Mars will still leave their mark on your psyche.

The giant green Martian Mutants must have zippers up the back of their velour costumes…

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The idea of not being believed works as a trope and it possesses a powerful persuasive tone that seeps inside and effects you as a kid watching Invaders From Mars.

All of a sudden, parents turn into aliens, monsters and cruel. It could be a metaphor for any number of difficult issues children might confront, like alcoholism, abuse etc. It is the changes that the child experiences in private where they cannot convey to people outside the home, that tells the story of alienation and estrangement. It is a terrifying journey they must navigate on their own, while they try to negotiate what is happening to them.

The ship has crashed into the land, over the hill. The sand sinks down like quicksand that drags down anyone who walks over it. The mutants who walk like my brother used to say to me, like they’ve got shit in their pants, worship and serve this giant tentacled head in a glass orb. The whole vision of the ground ‘literally’ collapsing where you stand. it gives the idea that you can’t even feel safe where you stand. It will suck you down into the bowels of the earth where evil creatures will turn you into a mindless image of yourself.

Spielberg says “What really unseats you as a child seeing that movie. it’s all a dream. He wakes up and his mom’s normal and his dad is normal and they don’t believe him, but what happens in the last scene.”

“It starts all over again…  It’s the groundhog day of science fiction —lol I thought the same thing Spielberg. that’s pretty much what it is…. he’ll just go through the whole loop and then wake up over and over again. There’s a twilight zone episode like that where Dennis Weaver keeps getting sentenced to death by a jury and goes thought the execution only to wake up and do it all over again… Spielberg puts it like this “it’ll be a never ending mirror tunnel of nightmares.”

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Narrator: The heavens. Once an object of superstition, awe, and fear. Now a vast region for growing knowledge. The distance of Venus, the atmosphere of Mars, the size of Jupiter, and the speed of Mercury. All this and more we know. But their greatest mystery the heavens have kept a secret. What sort of life, if any, inhabits these other planets? Human life, like ours? Or life extremely lower in the scale? Or dangerously higher? Seeking the answer to this timeless question, forever seeking, is the constant preoccupation of scientists everywhere. Scientists famous and unknown. Scientists in great universities and in modest homes. Scientists of all ages.

It Came from Outer Space

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XENOMORPHS INVADE OUR WORLD! They can look like humans or change to objects of awesome terror!–From Ray Bradbury’s great science fiction story!–Amazing Sights Leap at You in 3-DIMENSION

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From a story by the master of fantasy and science fiction Ray Bradbury

The science fiction film that brought us the amorphous bubbly one eyed Xenomorph.

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Jack Arnold’s amazing foray into an alien crash landing that involves stolen identity, invasion fear and the possibility that life on other planets might be benevolent but still really really creepy.

The film stars Richard Carlson as displaced reporter John Putnam, the wonderful Barbara Rush as Ellen Fields, Charles Drake as jealous Sheriff Matt Warren, Joey Sawyer as Frank Daylon, Russell Johnson as George, and Kathleen Hughes as June.

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Art direction by Robert F. Boyle (North by Northwest 1959, In Cold Blood 1967, Cape Fear 1962, The Thomas Crown Affair 1968) and Cinematography by Clifford Stine (This Island Earth 1955, The Incredible Shrinking Man 1957,Touch of Evil 1958, Imitation of Life 1959, Operation Petticoat 1959, Spartacus 1960, Patton 1970) Read Stine’s credits on IMBd they are far too many to list! The mesmerizing musical score is by an un-credited Henry Mancini, Irving Gertz and Herman Stein. The memorable visual effects are by David S. Horsley-(The Killers 1947, Abbott & Costello Meet Frankenstein 1948, This Island Earth 1955) It Came From Outer Space was also filmed in the sensationally hyped 3D!

It Came From Outer Space 1955 Carlson and Rush

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The music is wonderfully inspiring to the mood, especially with the desert’s sense of estrangement and when the presence of the Xenomorphs are near. I think they use it as some of the stock music for Night of the Living Dead… I need to check that out… From what I see about their contributors I cannot link to any of the three music contributors to It Came from Outer Space… but I always get a thrill when the ‘coming near’ motif music happens in both!

In reading Bill Warren’sKeep Watching the Skies his overview of It Came from Outer Space, gets into the discrepancies about Ray Bradbury’s full participation in writing the screenplay, being totally replaced by Harry Essex who is credited for the screenplay, if it was his memory that was failing in recollecting what happened or if he had been misunderstood and his work co-opted by Essex because Universal didn’t like Bradbury’s treatment of the script. Warren is totally supportive of Bradbury being an un-credited contributor to the script. While he delves into the weeds a bit more about the mystery and contradictions about the facts behind-the- scenes, I think I’ll just stick with Jack Arnold’s beautifully executed science fiction master work here. But the entire section on the film is fascinating if you want a good read and 1950s science fiction is of particular interest, pick up a copy of Keep Watching the Skies by Bill Warren, it’s a sensational compilation of a decade of gems and stinkers, informative, funny engaging even including old published reviews of the films during the time of their theatrical release. I highly recommend it.

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First of all,this is one of those science fiction films that’s actually a really good film, with so many elements that work fabulously to transcend genre. This is one of the first major studio Universal – International to release a film in 3D, and one of the first to be shown in what was called wide screen and in stereophonic sound.

It was also the first science fiction film to be directed by Jack Arnold. (YAY!!!) The first using the southwestern desert as a location— the Mojave desert to be exact and not the Arizona desert as plotted out in the story—Donovan’s Brain was set there but made little use of the area as a central focal point. The desert already has an eerie, isolated vibe to it…

The film stars Richard Carlson as John Putnam and Barbara Rush as Ellen Fields.
Ray Bradbury wrote the original story on which the film is based, He was at the height of his writing with The Martian Chronicles, The Illustrated Man and Fahrenheit 451 which brought his genius into light.

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The story opens as a meteor cuts through the evening sky like a glowing fireball high above the alienating desert landscape. For the locals, this brings about many different reactions, including that of John Putnam, amateur astronomer who’s having dinner with his fiancee Ellen Fields. This gets John so excited that he immediately wants to drive out to the sight to investigate. He and Ellen hop on a helicopter and go and see where the meteor left a large crater.

Meanwhile from the view of what ever the alien life force is, it moves from the crashed spacecraft, revealing that it wasn’t a meteor at all. —“Bradbury describes  quick shots of animals fleeing in fright from the alien visitor. The jack rabbit, for instance. At this point, he does not mention the use of a subjective camera technique , which has so often been commented on in relation to the film.” -Bill Warren.

Putnam arrives at the crater and approaches the object that has crash landed in a gaping hole, nearly burned to molten rock. Suddenly a landslide occurs and covers up the opening and the space ship.

Bill Warren–In a sequence (not in the finished film) almost certainly suffused by Billy Wilders’ Ace in the Hole /The Big Carnival 1951, which also took place in the Southwestern desert, earth moving machinery arrives in an effort to uncover the buried pilot. No one believes Putnam’s story. Eventually everyone give up and goes home, including Ellen and Putnam. A strange shape crosses the highway in front of them, they stop to look for whatever it was and a Joshua tree in the dark frightens Ellen, but they do not see the strange shape again. The alien, with the first-person camera emphasized (the camera’s point of view is the Alien’s) watches them leave.

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The next day Putnam is interviewed by hostile reporters. A few days later, the excitement of the meteor has died down. They drive into the desert alone. stopping to look around. “It’s alive” says Putnam “it looks so dead out there. And yet, it’s all alive and waiting around us and ready to kill you if you go too far from the road. The sun will get you, or the cold at night, or the snakes and the spiders or a sudden rain that floods the washes will get you. Ohm there are a thousand ways you can die in the desert.”

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Here’s Essex’s version of the same scene, which is in the film, “It’s alive.” say Putnam. Ellen nodding adds, “And yet it looks so dead out there.” Putnam goes on. “But it’s all alive and waiting for you… And ready to kill you if you go too far. The sun will get you or the cold at night… a thousand ways the desert can kill.” There isn’t much difference though some of the dialogue is shared by Ellen which is a nice touch.

Putnam and Ellen drive on and meet the phone linemen. Putnam climbs up the ladder to listen to the strange sounds on the wire that the linemen have been noticing since the crash. The elder lineman says —

 

–“In all my years nothing like that sound. Like Someone’s on the line. Down that way maybe, tapping the wire. Or up the other way, tapping the wire. listening to unlike we’re listening to him… After you been working out in this desert for fifteen years like I have you get funny ideas. There’s that sun in the sky and the heat, and look at the roads, full of mirages. And the sand out there, full of rivers and lakes that are fifty, a hundred miles away…. And sometimes you get to thinking maybe some nights, or some noons like this noon , the sun burns on the wires and gets in the wires and listens and hums and talks like this talk and that’s what you hear now. And sometimes you wonder if some of the snakes and the coyotes and the tumbleweeds don’t climb the poles at noon, far off where you can’t see them, and listen in on us human beings.”

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“Once again, Essex condenses and duplicates this speech without understanding the poetic paranoia behind the words. Fortunately director Jack Arnold and actor Joe Sawyer did, and the scene is one of the most famous and best like in the finished film.”-Bill Warren.

Putnam and Ellen decide to help the linemen find out what’s happening to the wires, and head off in the opposite direction from the one the linemen take. The linemen meet the alien , the scene cuts to Putnam and Ellen. who turn around and go back. They meet the alien masquerading as the younger lineman (Russell Johnson) When he quietly walks up and taps Putnam (Ellen in the film)  on the shoulder, Putnam spots a body behind a mesquite bush, assumes the linemen are dead, and that what he is talking to isn’t human.

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The scene that follows, one of the only two in the film in which Putnam is not the central figure, was added to the screenplay by Essex. In it, the alien George (Russell) tells the real Frank (Sawyer) that they have landed by accident and that they have the power to make themselves look like us.

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Bill Warren passionately tries to defend and clarify this.. “I could continue through the entire storyline in this fashion , it would be profitless. Despite  all claims by everyone else to the contrary, the story and the best elements of It Came From Outer Space were written by Ray Bradbury, not by Harry Essex. Because of the many influences of this film, Ray Bradbury’s therefor far more responsible for the look, the feel and the approach of 1950s science fiction movies than he has ever been acknowledged or even suspected before.”

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In the finished film the aliens apparently literally take on the form of other people, they are actual shape shifters their bodies are malleable enough that they can actually restructure themselves to resemble anyone. In Bradbury’s script, the effect is the same but the power seems to come from hypnosis —the aliens resemble lizards in Bradbury’s treatment.

I learned something really interesting from reading Warrens analysis of the film. I myself have often confused Richard Carlson with Hugh Marlowe at times. Here is partly the answer to that

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“In the draft actually called It Came from Outer Space, almost all of the film that was to be was created by Ray Bradbury. In this draft (begun October 1, 1952) Bradbury emphasized scenic and character descriptions much more strongly than the had in his earlier drafts. probably on studio orders. In so doing he created the standard science fiction her of the 1950. who was to be played by Richard Carlson or the nearest equivalent through most of the rest of the decade. Hugh Marlowe, John Agar, Jeff Morrow, Rex Reason. The characters they played were almost always variations on John Putnam the dedicated slightly strange and earnest young researcher. The actors often physically resembled Carlson.”

When it all comes down to it, what Bill Warren is asserting is that he found evidence that Essex’s script was a duplication of Ray Bradbury’s treatment, meaning the result –he isn’t getting the credit for his contribution and Essex is getting credit for Bradbury’s work. And he feels that what Essex did manage to change slightly, didn’t work at all, including inventing some of the poorly envisioned scenes.

What does happen by the end of Bradbury’s final draft is how his incredibly fluid and convoluted description of these alien came to life as close to the poetic description Bradbury put forth. The few times the aliens show themselves they are hard to assess, in form, with the emphasis on their milky jelly like eye in a gigantic impression of a head, surrounded by a foggy mist, with sparkles and glistens like a jello mold … but in the end, the film shows them as close to their poetic description that Bradbury had envisioned. Different than some man in a lizard type pants monster suit with bug eyes, or layers of monster make-up, the floating amorphous alien really does seem to exist on the extra terrestrial plane.

“One of his main contributions to It Came from Outer Space seem to have been the shimmering bullseye effect used whenever the camera ‘is’ one of the aliens. The subjective camera “playing’ the aliens at time is Bradbury’s idea. but the refinements seem to have been Jack Arnold’s–Bill Warren

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Another aspect of these aliens is that they are not quite hostile, though they are not benign either. it’s sort of a unique view of them. They are panicked and desperate to get off the Earth, and get back to their original destination “Our mission was to another world, only an error dragged us to Earth” Some of the aliens, such as the one in the guise of Ellen that tries to kill Putnam,are indeed hostile to people. Others are just nervous, such as the Putnam duplicate. or openly friendly , like the one that copied George the lineman. In short, just like real people, they don’t have a common attitude they are not of one mind. They reveal an individual spirit. It’s quite a break away them from other aliens who are a collective group on a mission, unified.

This being director Jack Arnold’s first science fiction film leads with a focus on how the alien relates to this world he has invaded. The result that his films seems less fanciful and more realist than most other of this period, such as The Incredible Shrinking Man 1957.

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Ellen Fields: If we’ve been seeing things, it’s because we DID see them.

Sheriff Matt Warren: [three-shot, characters gazing toward sky into which meteor-spaceship has rocketed] Well, they’ve gone.

Ellen Fields: For good, John?

John Putnam: No. Just for now. It wasn’t the right time for us to meet. But there’ll be other nights, other stars for us to watch. They’ll be back.

 

Continue reading “🚀 Keep Watching the Skies! Science Fiction Cinema of the 1950s: The Year is 1953”

What a Character! Blogathon 2015: Agnes Moorehead- The Lavender Lady

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Agnes
Ages from the famous ‘boiler scene’ as the tormented Aunt Fanny in Welles’ superior to Citizen Kane’s The Magnificent Ambersons. Fanny to the self-obsessed & spoiled Georgie “It’s not hot!!! it’s cold, the plumbers disconnected it… I wouldn’t mind if they hadn’t…!  I wouldn’t mind if it burned!!!”
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agnes historical society photo
A simple and wholesome beginning… Agnes Robertson Moorehead was born on December 6th, 1900 in Clinton, Massachusetts. Her mother was a mezzo-soprano and her father was a Presbyterian minister whose work eventually moved the family to St. Louis, Missouri. She started her acting career on stage at the age of 3, and by the time she was 12 she was active in the St. Louis Municipal Opera as a dancer and singer. She went to college for biology at Muskingum College in Ohio, but remained active in acting. After college she moved to Wisconsin (her family was now in Reedsburg, Wisconsin), taught drama and English at local schools. She earned a Masters in English at the University of Wisconsin in Madison. Agnes eventually would earn a doctorate from Bradley University.
acting school
college
My partner Wendy and I happened to have lived in Madison for a wonderful 8 years while she was in grad school at the University of Wisconsin. I wrote my favorite album Fools & Orphans while living on Starkweather Creek on the East side of town. So Agnes’ presence there is all the more sweet to me…
To earn the money she would need, not only to eat but to build toward her dream of heading to New York City and acting school, she taught English, Speech and Ancient History at Centralized High School in Soldiers Grove. Teaching was something she maintained a strong affection for.
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When she eventually saved enough money to get to New York City she audition for the American Academy of Dramatic Arts in the summer of 1926- she was accepted. I’m reading Charles Tranberg’s wonderful book, she talks about starving herself, being grateful for enough loose change to buy a buttered roll from the Automat  …
Afterward she moved to New York City and enrolled in the American Academy of Dramatic Arts. Agnes studied with Charles Jehlinger at The (AADA) American Academy of Dramatic Arts, where he taught people ‘imagination’ is the key!
Not making it on Broadway during the 30s, she used her marvelous voice to make a name for herself in the media of radio. She began performing as many as six shows each day. During her radio performances she met Orson Welles, and Joseph Cotton and the three formed the famous Mercury Players Theatre. Agnes made her film debut in 1941 in Orson Welles’ ‘Citizen Kane’. She went on to play vital, high-spirited saucy & strong female roles in film and television eventually landing the iconic role as “Endora” on the popular & timelessly beloved television show “Bewitched” (1964-1972). She was married twice but eventually lived alone, enjoying solitude. She died quietly away from friends and the public, from lung cancer that had spread from her Uterus, she succumbed in 1974 in Rochester Minnesota. With Agnes’ work ethic she had maintained a busy schedule though drained and tired from the illness, performing hours on the stage and doing television appearances until she could no longer manage.
IMDb tidbit- Agnes’ death from cancer is often linked to other actors and crew members who worked on The Conqueror (1956). Including Susan Hayward, John Wayne and director Dick Powell, to name a few. The conspiracy theory behind the strong beliefs are that they were exposed while on location at the site which received heavy fallout from nuclear testing at the (then) Nevada Proving Grounds.

Fiercely private. Considered not beautiful because of her ‘hawk like’ face. I would boldly beg to disagree. Agnes Moorehead has a beauty that transcends the quaint and lovely upturned nose. She has a regal beauty as if royalty run in her veins, with a sage otherworldlyness and a voice like a chameleon that can change it’s tone and tenor to fit her myriad characterizations. I wish she and hope she knew that although she was THE consummate character actress for the ages, she too was as beautiful as any other leading star with a deep & fiery magnetism that draws you in ~

young agnes

Agnes had that spark in her, since she was a very little Agnes, embodying, manifesting & emoting like the characters from the books she read and from theater. Her adoring father or mother would find her re-enacting scenes in her room!

Here’s a beautifully written snapshot of Agnes Moorehead by The Red List– data base by Romuald Leblond & Jessica Vaillat

“Wanting to become a comedian from a young age – her mother had become accustomed to discovering her daughter in her imaginary world and often asked her: ‘Who are you today, Agnes?’ –  Agnes Moorehead appeared regularly on Broadway stages during the late 1920s.  She rapidly became a celebrated radio actress and joined Orson Welles’s Mercury Theater on the Air from 1940. In 1941, Orson Welles offered the ‘Fabulous Redhead’ her first film role in Citizen Kane as the cruel and bitter mother of the lead role. The part soon shaped the other roles Agnes Moorehead would be offered while they privileged heartless authoritarian or neurotic women such as the menacing aunt of Johnny Belinda, in 1948. In 1943, on the radio, the American comedian delivered one of her most legendary performances in Sorry, Wrong Number for which she created an exhausting and dynamic presentation – ‘radiant and terrifying’. In 1964, she was cast as Samantha Steven’s sarcastic and buoyant mother, in Bewitched and, although she disliked the rapid pace of television series, the show helped install the actress in the pantheon of American pop culture icons. Quite an irony for a woman who didn’t ‘particularly want to be identified as a witch.”

Agnes Moorehead went on from her imaginative childhood musings to play some of the most colorful characters on stage, radio, film and television- perhaps her persona had been ‘shaped by Citizen Kane’ but Agnes obviously had a range of emotions and archetypes she could readily tap into as she is a natural, authentic artist… making her a cultural icon recognized by so many people & a even a new generation of avid fans!

004-agnes-moorehead-theredlist-Agnes Moorehead, 1920s

Agnes -[commenting on the “Method” school of acting] “The Method school thinks the emotion is the art. It isn’t. All emotion isn’t sublime. The theater isn’t reality. If you want reality, go to the morgue. The theater is human behavior that is effective and interesting.” –from Charles Tranberg’s book I Love the Illusion: The Life and Career of Agnes Moorehead

Tranberg’s book is a wonderful read, he discusses from the beginning, the wealth of material he found at the historical society at the University of Wisconsin’s Historical Society. It’ is a marvelous place with marble floors warn down by years and the warm & musty smell of by-gone years, the building holds the archives to so many historical documents and films. For Agnes Moorehead, 159 boxes of material to be precise. He was not just a fan of Endora but her performances on old time radio in which she really shined. His book hints that her fire and brimstone Rev. John Moorehead with his sermons had a bit of the frustrated actor in the man, and why Aggie felt drawn to theater in the first place. He also read Shakespeare to the children. Her mother Molly was the boisterous outgoing flamboyant one who lived to be 106 and died in 1990… always saying what was on her mind, unless it was a strictly personal subject… sound familiar?

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He also writes about Agnes’ spirituality and religious devoutness. That is ‘wasn’t a gimmick or publicity stunt’ she really was a devoted Christian. It might cause heads to tilt, how such a fundamentalist woman would pick a career where she would be surrounded by creative types, often gay people that would become her friends. And though she was not thrilled with the idea of playing a witch, she certainly conjured the most iconic embodiment of the vexing & colorful Endora.

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Elizabeth Montgomery and Agnes Moorehead publicity shot Bewitched -courtesy of The Red List

“Lavender is just pink trying to be purple” she paraphrased Proustby Quint Benedetti from his book- (My Travels with) Agnes Moorehead: The Lavender Lady: (more BEWITCHING than Endora)– he goes onto to say, “And now I can see all the hues of her personality in that statement: the royalty, the naivete, the selfhishness, the piercing intuition and sometimes the astonishing lack of it  (her two marriages), the phoniness and the irrepressible humanity it contained, the coldness and the longing to be warm and sometimes the warmth, the insecurity and the yearning to be loved, the human simplicity touching greatness. Agnes Moorehead in a way did what so many actor and actresses never did. She left her mark on society both as an actress and as a person.” Benedetti knew Agnes Moorehead for ten years and was her personal assistant for five of those years.

In her long & unforgettable career – Agnes Moorehead’s film debut as Charles Foster Kane’s picture of stoic motherhood, the bitter and icy cold Mary Kane.

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Stoic Motherhood-Mary Kane in Orson Welles’ Citizen Kane (1941)

Citizen Kane

She went on to play the emotionally tortured Aunt Fanny in what Charles Transberg rightly refers to Orson Welles’ The Magnificent Ambersons as ‘a mangled masterpiece’ I would give anything to see the footage that RKO hacked to pieces… and the ending that should have been, where Fanny is playing cards in the boarding house with the other old maids. The more nihilistic coda that RKO feared would turn the public off in the midst of WWII.

Agnes as Aunt Fanny Magnificent Ambersons

I know what you're gonna do... you're gonna leave me in the lurch
Aunt Fanny-“I know what you’re gonna do… you’re gonna leave me in the lurch…”
008-agnes-moorehead-theredlist-Tim Holt and Agnes Moorehead in The Magnificent Ambersons directed by Orson Welles, 1942
The Magnificent Ambersons (1942) directed by Orson Welles co-starring Joseph Cotton. Agnes Moorehead plays poor Aunt Fanny-Image courtesy of The Red List
Fanny Georgie and Uncle Jack- The cake and milk indulgence scene. Jack tells Georgie
Georgie (Tim Holt) , Uncle Jack (Ray Collins) and Aunt Fanny- The milk and cake indulgence scene. Jack tells Georgie later after teasing her “Can’t think of anything Aggie does have except her feelings for Morgan.”
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Fanny-Can’t you see that I approve of what you’re doing?” Georgie (Tim Holt)-“What the heck is wrong with you” Fanny- “Oh you’re always picking on me, always… every since you were a little boy.” Georgie- “Oh my gosh” Fanny- “You wouldn’t treat anybody in the world like this, except old Fanny Old Fanny you say nobody but Old Fanny so … I’ll kick her! Nobody will resent it. I’ll kick her all I want to and you’re right, I haven’t got anything in the world since my brother died. Nobody nothing.”

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Agnes Moorehead as the heartless & cruel Mrs. Reed who sends young Jane away to Thornfield in Jane Eyre-aside from mothers, aunts spinsters & old maids, Moorehead performs her first evil character! in director Robert Stevenson’s adaptation of Jane Eyre (1943)

026-agnes-moorehead-theredlist-Agnes Moorehead in Mrs. Parkington directed by Tay Garnett, 1944
Agnes Moorehead in Mrs. Parkington directed by Tay Garnett, 1944- courtesy The Red List
044-agnes-moorehead-theredlist-Humphrey Bogart and Agnes Moorehead in Dark Passage directed by Delmer Daves, 1947
Humphrey Bogart and Agnes Moorehead in Dark Passage directed by Delmer Daves, 1947
024-agnes-moorehead-theredlist-Agnes Moorehead in The Women in White directed by Peter Godfrey, 1948
Agnes Moorehead in The Women in White directed by Peter Godfrey, 1948-courtesy of The Red List
020-agnes-moorehead-theredlist-James Stewart, Agnes Moorehead and June Allyson in The Stratton Story directed by Sam Wood, 1949
James Stewart, Agnes Moorehead and June Allyson in The Stratton Story directed by Sam Wood, 1949- courtesy The Red List
001-agnes-moorehead-theredlist-Agnes Moorehead for Government Girl directed by Dudley Nichols, 1943
Agnes Moorehead for Government Girl directed by Dudley Nichols, 1943-courtesy The Red List
her heiness and the bellboy -hedy
Agnes Moorehead as Countess Zoe and Hedy Lamarr as Princess Veronica in Her Highness and the Bellboy (1945)
013-agnes-moorehead-theredlist-Agnes Moorehead for The lost moment directed by Martin Gabel, 1947
Agnes Moorehead publicity shot for The Lost Moment directed by Martin Gabel, 1947
092-agnes-moorehead-theredlist-Selma Jacobson, Edward G. Robinson and Agnes Moorehead in Our Vines Have Tender Grapes directed by Roy Rowland, 1945
courtesy of-theredlist-Edward G. Robinson and Agnes Moorehead in Our Vines Have Tender Grapes directed by Roy Rowland, 1945
028-agnes-moorehead-theredlist-Agnes Moorehead with Moira Shearer in Story of Three Loves:The Jealous Lover directed by Gottfried Reinhardt, 1953
Agnes Moorehead with Moira Shearer in Story of Three Loves:The Jealous Lover directed by Gottfried Reinhardt, 1953
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Rock Hudson, Jane Wyman and Agnes Moorehead in All That Heaven Allows 1955 directed by Douglas Sirk
012-agnes-moorehead-theredlist-Agnes Moorehead and Tallulah Bankhead in Main Street to Broadway directed by Tay Garnett, 1953
Agnes Moorehead and Tallulah Bankhead in Main Street to Broadway directed by Tay Garnett, 1953
032-agnes-moorehead-theredlist-Vincent Price and Agnes Moorehead in The Bat directed by Crane Wilbur, 1959
Vincent Price and Agnes Moorehead as mystery writer Cornelia Van Gorder in The Bat directed by Crane Wilbur, 1959
033-agnes-moorehead-theredlist-Agnes Moorehead and Tyrone Power on the set of Utamed directed by Henry King, 1955
Agnes Moorehead and Tyrone Power on the set of Untamed directed by Henry King, 1955-courtesy of The Red List
010-agnes-moorehead-theredlist-Agnes Moorehead and Kim Novak in Jeanne Eagels directed by George Sidney, 1957
Agnes Moorehead and Kim Novak in Jeanne Eagels directed by George Sidney, 1957
046-agnes-moorehead-theredlist-Agnes Moorehead and Eleanor Parker in Caged directed by John Cromwell, 1950
Agnes Moorehead as the kindly Warden Bond and Eleanor Parker in Caged directed by John Cromwell, 1950 One of THE best women in prison films :courtesy of The Red List
Aggie as Velma
Agnes Moorehead as the irascible Velma Cruthers in Robert Aldrich’s Grand Dame Southern Gothic follow up to What Ever Happened To Baby Jane? (1962)

Stage: Agnes began touring in George Bernard Shaw’s Don Juan in Hell (1951) & revival 1973, Gigi 1973 co-starring with Alfred Drake.

Don Juan in Hell Boyer, Moorehead and Hardwicke
Charles Boyer, Agnes and Sir Cedric Hardwicke in the stage production of Don Juan in Hell
052-agnes-moorehead-theredlist-Agnes Moorehead in Don Juan in Hell on Broadway, 1952
Agnes Moorehead in Don Juan in Hell on Broadway, 1952- Image courtesy of The Red List
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Agnes Moorehead in Don Juan in Hell on Broadway, 1952-Image courtesy of The Red List
042-agnes-moorehead-theredlist-Alfred Drake and Agnes Moorehead in the stage version of the musical Gigi, 1973
Agnes Moorehead in the stage version of the musical Gigi, 1973-image courtesy of The Red List

Selected Radio:– Mercury Theater founded with Orson Welles- Mysteries in Paris, The Gumps, The New Penny, The March of Time (1967-38), The Shadow (1937-39), The Mercury Theater of the Air (ensemble) The Campbell Playhouse, The Cavalcade of America (1938-41), Mayor of the Town

049-agnes-moorehead-theredlist-Lionel Barrymore and Agnes Moorehead for The Mayor of the Town, NBC Radio, 1943
Lionel Barrymore and Agnes Moorehead for The Mayor of the Town, NBC Radio, 1943. For 7 years Moorehead would perfect her persona as the Mayor’s grousy housekeeper Marilly, a little of Marilly would emerge again as part of her Velma in Hush… Hush, Sweet Charlotte 1964.

(1942-49), Suspense (1942-1960.) And of course in 1945 she played the women-in-peril-(in bed) Mrs. Stevenson in the CBS radio mystery program Suspense- Sorry,Wrong Number, which became “radio’s most famous play.” 

Radio

According to Charles Tranberg, Agnes was offered a supportive role in the film version starring Barbara Stanwyck, saying that she wisely turned it down, coming to understand that she would always be considered a ‘character actress’ and not a leading lady. This would influence her decision to focus more on the stage, beginning with her affiliation with the acclaimed Don Juan in Hell and later her very popular one-woman show.

one woman show

On December 10, 2008 Celebrating Moorehead’s 108th anniversary on Turner Classic Movies- Moira Finnie writing for Movie Morlocks published a wonderful interview with Tranberg when asked if Agnes enjoyed both the mediums of radio and stage, he answered “I think she liked the challenges offered by all he mediums she worked on. The stage because it’s proximity in front of an audience. Radio because she had to create a complex characterization without being seen and could use her voice in many different ways. Film because it offered her the opportunity to visualize a characterization. Television because of its intimacy.”

Aggie Radio

Aggy in Dracula with The Mercury Theater
Agnes Moorehead and Orson Welles with The Mercury Theater’s radio production of Dracula

Moira Finnie’s piece is wonderfully insightful and witty. While watching David O Selznick’s Since You Went Away (1945) “It struck me for the hundredth time that the presence of Agnes Moorehead in many classic and not so classic films was often what gave a movie a spine.”

“She proved her versatility throughout her career. She arranged her aquiline features accordingly  to convey a believable briskness, sometimes comforting, sometimes disapproving. She most often appeared as a pragmatic presence in many films that have etched themselves on our collective memory.”

Moira Finnie aptly says it perfectly, honing in on the essence of what truly makes Agnes Moorehead such a powerful performer, “The actress could shift her characterizations easily from vinegary disapproval to warmly compassionate to richly detailed portraits of good and evil women.”

034-agnes-moorehead-theredlist-Agnes Moorehead on CBS Radio, 1945

Selected FilmsCitizen Kane 1941 (Mary Kane), The Magnificent Ambersons 1942 (Fanny), The Big Street 1942 (Violet Shumberg), Journey into Fear 1943 (Mrs. Mathews), Jane Eyre 1944 (Mrs.Reed), Since You Went Away 1944 (Mrs. Emily Hawkins), Dragon Seed 1944 (Third Cousin’s Wife), The Seventh Cross 1944 (Mme. Morelli), Mrs Parkington 1944 (Baroness Aspasia Conti), Our Vines Have Tender Grapes 1945 (Bruna Jacobson) Dark Passage 1947 (Madge Rapf) The Lost Moment 1947 (Juliana Borderau), Summer Holiday 1948 (Cousin Lily), The Woman in White 1948 (Countess Fosco), Johnny Belinda 1948 (Aggie MacDonald-nominated best supporting actress) The Great Sinner 1949 (Emma Getzel), Caged 1950 (Ruth Benton progressive Prison Warden), Captain Blackjack 1950 (Mrs. Emily Birk), Fourteen Hours 1951 (Christine Hill Cosick) , Showboat 1951 (Parthy Hawks), Magnificent Obsession 1954 (Nancy Ashford), All That Heaven Allows 1955 (Sara Warren), The Left Hand of God 1955 (Beryl Sigman), The Revolt of Mamie Stover 1956 (Bertha Parchman), Jeanne Eagels 1957 (Nellie Neilson), Raintree County 1957 (Ellen Shawnessy), The Story of Mankind 1957 (Queen Elizabeth I), Night of the Quarter Moon 1959 (Cornelia Nelson), The Bat 1959 (Cornelia van Gorder) Pollyanna 1960 (Mrs. Snow), Twenty Plus Two 1961 (Mrs. Eleanor Delaney) How the West Was Won 1962-(Rebecca Prescott), Who’s Minding the Store? 1963 (Mrs. Phoebe Tuttle), The Singing Nun 1966 (Sister Cluny)

Nominated four times for Best Actress in a Supporting Role for The Magnificent Ambersons (1942), Mrs. Parkington (1944), Johnny Belinda (1948) and of course as Velma in director Robert Aldrich’s Hush… Hush, Sweet Charlotte (1964)

velma and charlotte
Velma Cruthers and Charlotte Hollis in Robert Aldrich’s Grand Dame Southern Gothic thriller Hush… Hush, Sweet Charlotte 1964

agnes and bette set

It is the vitriolic, cantankerous yet loyal & righteous companion Velma to Bette Davis’ tragic southern Gothic has- been belle Charlotte that won my heart. Moorehead brought to life a raw and rugged plain quality of humanness that touched me so deeply, as did Davis’ incredible performance.

How impressed I was with her pantomime in The Invaders credited as ‘The Woman’ in Rod Serling’s sociological anthology fantasy series Twilight Zone… Moorehead had no dialogue in the episode yet she demonstrated so much art and emotion from her ‘primal woman’s’ body language.

The Woman 2

The Woman the invaders
Credited as The Woman… here Agnes plays The Primal woman in Rod Serling’s The Invaders episode of The Twilight Zone aired on Jan. 27 1961
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Moorehead’s use of body language and her knowledge of pantomime brought to life a primal undomesticated women from ‘a’ planet terrorized by invaders who didn’t need to speak one word to convey her fear or instinct self preservation.

She did win a Golden Globe Award for Best Supporting Actress -Laurel Award 2nd place for Top Supporting Performance for Hush… Hush, Sweet Charlotte 1964.

For many people she will be remembered as Endora, Samantha and Darrin Steven’s (the fabulous-Dick York) caustic ill-provoking mother-in-law from the netherworld? who hands down the legacy of being Bewitched… from 1964-1972. Initially Moorehead had turned down the role of Endora, and it wasn’t until Elizabeth Montgomery herself asked the actress to join the cast, never expecting it to last more than one season!

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Agnes Moorehead, Elizabeth Montgomery, and Dick York in Bewitched.

Moorehead did her string of horror films in the 70s that featured many fine actresses who had played fine ladies in their day, only to find Grand Dame Guignol roles waiting for them on the other side of fabulous fame…

What’s The Matter With Helen 1971 Curtis Harrington’s wonderful horror of personality psycho-drama where Aggie plays a Aimee Semple McPherson type character called Sister Alma co-starring with friend Debbie Reynolds and the incomparable Shelley Winters!

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What's+the+Matter+With+Helen_Shelley+Winters_Debbie-Reynolds-1971

Dear Dead Delilah
Here’s Aggie as Delilah the ill-tempered heiress who’s relatives all want their grimy hands on her millions! It’s a 70s horror gem

And then there’s always the campy & gruesome Dear Dead Delilah 1972 she plays Delilah Charles, appeared in Night of Terror 1972 a tv movie of the week& Frankenstein: The True Story 1973.

frankenstein the true story tv films

frankenstein The True Story

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Some very special clips of the immortal Aggie!

The much talked about ‘boiler scene’ Agnes as Aunt Fanny from The Magnificent Ambersons (1942)

Mary Kane the picture of stoic motherhood in Orson Welles’ Citizen Kane (1941)

Agnes as Baroness Conti in Mrs. Parkington (1944)

Agnes as Aggie MacDonald in Johnny Belinda (1948)

Agnes as Warden Bond with poor Eleanor Parker in prison noir classic Caged (1950)

Agnes as mystery writer Cornelia Van Gorder in The Bat (1959)

Agnes as Madame Bertha Parchman in The Revolt of Mamie Stover (1956)

Agnes as Mme. Morelli in The Seventh Cross (1944)

Agnes as the indomitable Velma Cruthers in Hush… Hush, Sweet Charlotte (1964)

Agnes as The Primal ‘Woman’ in a short clip -The Invaders ep. of The Twilight Zone 1961

Agnes as the vexing but always colorful Endora in television’s popular series Bewitched

Beautiful Agnes

With all my love & admiration, Agnes Moorhead… You are one of a kind! -Love, Joey

A trailer a day keeps the Boogeyman away! The Ghost of Frankenstein

“The King of all Monsters strikes again! No chains can hold him! No tomb can seal him in!”

THE GHOST OF FRANKENSTEIN 1942

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When Bela Lugosi as Ygor brings the wounded Frankenstein’s monster to Dr. Ludwig Frankenstein (Sir Cedric Hardwicke) to help restore his strength, the good doctor tries to replace the monster’s abnormal brain, with a normal one. The cast is fabulous with Lon Chaney Jr. as the Monster, Lionel Atwill, Evelyn Ankers as Ludwig’s daughter Elsa, Ralph Bellamy and Doris Lloyd!

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Poster - Ghost of Frankenstein, The_05

Annex - Chaney Jr., Lon (Ghost of Frankenstein, The)_02

Annex - Lugosi, Bela (Ghost of Frankenstein, The)_01

Annex - Chaney Jr., Lon (Ghost of Frankenstein, The)_NRFPT_03

Images & Lobby Cards -courtesy of Doctor Macro’s High Quality Images

Coming to you from Trailer Land-The Ghost of MonsterGIrl!

MonsterGirl’s 13 Days of Halloween: Obscure Films Better Than Candy Corn!

13 Days of schlock, shock…horror and some truly authentic moments of terror…it’s my pre celebratory Halloween viewing schedule which could change at any time, given a whim or access to a long coveted obscure gem!

No doubt AMC and TCM will be running a slew of gems from the archives of Horror films to celebrate this coming Halloween! Films we LOVE and could watch over and over never tiring of them at all….

For my 13 days of Halloween, I thought I might watch a mix of obscure little gems, some vintage horror & Sci-Fi , film noir and mystery/thriller. Halloween is a day to celebrate masterpieces like The Haunting, The Tingler, House on Haunted Hill, Curse of The Demon, Pit and The Pendulum, Let’s Scare Jessica To Death, Psycho just to name a few favorites.

But the days leading up to this fine night of film consumption, should be tempered with rare and weird beauties filled with a great cast of actors and actresses. Film’s that repulse and mystify, part oddity and partly plain delicious fun. Somewhat like Candy Corn is…for me!

I’ll be adding my own stills in a bit!…so stay tuned and watch a few of these for yourselves!

The Witch Who Came From The Sea 1976

Millie Perkins bravely plays a very disturbed woman who goes on a gruesome killing spree, culminating from years of abuse from her drunken brute of a father. Very surreal and disturbing, Perkins is a perfect delusional waif who is bare breasted most of the time.

Ghost Story/Circle of Fear: Television Anthology series

5 episodes-

The Phantom of Herald Square starring David Soul as a man who remains ageless, sort of.

House of Evil, starring Melvin Douglas as a vindictive grandpa who uses the power of telepathy to communicate with his only granddaughter (Jodie Foster) Judy who is a deaf mute. Beware the creepy muffin people.

A Touch of Madness, stars Rip Torn and Geraldine Page and the lovely Lynn Loring. Nothing is as it seems in the old family mansion. Is it madness that runs in the family or unsettled ghosts?

Bad Connection starring Karen Black as a woman haunted by her dead husband’s ghost.

The Dead We Leave Behind starring Jason Robards and Stella Stevens. Do the dead rise up if you don’t bury them in time, and can they speak through a simple television set.

Night Warning 1983

Susan Tyrrell plays Aunt Cheryl to Jimmy McNichol’s Billy, a boy who lost his parents at age 3 in a bad car wreck leaving him to be raised by his nutty Aunt. Billy’s on the verge of turning 17 and planning on leaving the sickly clutches of doting Aunt Cheryl and she’ll kill anyone who gets in the way of keeping her beloved boy with her always….Tyrrell is soooo good at being sleazy, she could almost join the Baby Jane club of Grande Dame Hag Cinema, making Bette Davis’s Baby Jane seem wholesome in comparison.

Also known as Butcher Baker Nightmare Maker...

Murder By Natural Causes (1979 Made for TV movie)

Written by Richard Levinson and William Link the geniuses who gave us Columbo, this film is a masterpiece in cat and mouse. Wonderfully acted by veteran players, Hal Holbrook, Katherine Ross and Richard Anderson and Barry Bostwick. Holbrook plays a famous mentalist, and his cheating wife has plans to kill him off.

Tension 1949

from IMDb -A meek pharmacist creates an alternate identity under which he plans to murder the bullying liquor salesman who has become his wife’s lover. Starring Richard Basehart, Audrey Totter , Cyd Charisse and Barry Sullivan

Messiah of Evil aka Dead People 1973

A girl arrives on the California coast looking for her father, only to learn that he’s disappeared. The town is filled with eerie people, and a strange atmosphere of dread. She hooks up with a drifter and they both uncover the true nature of the weird locals and what they’re up to. They learn the horrific secret about the townspeople…This film is very atmospheric and quite an original moody piece. Starring Marianna Hill, Michael Greer, Joy Bang and Elisha Cook Jr.

Devil times Five aka Peopletoys 1974

This film is a very unsettling ride about a bus load of extremely psychopathic children who escape after their transport bus crashes. Finding their way to a lodge, they are taken in by the vacationing adults and are eventually terrorized by these really sick kids. Claustrophobic and disturbing. Stars Sorrell Booke, Gene Evans. Leif Garrett plays one of the violently homicidal kids.

The Night Digger 1971

Starring the great Patricia Neal, this is based on the Joy Cowley novel and penned with Cowley for the screen by the wonderfully dark Roald Dahl, Neal’s husband at the time.

From IMDb -Effective psychological love story with a macabre twist not found in the original Joy Cowley novel. The dreary existence of middle- aged spinster Maura Prince takes an unexpected turn with the arrival of young handyman Billy Jarvis, but there is more to Billy than meets the eye. This well-crafted film, full of sexual tension and Gothic flavor, was Patricia Neal’s second after her return to acting, her real-life stroke worked deftly into the story by then-husband Roald Dahl. Written by Shane Pitkin

They Call It Murder (1971 Made for TV movie)

A small-town district attorney has his hands filled with several major investigations, including a gambler’s murder and a possible insurance scam. Starring Jim Hutton, Lloyd Bochner, Leslie Nielsen, Ed Asner and Jo Anne Pflug

A Knife For The Ladies 1974

Starring Ruth Roman and Jack Elam, there is a jack the ripper like killer terrorizing this small Southwest town. Most all the victims are prostitutes. A power struggle ensues between the town’s Sheriff and Investigator Burns who tries to solve the murders.

Born To Kill 1947

Directed by the amazing Robert Wise ( The Haunting, West Side Story, Day The Earth Stood Still )this exploration into brutal noir is perhaps one of the most darkly brooding films of the genre. Starring that notorious bad guy of cinema Lawrence Tierney who plays Sam Wild, of all things, a violent man who has already killed a girl he liked and her boyfriend. He hops a train to San Francisco where he meets Helen played by Claire Trevor who is immediately drawn to this dangerous man.

The Strangler 1964

Starring the inimitably imposing Victor Buono, who plays mama’s ( Ellen Corby/Grandma Walton) boy Leo Kroll, a psychopathic mysogynous serial killer, under the thumb of his emasculating mother. Kroll’s got a doll fetish and a fever for strangling young women with their own panty hose. The opening scene is chilling as we watch only Buono’s facial expressions as he masturbates while stripping one of the dolls nude by his last victim’s body. Part police procedural, this is a fascinating film, and Buono is riveting as Leo Kroll a psycho-sexual fetish killer who is really destroying his mother each time he murders another young woman. Really cool film by Allied Artist

Murder Once Removed (1971 made for tv movie)

A doctor and the wife of one of his wealthy patients hatch a plot to get rid of her husband so they can be together and get his money.Starring John Forsythe, Richard Kiley and Barbara Bain.

Scream Pretty Peggy (1973 made for tv movie)

This stars Bette Davis who plays Mrs. Elliot. Ted Bessell’s plays her son Jeffrey Elliot a sculptor who hires young women to take care of his elderly mother and his insane sister who both live in the family mansion with him. Also stars Sian Barbara Allen. What can I say. I love Bette Davis in anything, especially made for tv movies, where something isn’t quite right with the family dynamic. Lots of vintage fun directed by Gordon Hessler

The Man Who Cheated Himself 1950

A veteran homicide detective witnesses his socialite girlfriend kill her husband. Then what ensues is his inexperienced brother is assigned to the case.Starring Lee J.Cobb, Jane Wyatt and John Dall

The Flying Serpent 1946

Classic horror/sci fi flick that just doesn’t get the attention it deserves. Almost as fun as The Killer Shrews.  Starring veteran actor George Zucco

The Pyjama Girl Case 1977

This more obscure Giallo film directed by Flavio Mogherini and starring one of my favorite actors Ray Milland, Also starring Mel Ferrer and the beautiful model/actress Delilah Di Lazzaro. I’ve left my passion for Giallo films in the dust these days, but I decided to watch one that was a little off the beaten track.

From IMDb- Two seemingly separate stories in New South Wales: a burned, murdered body of a young woman is found on the beach, and a retired inspector makes inquiries; also, Linda, a waitress and ferry attendant, has several lovers and marries one, but continues seeing the others. The police have a suspect in the murder, but the retired inspector is convinced they’re wrong; he continues a methodical investigation. Linda and her husband separate, and there are complications. Will the stories cross or are they already twisted together? Written by <jhailey@hotmail.com>

Cul-de Sac 1966

Directed by Roman Polanski starring Donald Pleasance and  Françoise Dorléac as Teresa

A wounded criminal and his dying partner take refuge in a sea side castle inhabited by a cowardly Englishman and his strong willed French wife. A bizarre dynamic unfolds as this eccentric couple once captives of the criminals at first, their relationship, strangely begins to evolve into something else.

Dr Tarr’s Terror Dungeon aka Mansion of Madness 1973

This is a mysterious and nightmarish excursion into “the inmates have taken over the asylum” theme. Based upon Edgar Allan Poe’s The System of Dr Tarr and Professor Feather

Blue Sunshine 1978

Three women are murdered at a party. the wrong man is accused of the crimes. yet still more brutal killings continue throughout the town. What is the shocking truth behind these bizarre epidemic of …people are losing their hair and turning into violent psychopaths?

Homebodies 1974

Starring Peter Brocco, Francis Fuller, William Hanson, the adorable Ruth McDevitt, Ian Wolfe and Paula Trueman playing elderly tenants who first try to thwart by rigging accidents, a group of developers from tearing down their building. Old homes and old people…It turns into murder! This is a wonderfully campy 70s stylized black comedy/horror film. I love Ruth McDevitt as Miss Emily in Kolchak : The Night Stalker series.

The ensemble cast is brilliantly droll and subtly gruesome as they try to stave off the impending eviction and relocation to the institutional prison life of a cold nursing home facility.

A modern Gothic commentary on Urban Sprawl, the side effects of Capitalism on the elderly and their dust covered dreams, and the fine balance between reverence for the past, and the inevitability of modernity.

The jaunty music by Bernardo Segáll and lyrics by Jeremy Kronsberg for “Sassafras Sundays” is fabulous!

The Evictors 1979

Directed by Charles B. Pierce whose style has somewhat of a documentary feel ( The Town That Dreaded  Sundown 1976 Legend of Boggy Creek 1972) This film has a very stark and dreading tone. Starring one of my favorite unsung naturally beautiful actresses, Jessica Harper ( Suspiria, Love and Death, Stardust Memories, and the muse Pheonix in DePalma’s Faustian musical Phantom of The Paradise ) and another great actor Michael Parks. A young couple Ruth and Ben Watkins move into a beautiful old farmhouse in a small town in Louisiana. The house has a violent past, and things start happening that evoke fear and dread for the newlyweds. Are the townspeople trying to drive them out, or is there something more nefarious at work? Very atmospheric and quietly brutal at times. Also stars Vic Morrow

Jennifer 1953

Starring Ida Lupino and Howard Duff. Agnes Langsley gets a job as a caretaker of an old estate. The last occupant was the owner’s cousin Jennifer who has mysteriously disappeared. Agnes starts to believe that Jennifer might have been murdered. Is Jim Hollis the man whom she is now in love with… responsible?

Lured 1947

Directed by Douglas Sirk and starring Lucille Ball, George Sanders and my beloved Boris Karloff!

There is a serial killer in London, who lures his young female victims through the personal ads. He taunts the police by sending cryptic notes right before he is about to murder again. Great cast includes Cedric Hardwicke, George Zucco and Charles Coburn...

Love From A Stranger 1947

A newly married woman begins to suspect that her husband is a killer, and that she is soon to be his next victim.Starring John Hodiak and and Sylvia Sidney

Savage Weekend 1979

Several couples head upstate to the country and are stalked by a murderer behind a ghoulish mask.

The Beguiled 1971

Directed by the great Don Siegel ( Invasion of The Body Snatchers 1956, The Killers 1964 Dirty Harry 1971 This stars Clint Eastwood, Geraldine Page and Elizabeth Hartman. Eastwood plays John McBurney who is a Union soldier imprisoned in a Confederate girls boarding school.  A very slow yet tautly drawn web of psycho sexual unease forms as he works his charms on each of these lonely women’s psyche.

The Mad Doctor of Market Street 1942

An old forgotten classic horror, starring Lionel Atwill and Una Merkel. Atwill plays A mad scientist forced out of society when his experiments are discovered. He winds up on a tropical island, there by holding the locals hostage by controlling and terrorizing them.

The Man Who Changed His Mind original title (The Man Who Lived Again) 1936

Directed by Robert Stevenson. Starring my most favorite of all Boris Karloff, and Anna Lee of Bedlam

Karloff plays Dr. Laurence, a once-respected scientist who begins to delve into the origins of the mind and  soul connection.

Like any good classic mad scientist film, the science community rejects him, and so he risks losing everything for which he has worked, shunned by the scientific community he continues to experiment and further his research, but at what cost!…

The Monster Maker 1944

This stars J. Carrol Naish and Ralph Morgan. Naish plays Dr Igor Markoff who injects his enemies with the virus that causes Acromegaly, a deformity that enlarges the head and facial structures of his victims.

The Pyx 1973

I love Karen Black and not just because she let herself be chased by that evil Zuni doll in Trilogy of Terror or dressed up like Mrs Allardice in Burnt Offerings. She’s been in so many memorable films, in particular for me from the 70s. Here she plays Elizabeth Lucy a woman who might have fallen victim to a devil cult. Christopher Plummer plays detective  Sgt. Jim Henderson investigating the death of this heroin-addicted prostitute. The story is told using the device of flash back to tell Elizabeth’s story.

Five Minutes To Live 1961

Johnny Cash, the immortal man in black, plays the very unstable Johnny Cabot, who is part of a gang of thugs who terrorize a small town. This is a low budget thriller later released as Door to Door Maniac. I could listen to Cash tune his guitar while drinking warm beer and I’d be satisfied, the man just gives me chills. Swooning little me…….!

The Psychic 1977

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In this more obscure EuroShocker, a clairvoyant… the gorgeous Jennifer O’ Neill, suffers from visions, which inspire her to smash open a section of wall in her husband’s home where she discovers a skeleton behind it.

She sets out to find the truth about how the victim wound up there, and if there’s a connection between their death and her fate as well!

Too Scared To Scream 1985

Directed by actor Tony Lo Bianco A killer is brutally attacking several tenants that live in a high rise apartment building in New York City.Mike Connors stars as Detective Lt. Alex Dinardo who investigates the killings. Also stars another unsung actress, Anne Archer, Leon Isaac Kennedy and Ian McShane

Violent Midnight 1963

An axe murderer is running loose in a New England town! Also known as Psychomania not to be confused with the fabulous British film of devil worshiping bikers who come back to life starring Beryl Reid. This film features Dick Van Patten, Sylvia Miles, James Farentino and Sheppard Strudwick. It’s got it’s own creepy little pace going for it.

When Worlds Collide 1951

Another classic sci fi world is headed toward destruction film, that I remember from my childhood. Starring Barbara Rush and John Hoyt, two of my favorite character actors. It’s a lot of fun to watch and a well made film that’s off the beaten path from… Forbidden Planet and War of The Worlds.

All The Kind Strangers  (1974 made for tv film)

Starring Stacy Keach, Sammantha Eggar, John Savage and Robby Benson

A couple traveling through a backwoods area are held hostage by a a group of orphan children who want them to be their parents. When ever an adult refuses to participate in the delusion, they are killed. Great disturbing made for tv movie.

The Todd Killings 1971

Directed by Barry Shear and starring Robert F. Lyons as Skipper Todd, a very sociopathic young man who holds sway over his younger followers like a modern day Svengali. Also starring Richard Thomas, Belinda Montgomery and the great Barbara Bel Geddes as Skippers mother who takes care of the elderly.

From IMDb-“Based on the true story of ’60s thrill-killer Charles Schmidt (“The Pied Piper of Tucson”), Skipper Todd (Robert F. Lyons) is a charismatic 23-year old who charms his way into the lives of high school kids in a small California town. Girls find him attractive and are only too willing to accompany him to a nearby desert area to be his “girl for the night.” Not all of them return, however. Featuring Richard Thomas as his loyal hanger-on and a colorful assortment of familiar actors in vivid character roles including Barbara Bel Geddes, Gloria Grahame, Edward Asner, Fay Spain, James Broderick and Michael Conrad.” Written by alfiehitchie

This film has a slow burning brutality that creates a disturbing atmosphere of social and cultural imprisonment by complacency and the pressure to conform, even with the non conformists.

Todd almost gets away with several murders, as the people around him idolize him as a hero, an not the ruthless manipulating psychopathic killer that he is. Frighteningly stunning at times. One death scene in particular is absolutely chilling in his handling of realism balanced with a psychedelic lens. This film is truly disturbing for it’s realism and for a 1971 release.

To Kill A Clown 1972

Starring Alan Alda and Blythe Danner. Danner and Heath Lamberts play a young hippie couple who couple rent a secluded cabin so that they can try and reconnect and save their marriage.

Alan Alda plays Maj. Evelyn Ritchie the man who owns the property and who is also a military raised- sociopath who has two vicious dogs that he uses as an extension of his madness and anger.