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

Z

Zombies of Mora Tau 1957

Zombies of Mora Tau 1957 directed by one of the masters of B-movie horrors, Edward L. Cahn,  combines elements of horror, adventure, and mystery. The film stars Allison Hayes as Mona, Autumn Russell as good girl Jan, Gregg Palmer, Joel Ashley, Marjorie Eaton as the Grandmother who awaits her sailor husband’s return even though she knows he’s one of the zombies, and Ray Corrigan.

The story is set in the coastal waters off the African continent, near a diamond mine. A team of people, including a marine salvage crew and the mine owner’s daughter, arrive at a sunken ship, the Mora Tau, which is rumored to contain a valuable cargo of diamonds.

However, the salvage operation becomes perilous when it is revealed that the sunken ship is guarded by the walking dead who guard the treasure, These zombies are not the flesh-eating creatures commonly associated with modern zombie films.

As the salvage crew and the mine owner’s daughter attempt to recover the diamonds, they must contend with the zombies, who are under the control of a mysterious figure. The film unfolds as a suspenseful and atmospheric tale of survival, as the characters face both the threat of the zombies and the lure of the valuable cargo.

Zardoz 1974

Zardoz 1974 is a fantastical science fiction film directed by John Boorman (Deliverance 1972). The film is known for its surreal and dystopian themes. The film stars Sean Connery and ’70s siren Charlotte Rampling.

In 2293 Zardoz, is an uncanny, omnipotent “God” who speaks from a massive floating stone idol of an imposing god-head, who rules over a barbaric race called the Brutals, who live a primitive and violent existence and struggle to survive in the grim landscape in the Outlands. The Brutals worship Zardoz as their supreme deity.

In this distant future, the Earth is divided into two distinct societies: the Eternals, who live in a technologically advanced and utopian community, and the Brutals, who inhabit the wastelands outside of the Eternals’ domain. Yet the movie actually features five identifiable groups of people: Brutals, Eternals, Renegades, Apathetics, and Exterminators.

Zardoz preaches that the Brutals will be transformed once after they die and go to the Vortex, where they will live a euphoric life as immortals. He has amassed an armed named the Exterminators, armed with guns, as Zardoz’s philosophy is that killing is good, and breeding is the root of all evil. But the truth is like the Wizard of Oz, the man behind the curtain is Arthur Frayn, who hails from an advanced race of The Eternals who exist in that paradisical life in the Vortex.

The Eternals truly are immortal as they do not age and their bodies undergo reconstruction if they “die”. This elite group is immortal, never to see an aged moment, and if they should die, they become regenerated. In contrast to the rest of those who live a harsh life, The Eternals do get to bring life into their world as they have evolved as a society, striving through a democratic watchfulness but they are immune to disease or sin, and those who transgress are subjected to the aging process.

Arthur seeks to control and study the movements of the Brutals, and using Zardoz he can achieve that mission, but once entering the Outlands he is cut off from the Vortex and all communication with the Eternals.

Zed (Sean Connery) one of the Exterminators has somehow managed to break through to the Vortex and the Eternals’ society when he stows away inside the Zardoz head, but the Eternals decide to keep him alive so that they can study him and figure out if his infiltrating the Vortex was a freak occurrence before putting him to death.

Amongst the Eternals is May (Sara Kestelman), their head scientist who sees Zed as he is a link to the Brutals. Charlotte Rampling as Consuela is a thrill-seeker who views Zed as an animal whose purpose is to do his work as the hand of the law. The Eternals must protect their Utopian society at all costs.

Once inside, Zed disrupts the Eternals’ tranquil existence and challenges their immortality. He becomes a symbol of change and rebellion, leading to a series of profound and surreal events.

Tidbits:

Writer, producer, and director Sir John Boorman made this movie after an early attempt to film J.R.R. Tolkien’s “The Lord of the Rings” was canceled. Studios balked at the projected cost of the project as he envisioned it. When the same thing happened to Boorman again several years later, he made Excalibur 1981 instead.

Cinematographer Geoffrey Unsworth filmed scenes with the lens wide open, fog filters on the camera, and smoke machines on-set to achieve a diffused, impressionistic look. It worked on first-generation prints, but when the film was duplicated for release, the image quality was so bad it was almost unusable. The studio forbade any cinematographers from using that process on future movies.

Reportedly Charlotte Rampling, looked forward to her sex scene with Sir Sean Connery then was disappointed when it was over and done with so quickly.

Radio spots were narrated by Rod Serling.

Zardoz was filmed on location in the Irish village of Garrykennedy.

John Boorman would later admit that he was under the heavy drug influence while writing the film and during production. He also claims that not even he is sure what parts of the film are about, mainly due to the haze of drugs he was in at the time, and feels that several scenes are pointless

Burt Reynold’s who was a big box-office star at the time, who had previously worked with Sir John Boorman on Deliverance 1972  was the first choice for the lead role of Zed. He bowed out due to illness. According to an article in the 11 April 1973 edition of Variety, the illness was “overwork”.

This is your EverLovin’ Joey Sayin’ I hope you survived this menacing alphabetical barrage of spooky & often kooky trailers! I’ll see you around at the snack bar and wish you a safe and enjoyable month of October and the upcoming candy binge of Halloween! 🎃

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

A

Arsenic and Old Lace 1944

Directed by Frank Capra and adapted for the screen by Julius and Philip Epstein from Joseph Kesselring’s play, Arsenic and Old Lace is a whirlwind farce set in a cozy Brooklyn home. The home’s occupants are two charmingly batty elderly ladies, portrayed by Josephine Hull and Jean Adair, who have an unusual hobby: they poison lonely old men with elderberry wine, believing death to be a preferable fate for them. These deceased individuals are then discreetly interred in the basement with the assistance of their harmless and offbeat nephew, who envisions himself burying yellow fever victims in the Panama Canal.

The plot takes a humorous twist when the sisters’ less-than-amiable nephew, Jonathan, played by Raymond Massey, arrives on the scene with a few deceased individuals of his own. To complicate matters further, Massey’s character bears an uncanny resemblance to Boris Karloff, after having plastic surgeon Peter Lorre give him his new face. Karloff originally portrayed Jonathan in the Broadway play but was unavailable for the film. The script cleverly alludes to this likeness, provoking intense anger in Massey’s character whenever it’s remarked upon by the other characters.

Cary Grant assumes the role of Mortimer Brewster, the film’s romantic lead, who is attempting to enjoy his honeymoon with Priscilla Lane’s character, Elaine. The film also boasts the talents of Edward Everett Horton and Jack Carson in supporting roles.

Arsenic and Old Lace” is celebrated for its witty and chaotic humor and has secured its status as a classic in the realm of dark comedies, renowned for its unforgettable performances and enduring popularity.

The Amazing Colossal Man 1957

Directed by Bert I. Gordon, The Amazing Colossal Man 1957 is a story that revolves around Colonel Glenn Manning, a military officer who becomes the victim of a tragic accident involving a plutonium explosion during a test flight. As a result of the explosion, Manning begins to grow uncontrollably in size, becoming a colossal giant.

This transformation not only poses a threat to Manning’s own well-being but also becomes a matter of national security as the military tries to contain and study this astonishing phenomenon. As Manning’s condition worsens, he grapples with the physical and emotional toll of his transformation, while the military races against time to find a way to stop his relentless growth.

“The Amazing Colossal Man” is a beloved classic of 1950s science fiction cinema that ushers in the giant consequences of unchecked science that threatens man’s existence and his shoe size.

Attack of the Giant Leeches 1959

ATTACK OF THE GIANT LEECHES, (aka THE GIANT LEECHES), poster art, 1959.

Directed by Bernard L. Kowalski, Attack of the Giant Leeches 1959 is set in a remote swampland community that finds itself terrorized by enormous, monstrous blood-sucking leeches. The townspeople become victims of these grotesque creatures, while the police don’t believe the stories behind the disappearances of the locals. Ken Clark as game warden Steve Benton must investigate the strange occurrences in the swampland by himself and Jan Shepard as Nan Greyson gets caught up in the deadly threat of the leech-infested swamp. The film stars scream queen Yvette Vickers as Liz Walker, Bruno VeSota’s unfaithful wife, and also co-stars Michael Emmett and Gene Roth as Sheriff Kovis. The giant leech suits are hilarious and the atmosphere is suffocatingly schlocky considering Daniel Haller (The Dunwich Horror 1970, Die, Monster, Die! 1965) was the art director of the film.

Atom Age Vampire 1960

Atom Age Vampire aka Seddok 1961 is a vintage Italian horror film directed by Anton Giulio Majano. The movie tells the story of a lovesick, obsessed doctor who is determined to restore the beauty of a disfigured exotic dancer who was maimed in a car accident. In his desperate pursuit, the doctor resorts to a macabre method, extracting blood from dead women in an attempt to rejuvenate the object of his obsession. However, his gruesome experiments spiral out of control. The film stars Alberto Lupo as Prof. Alberto Levin and Suzanne Loret plays Jeanette Moreneau his beautiful fixation.

The Awful Dr. Orlof 1962

The Awful Dr. Orlof is a 1962 horror film directed by Jesús Franco, it marked the beginning of his prolific and distinctive career in the genre. The movie follows the chilling exploits of the enigmatic Dr. Orlof, a mad scientist who kidnaps and murders young women in order to harvest their skin for his disfigured and paralyzed sister, Melissa. Dr. Orlof’s sinister activities attract the attention of the police, and Inspector Tanner is determined to bring the mysterious doctor to justice.

As the investigation unfolds, it becomes apparent that Dr. Orlof is not acting alone. He has a henchman, the pop-eyed Morpho looking like a psychotic mannequin who helps him carry out his gruesome crimes. The film delves into themes of obsession, sadism, and the blurred lines between science and madness.

The Awful Dr. Orlof is known for its gothic atmosphere, eerie cinematography, and a memorable performance by Howard Vernon as Dr. Orlof whose portrayal of the mad scientist is chilling and charismatic. The film is considered a classic of Spanish horror cinema and has influenced subsequent horror films with its macabre, atmospheric, and visually captivating storytelling. It’s Gothic atmosphere creates a dark shadowy cobweb-filled landscape with a haunting score and creepy elements that contribute to the macabre tone of Franco’s signature style. Orlof explores disturbing themes of sadism, obsession, and dehumanization of female victims as Dr. Orlof seeks to restore his sister’s beauty.

The film’s approach to horror characterized by its psychological terror and the blurred line between science and madness, has left a lasting impact on the genre. It foreshadowed the emergence of early Spanish horror films and European horror cinema in the 1960s and 1970s, influencing directors like Jean Rollin and Dario Argento.

Jesús Franco’s direction and experimental filmmaking for The Awful Dr. Orlof illustrates his early penchant for innovative camera work and editing techniques that were considered unconventional for its time. Franco’s willingness to take risks and push boundaries and the film’s distinctive psychological horror and Gothic aesthetics continue to focus on Dr. Orlof as a compelling example of Gothic European/Spanish horror cinema, with both a hauntingly dark atmosphere and disturbing elements, making it a seminal work in the genre and its influence on subsequent horror cinema.

The Asphyx 1972

The Asphyx is a 1972 British horror film starring Robert Stephens and Robert Powell. The story is set in the Victorian era and centers around Sir Hugo Cunningham, played by Robert Stephens, a scientist who becomes obsessed with a mysterious and deadly force called the “Asphyx.” Sir Hugo discovers that the Asphyx is a supernatural entity that appears at the moment of death and can be trapped in a photograph or film, and placed in a contraption- effectively granting immortality to the person in the image.

As Sir Hugo becomes increasingly obsessed with the Asphyx and its power, he conducts a series of unethical experiments in an attempt to capture and control it. His actions lead to tragic consequences for himself and his family, including his adopted son, Giles, portrayed by Robert Powell. It also stars Jane Lapotaire, Alex Scott, and Ralph Arliss. I saw this upon its theatrical release and remember it causing more than a few shivers.

Asylum 1972

Read my Barbara Parkins tribute here:

Directed by Roy Ward Baker and written by horror master Robert Bloch (Psycho) Asylum 1972 is one of the most unusual horror portmanteaus – a chilling and immersive horror anthology that takes viewers on a spine-tingling journey through the dark corridors of the nightmarish horror trope of the long-abandoned asylum. Set in the year 1972, the film weaves together five distinct and haunting tales, each exploring the themes of madness, supernatural terror, and the thin line between reality and the macabre. The film stars Barbara Parkins, Richard Todd, and Sylvia Syms in Frozen Fear, Peter Cushing in The Weird Tailor, Charlotte Rampling, Britt Ekland and Megs Jenkins in Lucy’s Come to Stay, and Patrick Magee and Herbert Lom in Mannikins of Horror. Asylum also stars Robert Powell as Dr. Martin.

Asylum 1972 combines atmospheric cinematography, haunting soundscapes, and a talented ensemble cast to create a cheeky yet truly terrifying and unforgettable early 70s horror experience.

Alabama’s Ghost 1973

Alabama’s Ghost is a 1973 psychedelic horror film directed by Fredric Hobbs.

The nightclub janitor (Christopher Brooks) discovers a secret room, finds an old magician’s belongings, tries on the costumes, and becomes Alabama, King of the Cosmos. The film features a bizarre assortment of characters, including credits for ‘groupies, Carter’s Ghost, Marilyn Midnight, Dr. Caligula, Granny, and Mama Bama.

Alabama’s Ghost is a campy and offbeat film known for its low-budget, cult appeal among fans of unconventional cinema.

Axe 1977

Axe 1977 also known as “Lisa, Lisa,” is a cult classic thriller that tells the harrowing story of Lisa, a young woman who becomes the target of a sadistic killer’s obsession. Set in the eerie and remote countryside, the film is a suspenseful and psychologically disturbing journey as Leslie Lee is assaulted by three criminals on a murder spree after they arrive at her farmhouse, where she lives with her paralyzed grandfather.

As Lisa fights for her survival, the film takes audiences on a suspenseful rollercoaster ride, filled with tension, brutality, and psychological terror. Axe is a relentless thriller that explores themes of brutality and vulnerability, and an unflinching portrayal of isolation and terror, which has led to its cult status in the realm of exploitation cinema.

This is your EverLovin’ Joey sayin’ I’ll BE back with the letter B! So bring me an apple, without a razor blade in it, please!

 

70s Cinema: Runaway Trains, Racing toward oblivion, psycho-sexual machinations and ‘the self loathing whore’ Part 3

Vanishing Point (1971)

It’s the maximum trip… at maximum speed.

Watch carefully because everything happens fast. The chase. The desert. The shack. The girl. The roadblock. The end.

Director Richard C. Sarafian (prolific television series director, The Twilight Zone ep. Living Doll 1963, Fragment of Fear 1970, The Man Who Loved Cat Dancing 1973). With a screenplay by Guillermo Cabrera Infante, a story outlined by Malcolm Hart. Cinematography by John A. Alonzo (Bloody Mama 1970, Harold and Maude 1971, Lady Sings the Blues 1972, Chinatown 1974, Norma Rae 1979). Alonzo offers up a minimalist vision not unlike Steven Spielberg’s first film Duel (1971).

Vanishing Point (1971) conjures an image of Americana with its dusty realism yet the landscape seems to exist on a desolate otherworldly planet.

The Groovin’ soundtrack is a collection of various artists who create the perfect fabric of seventies resonance. The singer/songwriter (of Bread fame) plays the piano with the J. Hovah singers during the revival scene in the desert. Other songs include Mississippi Queen sung by Mountain, Welcome to Nevada by Jerry Reed, Nobody Knows sung by Kim Carnes and So Tired sung by Eve. Carnes’ most notable song is the cult hit, Betty Davis Eyes.

DJ Super Soul: “And there goes the Challenger, being chased by the blue, blue meanies on wheels. The vicious traffic squad cars are after our lone driver, the last American hero, the electric centaur, the, the demi-god, the super driver of the golden west! Two nasty Nazi cars are close behind the beautiful lone driver. The police numbers are gettin’ closer, closer, closer to our soul hero, in his soul mobile, yeah baby! They about to strike. They gonna get him. Smash him. Rape… the last beautiful free soul on this planet.”

… speed means freedom of the soul. The question is not when’s he gonna stop, but who is gonna stop him.”

Vanishing Point stars a very gruff and sexy Barry Newman (The Moving Finger 1963, The Salzburg Connection 1972, Fear is the Key 1972, Petrocelli 1974-76) as Kowalski, dynamic Cleavon Little as blind radio DJ Super Soul, Dean Jagger as the prospector, Paul Koslo as Deputy Charlie Scott, Robert Donner as Deputy Collins, Severn Darden, Karl Swenson, Anthony James as 1st gay hitch-hiker, Arthur Malet as 2nd gay hitch-hiker, Gilda Texter as Nude Rider, and although she was deleted from the U.S. version, Charlotte Rampling as hitch-Hiker.

The film has a beautiful bleak vision and atmosphere of “Dead-already-ness” in the narrative that foreshadows Kowalski’s ultimate destiny. The film doesn’t contribute much essential dialogue, in the way The Taking of Pelham One Two Three (1974) thrives on its repartee. Vanishing Point is fueled by its visual movement.

Vanishing Point seems to reject the sensibilities of a contrived ‘road movie’ that embodies or symbolizes liberation, but in actuality “the road is not ‘open’ but merely a channel through which the vehicle hurtles.” (John Beck)

Vanishing Point is an inauguration of the New Hollywood road/chase movies of the 1970s and one of the most significant cult road movies of the mythic ‘wandering hero’ archetype and ‘the outsider’ roles of that decade. What makes Vanishing Point stand out from other more mainstream Hollywood rebels and road movies is its resistance to embrace the glorification of films boasting the (as writer John Beck puts it) “freedom to drive.”

[Warning: SPOILERS]

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