31 Flavors of Noir on the Fringe to Lure You In! Part 1

“A man could spend the rest of his life trying to remember what he shouldn’t have said.”- Force of Evil

“All that Cain did to Abel was murder him.” –Force of Evil

“He pushed me too far!… So I pushed him just far enough.” –The Lineup

“You’re like a rat in a box without any holes” – I Wake Up Screaming

“From now on, no one cuts me so deep that I can’t close the wound.” – I Wake Up Screaming

“I’m gonna give you a break. I’m gonna fix it so you don’t hear the bullets!”- The Big Combo

“I was born on a Monday, I might as well go out on a Monday. Like dirty laundry.”- Man in the Dark 

Heads up… this feature includes spoilers…💣

1-I Wake Up Screaming 1941

I Wake Up Screaming is the first official noir produced by Fox, directed by H. Bruce Humberstone (he worked on Charlie Chan programmers and B-movies) who was not considered a noir director. With a screenplay by Dwight Taylor based on the novel by Steve Fisher. Eddie Muller said it personified film noir, and calls the 1941 film – Proto-noir, as it was the first of it’s kind.

Darryl F. Zanuck wanted the film’s location changed to New York City, so it wouldn’t reflect badly on L.A. There are a number of sleazy characters involved and he wanted to shift the story from Hollywood to Broadway.

The film was remade as Vicki in 1953 (with Jeanne Crane and Jean Peters, though it lacked the highly stylized artistry) Photographed by Edward Cronjager (Seven Keys to Baldpate 1929, Hell’s Highway 1932, The Monkey’s Paw 1933, Island in the Sky 1938, The Gorilla 1939, Heaven Can Wait 1943, Desert Fury 1947, Relentless 1948, House by the River 1950, The Girl in Lovers Lane 1960) pours out murky noir shadows, darkened streets, unusual camera angles, low key lighting and the high contrast, onepoint lighting that illuminates the ink black threatening spaces. The film is stark yet dynamic.

With music by Cyril J. Mockridge, you’ll hear the familiar often used noir leitmotif, the melody Street Scene by Alfred Newman. I Wake Up Screaming stars Betty Grable as Jill Lynn, Victor Mature as Frankie Christopher, Carole Landis as Vicki Lynn, Laird Cregar as Ed Cornell. The film also co-stars Alan Mowbray as Robin Ray and Allyn Joslyn as Larry Evans. Quirky character actor Elisha Cook Jr. plays Harry Williams the desk clerk in Vicki’s apartment building who’s a real weirdo. William Gargan plays Detective Jerry ‘Mac’ MacDonald.

Cook is great at playing quirky oddballs (Cliff the crazed drummer in Phantom Lady 1944, George Peatty in The Killing 1956, anxious trench coat wearing Wilmer in The Maltese Falcon 1941, Watson Pritchard in House on Haunted Hill 1959).

I Wake up Screaming bares a resemblance to a whodunit, as the killer is chased down with the story playing a bit of a shell game with us. There are common noir themes of obsession, perverse lust, corruption and homicidal jealousy. The film is also has a preoccupation with images and artifice, tossing up flashbacks like a circus juggler.

Right before model Vicki Lynn heads to Hollywood to reach for her rising star, she is brutally murdered. Delicious Betty Grable in her first non-music role, plays Jill Lynn, Vicki’s sister, who is drawn to the man (Victor Mature) who is presumably her sister’s murderer.

Vicki functions as an essential part of the narrative early on in the film and is resurrected by way of flashbacks. Frankie knows that while there are images that still exist of Vicki she is no longer present. In fact Vicki is a myth and a manufactured deception in some ways. Jill on the other hand is genuine, unpretentious and warmhearted.

Carol Landis who died at 28 from an overdose, plays murder victim Vicki Lynn. I Wake up Screaming back flips into the weeks leading up to her death. The film is also somewhat of a noir variation on Pygmalion, as Victor Mature who plays Frankie Christopher, sports and show business promoter, discovers a beautiful girl waiting tables and gets the hot idea of turning Vicki into a celebrity and society girl. Vicki’s appeal, is the sphere of influence that drives the plot. Mature always makes the screen sweat with his sexy brawny build, swarthy good looks, strong jaw line and the aura of his glistening obsidian hair.

The film opens with a sensational news headline ‘MODEL MURDERED’ right from the top Frankie is being grilled by the cops in the interrogation room. Burning white hot lights are up close in his face. He says to the shadow of Cornell (Cregar) who’s a bulky shadow shot with single source lighting) to his opaque figure, “You’re a pretty tough guy with a crowd around.”

The flashbacks begin. Frankie goes back to the first time he meets Vicki at the lunch room on 8th Avenue while eating with Larry Evans (Alan Joslyn) and Robin Ray (Alan Mowbray). Vicki asks “Is that all?” Lary Evans says “No, but the rest of it isn’t on the menu.” She handles his come on, “You couldn’t afford it if it was.” Frankie pours on the charm. He gets the notion to take Vicki and mold her into a celebrity. “You know I bet in 6 months I could take that girl and put her on top of the ladder.” Mature and Landis worked together in One Million Years B.C.

Has-been actor Robin Ray (Mowbray) and ruthless gossip columnist Larry Evans (Joslyn) decide to get involved in developing Vicki Lynn’s mystique and cultivate her glamour on the road to fame. Of course both men wind up having a yen for her. A cynical Ray (Mowbray) complains that all women are alike. Evans (Joslyn) tells him,“For Pete’s sake, what difference does that make? You’ve got to have them. They’re standard equipment.”

Frankie takes Vicki Lynn out into New York cafe society – All three schemers, the columnist, the washed up actor and Frankie, bring her to the cafe and make a big noise, grabbing the attention of Lady Handel (May Beatty) who invites them over to her table. In order give the impression that Vicki will now be a new sensation, Larry Evans brags in front of the table, that he’ll plug her In his column. They also think that it’ll help Vicki to get noticed if she’s seen on Robin Ray’s arm. The outing is a success. When they bring her home to her apartment building they meet the squirrly desk clerk Harry Williams (Elisha Cook), who takes his sweet time, getting up for Vicki. Frankie gives him a hard time after being so disrespectful. Williams sneers, “She ain’t nobody.”

Back to the present and Frankie’s still in the sweat box. They’re questioning Jill too. She’s telling the cops about Vicki’s plans. She’s got, “Grand ideas about becoming a celebrity.” They ask about Frankie’s involvement. Another flashback – the sisters are talking about Vicki’s new venture. Vicki tells Jill, “They’re gonna glamorize me.” Jill tells Vicki that she doesn’t trust Frankie’s promises, and apologizes for sounding stuffy. She warns Vicki about having unrealistic aspirations. Flashback even further. Frankie shows up at the cafeteria. Vicki keeps dishing out the wise cracks. He shows her the newspaper article about her making a splash at the El Chico Club.

“Why all the cracks you don’t even know me?” “I don’t know anything about art, but I know what I like.” Back at the present day, at the police station. Jill continues to tell the cops how successful Vicki’s climb was. Backwards once again-

Jill Lynn I don’t want to tell you your business, but don’t you think you’re making a fool of yourself?
Vicki Lynn What do you mean?
Jill Oh, this Frankie Christopher. People like that, what have they got to do with people like us?
Vicki Jill, they’re going to help me!
Jill In what way?
Vicki They’re gonna’ glamorize me. They may have started this thing as a gag, but, after taking one look at those million-dollar debutantes tonight, I realized I can give them cards in spades and still come out on top.
Jill Vicky, you’ll never come out on top by any shortcuts. One week your picture’s on the cover of a magazine, the next it’s in the ash can.

Frankie arrives at the girls apartment, and Vicki breaks the news to Frankie that she’s going away to Hollywood. She’d done a screen test and signed a long term contract. He’s angry. She went behind Frankie’s back after everything he did for her. She defends herself “Some people think I’m a pretty attractive girl. I’m no Frankenstein you know!” Frankie comments, “I wonder.”

Jill tells the cops she was pounding a typewriter breaking her finger nails, and Vicki did get the Hollywood contract, so she might have been right about taking the risk with an acting career and becoming a star.

Another flashback The three men are sitting around the bar..

Robin Ray [indignant] Can you imagine her walking out on me, after all that I’ve done for her? Me!

Larry Evans [slightly incredulous] “You’ve” done for her? What have *you* done for her?

Robin Well, I took her out to all the bright spots, I let her be seen with me everywhere… It made her feel important.

Larry Why, you parboiled old ham! You don’t think anybody thought there was anything between *you* two, do you? If it hadn’t been for my plugging in the column, people would’ve thought she was your trained nurse.

Robin Why, you ink-stinking word slinger! I was famous when they were changing your pants 20 times a day!

Jumping to the present again, Jill is still being questioned by the cops. They want to know if Vicki had anyone in her life. Jill remembers a peculiar thing that happened. She tells them she was sitting at the table in the cafeteria waiting for Vicki to get off work. The peeping prowling, Ed Cornell’s giant shape stares at Vicki through the window. He has a queer look on his face. Jill maintains her stare, holding her coffee cup, she is unable to put it down as she studies him, uncomfortably. Once he notices Jill catching him ogling Vicki, he skulks away. Mockeridge’s score undergoes a sinister change, emphasis on the rhythmic accents of a classic horror picture.

Jill tells her sister, “You seem to have an admirer there’s some guy looking through the window like the wolf looking for the 3 little pigs.” The girls are walking on the street, Cornell is leaning against a wall, Jill points out to Vicki that he’s the one. “He gives me the creeps” Vicki says, “You’ll have to get used to that, they’ve got more wolves in New York than they have in Siberia” She tells the cops she saw him several times after in odd places. He never said anything but watched Vicki, it frightened Jill. There was something strange about him, the way he looked at Vicki. Always turning up in strange places. The cops look skeptical about her “mysterious stranger.”

The cops think Jill is trying to protect Frankie “I just don’t believe he did it, that’s all” They ask if she’s involved with him, and accuse her of being in love with him and wanting Vicki out of the way. Jill demands to see someone in authority, so they tell Mac to get Cornell. Who walks in? The creep who watched Vicki through the plate glass!

Enter rabid, self-righteous homicide Detective Ed Cornell (Cregar). Once he sets his sights on Frankie he begins to mercilessly hound him to the ends of hell if necessary, going after him with a flaming vengeance, trying to pin the murder on him. Cornell knows that Frankie is innocent but he is determined to persecute him. Cregar made an all too short career out playing imposing characters. He died at 28 in 1944 due to complications from a crash diet, always struggling with his weight, striving to obtain leading man status.

Jill is startled, the room is smoky and this massive shape looms over her with his girth “That’s him, that’s the man!” They think she’s crazy. First it’s a mysterious stranger peeking through windows and now it’s Ed Cornell. “Thats my job to look at people.” Leaving the dark corner of the sweat box into the smoke factory with Frankie, things become more visible as Cornell emerges as a menacing force. She insists, “I did see you.” “Alright Alright I’m a peeping tom.”

Jill Relates what happened on the car ride with Frankie, the night he learned Vicki was leaving, and she tells him he’ll be glad to get rid of her, because Jill is in love with him. That Jill is just covering up her feelings. Frankie says Jill being in love with him, never entered his mind. Vicki is sure, “I know it’s much deeper than that. That’s why its so dangerous. Anything might happen.”

Cornell writes down everything in his pad. Jill says that Vicki didn’t mean the line about being glad to get rid of her, but he corrects her, “What she meant doesn’t count. It’s what she said.”

The night Jill found Vicki, as soon as she came out of the elevator she got a feeling something was wrong. There was  music blasting from the radio. Frankie was there already – ”Jill you don’t think I did it, do you?” Jill is in shock.

Cornell goes back into the interrogation room with Frankie and tells him he knows about Vicki’s ‘get rid of me’ statement. The obessed Cornell comes up with a scenario. Frankie’s mind got more and more inflamed with jealousy and hurt pride. Went up there and killed her in cold blood. Cornell loses his cool and lunges at Frankie, ”I’ve got a mind to kill you right now.”When Cornell gets rough, the other cops have to break it up. They all like Frankie and ask if he’s got any tickets to the fights. They ask Cornell “What’s the idea of riding him, so hard?” “I have years of experience in this racket. If that isn’t the look of a guilty man, I’ll take the rap myself.” The District Attorney winds up getting his back up with Cornell when he focuses so much on Frankie’s guilt.

The District Attorney (Morris Ankrum) apologizes to Frankie. Jill is in the office too, and tells him they think they know the identity of the killer. It’s the switchboard operator at the sisters’ apartment building. They think it’s Harry Williams. Jill leaves the police station and Frankie asks why they think it’s Williams. The D.A. tells him, William’s been missing since 5pm last night, probably hiding out scared and shaky.

Frankie is released and later that night, Mature wakes up to find the huge, menacing Cregar sitting beside his bed, “Well that’s the first time, I had a bad dream with my eyes open.” “Someday you’re going to talk in your sleep, and when that days comes I want to be around.” The scene hints at Cornell’s repressed homosexual passion.

Cornell tells him he’ll get all the evidence he needs and tie him up like a pig in a slaughter house. Frankie unrattled, tells him, ”You’re the bright boy” and reminds him that they think Williams murdered Vicki. Victor Mature is so smooth, so mellow when he’s playing at being sarcastic, He says, “You’re like something out of a museum you ought to have a magnifying glass and one of those trick hats with the ear flaps” Frankie throws Cornell out after he calls him cocky, and has had it his way too long. First with Vicki, then Jill. Cornell’s resentment is showing.

Jill finds Harry Williams who’s returned to the apartment building. She’s moving out, but he has already packed up her bags and taken them down to the lobby. Williams is a suspiciously hollow little insect who Jill finds strange. Frankie meets up with Robin at the police station. The cops show a reel of Vicki singing at a night club. Cornell watches her longingly which gives Frankie a window into Cornell’s longing for the dead girl. Cornell looks at Frankie with contempt.

The film of Vicki appears in the dark room filled with cigar smoke that makes wispy clouds float, and the rays of light from the projection booth. The light cast on Frankie’s eyes are like an illuminated mask, it accentuates his epiphany — that Cornell is obsessed with Vicki. He catches something in his stare. The light on Cornell’s face as HE stares back at Frankie, unmasks only half of his face, revealing the duplicity Cornell projects throughout the picture. It’s a brilliantly framed shot by Cronjager.

The film reel resurrects Vicki from the dead, like a ghost haunting the room. Robin Ray squirms in his chair and runs to get out. The door is locked. His behavior hints at his guilt. They put the lights on and bring him into the D.A.’s office. Ray tells them how he felt about her. She laughed at him. Called him “a has-been and didn’t want to hitch her wagon to a falling star.” He’s the one that arranged the screen test but she went down there alone. He is obsolete, they decided they didn’t need him. While he talks about her, Cornell looks out the window. Daylight casts patterns from the venetian blinds that cut across his face. Odd angle profiles tilt the two-shot of Cornell and Mac off kilter. Ray has an alibi. He was at a sanitarium. Cornell checked it out already and is gleeful that it rules out yet another suspect. He wants Frankie to fry for it. Cornell would have Frankie in the death house by now. “That won’t prevent you from going to the hot chair.” 

As Frankie is leaving the police station Cornell asks him for a lift uptown “Sure, always happy to oblige a goon”

Ed Cornell [bumming a ride in Frankie’s car] “I’m sorry to have to ask you to do this, but I’m a little short on cash lately. You see, I’ve spent so much of my own dough, trying to build up this case against you.”

Frankie Christopher (Victor Mature) Well, if there’s anything you need, just let me know.”

Ed Cornell Oh, I imagine they’ll make it right with me when I bring in the material for your trial. They usually do in these cases. I nick a guy on my own time and send him up to the chair, then I get back pay.”

Frankie Christopher “Must be a great life – like a garbage man, only with people!”

Ed Cornell “I got practically all the evidence I need now. I could arrest you today for that matter, but you might get some smart mouthpiece and get off with life instead of the chair. I won’t be satisfied until I’m *sure* it’s the chair.”

Frankie Christopher “You’re a gay dog, Cornell. You make me feel as if I’m driving a hearse!”

Ed Cornell Oh, I know your type. I’ve seen hundreds of them. I don’t scare you enough to make you commit suicide, but I worry you just the same. And when the day comes they all act different. Some scream, a few faint, some light a cigarette and try a wisecrack. But it sticks in their throats – especially when they’re hung.”

Cornell shows up at Jill’s new apartment to intimidate her. Jill “What’s the good of living without hope?” Ed Cornell signals his own personal torture- “It can be done.” He advises her to just play along, insisting that she’s not even sure Frankie’s innocent. Once he’s left, Jill pulls out a note from behind a framed painting on the wall. It’s from Frankie to Vicki, “After what you did last night, the sooner you’re out of the way the better it will be.”

Frankie takes Jill to the fights and then out on the town. She asks if he ever brought Vicki to the fights, and tells him it’s the first New York night club she’s ever been to. The El Chico club, he first took Vicki to. She sees how nice he is without all the flashy bluster and pretense. He’s actually very real. Cornell follows them. Frankie asks her why she suddenly called him, “The trouble with you is that you pretend you don’t care about things but you do. You were very upset about Vicki’s death weren’t You? He tells her he’d like to find the guy, “Save the State on it’s electric bill. She was a good kid” Jill doesn’t want him to be guilty. “Did you love her? “No, do you think if I’d loved her I would have tried to exploit her the way I did?… Vicki was pretty, gay and amusing She had lots to offer and I wanted to put her in the right place on the map. After all that’s my business But when a man really loves a woman, he doesn’t want to plaster her face all over papers and magazines. He wants to keep her to himself.”

Looking into her eyes, he tells her he’s in love with her. Larry Evans sees them together and calls in the story “Stepping out… Dancing on the grave.”

Frankie takes Jill to his favorite swimming spot. It’s a lovely scene, that brings some lightness to the external space in the story. She shows him the note he wrote to Vickie and he asks why she didn’t turn it into the police. Jill tells him she knew he was innocent and what the note meant, at the moment they were dancing at the nightclub. When they are back at the apartment, Cornell walks in and takes the note. They cuff Frankie. Cornell who is obviously framing him is just waiting for the chance to catch him. Frankie tells him anyone could have written a note like that. He was burned up when Vicki dropped the bomb that she was leaving. He finds out that Cornell has planted a set of brass knuckles in his apartment. Vicki was hit hard behind the ear with a heavy object. The depraved Cornell punches Frankie in the guts. “You’re like a rat in a hole.”

As Cornell is about to take him downtown, Frankie on the ground after Cornell’s hostile assault, Jill hits Cornell from behind, and helps Frankie escape. Big fat head bullying him, she says.

Frankie proposes, “Mind marrying a hunted man?” She tells him, “Most married men have a hunted look anyway.” He tells her his real name – Botticelli, the son of Italian immigrants. Then he shows her how to hide in the city. They duck into in an adult movie house, watching the same picture over and over. Then they decide to split up for the time being and she goes to the public library. The cops find her, and Frankie sees them taking her away. The newspaper headline says “Christopher eludes police dragnet.” Cornell stalks the streets. Frankie sneaks up on him. “Let Jill go”, and he’ll turn himself in. Ed Cornell (Laird Cregar) “I’ll follow you into your grave. I’ll write my name on your tombstone.” “You’re not a cop you’re crazy trying to frame an innocent man.” Frankie throws a tootsie roll at him and takes off. Cornell assures him, he’ll eventually get him. Always smirking like the devil.

Cornell tells the D.A. a parable about the African Butterfly and how to trap the male is to let the female free. He wants him to let Jill out of her box to lure Frankie. She goes home, sneaks out through the window, and surprises Frankie at the adult movie house. At the apartment she has found little cards from flowers that were sent to Vicki, and at the funeral. She shows them to Frankie. The message on the cards say, “Because I promised.”

They go to Rosedale Cemetery and when he meets the caretaker, Frankie pretends to be reporter and ask if anybody lately has been around Vicki’s grave. There were many flowers at the funeral, and the caretaker tells him that the grave’s been getting flowers each day since she died. Frankie learns where they were sent from, and goes to Keating Florist. It turns out the Larry sent them. Frankie confronts Larry who admits he was with Vicki the day she died. He had promised to send her flowers every day when she left for Hollywood, and he wanted to keep his word. Larry winds up giving Frankie a clue about the killer, and he goes to the old apartment and gets Mac to give him a half hour. He has a strong hunch.

The next scene is ripe with atmosphere when Frankie leans against the wall in Vicki’s old apartment. The lattice shadows fence Frankie in. Harry Williams is sleeping at the front desk. Vicki rings the desk and speaks in Vicki’s voice “Hello Harry, this is Vicki” He’s visibly shaken. Frankie watches his reaction. His eyes open wider as the buzzing mocks him, “Harry this is Vicki. Why did you do it Harry? Didn’t you love me?” Frankie confronts Williams. “You let yourself in with your pass key and waited for her. You loved her. She panicked and screamed.” William’s admits,  “I told the cop that when he chased me to Brooklyn. Cornell knew all along it was Williams. The dirty Cornell told him to just come back and keep his mouth shut. Mac hears the confession. Frankie tells him, he wants 5 minutes alone with Cornell.

He goes to his apartment finds a perverse and macabre shrine to Vicki. Her image is like a talisman in his sufficating little apartment. He discovers the prominent photograph of Vicki in an elaborate frame. Cornell unaware that Frankie is there, comes in and places fresh flowers underneath the photograph, as an offering. Frankie watches then emerges, “You knew. Why’d you want to fry me?”He tells Frankie, “I lost Vicki long before Williams killed her. You were the one who took her away from me” Cornell wanted to marry her. Had this furnished apartment set up. Bought her perfume. “Til he came along and put ideas in her head. She thought she was too good for me. He could had killed him then.” Frankie puts it to him, “Why didn’t ya?” “Cause I had the hook in your mouth and I wanted to see you suffer.”

Cornell resented Frankie’s closeness to Vicki, and inhabits a world that excludes him. In contrast to the suave Frankie Christopher, he is a lumbering and awkward outsider. To Cornell, Vicki will always be as unattainable as the first time he gazed upon her through the window. He was struck by her beauty, but she was completely and forever out of his reach. Cornell is like a lurking monster straight out of a classic horror movie. His uneasy presence lends to a surreal and menacing mood.

A Trailer a day keeps the Boogeyman away! I Wake Up Screaming (1941)

Continue reading “31 Flavors of Noir on the Fringe to Lure You In! Part 1”

Quote of the Day! Born to Kill (1947)

Helen-(Claire Trevor)“If you go to the police, you’ll see Laury sooner than you think.”

Mrs. Kraft-(Esther Howard) “Are you trying to scare me?”

Helen-(Claire Trevor) “I’m just warning you. Perhaps you don’t realize, it’s painful being killed. A piece of metal sliding into your body, finding its way into your heart. Or a bullet tearing through your skin, crashing into a bone. It takes a while to die, too. Sometimes a long while.”

Film Noir ♥ Transgression Into the Cultural Cinematic Gutter: From Shadowland to Psychotronic Playground

“Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.”
Sigmund Freud

“Ladies and gentlemen- welcome to violence; the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains sex.” — Narrator from Faster, Pussycat! Kill! Kill! (1965)

Faster Pussycat
Tura Satana, Haji, and Lori Williams in Russ Meyer’s Faster, Pussycat! Kill! Kill! 1965
Cul-de-Sac
Françoise Dorléac and Donald Pleasence in Roman Polanski’s Cul-de-sac 1966
the Naked kiss
Constance Towers kicks the crap out of her pimp for shaving off her hair in Sam Fuller’s provocative The Naked Kiss 1964
Shock Corridor
Peter Breck plays a journalist hungry for a story and gets more than a jolt of reality when he goes undercover in a Mental Institution in Sam Fuller’s Shock Corridor 1963
CapturFiles_3 copy
Bobby Darin is a psychotic racist in Hubert Cornfield and Stanley Kramer’s explosive Pressure Point 1962 starring Sidney Poitier and Peter Falk.

THE DARK PAGES NEWSLETTER  a condensed article was featured in The Dark Pages: You can click on the link for all back issues or to sign up for upcoming issues to this wonderful newsletter for all your noir needs!

Constance Towers as Kelly from The Naked Kiss (1964): “I saw a broken down piece of machinery. Nothing but the buck, the bed and the bottle for the rest of my life. That’s what I saw.”

Griff (Anthony Eisley) The Naked Kiss (1964): “Your body is your only passport!”

Catherine Deneuve as Carole Ledoux in Repulsion (1965): “I must get this crack mended.”

Monty Clift Dr. Cukrowicz Suddenly, Last Summer (1959) : “Nature is not made in the image of man’s compassion.”

Patricia Morán as Rita Ugalde: The Exterminating Angel 1962:“I believe the common people, the lower class people, are less sensitive to pain. Haven’t you ever seen a wounded bull? Not a trace of pain.”

Ann Baxter as Teresina Vidaverri Walk on the Wild Side 1962“When People are Kind to each other why do they have to find a dirty word for it.”

The Naked Venus 1959“I repeat she is a gold digger! Europe’s full of them, they’re tramps… they’ll do anything to get a man. They even pose in the NUDE!!!!”

Darren McGavin as Louie–The Man With the Golden Arm (1955): “The monkey is never dead, Dealer. The monkey never dies. When you kick him off, he just hides in a corner, waiting his turn.”

Baby Boy Franky Buono-Blast of Silence (1961) “The targets names is Troiano, you know the type, second string syndicate boss with too much ambition and a mustache to hide the facts he’s got lips like a woman… the kind of face you hate!”

Lorna (1964)- “Thy form is fair to look upon, but thy heart is filled with carcasses and dead man’s bones”

Peter Fonda as Stephen Evshevsky in Lilith (1964): “How wonderful I feel when I’m happy. Do you think that insanity could be so simple a thing as unhappiness?”

Glen or Glenda (1953)“Give this man satin undies, a dress, a sweater and a skirt, or even a lounging outfit and he’s the happiest individual in the world.”

Glen or Glenda
Ed Wood’s Glen or Glenda 1953

Johnny Cash as Johnny Cabot in Five Minutes to Live (1961):“I like a messy bed.”

Dr. Moreau (Charles Laughton) Island of Lost Souls: “Do you know what it means to feel like God?”

The Curious Dr. Humpp (1969): “Sex dominates the world! And now, I dominate sex!”

The Snake Pit (1948): Jacqueline deWit as Celia Sommerville “And we’re so crowded already. I just don’t know where it’s all gonna end!” Olivia de Havilland as Virginia Stuart Cunningham “I’ll tell you where it’s gonna end, Miss Somerville… When there are more sick ones than well ones, the sick ones will lock the well ones up.”

Delphine Seyrig as Countess Bathory in Daughters of Darkness (1971)“Aren’t those crimes horrifying. And yet -so fascinating!”

Julien Gulomar as Bishop Daisy to the Barber (Michel Serrault) King of Hearts (1966)“I was so young. I already knew that to love the world you have to get away from it.”

The Killing of Sister George (1968) -Suzanna York as Alice ‘CHILDIE’: “Not all women are raving bloody lesbians, you know” Beryl Reid as George: “That is a misfortune I am perfectly well aware of!”

The Killing of Sister George
Susannah York (right) with Beryl Reid in The Killing of Sister George Susannah York and Beryl Reid in Robert Aldrich’s The Killing of Sister George 1960

The Lickerish Quartet (1970)“You can’t get blood out of an illusion.”

THE SWEET SOUND OF DEATH (1965)Dominique-“I’m attracted” Pablo-” To Bullfights?” Dominique-” No, I meant to death. I’ve always thought it… The state of perfection for all men.”

Peter O’Toole as Sir Charles Ferguson Brotherly Love (1970): “Remember the nice things. Reared in exile by a card-cheating, scandal ruined daddy. A mummy who gave us gin for milk. Ours was such a beautifully disgusting childhood.”

Maximillian Schell as Stanislaus Pilgrin in Return From The Ashes 1965: “If there is no God, no devil, no heaven, no hell, and no immortality, then anything is permissible.”

Euripides 425 B.C.“Whom God wishes to destroy… he first makes mad.”

Davis & Crawford What Ever Happened to Baby Jane?
Bette Davis and Joan Crawford bring to life two of the most outrageously memorable characters in Robert Aldrich’s What Ever Happened to Baby Jane? 1962

WHAT DOES PSYCHOTRONIC MEAN?

psychotronic |ˌsīkəˈtränik| adjective denoting or relating to a genre of movies, typically with a science fiction, horror, or fantasy theme, that were made on a low budget or poorly received by critics. [1980s: coined in this sense by Michael Weldon, who edited a weekly New York guide to the best and worst films on local television.] Source: Wikipedia

In the scope of these transitioning often radical films, where once, men and women aspired for the moon and the stars and the whole ball of wax. in the newer scheme of things they aspired for you know… “kicks” yes that word comes up in every film from the 50s and 60s… I’d like to have a buck for every time a character opines that collective craving… from juvenile delinquent to smarmy jet setter!

FILM NOIR HAD AN INEVITABLE TRAJECTORY…

THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!

I just got myself this collection of goodies from Something Weird!

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There’s even this dvd that points to the connection between the two genres – Here it’s labeled WEIRD. I like transgressive… They all sort of have a whiff of noir.
Grayson Hall Satan in High Heels
Grayson Hall -Satan in High Heels 1962
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Gerd Oswald adapts Fredrick Brown’s titillating novel — bringing to the screen the gorgeous Anita Ekberg, Phillip Carey and Gypsy Rose Lee and Harry Townes in the sensational, obscure and psycho-sexual thriller Screaming Mimi 1958
The Strangler 1964 Victor Buono
Victor Buono is a deranged mama’s boy in Burt Topper’s fabulous The Strangler 1964
Repulsion
Catherine Deneuve is extraordinary as the unhinged nymph in Roman Polanski’s psycho-sexual tale of growing madness in Repulsion 1965

Just like Alice falling down the rabbit hole, Noir took a journey through an even darker lens… Out of the shadows of 40s Noir cinema, European New Wave, fringe directors, and Hollywood auteurs, brought more violent, sexual, transgressive, and socially transformative narratives into the cold light of day with a creeping sense of verité. While Film Noir pushed the boundaries of taboo subject matter and familiar Hollywood archetypes it wasn’t until later that we are able to visualize the advancement of transgressive topics.

Continue reading “Film Noir ♥ Transgression Into the Cultural Cinematic Gutter: From Shadowland to Psychotronic Playground”

Postcards From Shadowland No. 14

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12 Angry Men (1957) Directed by Sidney Lumet Lee J. Cobb, E.G. Marshall, Jack Klugman, Edward Binns, Jack Warden, Henry Fonda, Joseph Sweeney, Ed Begley, George Voskovec… also stars John Fiedler, Martin Balsam and Robert Webber
Broken Blossoms
Broken Blossoms (1919) Starring Lillian Gish as Lucy the girl.
C cigarettegirl
The Cigarette Girl from Mosselprom (Moscow) 1924 Directed by Yuri Zhelyabuzhsky -starring Yuliya Solntseva as Zina Vesenina- the cigarette girl
Christmas Holiday
Christmas Holiday (1944) Directed by Robert Siodmak-starring Deanna Durbin & Gene Kelly
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Curse of the Demon (1957) Directed by Jacques Tourneur-Starring Dana Andrews, Peggy Cummins and Niall MacGinnis
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Diana Dors as Eunice Higginbotham in My Wife’s Lodger (1952)
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Directed by Lew Landers Harry Woods is Borno in- Call of the Savage (1935)
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L’Inferno 1911, Dante Alighieri “A Divina Comédia”, Directed by Giuseppe de Liguoro.
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The Sea Hawk 1924 Directed by Frank Lloyd
Hodiak and Bankhead in Lifeboat
Alfred Hitchcock’s Lifeboat (1944) cinematic stage play with the vast scope of the Ocean and the claustrophobic air of desperation. Brilliant performances by Tallulah Bankhead and John Hodiak looking his hunkiest best…
Ingmar Bergman's Virgin Spring
The Virgin Spring (1960) directed by Ingmar Bergman-disturbing journey of revenge
J Gilda
Gilda (1946) directed by Charles VIdor and stars the magnificent Rita Hayworth in the title role Gilda Mundson Farrell, here dancing with Glenn Ford. A film noir classic
Last Tango in Paris
Last Tango in Paris 1972 directed by Bernardo Bertolucci-stars Marlon Brando and Maria Schneider as a pair of angst filled lovers whose relationship is based on sex & death
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Man Made Monster 1941 starring Lionel Atwill as the deranged Dr Rigas
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Monsieur Verdoux 1947 directed by and starring Charles Chaplin-brilliant dark comedy of murder and anti-conformity.
Night of the Hunter Gish & Co.
Charles Laughton’s oneric fable of childhood terrors, the bonds of friendship and the plight of Love vs Hate… Beautifully filmed- starring Lillian Gish as Rachel Cooper and Robert Mitchum as the diabolical Harry Powell in Night of the Hunter (1955)
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Jane Eyre 1943 directed by Robert Stevenson starring Peggy Ann Garner is young Jane.
Plunder Road
Plunder Road (1957) directed by Hubert Cornfeld, perhaps one of the most edgy crime story film noirs headed up Gene Raymond and Elisha Cook Jr.
Robert Ryan in The Set Up
The Set-Up (1949) Robert Ryan stars as boxer Stoker in Robert Wise’s extraordinary noir film centered around the boxing ring and a down on his luck fighter that still has a lot of fight left in him. One of my favorite film noir classics, much to do with Ryan’s performance and Milton R. Krasner’s cinematography…
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the Wonderful Norman Lloyd in Alfred Hitchcock’s Saboteur 1942
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Rock Hudson is psychologically and physically spun around on his head in Seconds 1966 by John Frankenheimer- A story about that precious commodity… one’s identity
Seeds of Sin 1968 Andy Milligan
SEEDS (1968) Directed by Andy Milligan- it’s seedy and low budget and the perfect exploitative indulgence…
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Shack Out on 101 (1955) different styled film noir starring Lee Marvin as Slob.. directed by Edward Dein and co-stars Terry Moore and Frank Lovejoy
ship of fools
Stanley Kramer directs this incredible ensemble of actors in Ship of Fools (1965) Here showing George Segal, Michael Dunn and Lee Marvin
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John Hodiak tries to remember in Somewhere in the Night (1946) -a taut amnesia themed noir with great characters. Directed by Joseph L. Mankiewicz. Here with Fritz Kortner as Anzelmo or Dr Oracle.
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Street With No Name (1948) starring Mark Stevens and directed by William Keighly -This film noir also stars Richard Widmark and Lloyd Nolan…
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Sunrise (1927) directed by F.W. Murnau starring Janet Gaynor and George O’Brien-Beautifully filmed silent masterpiece
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Nightbirds 1970 Andy Milligan’s gritty cult journey about two miscreants in London.
Terror From the Crypt
Terror in the Crypt aka Crypt of the Vampire 1964 directed by Camillo Mastrocinque based on the Karnstein saga with Adriana Ambesi and Ursula Davis and the immortal Christopher Lee
The Fiend Who Walked the West
The Fiend Who Walked the West (1958) directed by Gordon Douglas and starring Hugh O’Brian and a really psychotic Robert Evans.
The Scavengers 1959
The Scavengers 1959 starring Carol Ohmart directed by John Cromwell -an obscure film noir also starring Vince Edwards
The Secret Garden Margaret O'Brien
The Secret Garden 1949 starring Margaret O’Brien and a wonderful cast Herbert Marshall, Dean Stockwell, Gladys Cooper, Elsa Lanchester, Reginald Owen, Brian Roper, Aubrey Mather isobel Elsom and George Zucco fill out this fantasy drama directed by Fred M. Wilcox
the seventh sin
The Seventh Sin (1957) directed by Ronald Neame and Vincente Minnelli starring Eleanor Parker and Françoise Rosay Françoise Rosay as Mother Superior
The Soft Skin 1964 Francoise Dorleac
The Soft Skin 1964 Françoise Dorléac directed by François Truffaut
The Stranger 1946
The Stranger 1946 directed by Orson Welles
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The Terrible People (1960) directed by Harald Reinl adapted from the story by Edgar Wallace stars Joachim Fuchsberger
The Wild Boys of the Road thirty three
The Wild Boys of the Road 1933 directed by William Wellman
The Young One 1960
The Young One 1960 directed by Luis Buñuel starring Key Meersman as Evalyn. Also stars Zachary Scott and Bernie Hamilton
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The Exterminating Angel (1962) directed by Luis Buñuel
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The Twilight Girls (1957) by André Hunebelle
To Kill a Mockingbird Jim and Dill
To Kill a Mockingbird 1962 directed by Robert Mulligan -John Megna as Dill and Phillip Alford as Jem. adapted from Harper Lee’s masterpiece

See you soon… Your EverLovin’ MonsterGirl!

A Trailer a day keeps the Boogeyman away! I Wake Up Screaming (1941)

I WAKE UP SCREAMING (1941)

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This energizing piece of playful film noir directed by H. Bruce Humberstone (The Crooked Circle 1932, Charlie Chan ) is based on a novel by pulp writer Steve Fisher with a script by Dwight Taylor.

I Wake Up Screaming stars the swarthy Victor Mature  sandwiched between two lovely ladies, Betty Grable and Carole Landis and co-stars Laird Cregar and Elisha Cook Jr.

With a fantastic musical landscape by Cyril J Mockridge and you’ll hear the familiar melody Street Scene by Alfred Newman played over the main titles as well as this trailer… It gets me humming all over the house!

The stunningly shot frames with noir style shadows, odd angles and low lighting are lensed by cinematographer Edward Cronjager.

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Cregar in Frankie's room

Grable and Landis I Wake Up Screaming

I Wake up Sceaming Cregar and Mature

I wake up Screaming -mature being grilled

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A model Vicky Lynn (Carole Landis) dies mysteriously and Inspector Ed Cornell (Laird Cregar This Gun For Hire 1942, Hangover Square 1945) is obsessed with Frankie Christopher’s (Victor Mature) part in the murder!

Told in flashback we see how Frankie meets Vicky who’s first waiting tables, then introduces her to the right social circles. When she’s about to head for Hollywood to become a rising starlet, someone kills her. Inspector Cornell wants Frankie to go down for the murder, and the only one he can turn to for help is Vicky’s sister Jill (Betty Grable) who isn’t exactly crazy about the guy….
Sadly the beautiful Carole Landis who had starred in One Million B.C. (1940) with Victor Mature died of an overdose and the headlined stories about her death read like this “The Actress Who Could Have Been…But Never Was.”

 

Your ever lovin’ MonsterGirl

Backstory: What ever happened to William Castle’s baby?

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Photo of the great William Castle -courtesy of Spine Tingler

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Castle in NYC street with Polanski

“The film is frightening because it forces us to examine the kinds and bases of belief. We confront the idea that the Christian myth is certainly no more believable that its mirror image, and possibly less so. And beyond this, we are also forced to realize that our mode of believing in Christianity is quite different from the one with which we perceive ‘real’ things In other words, while Polanski’s film is determinedly realistic, it is at the same time a challenge to realism, locating the ordinary world of plausible social interaction within a wider and more primitive universe of magic, sorcery and supernatural forces.”Hollywood Hex, -Makita Brottman

Rosemarys-Baby

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Rosemary’s Baby is my favorite film. I plan on doing one of my long winded major features on this masterpiece in it’s entirety but for the sake of celebrating William Castle this week, I’d like to strictly focus on his contribution to an iconic tour de force that would not have been filmed if not for him. Rosemary’s Baby premiered in June 1968.

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Roman Polanski on William Castle: “He was an excellent technician who understands filmmakers’ problems and doesn’t have the usual worries other producers have. He made a constant effort to make me happy in my work. I can’t think of a better producer.”

polanski, castle and Farrow happy

After many years of William Castle slaving over B movies and programmers like The Whistler and The Crime Doctor, he found his niche in horror. He saw Henri-Georges Clouzot le Diabolique in 1955 and it lit a fire in his belly to create his own Gothic creepy storytelling that would lure the audience under it’s spell. Thus sung Macabre in 1958. While certainly not Diabolique, Macabre put Castle on the path toward creating engaging & frightening landscapes that would entertain millions!

That same year, thanks to his very successful House on Haunted Hill and his 12 foot plastic glow in the dark skeleton deemed ‘Emergo’ that flew over theatre audiences, he was now dubbed the ‘King of Gimmicks.’ Castle went on to chill us with The TIngler in ’59, 13 Ghosts in ’60, Homicidal and Mr Sardonicus in ’61, Strait-Jacket in ’64, and I Saw What You Did in ’65 both landing Joan Crawford at the helm.

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William Castle’s Homicidal ’61starring Jean Arless (Joan Marshall)

With all the ballyhoo and commercial success, Bill was craving respect. He thought he’d find that admiration in Rosemary’s Baby, a novel by Ira Levin (A Kiss Before Dying, The StepFord Wives, Boys From Brazil) about an unassuming pretty little housewife chosen by a coven of New York City witches to be the mother of Lucifer’s only begotten son and heir.

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What is remarkable about the film is the realism. It is so careful to remain dedicated to the naturalistic tone of Levin’s novel showing us a set of ordinary characters in an apparently common world. Then they gradually become introduced to extraordinary elements of dark forces, both magic and fantasy that begin to overwhelm the narrative. We as spectators are now caught up in Rosemary’s plight and her utter sense of powerlessness. This story is less about witches and more about paranoia and the lack of control over our own bodies and destiny. However explained in supernatural terms, it’s still about losing trust with those closest to us, the people we depend on to protect us from harm. We watch as Rosemary’s world turns upside down.

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I saw Rosemary’s Baby during it’s theatrical release in New York in June 1968. It was billed as a double feature with The Mephisto Waltz. We won’t get into how either really enlightened or truly nutty, depending on your perspective, my mom was for taking her 6 year old little girl to see two very intense horror pictures dealing with adult and subversive themes.

I was an extremely mature child and the film not only didn’t traumatize me, it opened up a world of desire for me to see as many intellectual horror stories without fear of nightmares. Although I must admit when I used to watch Robert Wise’s The Haunting in broad daylight on a Saturday afternoon, I did manage to lock the basement door and shove the large gold (the color of Archie Bunker’s favorite chair) love seat in front of it to keep any boogeyman from coming up the basement stairs into the den when I was alone in the house.

I also just saw Rosemary’s Baby remastered on the big screen at the Film Forum a few weeks ago. I have to admit, that as soon as Christopher Komeda’s music starts playing and the birds eye view of the Dakota emerges on screen the electricity started flowing up my legs, this time not my usual RLS, I began weeping. Not only is Rosemary’s Baby my favorite film, I recognize the confluence of perfectionism in each and every scene that makes it a flawless masterpiece, from the vibrant performances to the exquisite storytelling. Every detail is magical and I don’t mean devilish, I mean artfully.

Castavets at Terry's fall

Something else wonderful happened during the screening that day. Amidst all the other film geeks like myself, and aside from the audible pleasure the audience let out when the magnificent Ruth Gordon and Sidney Blackmer walk on screen where we all laughed and silently cheered for their strolling entrance as the iconic quirky and eccentric devil worshiping senior citizens. When Bill Castle did his Hitchcock walk on by the phone booth, I realized that it wasn’t only me smacking my partner Wendy’s knee with childhood excitement, “There’s Bill, there he is!!! We both chuckled with glee to see his wide warming grin. Suddenly we heard others in the crowd stirring and murmuring “there he is, that’s Bill Castle!!!” Amidst all the appurtenances Rosemary’s Baby has to offer, so many of us fans were thrilled to catch sight of Mr.Castle with his fat cigar standing by the phone booth. We were collectively excited to see the man who had entertained us all these years. It was heart warming. I did tear up.

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Mia back of Bill's head phone booth

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I recognize Roman Polanski as the auteur that he is, but that is not what I want to dwell on here. I want to stress that Rosemary’s Baby would not have been made if it weren’t for William Castle, and his perseverance, passion and eye for intellectual property. William Castle acknowledged that The Lady From Shanghai was a work of art because of Orson Welles‘ direction, however, it was Castle who first discovered and purchased the rights to If I Should Die Before I Wake, only to have Orson Welles turn around and pitch it to Harry Cohn as his own idea.

It was Rosemary’s Baby that Bill chose to elevate his status from B movie maker to respected filmmaker in a very fickle industry. Let’s pay tribute to one certain fact: Rosemary’s Baby would not be the film it is after 45 years without William Castle’s imprint on it.

B&W Bill at Booth

In Bill’s memoirs Step Right Up, I’m Gonna Scare the Pants Off America (which is a fantastic read for any enthusiast about the golden age of Hollywood and just a darn good bit of story telling) describes how William Castle’s literary agent Marvin Birdt, the person who found the script and insisted Bill read the galleys immediately. Castle looked at the title and dismissed it saying “Its probably some story about an unwed mother… cheap exploitation. Who the hell wants to make a picture like that?” 

rosemary'sbaby book cover

Bill Castle thought the film just wasn’t for him at the point. It was 1968 and the film industry wasn’t really embracing horror films anymore. He was so overwhelmed with the lousy books and manuscripts that were piling up that he just couldn’t fathom wasting any time with yet another piece of junk. But, it took him all of three hours to finish the story, as he said, ‘bathed in sweat and shaking.’ Castle saw the magnitude of Ira Levin’s story when it was still in unpublished manuscript form: “I made up my mind when I read the novel Rosemary’s Baby that it was the greatest novel that would translate into a screenplay that I had ever read. That just lent itself to a brilliant movie. And I loved the property and I brought the property because I wanted to prove to the industry my fellow peers that I could do something really brilliant.” (Step Right Up, 2010) He told Ellen, his wife, that it was one of the most powerful books he’d ever read, and that it would be an incredible picture to make. When Ellen finished reading it, she told him “it’s disturbing… frightening and brilliant.”(SRU, 2010) But Ellen also warned that he’d have trouble with the Church.

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William Castle and the love of his life, his beautiful wife Ellen courtesy of Spine Tingler

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Castle’s agent Birdt tormented him about other studios and directors interested in the story and making offers. Later, Castle had found out that the book had actually been offered to Alfred Hitchcock first. One wonders what it might have looked like if Hitch had been behind the camera, storyboarding Levin’s work.

Bill Castle was worried that he was going to lose the picture, but where was he going to get the quarter of a million Birdt demanded to finance the rights to the film? He asked Birdt to offer one hundred thousand dollars up front and then fifty thousand if the book became a bestseller with five percent of one hundred percent of the net profits. His agent wasn’t very encouraged that they’d accept the offer. The waiting to hear back was excruciating, but Castle did get the rights to Rosemary’s Baby. Now he had to come up with the money!

In Step Right UpBill describes how Robert Evans, in charge of Paramount Pictures, called to check in, not sure William Castle could handle such a serious motion picture.But, Charles Bluhdorn, owner of Paramount, wanted to meet with Castle personally to discuss the picture, saying “I have big plans for Paramount, and they include you.” Castle found Bluhdorn’s persona magnetic. He told him that Bob Evens had informed him about Castle’ obtaining Rosemary’s Baby.“Would you like to make the picture for us?” Of course, Castle told him, yes.

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head of Paramount Robert Evans

“Your services as producer, how much would you want?” Bill Castle corrected Bluhdorn by adding the word ‘director’… trying to avoid negotiating with this man without his lawyer. Bluhdorn wasn’t having any of that. He told Castle that he would not negotiate with lawyers on the making of Rosemary’s Baby. It’s either between Castle and him, or Donnenfeld and Castle’s attorney. Castle decided he had the ego to take on this financial genius and told him he’d negotiate with him directly. But first, Bill asked him if he had read the story. Bluhdorn had not. Bill thought that worked to his advantage as the story was intensely disturbing so the less Bluhdorn knew about the story the better.

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Robert Evans and Roman Polanski

When Bill Castle finally blurted out that he’d want to produce and direct, Bluhdorn laughed at him called him a ‘big ridiculous clown.’ He tried to offer Bill only one hundred fifty thousand for the film plus thirty percent of the profits. Bill told him no way. It was a hard bargaining session. Bluhdorn didn’t know what he was dealing for and Bill did, Bluhdorn was also dropping the phony niceties and getting close to bowing out of any deal. “If I walk through that door, Rosemary’s Baby is finished at Paramount. No one -and I mean no one- will renegotiate!” Castle finally composed his inner panic and came back at the austere blowhard with an offer of two hundred fifty thousand and fifty percent of the profits. It was a deal. (Step Right Up, 2010) 

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Bill Castle courtesy of Spine Tingler

Producer Evans In Conference

Bill’s daughter, Terry Castle remembers, “He had to do whatever he could and it was his time. Mom and dad mortgaged the house and they bought the rights for a substantial amount of money.” (Spine Tingler: The William Castle Story)

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Bill’s wonderful daughter Terry Castle founder of Dark Castle Entertainment

With that he asked Castle’s age and if he’d heard of director Roman Polanski, or seen any of his pictures. Castle had seen Repulsion and Knife in the Water. Bluhdorn sung Polanski’s praises calling him a genius. He impressed upon Castle that with the director’s youth and Castle’s experience as producer, they could both learn from each other. Bill Castle started to find his fire, “Look Mr. Bluhdorn, the reason I bought Rosemary’s Baby with my own money was to direct the film… It’s going to be an important motion picture and I’m not going to miss the opportunity of directing.” (Step Right Up, 2010)

Bluhdorn told him that Polanski directs Rosemary’s Baby or no deal, and asked Bill to at least meet the young director. Castle says “I had made up my mind to hate him on sight… and that he wasn’t going to direct the picture I said absolutely no way. I bought the picture, I bought the book. I own it, I’m going to direct it..{…} I worked all my life to get something worth while on the screen and so at first sight I hated him.” He’d sent Polanski the galleys to read and if after meeting him he decides he doesn’t want him directing the movie then fine. Bill Castle says in his memoirs that while Bluhdorn was a tough negotiator he was at least an honorable and fair man whose handshake was better than a written contract.

Castle and Polanski Spine Tingler
Castle and Polanski courtesy of Spine Tingler

In Step Right Up, 2010 Castle describes his first impression of Roman Polanski was that he was a little cocky vain narcissist who liked to look at himself in the mirror a lot. Bill asked if he liked the story, “I like it very much… It will make a great picture.” Polanski spoke in his Polish accent. “You would like to direct Rosemary?” Bill asked. “That’s why I’m here. Nobody will be able to direct it as well as Roman Polanski.” And Bill Castle’ felt that Ira Levin’s book was perfect for the screen, needing absolutely no changes whatsoever in adapting it. This was something he felt passionately about. He posed the question to Polanski. “The book is perfect… no changes must be made” Bill says that Polanski was so intense about this that it was quite jarring. “It’s one of the few books I have read that must be translated faithfully to the cinema.” (Step Right Up, 2010)

And having read Levin’s book, I can tell you that reading each line of every page is exactly like watching the story unfold on screen. It is the most faithful adaptation I’ve ever read, more like reading the script after the fact.

on set Castle, Gordon, Farrow and Polanski b&W

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Then Castle posed a trick question to Polanski to see what his vision was for filming the narrative, suggesting to him that the camera should not only move around a lot but use strange shots to tell the story. Polanski was empowered by his convictions and told Bill,“No, I don’t Mr. Castle. Actors tell story… like peeping through the keyhole of life. I do not like crazy tricks with camera… must be honest.” That was exactly how Bill Castle saw the film being made. When Polanski told Bill to start calling him Roman, Bill couldn’t help but start to like this man who truly did share a special vision for a very special story. Polanski went on to tell him, “Bill, we can make a wonderful picture together. I have been looking for a long time for a Rosemary’s Baby. To work with you would be my privilege.” (Step Right Up, 2010)

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Terry Castle, Bill’s daughter, remembers: “Polanski came over to the house and he was this young wild guy, just this incredibly wily dynamic man with this very thick accent talking about cameras and light he was just incredibly dynamic himself and my dad totally got him. He wanted to get Rosemary’s Baby made and he wanted to produce it… and yet he wanted to direct it. But I think once he met Roman Polanski I think he understood he could bring something incredibly special to the project. And I think it was okay for dad to give that up to him because I think he saw the brilliance in this man. […] Even though he wasn’t going to be directing it at least his name was going to be on it as a William Castle production and he was making for the first time in his life an important studio film.” (Spine Tingler: The William Castle Story)

Polanski on the set with Mia

Left tor right, William Castle, Mia Farrow, and Robert Evans during the production of ROSEMARY'S BABY, 1968.

Bill with Mia and John on the set of Rosemary's Baby

The last thing Bill Castle needed to know was who he’d pick to write the screenplay and why. Polanski told Bill he would do it himself because he would stick strictly to the book. They spent the rest of the time discussing the film, Bill finding Polanski brilliant and extremely open. He immediately called Bluhdorn and told him that he was right Polanski was the only one who could direct Rosemary’s BabyBill Castle had the wisdom and grace to understand that Polanski would make a great film, but to be fair to Bill Castle. it’s also only after his careful facilitation and thoughtful know-how that helped bring Ira Levin’s story to life.

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Polanski and Farrow and Cassavetes in hall color

Polanski kept his word, he wrote the screenplay and adhered strictly to the book as promised. Polanski asked Bill to help him find a house by the beach to work and that he’d send his fiance over to help him look for one. On a Sunday morning Sharon Tate was standing at Bill Castle’s door. They found the perfect beach house for the couple, owned by Brian Aherne who was in Europe.

Polanski wanted to use Richard Sylbert to do the set design for the film. Sylbert had just finished working on Mike Nichols’ The Graduate. Roman Polanski thought his work was brilliant. Polanski suggested Tuesday Weld in the lead as Rosemary. Bill agreed that she was a fine actress but said, “I think the role was written for Mia Farrow” Polanski watched her in several episodes of Peyton Place and didn’t agree. He thought Tuesday Weld would be better. Jane Fonda, Julie Christie, Elizabeth Hartman, and Joanna Pettet were also considered for the part. Evans asked about the casting of Rosemary, which they both gave their choices.Evans told them that he didn’t think Mia Farrow was available because she was working with George Cukor, he’d check with Zanuck at Fox and in the meantime try and get a reading with Weld.

Tuesday Weld
Tuesday Weld

Now the buzz was all over Hollywood and every actress in town felt they would be just perfect for the lead role, but Polanski was still stubborn about Tuesday Weld. When Zanuck called Bill and told him the Cukor picture fell through, and Mia was available. Bill set up a meeting with Mia and Polanski over lunch and Polanski wound up being completely mesmerized by her. He finally agreed she would play Rosemary. The rest is history.

Roman Polanski actually developed a wonderful working relationship with Mia Farrow on the set. She didn’t bring any preconceived motivations to her role as Rosemary Woodhouse. Supposedly he had some difficulties with Catherine Deneuve on the set of Repulsion, but he found Mia very amenable to work with. Mia followed Polanski’s directions very well, which might explain some of her childlike and innocent air to her performance of the blithe and charming Rosemary.

Continue reading “Backstory: What ever happened to William Castle’s baby?”

House on Haunted Hill (1959) “Only the ghosts in this house are glad we’re here”

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vintage house on haunted hill poster

HOUSE ON HAUNTED HILL 1959

Disembodied screams, rattling chains and ghoulish groans amidst creaking doors- all a delicious mixture of frightful sounds that emanate from a jet black screen.

Suddenly Watson Pritchard’s floating head narrates the evenings spooky tale–

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“The ghosts are moving tonight, restless… hungry. May I introduce myself? I’m Watson Pritchard. In just a moment I’ll show you the only really haunted house in the world. Since it was built a century ago, seven people including my brother have been murdered in it, since then, I own the house. I’ve only spent one night there and when they found me in the morning, I… I was almost dead.” -Watson Pritchard

The marvelously dashing face of Vincent Price or for the film’s purposes, Frederick Loren’s head sporting a plucky mustache and highbrow tone introduces himself in front of the imposing Modern-Ancient structure–

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“I’m Frederick Loren and I’ve rented the house on haunted hill tonight so my wife can give a party. A haunted house party… She’s so amusing. There’ll be food and drink and ghosts and perhaps even a few murders. You’re all invited. If any of you will spend the next twelve hours in this house, I’ll give you each $10,000. Or your next of kin in case you don’t survive. Ah, but here come our other guests…”
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“It was my wife’s idea to have our guests come in funeral cars… She’s so amusing. Her sense of humor is shall we say, original. I dreamt up the hearse. It’s empty now but after a night in the house on haunted hill… who knows.”
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“Lance Schroeder a test pilot, no doubt a brave man but don’t you think you can be much braver if you’re paid for it?”
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“Ruth Bridges the newspaper columnist. She says the reason for her coming to the party is to write a feature article on ghosts. She’s also desperate for money. Gambling.”
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“Watson Pritchard a man living in mortal fear of a house and yet he’s risking his life to spend another night here… I wonder why? He says for money.”
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“Dr. David Trent a psychiatrist. He claims that my ghost will help his work on hysteria. But don’t you see a little touch of greed there around the mouth and eyes.”
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“This is Nora Manning- I picked her from the thousands of people who work for me because she needed the 10,000 more than most. Supports her whole family… Isn’t she pretty?”
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“The parties’ starting now and you have until midnight to find the house on haunted hill.”

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Von Dexter’s music, a mixture of solemn strings, a sustained and queasy Hammond organ & Theremin greet us with an eerie funeral dirge while the shiny black gimmicky funeral cars pull up in front the quite sinister post modern structure.

And this is just the opening fanfare of William Castle classic House on Haunted Hill!

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One of William Castle’s most beloved low budget, fun-house fright ride through classical B movie horror and exquisitely campy performances. Distributed by Allied Artists and written by Robb White who also did the screenplay for Castle’s Macabre 1958, The Tingler 1959 13 Ghosts 1960 & Homicidal 1961.

written by Robb White

White’s story is quirky and wonderfully macabre as it works at a jolting pace delivering some of the most memorable moments of offbeat suspense in this classic B&W B-Horror morsel from the 50s!

The success of the film inspired Alfred Hitchcock to go out and make his own low budget horror picture- Psycho 1960.

Much of the style and atmosphere can be attributed to the unorthodox detail by art director Dave Milton and set designer Morris Hoffman. The exterior of the house is actually The Ennis Brown House in Los Angeles, designed by Frank Lloyd Wright, built in 1924, now listed on the National Register of Historic Places.

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the house

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There’s a pervasive sense of dread in House on Haunted Hill, that makes the house itself a ‘spook.’
Whether the house is haunted or not, it’s forbidding presence tells us that it just doesn’t matter. The history of the house itself, it’s violent past is enough to give one chills. While not in the classic sense like that of Robert Wise’s diseased and imposing Hill House, William Castle does a fabulous job of inventing a parameter to tell a very cheeky and pleasurable little scare story. As David J Skal puts it succinctly “The real, if unintentional spook in House on Haunted Hill is postwar affluence.”

The narrative is fueled by the creepy atmosphere of the house itself. Not using a claustrophobic Old Dark House trope but rather a modern Gothic construction that swallows you up with odd motifs and a sense of malignancy within the fortress walls. The starkness of the wine cellar and it’s empty miniscule dark grey rooms with sliding panels is almost more creepy than black shadowy corners with cob webs and clutter. Director of photography Carl E Guthrie  (Caged 1950) offers some stunning and odd perspective camera angles and low lighting which aide in the disjointed feeling of the sinister house’s magnetism.

interior house

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Nora explores the house

The constant explorations into the viscera of the house by the guests is almost as titillating as the criminal set-up and conspiracy that is afoot propelled by Von Dexter’s tantalizingly eerie musical score with deep piano notes and eerie wispy soprano glossolalia.

House on Haunted Hill works wonderfully, partly due to the presence of the urbane master of chills and thrills, the great Vincent Price who plays millionaire playboy Frederick Loren. Vincent Price was a versatile actor who should not be pigeon holed as merely a titan of terror, given his too numerous layered performances in great films like Otto Preminger’s Laura ’44, Joseph L. Mankiewicz’s Dragonwyck ’46 etc. Vincent Price did however make his mark on the horror genre with House on Haunted Hill. The New York Herald-Tribune praised Price’s performance as having “waggish style and bon-vivant skepticism.”

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As David J Skal puts it in his, The Monster Show {Vincent Price} “Could bring an arch elegance to the most insipid goings-on…

The omnipresent Elisha Cook Jr. is superb as Watson Pritchard, the neurotic sot who is riddled with fear, spouting anecdotes about the house’s grisly history.

I adore Elisha Cook, from his cameo in Rosemary’s Baby, his performance as George Peatty in Kubrick masterpiece The Killing ’56 to his very uniquely intense role as Cliff the sexually jazzed up drummer in Phantom Lady ’44.

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Elisha Cook Jr as the doomed George Peatty in Stanley Kubrick’s The Killing ’56

The strikingly beautiful Carol Ohmart plays Loren’s treacherously seductive wife Annabelle who is sick of her husband’s irrational jealousy. Has she already tried to poison him once but failed? The story alludes to as much. Annabelle wouldn’t be happy with a million dollar divorce settlement, she wants ALL her husbands money! Annabelle is Loren’s fourth wife, the first wife simply disappeared.

The supporting cast is made up of Richard Long, Alan Marshal, Carolyn Craig, Julie Mitchum, Leona Anderson and Howard Hoffman as Mrs. & Mr. Jonas Slydes.

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And of course the skeleton who is billed as playing ‘himself!’

Continue reading “House on Haunted Hill (1959) “Only the ghosts in this house are glad we’re here””

Step Right Up! We’re Gonna Scare the Pants Off America: The William Castle Blogathon is on it’s way to a theater near you! July 29th- August 2nd, 2013

THE WILLIAM CASTLE BLOGATHON

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“I think he was a wonderful director. He followed his dreams, and after all he was right.”Marcel Marceau

On July 29th 1959 American Producer/Director & Screenwriter William Castle premiered (click on link to read my past post) The Tingler in the US to theater goers. The audience had the underside of their seats rigged with electric buzzers which were activated at the moment Vincent Price cautions them “Ladies and gentlemen, please do not panic. But scream! Scream for your lives! The stunt was named ‘Percepto’ and once the projectionist got his cue to let the current rip, people in the audience got a mild jolt to their tuchus and their money’s worth of chills and thrills!

The urbane Vincent Price plays Dr. Warren Chapin a man driven by a curiosity to find out the source of the mysteriously evil force that creates the SENSATION of fear. He discovers an organism called… The Tingler which manifests itself at the base of the spine when one is experiencing abject fear. The Tingler can only be subdued by the act of screaming.

In his memoirs Step Right Up! I’m Gonna Scare the Pants Off America he talks about the people who got their gluteus maximus’ buzzed with a small electric shock. Castle went as far as to hire fake “screamers and fainters” that he planted in the audience who would then be carted away on a gurney by “nurses” who were situated out in the lobby ready to put them in an ambulance parked outside the theater. This gimmick definitely outshines the last publicity scheme for his first chiller film touted with fanfare in which he offered a certificate for a $1,000 life insurance policy from Lloyd’s of London in case they should die of fright during his picture Macabre (1958) a film he felt inspired to make after seeing the success of Henri-Georges Clouzot’s Diabolique (1955) 

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Growing up in the 60s and 70s my childhood was filled with the sort of wonderful attractiveness William Castle’s shenanigans fostered in my yearning imagination. His films wouldn’t really be considered frightening by anyone’s standards today, but if you were a kid watching television on a rainy Saturday afternoon way back when, and suddenly you were thrust into a world where wearing whacky goggles would allow you to see wild ghosts wreaking havoc in an old eerie mansion in 13 Ghosts, or a disembodied hand rising up from a bath of brilliant red blood in an otherwise black and white landscape in The Tingler, or that moment when Nora Manning sees Mrs.Slydes the blind housekeeper who glides past her, a crone like harbinger of death, or those jaunty little party favors in the shape of coffins containing guns for the guests in House on Haunted Hill, with the added sensational musical scores and atmospherics you’d know the thrill and nostalgic glow that washes over you because William Castle made himself a presence quite like Hitchcock who was invested in bringing us into their world of fear and getting us excited about it!

Judith Eveylin The Tingler Blood Bath

13 Ghosts

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Mrs Slydes House on Haunted HIll

Castle’s films have left an indelible mark on so many of us, not to mention the incredible movie stars and character actors who inhabited his memorable films, like Vincent Price, Joan Crawford, Barbara Stanwyck, Shelley Winters, Sid Caesar, Ann Baxter, Robert Ryan, Richard Conte, Julie Adams, Rock Hudson, Rhonda Fleming Robert Taylor, Guy Rolfe, Janette Scott, William Prince, Judith Evelyn, Audrey Dalton, Margaret Hamilton, Tom Poston and Elisha Cook Jr. and so many more…

Castle and Price The Tingler promo

Joan Crawford and William Castle

Keep in mind, he produced my favorite film of all time, which I’ve been planning to do a major feature on down the road. The transcendent mind blowing tribute to paranoia and motherhood, Rosemary’s Baby 1968, thank god he decided to let Polanski direct, but still he was the man behind the masterpiece.

Bill with Mia and John on the set of Rosemary's Baby

And Castle didn’t just do scary campy joyrides, if you look at his filmography you’ll see an array of film noir & mysteries like Hollywood Story (1951),The Fat Man (1951) Undertow (1949) series’ like The Crime Doctor & The Whistler, adventures like Serpent of the Nile (1953), with Rhonda Fleming. Westerns, television series and screwball comedies too like The Busy Body (1967) starring Sid Caesar, Robert Ryan and Ann Baxter , so if you’re a scaredy cat no worries there’s plenty to cover for everybody!

William Castle is one of THE most recognizable showman of film camp, purveyor of cheap chills, the maestro of gimmickry! In a time when the censors were becoming more lax and psycho-sexual themes were infiltrating the cinematic frontier, the trumpets were hailing Castle to step right up and create his own uniquely tacky ballyhoo! Sometimes kitschy, at times quite jolting and paralyzing, so many of us were marvelously effected by the collective tawdry Schadenfreude.

And so I got to thinking– geez it’ll be the 54th anniversary of that Spine-Tingling fun house ride of B-Movie schlockery and what better way to tribute the P.T. Barnum of Classic B-Movie fanfare than to co-host a blogathon with the witty and well versed Terri McSorley of Goregirl’s Dungeon. 

Castle opens up The Tingler with this fabulous warning to the audience:

I was going to wait and announce the blogathon officially on May 31st which will be the anniversary of Castle’s death in 1977, but we all seem so excited about this, I thought I better get on it and post the details and start the Tingler climbing up our proverbial collective spines! And what a great bunch contributing too!

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In honor of The Tingler’s 54th anniversary

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The William Castle Blogathon runs from July 29th through August 2nd, 2013 and is Co-hosted by Joey (MonsterGirl) of The Last Drive In and Terri of Goregirl’s Dungeon.

The list of films and contributors are below: We’ll narrow down the dates each person will publish their post a little further down the road. I don’t want to be too restrictive about films being covered twice as everyone has their own unique perspective. There’s still a bunch of films not chosen yet so please consider widening the scope of our celebration by tackling a lesser known film of Bills! All are welcome, if you’re interesting in joining the ride, please contact me!

Please grab any banners for the blogathon and use them on your site if you’d like!

There’s also no constraints on how long your piece should be. As you know I tend to be really long winded myself. If you have any questions at all, like if you’d prefer your name displayed differently please always feel free to drop me a line at ephemera.jo@gmail.com or leave a comment here:

The Spine-Tinglers Are!

(Lindsey)-The Motion Pictures Tribute &

(Gwen) Movies SilentlyThe Crime Doctor & The Whistler

(Dorian) Tales of the Easily DistractedThe Spirit is Willing (1967)

(Vinnie) Tales of the Easily DistractedZotz! (1962)

(Stacia) She Blogged By NightLet’s Kill Uncle (1966)

(David Arrate)- My Kind of Story-Images Shanks (1974) & Masterson of Kansas (1954) and It’s a Small World (1950)

(Brian Schuck) Films From Beyond The Time BarrierStrait-Jacket (1964)

(Joey-MonsterGirl!) The Last Drive InHouse on Haunted Hill (1959) & Johnny Stool Pigeon (1949) & Back Story: What Ever Happened to William Castle’s Baby? (Rosemary’s Baby)

Furious Cinema

(Kristina)-SpeakeasyThe Houston Story (1956)

(Paul)-Lasso the Movies The Tingler (1959)

Goregirl’s Dungeon ‘The Women of Castle”, tribute to musical scores &

(Steve Habrat) Anti Film SchoolMr Sardonicus (1961)

(Ruth) –Silver ScreeningsThe Old Dark House (1963)

(Rob Silvera) The Midnight Monster Show Homicidal (1961) & House on Haunted Hill (1959)

(Aurora) Once Upon a Screen… The Night Walker (1964)

Classic Movie Hub The Busy Body (1967)

(Karen) Shadows and SatinMysterious Intruder (1946)

The Nitrate Diva When Strangers Marry (1944)

(Jenna Berry) Classic Movie Night Ghost Story/Circle of Fear

Forgotten Films-Macabre (1958)

(Kristen) Journeys in Classic Film  Spine-Tingler: The William Castle Story

(Heather Drain) Mondo Heather13 Frightened Girls!(1963) & Bio

(Barry) Cinematic Catharsis 13 Ghosts (1960)

(Misty Layne) Cinema SchminemaProject X (1968)

(Ivan) Thrilling Days of Yesteryear–  The Chance of a Lifetime (1943){Boston Blackie} & I Saw What You Did (1965) 

(Rich) Wide Screen World“Top 5 William Castle gimmicks”

(John LarRue) The Droid You’re Looking For- “Visual Feature-(various films)”

(Sam) Wonders in the Dark- Rosemary’s Baby (’68)

(Jeff Kuykendall) Midnight Only Bug (1975)

(Le) Critica RetroTexas, Brooklyn and Heaven (1948)

(Toby Roan)- 50 Westerns The Law vs Billy the Kid (1954)

(The Metzinger Sisters) Silver Scenes  “Busy Bodies: Promoting Castle’s Camp” & The Films of William Castle!

(Ray) Weird Flix -Slaves of Babylon (1953) & The Saracen Blade (1954)

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And a special thanks to David Arrate at My Kind of Story for these banners!

William Castle banner It's a Small World

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Postcards from Shadowland No.11

Beast from 20,000 Fathoms
Beast from 20,000 Fathoms 1953
Bela in Chandu the Magician
Bela Lugosi and Irene Ware in Chandu the Magician 1932
Black Caesar
Fred Williamson in Black Caesar 1973
Cat People 1942 Alice at the pool
Cat People 1942 Alice at the pool
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Lon Chaney -He Who Gets Slapped 1924
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Claudette Colbert and Henry Wilcoxon in Cleopatra 1934
Try and Get Me
The Sound of Fury aka Try and Get Me 1950
CrimeWave
Crime Wave 1954
Dante's Inferno
Dante’s Inferno (1911)
FallenAngel
Fallen Angel (1945) Dana Andrews, Alice Faye and Linda Darnell
Gun Crazy
Gun Crazy (1950) Peggy Cummins and John Dall
InALonelyPlace
In a Lonely Place (1950) Gloria Grahame
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Ann -Margret in Kitten With a Whip 1964
Laura
Gene Tierney and Dana Andrews Laura (1944)
Innocents 1961
The Innocents 1961 with Deborah Kerr
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Mary Astor The Maltese Falcon (1941)
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James Garner and Angela Lansbury -Mister Buddwing (1966)
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Out of the Past (1947) Robert Mitchum and Virginia Huston
plunder road
Plunder Road (1957) Elisha Cook Jr.
Seance on a Wet Afternoon
Kim Stanley and Richard Attenborough Seance on a Wet Afternoon 1964
svengali Barrymore and Marsh
Svengali (1931) John Barrymore and Marian Marsh
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The Blue Dahlia (1946) Alan Ladd and Veronica Lake
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Aelita: Queen of Mars (1924)

Twelve Neglected Characters from Classic Film.

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1) The tragically poetic Pete Krumbein in Edmund Goulding’s Nightmare Alley 1947 played by Ian Keith
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2) The flamboyant Franzi Kartos in Caught 1949 portrayed by Curt Bois ‘darling’
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3) Stauffer, alias Fred Foss in The Dark Corner 1946-played by the wonderful William Bendix in the white linen suit…
Jan Sterling in Women's Prison -Brenda
4) Good hearted kite hanger, Brenda Martin in Women’s Prison 1955 – the eternal pixie Jan Sterling
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5) Jeff Corey, as the cringing, cowardly informer ‘Freshman’ Stack in Brute Force 1947
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6) Beulah Bondi as spiittin’ Granny Tucker in Jean Renoir’s The Southerner 1945 ‘Ah shuckity’
Ma Stone- Jane Darwell, The Devil & Daniel Webster
7) Ma Stone in William Dieterle The Devil and Daniel Webster 1941– the grand Jane Darwell
Wills and Jewel talk at tea-Hush Hush Sweet Charlotte
8) Cecil Kellaway as Harry Wills and Mary Astor as Jewel Mayhew in Hush Hush Sweet Charlotte 1964
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9) Cliff the jazz sexed drummer in Phantom Lady 1944– the ubiquitous Elisha Cook Jr.
(Ladies in Retirement)
10) Quirky sisters Louisa and Emily Creed in Ladies in Retirement 1941Edith Barrett & Elsa Lanchester
11) The wonderful stoolie Mo whose saving for her headstone and plot out on Long Island played with that razor sharp wit of Thelma Ritter in Pickup on South Street (1953)
12) Jack Oakie as Slob in Jules Dassin’s realism masterpiece Thieves’ Highway (1949)