CHRISTMAS HOLIDAY is Based on the screenplay by W. Somerset Maugham and the novel by Herman J. Mankiewicz and directed by the underrated Robert Siodmak who directed two of the most powerful film noirs of the 1940s- Phantom Lady 1944, The Strange Affair of Uncle Harry 1945, The Spiral Staircase 1946, The Dark Mirror 1946 and The Killers 1946.
Starring Deanna Durbin, Gene Kelly, Dean Harens, Gail Sondergaard who brings that signature artfully subdued menace (The Letter 1940, The Spider Woman Strikes Back 1946) , Gladys George and Richard Whorf.
It’s Christmas Eve and Army Lt. Charles Mason’s (Dean Harens) flight to San Francisco is forced to land in New Orleans. He is forced to spend a lonely Christmas there after receiving a telegram from his fiancée Mona that she has married another guy. Lt. Mason is heartbroken after being dumped and stranded by the bad weather. He winds up at a nightclub/brothel run by the amiable Valerie De Merode (Gladys George) where he meets sultry singer Deanna Durbin, named Jackie Lamont. Richard Whorf plays reporter Simon Fenimore who first introduces Jackie to Lt. Mason. Simon tells Jackie- “Isn’t that the way things always seem to happen. You’re getting along alight and suddenly boom! you have to make a forced landing.”
Jackie asks Lt. Mason if he’ll take her to midnight Mass, where she begins to break down. Jackie begins to to relate her story told in flashback of how she wound up feeling so despondent. Her real name is Abigail Martin/Mannette from Vermont. She tells him how she fell in love and married Robert Mannette a charming but troubled gambler with an Oedipal complex who is ruled over by his domineering and overly protective mother (Gail Sondergaard).
Jackie/Abigail tells Lt. Mason “He was so gay, so charming, so different.”
The newlyweds spend six months in bliss until Robert’s weakness and violent tendencies lead him to be arrested for the murder of his bookie.
Overnight their life changes. Robert comes home with an unexplained wad of cash and blood on his trousers, which his mother quickly burns in the incinerator out back, telling Abigail it’s her old dress she’s tired of. Lying to protect her son, all the time knowing he’s done something horrible, she even sews the cash inside the seams of the curtains. But Abigail burns the money before the police come with their search warrant.
Abigail calmly- “I burnt the money mother.” Mrs. Mannette-“Abigail I swear to you by all my love for him and for you that Robert did not kill Teddy Jordan.” Abigail-“You know, and I know mother… that he did.” Mrs. Mannette turns on Abigail maniacally –“Are you going to turn against him too. From the day you married him, I think now from the day you met him, you closed your eyes to what it was all about, to what he was all about. Selfishly just so you could be happy. He needed your strength that’s why I let him marry you. And all you gave him back was his own weakness!”
“I love Robert”Mrs. Mannette- “No you don’t. It’s I who love him and keep on loving him.”
The film has a creeping sinister Siodmak atmosphere with it’s dark spaces and psychological narrative. Sondergaard hovers over the house like a lurking spider knitting a web of preservation for her son.
In a telling scene she gives her blessing to Abigail to marry her son thinking that she will be his strength and keep him out of trouble and make him, “stronger”.
Mrs. Mannette-“Just one last thing. I want to be completely honest with you. There are certain traits in Robert that you may not… they’re nothing really evil. Believe me. He just sometimes forgets his sense of responsibility, that’s all. And that’s why I’m so glad that you’re the kind of person you are. Between us, we will make him strong.”
As the the story unwinds, and Robert winds up in prison doing a life sentence, Mrs. Mannette blames her daughter in law for making Robert weak. Mrs. Mannette, “You killed him!!!”
Abigail feeling guilty about failing her husband, throws herself into self imposed exile by taking up at the bordello filled with self hatred and longing for Robert.
Jackie/Abigail tells Lt. Mason as he walks up and down the hotel room, thinking about Mona in San Fransisco,- “What is there about pacing back and forth like a caged lion that makes a man feel better? I tried it myself once didn’t do me any good.”
Once Jackie/Abigail finishes her story to Lt. Mason, the two part wishing each other luck. But the story does not end there. The beauty of the film is partly the lead actors being cast as doomed lovers both doing a fabulous job at playing against type. The music throughout the film is wonderful, in particular Durbin’s moving rendition of Irving Berlin’s Always, and the simply beautiful song I’ll Remember April performed as background music by the nightclub band.
Here it is December 17th and a perfect time to publish a tribute to this taut little noir gem that was originally performed on “Lux Radio Theater” broadcast a 60 minute radio adaptation of the movie on September 17, 1945 with Loretta Young as Jackie/Abigail, William Holden as Lt. Mason, and David Bruce as Robert Manette.
Screenwriter Herman J. Mankiewicz changed the setting from a Paris brothel to a nightclub in New Orleans and the main character was changed from a prostitute to a more ambiguous nightclub singer and hostess, when adapting the 1939 novel of the same name by W. Somerset Maugham, due to the Hays Code.
This is your everlovin’ Joey saying have a lovely!, flaming!, brilliant!, dramatic! Christmas Holiday!
Aired December 11, 1973 as an ABC Movie of the Week
“Beware the seal of Kah-ub-set, for he who dares to remove it will open the gates of Hell.”
The Cat Creature was directed by horror film icon Curtis Harrington— Night Tide (1961), Queen of Blood (1966), Games (1967), How Awful About Allan (1970) tv movie, What’s the Matter with Helen (1971), Whoever Slew Auntie Roo (1972), The Killing Kind (1973), Killer Bees (1974) tv movie, The Dead Don’t Die (1975) tv movie also directed by Curtis Harrington, Ruby (1977), Devil Dog: The Hound of Hell (1978) tv movie.
The Cat Creaturewas scripted by Robert Bloch based on a story by producers Douglas S. Cramer , Wilfred Lloyd Baumes and writer Bloch himself.
From Nice Guys Don’t Work in Hollywood written by Curtis Harrington -he talks about how different television executives’ mind-set for tele-films are than major motion picture executives.
Director/writer Curtis Harrington master at ‘horror of personality’
“I found out just how different on a television movie called The Cat Creature. The script was written by Robert Bloch, based on an old story he’d published in Weird Tales. In fact, he was one of the horror writers I had discovered in the pages of Weird Tales during my teen years in Beaumont. It was a nice pulpy story about a girl who is the reincarnation of an ancient Egyptian cat goddess. In casting the actress to play the modern incarnation of this beautiful goddess, I got my first nasty taste of TV executive thinking. I discovered that this new set of black suits was always very involved in the casting of leading roles in the network TV drama. Unlike movie executives whose primary interest was ‘box office appeal’ they were concerned with something they called TVQ” This meant the ratings the stars other television appearances had received. The connection between a star’s suitability for a role meant absolutely nothing, and this was the case of The Cat Creature… […] I recalled that Egyptian women supposedly used henna to dye their black hair red, so we put a dark red wig on Meredith Baxter, and she agreed to darken her eyes with green contact lenses… […] Bloch had written an important supporting role, the proprietor of a magic shop, for a man. I suggested that he rewrite the role for a woman and that we try to get Gale Sondergaard for the part. Sondergaard was an actress I remembered vividly from my childhood. She had been memorable as the sinister Oriental [sic] woman in The Letter and in the title role of The Spider Woman, a Basil Rathbone/Sherlock Holmes adventure in 1937…
“I had wanted the proprietress of the occult shop to be played as a lesbian to lend a bit of spice to the show. But Standards and Practices , the office of the network devoted to removing any element to a script that might offend Mrs. Grundy, sent a memo after that there must be ‘NO SUGGESTION WHATSOEVER THAT THIS CHARACTER IS A LESBIAN.’ However, my natural propensity toward subversion was given its due when Douglas Cramer allowed me to add a dwarf hooker to a scene in a cheap hotel where Stuart Whitman as the detective interview John Carradine, who plays the hotel clerk. The dwarf lady of the evening is shown seated on the counter in the hotel lobby. Swinging her short legs and batting her eyelashes, she says to Stuart, “How’s tricks, baby!” This was left in, and Cramer was very pleased when the incident was singled out for comment in a New York Times review of the show. It wasn’t the sort of thing they were used to seeing in the bland medium of television.”
An estate appraiser Frank Lucas (Kent Smith) comes to catalogue a private collection of Egyptian relic, the inventory at an estate –among the deceased’s possessions is an Egyptian mummy adorned with splendid regalia –wearing a large amulet around it’s neck and topped the golden head of the cat Goddess Bast.
Just to be clear as a person who worships cats–The story of The Cat Creature is a creation for a horror tele-play that has no foundation in historical fact. Bast was not a murderous cat nor an evil deity. Bast represents protection and is a sacred symbol of that protection toward cats… She is not a monster!
The uniting Egyptian cultures had deities that shared similar roles and usually the same imagery. In Upper Egypt, Sekhmet was the parallel warrior lioness deity. Often similar deities merged into one with the unification, but that did not occur with these deities having such strong roots in their cultures. Instead, these goddesses began to diverge. During the 22nd Dynasty (c. 945–715 BC), Bast had transformed from a lioness warrior deity into a major protector deity represented as a cat. Bastet, the name associated with this later identity, is the name commonly used by scholars today to refer to this deity.
Shortly after Lucas leaves, a thief Joe Sung played by Keye Luke steals the amulet, the mummy disappears setting off a series of uncanny events and several mysterious murders. Frank Lucas is found dead and Lt. Marco (Stuart Whitman) calls in Prof. Roger Edmonds (David Hedison) as an expert to help identify the missing amulet. Joe Sung tries to pawn this ancient amulet at The Sorcerers Shop an occult shop owned and run by Hester Black (Gale Sondergaard). After Black’s young salesgirl is murdered in the same fashion as Frank Lucas, she hires a new girl to work in her shop. Enter, Rena Carter (Meredith Baxter) who gets pulled into the mysterious happenings and begins a romance with Prof. Edmonds.
The strange killings show the victims all baring the marks of a giant cat attack, as if they’ve been clawed to death. Is it the resurrection of the Goddess Bast who is committing these murders?
This ABC Movie of the Week, showcases the actress whose popularity was rising at that time, Meredith Baxter, who plays the mysterious Rena Carter who may be somehow involved in these strange ritual killings. David Hedison plays Prof. Roger Edmonds an archeologist who is called upon by the detective on the case, Lt. Marco (Stuart Whitman) to assist him in solving the murders. Just a note… I am absolutely crazy about Stuart Whitman, down the road I plan on doing a feature on his work –his credits too long to mention, so see the link to IMBd, I also really want to do a feature on the incredibly mesmerizing actress of the 70sBarbara Parkinswho appears in another ABC Movie of the Week Snatched that I’ll be covering in just a bit…
Prof. Roger Edmonds-“Marco is on his way here to arrest you”
Rena Carter “What!”
Prof. Roger Edmonds-“Don’t you see Everything about you adds to Marcos’ suspicious no previous address no social security number A girl who covers her tracks A girl who stops at the shop not by accident but with deliberate purpose. Marcos thinks that you destroyed everyone who stood between you and that amulet.”
Another bonus of this creepy tele-film is that it co-stars the wonderful Gale Sondergaard. as Hester Black the occult shop owner.
In an interview actor David Hedison commented, “All in all, it was a very happy experience. Meredith was a joy to work with, and a fine human being. Stuart Whitman and I talked and laughed a lot about our early contract days at 20th Century Fox in the late 1950s and 1960s. And of course, Gale was a lovely woman and shared so many wonderful memories with me about her early films. And I should add that all the felines behaved beautifully–even in one of the more violent scenes with me at the end of the film. I managed to escape without a scratch!” –“One other memory was of the first screening of the film before it aired. There was a small invited audience at a screening room on the lot. My wife, Bridget, had not read the script or seen any of the shooting, and at one point when the Cat Creature suddenly jumps out to attack, she got such a fright she let out a scream- much to the delight of the producers and director”
From Television Fright Films of the 1970s by David Deal-“here he (Curtis Harrington) successfully recreates the moody thrillers of Val Lewton of the 1940s. Relying on creepy atmosphere and suspense.”
Deal points out one of the prevailing great elements of The Cat Creature, it’s fabulous casting of course Stuart Whitman who is a tremendous actor, his appearances go all the way back to the early uncredited 50s classics like When Worlds Collide (1951) and Day the Earth Stood Still (1951) Whitman was nominated for an Academy Award for his startling performance in The Mark 1961, as a tormented man dealing with his repulsive impulse to molest children and his ultimate redemption. It was a risky role, that he inhabited with dignity and pathos. A prolific supportive actor and leading man he appeared in Cimarron Strip tv series from 1967-1968. One of my favorite films of his Shock Treatment (1964) was another powerfully nuanced portrayal of Dale Nelson an actor who is paid to infiltrate a mental hospital to expose a crazy psychiatrist Edwina Beighly played by the silky and sly Lauren Bacall. Stuart Whitman has appeared in stinkers too, like Night of the Lepus (1972) about giant mutant bunnies, eh not so much… in Jonathon Demme’s Crazy Mama 1975with Cloris Leachman, and a very slick Italian cop thriller called Shadows in an Empty Room aka Blazing Magnums (1976). And since we’re celebrating these ‘tele-fright’ films of the 70s let’s just mention his other supporting roles, he plays a psychic looking for a missing husband in Revenge! (1971) with Shelley Winters as a deranged mother who lost her daughter and The Woman Hunter (1972).
David Hedison of course was popular with horror fans for his campy over-the top performance as a altruistic scientist who loses his head over his discovery to transport matter in the fantastical classic Sci-Fi hit, The Fly 1958(which is part of my series to follow Keep Watching the Skies -coming up The Year is 1953) starred in the hit television show Voyage to the Bottom of the Sea (1964)
The supporting cameos are such a treat! Seeing Gale Sondergaard who is terrific as the occult shop owner Hester Black who while reading Professor Edmonds his tarot cards gets into a battle of the wills between skepticism and fanaticism. Sondergaard received the first Academy Award for Best Supporting Actress in Anthony Adverse (1936) I adore her as Emily in the Abbott & Costello romantic comedy The Time of Their Lives (1946) even then she was open to the spirit world! Sondergaard was one of the unfortunate actors who were targeted by HUAC, brought before them she refused to testify and was blacklisted from the industry for over 20 years. She returned in 1969, and The Cat Creature was her first ‘tele-fright’ (as writer David Deal puts it) of the 1970s.
The Deputy Coroner (Milton Parsons) looks like a corpse himself, just one of the macabre details that Harrington likes to throw into his ‘horror of personality’ films and teleplays.
The busy working actor Kent Smith has appeared in so many film and television supportive roles. Best known by horror fans for his roles in Val Lewton’s Cat People (1942) and The Curse of the Cat people (1944)
Here he plays Frank Lucas the cat creature’s first victim. Ironic isn’t it! His other tele-frights include director Curtis Harrington’s How Awful About Allan (1970) starring Anthony Perkins, Julie Harris and Joan Hackett. He was also in The Night Stalker (1972) and The Disappearance of Flight 412 (1974). One of my all time favorites, is the lovable, ubiquitous the theatrical acrobat likes of Burgess Meredith who could inhabit the role from vagabond to thespian at times quixotic poetic tongued –the sharp, and saturnine character actor John Carradine who plays the manager of a sleazy hotel clerk. Carradine can make the smallest part enormously unforgettable and has graced many a tele-fright– Crowhaven Farm (1970), The Night Strangler ((1973) and Death at Love House (1976) Next to Boris Karloff and Vincent Price, I have such a sweet tooth for John Carradine and he’s another icon I’d love to feature here at The Last Drive In.
From David Deal’s terrific Television Fright Films of the 1970s a movie of the week companion –“Charlie Chan’s number one son Keye Luke is the amulet thief in his only telefright appearance of the decade but most curious is Peter Lorre Jr. who appears as a dying pawn broker Lorre Jr. was really German born Eugene Weingand a notorious imposter who was once taken to court by Lorre for using his name. Lorre died before his case against Weingand was settled, allwoing the impersonation to continue. Relative newcomer but top billed Meredith Baxter was fresh off the Bridget Loves Bernie sitcom and would soon marry her co-star David Birney, where she would heifeenate her name and has become a fixture to television.”
Composer Leonard Rosenman is responsible for the score, he has won Oscars and Emmys for his compelling music, for instance Fantastic Voyage (1966), A Man Called Horse (1970) Beneath the Planet of the Apes (1970)Race with the Devil (1975), Bound for Glory (1976) and supplied the poignant music for the dark disturbing psychological mini-series starring Sally Field–Sybil (1976). He also added his music to other tele-fright films such as Vanished (1971) The Phantom of Hollywood (1974) and The Possessed (1977) starring wonderful supporting actress of the 1970s Joan Hackett.
Though I am a huge fan of the directors body of work, I have to look away from Harrington’s predilection to either kill off cats or make them look sinister in his films, so avoid The Killing Kind (1973)with Ann Southern or if you love rabbits lets not forget the poor bunnies in Whats The Matter With Helen (1971).
Also the sound the cat creature makes doesn’t sound anything like a growling menacing cat, it sounds like an old man who smokes too many cigars and needs to spit up his oatmeal and prunes.
Directed by Jeannot Szwarc and screenplay written by writer/director Collin Higgin’s whose credits include the cult film starring Bud Cort and Ruth Gordon and one of my personal favorite films–Harold and Maude (1971), he also penned the memorable feminist comedy classic Nine to Five (1980) starring Dolly Parton, Lily Tomlin, and Jane Fonda.
Busy 70s television Canadian born actress –with the girl next door beauty –Belinda J. Montgomery plays Diane Shaw, whose mother has died, leaving her with the revelation that she is actually the daughter of Satan. Diane’s mother Alice Shaw (Diane Ladd) had carnal knowledge with the prince of darkness and Diane is the product of that unholy union. Alice was also friends and worshiped Satan with Lilith who befriends and lures our wayward devil waif into a web of suspense as she spirals toward her fate.
Naturally as the working formula would suggest Diane is then pursued by devil worshipers headed by Lilith Malone played by the grand lady herself, Shelley Winters. Of course there are elements that pay tribute to the far superior classic pre-occupation with devil cults and paranoia in the city Roman Polanski/William Castle’s Rosemary’s Baby (1968) brought to life by the stunning performance by Mia Farrow, and the presence of such greats as Ruth Gordon, Sidney Blackmer, Ralph Bellamy, Patsy Kelly and Maurice Evans.
Shelley Winters having a Ruth Gordon/Minnie Castavet moment!!!
Feeling trapped by her destiny, she soon meets and falls in love with Steve Stone (another tele-fright favorite-Robert Foxworth). Steve asks Diane to marry him and so life is possibly good again? Well maybe not so much…
Lilith-“Dear, You mustn’t disappoint your mother’s old friends”
Alikhine-“You are your mother’s daughter!”
Lilith- “SHE WAS ONE OF US”
Mrs Stone (Martha Scott) “She got religion, and turned away”
Alikhine-“You are your father’s daughter!”
Diane –“NO! NO!”
Alikhine- “He is the evil one.”
Mrs Stone- “The all seeing… he is Lucifer”
First off, The Devil’s Daughteris still entertaining to watch, I adore Belinda J. Montgomery and I could watch Shelley Winters bring in her mail. She’s been lighting up the screen since she played the neurotic Jewish mother Faye Lapinsky in director Paul Mazursky’s sublime Next Stop Greenwich Village (1976)to watching her as Belle Rosen who swims under treacherous waters in The Poseidon Adventure (1972) , as she envision Ma’ Kate Barker in Roger Corman’s Bloody Mama (1970) or the tragic Helen Hill/Martin in Curtis Harrington’s gruesome horror of personality thriller What’s the Matter with Helen (1971) as the bellicose Mrs. Armstrong in Bernard Gerard’s The Mad Room (1969) as the vengeful and deranged mother in the tele-fright film Revenge! (1971) going back to the luckless love-sick and doomed Alice Tripp in A Place in the Sun (1951), as the delightful singer Binky Gay in Phone Call from a Stranger (1952), the sympathetic Terry Stewart in William Castle’s Johnny Stool Pigeon (1949) or the gutsy and classy torch singer –Joy Carroll alongside Frank Sinatra in the dazzling musical noir film Meet Danny Wilson (1951)…! there it is I just adore Shelley Winters!
Belinda J. Montgomery was one of the more prevalent actresses in the 70s teleplays, like Season Hubley who looked fresh scrubbed and awfully pretty but could play it all damaged and less than pure if you know what I mean.
The Devil’s Daughterplays like a dark comedy, with a surprisingly pessimistic or should I say fatalistic ending, not unlike it’s finer forerunner Rosemary’s Baby.
Directed by Jeannot Szwarc had started out his career working in television and has directed many popular contemporary television series link to IMBd to see his complete credits, in the late 60s and 1970s he worked on Rod Serling’s television horror anthology series from 1969-1973 Night Gallery.
If you’re familiar with the series you’ll recognize the painting of Satan that emblazon’s Lilith’s living room wall, could be a tout to the series that utilized artwork of art director Thomas J. Wright who painted all of the paintings used to introduce each story.
Szwarc directed a the ‘tele-fright’few Night of Terror (1972) and in 1973 directed the Lovely But Lethal episode of Columbo starring Vera Miles. Some of his notable theatrical releases – Bug (1975), Jaws 2 and the romantic fantasy Somewhere in Time (1980).
What makes The Devil’s Daughter the most interesting to watch are the familiar character actors that populate the film. The nefarious characters that are not quite they seem to be on the surface. Of course there’s the mentioned Diane Ladd as the profane mother who slept with the devil in the first place but in her waning years found religion but was executed by the cult for her transgression. There’s the wonderfully perspicacious Ian Wolfe whose presence always adds an extra depth to any story, here he plays Father MacHugh a kindly priest who while he doesn’t believe the gossip about Lilith would rather see Diane move out of Lilith’s house and live with a girl her own age. When Diane does decide to move in with a friend, Lilith blows her stack…
Fans of Dan Curtis’ cult television horror soap opera of the 1960s Dark Shadows will recognize Jonathan Frid as Lilith’s mute ‘chauffeur companion.’
Film star Joseph Cotten plays Judge Weatherby, Martha Scottas Mrs. Stone, Lucille Benson ( a quirky character actress who was great at playing batty old ladies) as Janet Poole and Thelma Carpenter as Margaret Poole curious twins, a pair that reminds me of the odd relationship between Sylvia Miles as Gerde Engstrom and Beverly D’Angelo as Sandra in Michael Winner’s The Sentinel (1977) which I am highlighting this Halloween month of October! The Poole sisters dress alike, Janet is white and Margaret is black, and they have cats with opposite colors.
The persnickety Abe Vigoda (the irascible Detective Fish from tv’s Barney Miller) plays Alikhine an expert in ancient art of dance, Robert Corthwaite (the fanatical scientist intent on idolizing the superiority of the super carrot in The Thing from Another World 1951) plays pastor Dixon.
Some of the dialogue is as campy and hilariously high brow as all get out–“You are promised in marriage to the Prince, the Demon of Endor.”
And much like the climax of Rosemary’s Babythere is the ensemble of Satanists seen in Lilith’s scrapbook of yesteryear, the cult standing around in living rooms in their robes posing for a the photograph.
Diane struggles to fight back her legacy as the Devil’s own daughter as she struggles with nightmares, manifests her inherited evil nature and wearing her ring with the strange insignia, mentally impels a young boy to walk out into traffic, nearly getting him run down by a car.
There’s a nice touch as she meets her roomate’s horse and they become frightened by her presence bucking and whinnying, a sign that they can see her evil essence. When Alikhine (Abe) leads the ‘ancient dance’ at the party Diane has an instinctual rhythm that guides her movements. Will Diane succumb to her legacy or will she use her power to fight her destiny? I won’t tell… “They actually refer to me as the Devil’s daughter.”-Diane
“Sally, Sally, Sally… We want you, we want you. It’s your spirit we want, your spirit we need… When will they come to set us free… there’s time enough we have all the time in the world.”
Don’t Be Afraid of the Dark is one of the most remembered television horror films of the 1970s. It no doubt has left a lasting impression with so many of us. Enough so, that director Guillermo Del Toro remade it with more teeth and polished effects in 2010, renewing a whole revitalized generation of fans of the story and mood of the piece in all it’s palpitating unreality. That’s why it has maintained such a cult status all these years. The creepy atmosphere is partly credited to director John Newland who wasn’t a stranger to stories of the macabre and uncanny as he developed the late 50s series One Step Beyond. which dealt with real life experiences with the uncanny and the supernatural. He also had a hand in directing several of Boris Karloff’s anthology series that blended mystery, horror and noir in his 60s series Thriller.
I love the color palate by set designer James Cane–the purple and blue tones, the reds and pinks, the golds and browns, the lighting and set design is a rich visual set piece to work within the modern ‘things that go bump in the night’ trope.
Felix Silla, Tamara De Treaux & Patty Malone as the creatures: on the set of Don’t Be Afraid of the Dark (1973)
Newland worked steadily through the 60s and 70s with Karloff on Thriller and then with Rod Serling on Night Gallery. In Don’t Be Afraid of the Dark, director Newland has such a grasp on what is eerie and spooky in the classical sense delivers an atmosphere that is rich with a wonderful color pallet. He produces a simple story with spine tingling chills, that are often missing today. Newland’s device works great often due to the lighting and the quick glimpses, as you just catch aspects of these little menaces, rather than have them appear for long periods of time on camera. Another creepy mechanism that I find startling is a device within the make-up developed by Michael Hancock (The Omega Man 1971, Deliverance 1972, Altered States 1980, Se7en 1995). where the creatures speak but their mouths do not move, it is as if the voices come from behind their faces.
It’s an odd effect, and though it lacks the virtual ‘teeth’ that Del Toro’s savage creatures have, I am filled with such nostalgic shivers for the old look of things. The kitschy decorating for instance. The creature masks also remind me of something you’d see in The Twlight Zone, episode ofEye of the Beholder, in the same way make up artist William Tuttle created masks where their mouths didn’t move when they spoke. The effect just works. The three little devil imps with their shriveled scowling faces and piercing eyes and creep-tastical voices are among the most iconic and remembered creatures from the 1970s.
Don’t Be Afraid of the Darkis “lit like a horror movie–pools of light glow amidst shrouds of darkness and mysterious shadows abound” “Even a darkened party scene is justified as reticence to reveal the house remodeling underway. The truth is fear of the dark is universal., especially when prune-face goblins tug at our bedclothes.”- David Deal: Television Fright Films of the 1970s.
Alex (Jim Hutton) and Sally Farnham (Kim Darby) inherit a eerie old Victorian house from Sally’s grandmother that holds a dangerous secret legacy, as it harbors the spirits of little devil imps who need to be set free by a designated person whose soul they aim to possess. Once Sally moves in to her grandparents garish and secretly ghoulish old house, Sally discovers these little creatures living down in the pits of hell behind the bricked up fireplace in the creepy, musty den. Like her grandfather before her, Sally is next in line to ‘set them free’ by being their chosen sacrifice. She now must convince her success driven husband Alex that she isn’t crazy or a hysterical, bored housewife. Alex refuses to listen to Sally’s pleas to leave the house, or that the strange happenings and sightings of antagonistic little demons are real and not born out of her imagination or a way for her to sabotage his budding career that takes him away a lot. The only person who not only believes Sally but has tried to warn her not to meddle in things she doesn’t understand, is William Demarest as cantankerous handyman Mr. Harris, who worked for Sally’s grandparents. He knows about the little evil gnomes bricked up behind the fireplace and tries to no avail to get Sally to leave the creepy den as is, “Some doors are better left unopened.”
Sally pushes on the bricks of the old fireplace, Mr. Harris the handy walks in, in his
sour-puss scowling manner-
Mr Harris-“It won’t work.! Sorry Miss I didn’t mean to make you jump”
Sally-“It’s alright… well why won’t it work? I mean surely all it needs to be is smashed open”
Mr. Harris- “those bricks are cemented 4 deep and reinforced with iron bars. There’s no way of opening it up.”
Sally-“now who’s idea was that?”
Mr.Harris-“Your grandmother had me do that twenty years ago.”
Mr. Harris-“Well, it, it was after, er (he stops and looks at the fireplace)
Mr. Harris- “I just can’t open it up.”
Sally-“Now Mr. Harris surely you’re not afraid of a little hard work, hhm?”
Mr. Harris-“Its not the work it’s just that some things are better left as they are”
Mr. Harris-“That’s for cleaning out ashes”
Sally-“it’s been bolted shut”
Mr. Harris-“By me, and that’s the way it should stay!”
Told by both Alex and cranky pants Harris to leave the fireplace alone, naturally she unbolts the ash pit, releasing the creatures who proceed to torment her, making it look like she is crazy, torturing her, gas-lighting her, as we here whispered tones of
“No don’t hurt her, not yet… “but I want to I want to…”
Oh there’s plenty of opportunity and time to torment, hurt and and drag Sally down to hell. Sally, it’s too much fun to drive her mad, messing with the lights whiles she’s taking a shower, then leaving the straight razor on the dark bathroom floor, poking out from behind curtains and bookcases, peaking out of the floral arrangement at the haute dinner party intended to impress Alex’s boss, placing a chord across the steps hoping she’ll fall down the long staircase. Sally sees these little menaces everywhere but no one else does. Alex doesn’t even believe that it’s mice, the place was fumigated right before they moved in. After Alex has a fit and fires Mr. Harris for filling his wife with dread, he finally reaches out to him wanting to hear about the history of the house.
Apparently, Mr. Harris tells Alex, that Sally’s grandfather was heard screaming in the study the night he disappeared presumably as he was being dragged down into the pits of hell. After that, the fireplace was bricked up and the ash pit bolted shut. The wicked little imps have been waiting all this time to be set free.
The simplistic story, everyone at one time has been afraid of the darkness and the unseen terror that it holds and the beauty of this enduring film which moves along in a very quick pace that doesn’t seem rushed, nor empty. Each scene while at times frustrates from the standpoint of stupid things you don’t do if you feel you’re in danger, like at the height of the danger drawing ever so near, just lie down on the bed and take a nap, okay you’ve been drugged with the sleeping pills slipped into your coffee by those little creeps. You will forever ask yourself, go to a hotel, why not just get out of the house. You feel like you want to scream at Sally, get the hell out… now for the love of Mike! And by the end, it tickles you to finally see her being dragged and daunted.
It’s hard to make out in the darkly lit scene but the goblins are climbing the stairs like a mountain.
Sally -“It’s was something like this little ferocious animal grabbed at my dress… Alex’s irritated voice scolds Sally like a child--“Look Sally you’ve got to stop this!!!”
I must admit, it’s too delicious to see these little nasty creatures bounding up the stairs, rigging them with a chord in order to cause one to trip, fall and break ones neck, and pop out of the luscious darkness wielding what is to them a giant a straight razor. These little evil imps inhabit our world view perfectly of those ‘things that go bump in the night.’
Kim Darby is plain and perfectly whiny within the horror version of Diary of a Mad Housewife, but that works to the films sense of go ahead drag her down the stairs already feeling, though I cheered for Carrie Snodgrass in the afore mentioned film of the 70s. ” Sally trips into a surreal world of gloom and although she never really gets a grip on things, she still shows some resolve.” Buying flashlights and candles instead of a room at a Hotel. sure Sally sure…
Alex and Sally experiencing martial woes and little devil imps in the suburbs!
As Sally puts it when having a heart to heart with her only friend Barbara- “Most of the time she feels like a reasonable adjunct to his getting ahead”
Barbara tells Sally that she knows exactly what’s it’s like to be “left by yourself to brood” ‘Making imaginary mountains out of imaginary mole hills”that’s exactly what her friend Barbara thinks the breaking of the ash tray by the side of the bed and the sounds of something lurking behind the kitchen garbage merely was…
This 70s tele-fright film could work as a horror story that embroiders the dismissal of women, their needs, their perceptions and their entire world into a adult fairy tale/nightmare. How a woman can become discounted when what she thinks and feels is chalked up to being merely her ‘imagination’ or emotional distress, and/or an unreasonable emotional dependency on her man who is trying to make it. Or… she is just plain exuding hysteria. Don’t Be afraid of the Dark consists of blunt hyperbole of the hysterical woman not in it’s undercurrent rather, right out in plain sight a contrast to the ‘shadows’ and goblins that lurk in the dark. Metaphor for women’s desire to be set free? I’ll leave that to scholars…
Kim Darby looks better than ever… no frowzy Sally here!
Actually I read that originally actor George Hamilton was cast as Alex. The chemistry would not have been as well suited as Hutton’s disbelieving soul. Hamilton is too sharp an actor for Darby’s frowzy simple girl next door style. William Demarest gives a well suited supportive performance as the cranky handyman Mr. Harris who knows all to well about the secrets of that bedeviled house with it’s ancient wicked creatures lurking about. It is Sally’s friend Joan played by Barbara Anderson who finally believes Sally isn’t going mad. At first she suspects that it is a mad housewife deal, sexual frustration, martial woes, and just plain hysteria. Anderson won an Emmy for her role on Ironside as Officer Eve Whifield.
Writer Nigel McKeand was sometime actor and was one of the demonic voices on the film. Prolific composer Billy Goldenberg (Columbo) is adept at both classical and pop music and has been in demand, providing music for film and television since the mid 60s. He tele-fright scores include Ritual of Evil (1970), Duel (1971), Terror on the Beach (1973), Reflections of Murder (1974), The Legend of Lizzie Borden (1975), The UFO Incident (1975) and One of My Wives is Missing (1976).
One of the great aspects that work in Don’t Be Afraid of the Dark is the set direction by James Cane, the big old Victorian that creates the mood of a ‘chamber piece’ is so creepily garish with colors that clash, and a mix of neo-gothic, Louis VI and contemporary styles that even Sally decides to hire decorator Francisco Perez (Pedro Armendáriz Jr.) whom the dastardly gnomes accidentally cause to fall down the steps killing him. Still, Alex doesn’t quite see that something is wrong with the house.
Even after Joan (Barbara Anderson) begins to believe Sally, the efforts made to protect her friend are sluggish and frustrating, just to make our skin crawl with anxiety as these wicked little things chant “we want you, we want you, we want you, we want you”, while Sally is destined to go the way of her grandfather. This special Movie of the Week chiller is brimming over with eerie atmosphere.
Felix Silla, who played one of the creatures also played Cousin It in The Addams Family.
Directed by Philip Leacock with a screenplay by Richard Masterson. (I Am Legend, The Incredible Shrinking Man) This iconic writer/visionary has too many credits to list them all, link to IMBd to see the breadth of this genius’ work.
She’s Alone. No One Believes Her. And There’s No Way Out!
While driving across the desert Bob and Jean Mitchell (Dabney Coleman and Cloris Leachman) stop at a desolate roadside diner late one night. When Bob goes to the gent’s room, he doesn’t return, just vanishes completely! The locals including Ned Beatty as Tom King, the wonderful Louise Latham as Vi and Ron Feinberg as Lou McDermott all appearing unfriendly and downright menacing. The worst of all being diner owner Jim Cutler who considers people like Jean and Bob ‘moron city folk’ (Ross Martin who does sinister really well!)
Jean “You must have seen where my husband went”
Jim Cutler-“Are you telling me I did?”
Jean “He was sitting right there at that table. Right there.”
Jim Cutler-“And I was right there at that griddle, with my back turned how would I know where he went. Maybe he got sore at ya and just lit out. Cause your husband ain’t here ain’t no fault of mine.”
One of the most underrated character actresses Louise Latham!
These uncooperative folks deny even seeing her husband at all. Then as the paranoia and panic builds someone drives off with her car, stranding her there and now are coming after her. Jean goes to the sheriff played by recognizable character actor Dana Elcar but she has no proof of a crime and tries to get him to believe her protect her from the danger she is in and of course find Bob.
This familiar theme of the missing husband had been seen in tele-fright flicks such as Honeymoon with a Stranger 1969 starring Janet Leigh, and And No One Could Save Her 1973 starring Lee Remick.
Richard Matheson’s teleplay, from his short story strikes that universal chord of paranoia, alienation, helplessness and abject fear stuck in the middle nowhere, working like a claustrophobic stage play Dying Room Only puts our heroine in an environment surrounded by hostility with authority figures who don’t believe you all while stuck in the middle of a lonely unforgiving desert.
Cloris Leachman is one of THE most talented comedic actresses, just brings to mind her iconic role as Mary Tyler Moore’s narcissistic and fashionable friend Phyllis Lindstrom from 1970-1977 and her outre brilliant performance as Frau Blücher in Mel Brooks’ Young Frankenstein (1974).
Ross Martin best known for Artemus Gordon of popular television series The Wild, Wild West, and as Garland Humphrey ‘Red’ Lynch Blake Edwards striking suspense thriller Experiment in Terror 1962, and his pretentious art critic Dale Kingston in Suitable for Framingon Columbo’s 1971 episode co-starring Kim Hunter. Ross is just superb as a menacing figure, showing up in another tele-fright film Skyway to Death, before his death of a heart attack in 1981.
Ned Beattyis another marvelous character actor who’s creepy statement to Jean is chilling a complete departure from the cowering victimized Bobby out of his element in Deliverance1972 who goes through his own ordeal with local hostile types here plays a slovenly cretin, Jean asks for change to use the pay phone, Jim Cutler (Ross Martin) tells her he’s fresh out and Tom (Beatty)- looks straight at her, jingles coins in his pocket and walks over to the pinball machine to play a few rounds. One of his more menacing lines–“The only thing I’m gonna regret, lady, is that I’ll only have ten minutes alone with you before I kill you.”
Dabney Coleman has few lines like this for instance– “These two men happen to be jerks and this… is a dump.”Not quite Bette Davis…
Dana Elcar appears to be a well-meaning but powerless sheriff… Is he part of the conspiracy?
From David Deal’s Television Fright Films of the 1970s –“This story of frustration has the feel of dream logic at first as Jean’s world suddenly turns into a series of unexplainable roadblocks.
Dying Room Only is a film that pushes the trope of paranoia and no-one will believe me. Director Philip Leacock who keeps the film tautly wound, especially during the first half. Leacock worked on many popular television shows of the 1960s. His tele-fright films in the 1970s include When Michael Calls (1972), and Killer on Board (1977).
Composer Charles Foxwas twice nominated for Oscars The Other Side of the Mountain, Foul Play, and won two Emmy’s both for Love American Style. Among his credits are Barbarella 1968, The Green Slime 1968, The Drowning Pool 1975. I just learned that he wrote Killing Me Softly with His Song with lyrics by Norman Gimbel in collaboration with Lori Lieberman in 1972, made famous by amazing songstress Roberta Flack, who gives the most stunning rendition.
If there are devils, there must also be gods. I don’t know. I have no thoughts…
Aired on February 13, 1973, as the CBS Movie of the Week
With a teleplay by Ron Austin and Him Buchanan -and music by Mort Stevens who worked on many Boris Karloff’s anthology series Thriller… Horror at 37,00 Feet is directed by David Lowell Rich
Television Fright Films of the 1970s by David Deal– “Horror at 37,000 Feet is either a meditation on the inherent savagery of the human race on the primal fears and ancient behaviors that tether us to the past, no matter how far we advance with our technology or just a silly horror movie.”
Alan O’ Neill –“You know I think I’m gonna put some black stone on the floor here around the altar”
Sheila O’Neill-“Very nice if you’re planning to use it as a bar”
Alan O’Neill -(laughs) “That’s a little nasty”
Architect Alan O’Neill (Roy Thinnes) appropriates the remains of a cursed abbey from his wife’s familial state in England, loads them onto a plane with the intention of flying them to America and using them in their home. During all this time it also happens to be the night of the summer solstice and I might add, a full moon. A foreboding glowing moon that shines over Heathrow Airport. Once the stones and pieces of the abbey are stowed away safely in the cargo hold, ten passengers board the red-eye flight.
Buddy Ebsen as millionaire Glenn Farlee, Tammy Grimes as Mrs. Pinder, Lynn Loring as Manya Kovalik, Jane Merrowas Alan O’Neill’s wife Sheila, France Nuyen as model Annalik, William Shatner as faithless minister Paul Kovalik, Paul Winfield as Dr. Enkalla, H.M Wynant as Frank Driscoll, a little girl Jodi played by Mia Bendixsen who is flying alone with her doll. And then there’s the crew Chuck Connors as Captain Ernie Slade, Will Hutchins as cowboy Steve Holcolm, Darleen Carras flight attendant Margo, and Russell Johnson as Jim Hawley.
Once everyone settles in, the spirits of the long dead druids break free in the cargo hold and threaten to take over the plane in order to claim their human sacrifice. The tension among the passengers starts to unfold as they try to figure out what the menace is, and what it wants.
Horror at 37,00 Feet is the only credit for V.X. Appleton whose story the film was based on. It was Emmy winning director David Lowell Rich’s first supernatural film for television but he would go on to make the cult favorite Satan’s School for Girls,Runaway! (1973) and another frightening flight film called SST-Death Flight (1977). Rich also made Madame X(1966)with Lana Turner and Eye of the Cat (1969) with Michael Sarrazin, Gayle Hunnicutt and Eleanor Parker and lots of felines…
People might make a comparison with some of the elements of Horror at 37,000 Feet and Cruise Into Terror1978 on a rival network. While the basic framework, passengers board a cursed ship daunted by supernatural powers, Horror at 37,000 Feet just has a campier, creepier more atmospheric mood and sensational theatrics because of it’s cast. In that film, the passengers of a boat are threatened by the son of Satan. Horror at 37,000 Feetutilizes a more nuanced menace, the spirits of ancient druids, which is a totally more unique narrative, as they howl and cause an eerie frosty freezing burning cold throughout the cabin of the airplane as they hunger for their sacrifice. Barry Thomas in charge of the sound department creates some authentically chilling aural scares as the wailing, groaning old ones, and the supernatural static that encircles them…
The ensemble of this horror film might not be too proud of it but it is quite a diverse cast indeed. Tammy Grimes is deliciously eerie in her unbounded knowledge of ancient cults, Lynn Loring as usual is perfectly intense and tightly wound. It’s all so outlandish and campy. Jane Merrow from Hands of the Ripper (1971) plays architect O’Neill’s wife, Sheila. Among the other great actors is millionaire Glen Farlee played by Buddy Ebsen, a Mrs. Pinder Tammy Grimes, who seems too in sync with all things supernatural and sort of sympatico with the druid mythology. There’s a man of god, who has fallen and is having a crisis of faith- drowning himself in alcohol and self pity. Who else could play that without breaking a sweat by the brilliant to happily hammy master most likely hand picked just to re-visit his role as the tormented man on a plane William Shatner as Paul Klovalik… Shatner is not at all a stranger to being terrorized on a plane by strange creatures–if we just think back to a decade before on The Twilight Zone episode Nightmare at 20,000 Feet that aired 10 years before in 1963. Shatner played Bob Wilson crazed by his visions of a monster on the wing of the plane, daunted by a gremlin who is tearing the wing and tinkering with the engine of a plane when no one, not even his wife will believe him much to the fate of the flight.
A film like Hitchcock’s Lifeboat (1944), creates a world of tension as the variety of personalities each respond to the crisis in their own way, not to compare this Movie of the Week with the masterpiece of cinema, Horror at 37,000 Feet is itself an ensemble morality play as much as it is a supernatural story. The tensions, conflicts and personal dynamics are tested by the imminent danger and the doomed fate they are faced with.
Alan (Thinnes) “Are you beyond fear or are you just drunk?”
Paul (Shatner) –“Both but if I were you I’d worry more about your fellow passengers than what ever it is you brought on board”
Things start to go wrong as soon as the flight leaves London as the plane is being mysteriously suspended in mid air going around and around in circles. The mysterious and uncanny entity smashes out of it’s crate in the cargo hold and freezes Mrs Pinder’s dog Damon. The cold then begins to manifest itself inside the cabin. A green boiling oozing Lovecraftian kind of menace reveals itself.
When Captain Slade and Hawley investigate, Hawley is quick-frozen like a bag of organic cauliflower. The evil power rips through the carpeted floor of the plane and an ugly greenish brown ooze bubbles and smokes as ancient unintelligible voices chant. That is how the malevolent entity shows its presence.
Co-Pilot Jim Hawley “Look at this there’s something like moss on the bulk head.”
An evil unspeakable horror that you cannot really see. From the old school of less is more, and it’s what you don’t see that creates more dread. It’s more creepy and effective that way. Sheila O’Neill (Jane Merrow), whose family built the abbey passes out and speaks Latin and hears voices that torment her, calling her name, which prompts Mrs. Pinder to explain a bit about what’s going on.
Paul- “Do you remember what you said when you fainted? (he speaks a Latin phrase)
Sheila “Yes I heard that, one of the voices what does it mean?”
Alan – “Well do you know or don’t ya?”
Paul “It’s from a Black mass…”
Alan “a prayer… to the devil?”
Manya-“or to that thing back there!”
Alan “My wife is imagining things that’s all
Manya “She’s hearing voices…Paul says she was reciting a black mass”
Paul –“I was probably wrong I was a worse scholar than I was a priest”
Mrs.Pinder “It was a man’s voice wasn’t it?”
Sheila -a crazed look in her eyes-“Yes”
Mrs. Pinder “Do you know who that was my dear… ? In 1407 Lord Compton the owner of the land in which the Abbey stood, your ancestor was burned at the stake for heresy and murder. He worshiped the Druid gods. Offered human sacrifices. Members of your own family.”
It seems the abbey was built on a sacred grove of the druids who had performed human sacrifices. Every hundred years at the solstice, the spirits of the ancient druids come back demanding their sacrifice. Mrs. Pinder asserts that it’s Sheila they want. The panic sets in as everyone jumps to wild conclusions for self preservation’s sake, They decide to make a pseudo Sheila, attaching her fingernail clippings and strands of her hair to the little Jodi’s creepy doll. They paint it’s lips red with Sheila’s lipstick. It’s a grotesque site. They try offering that to the spirits who are drawing nearer, only being held off by a fire the passengers have lit, and their safe space is growing smaller with each hour. They try to substitute the doll for Sheila as their sacrifice. The druids aren’t buying it!
Glen Farlee (Buddy Ebsen) has a soliloquy “Maybe she’s right. What other explanation could there be. Everything’s gone crazy!”The plan doesn’t work so the group decides to light a fire on the plane to keep the evil spirits away, and soon the fire burns out and all looks grim. Of course Shatner stands out in this film as the faithless, pessimistic, nihilist defrocked priest Paul Klovalik as he drinks heavily and tries to shut off the chaos surrounding him, feeling helpless and hopeless. “The closer to heaven, the more discordant” and generally dismisses the rest of the passengers bitterly as fools and barbarians.
Paul Kovalik: “You don’t need a priest, Mr. Farlee. You need a parachute….
I’m going to open a bottle of it right now. It might not make me happy. But it will amuse me to think of all of you back here worrying about your lives… as though they were of some importance.”
Shatner certainly isn’t playing this kind of guy, that’s for sure!
At the end Paul Klovalik does find a flicker of faith left and rises to the occasion. But will the ancient old ones, the druids get what they want?
Her task is clear, to find an confront her own murderer!
Aired November 5, 1973, ABC Movie of the Week.
From David Deal’s book Television Fright Films of the 1970s-“Producer-director Dan Curtis had his hand on several intimate productions in the early 1970s, which were shot on videotape in Canada. The Invasion of Carol Enders is one of these. Carol Enders (Meredith Baxter) and her fiance Adam Reston Christopher Connelly are attacked while spooning in lover’s lane and Carol is seriously injured when she attempts to escape. Meanwhile, Diana Bernard (Sally Kemp) the wife of a doctor, is fatally injured in an automobile accident. Both patients are sent to the same hospital. and Carol makes a miraculous recovery just as Diana dies. Upon Awakening, Carol claims in very convincing terms to be Diana. When the police determine that Diana was murdered, Carol/Diana leaves the hospital to find the killer. This mild-mannered story of possession will not appeal to those with a fancy for the macabre. It plays more like a soap opera mystery that happens to have a kernel of the supernatural driving the action.”
The story is by Merwin Gerard whose list of credits include tele-fright films, The Screaming Woman (1972) starring the great Olivia de Havilland, The Victim (1972) and She Cried Murder (1973) The story was adapted by Gene Raser Kearney. Kearney wrote several Night Gallery episodes for Rod Serling and my cult favorite Games (1967) starring Simone Signoret and Katherine Ross, directed by Curtis Harrington and Night of the Lepus (1972) —Giant killer bunnies, ehh not so much…
Meredith Baxter was in the midst of her breakthrough television series Bridget Loves Bernie in 1972 when she did this film. She also appeared in Ben in 1972 and the other film I covered directed by Harrington, The Cat Creature. Her most famous roles aside from tele-films were of course as Nancy on the thoughtful nighttime drama Family 1976-1980 starring Sada Thompson and Kristy McNichol then she went on to play Elyse on Family Ties in the 80s.
Peyton Place alumnus the handsome Christopher Connelly plays Adam Reston and familiar character actor Charles Adiman plays Dr. Peter Bernard both are good at playing the perplexed husband routine. Connelly’s Adam Reston even helps the police in their investigation, playing an important part in solving the mystery. Dan Curtis favorite John Karlen plays Diana’s ex-husband David Hastings, the number one suspect in her death. George DiCenzo plays Dr. Palmer and Sally Kemp is Diana Bernard.
Carol-“I knew Diana, probably better than anyone. She was hard on you David, a lot harder than you deserved.”
Dan Curtis has executive producer credit on this film. and an un-credited nod for direction because several snippets of footage–including Diana’s car crash are taken from his tele-fright The Norliss Tapes, which aired the same year. Some sources list the film as having aired on March 8 1974, some claim it was released in 1973. I’m choosing to include it in my feature here as a 1973 release.
Director Burt Brinkerhoff was an actor, mainly on television in the 50s and 60s and this was his first film as director. He would go on to make the horror film Dogs, and yet another television adaptation of Frankenstein in 1987.
The film plays more like a murder mystery/thriller, but you cannot escape the supernatural narrative that exists, references to India where the air was “thick with the spirits of the dead, it was like incense.”
The Possession of Joel Delaney came out in 1972 and The Reincarnation of Peter Proud came out in 1975, Audrey Rose came out in 1977. The subject of reincarnation was threaded throughout the 1970s as an appealing and uncanny, almost taboo trend.
THE SILENT YEARS: When we started not giving a damn on screen!
In celebration of our upcoming Anti Damsel Blogathon on August 15 & 16, I had this idea to provide a list of bold, brilliant and beautiful women!
There was to be no indecent exposure of the ankles and no SCHWOOSHING! Not in this Blogathon baby!
From the heyday of Silent film and the advent of talking pictures, to the late ‘20s to 1934 Pre-Code Hollywood, films were rife with provocative and suggestive images, where women were kicking up a storm on screen… The end of the code during the early 60s dared to offer social commentary about race, class, gender and sexuality! That’s our party!
In particular, these bold women and the screen roles they adopted have become legendary. They sparked catchy dialogue, inspired fashion trends, or just plain inspired us… All together there are 111 of SOME of the most determined, empowered and uniquely fortified femmes of classic film…!
First of course I consulted the maven of all things splendid, shimmery and SILENT for her take on silent film actresses and the parts that made them come alive on the immortal screen…. Fritzi at Movies Silently has summoned up thesefabulous femmes….
Now to unleash the gust of gals from my tornadic mind filled with favorite actresses and the characters that have retained an undying sacred vow to heroine worship… In their private lives, their public persona and the mythological stardom that has & still captivates generations of fans, the roles they brought to life and the lasting influence that refuses to go away…!
Because they have their own unique rhythm to the way they moved through the world… a certain kind of mesmerizing allure, and/or they just didn’t give a hoot, a damn… nor a flying fig!
“The most courageous act is still to think for yourself. Aloud”-Coco Chanel
Stars like Bette Davis, Barbara Stanwyck , Joan Crawford and Ida Lupino managed to keep re-inventing themselves. They became spirited women with an inner reserve of strength and a passion for following their desires!
The following actresses and their immortal characters are in no particular order…!
Miriam Hopkins has a luminous, quiet dreamy beauty.
Born in Savannah Georgia Oct. 18th 1902 she died Oct 9, 1972-a chorus girl in New York city at the age of 20 she made her first motion picture after signing with Paramount Pictures called Fast and Loose (1930).
In 1931, she raised some eyebrows in 1931’s horror thriller Dr Jekyll and Mr. Hyde directed by Rouben Mamoulian’s.
InDr. Jekyll and Mr. Hyde (1931),Miriam Hopkins portrayed the character Ivy Pearson, a prostitute who becomes mesmerized by Jekyll and Hyde a tale of sexuality in revolt. Though many of her scenes were cut from the film she still managed to get rave reviews for the mere 5 minutes she spent on the screen.
Frederick March walked away with the Oscar for Best Leading Man in that horror gem. Miriam Hopkins had been up for the part of Scarlett O’Hara in Gone With the Windbeing that she was an authentic Southern lady, but the part… of course went to Vivien Leigh… “As God as my witness they’re not going to lick me”
Miriam would make three pictures with Ernst Lubitsch,The Smiling Lieutenant 1931, Trouble in Paradise 1932, and Design for Living 1933. Design for Living being my favorite!
William Wylerrevising the film release of The Children’s Hour 1961, had been based on his original theatrical presentation with Hopkin’s in what was called These Three (1936). In the remake, she plays Aunt Lily Mortar to Shirley MacLaine’s troubled Martha, stepping into the role that Hopkins once portrayed.
IMDb trivia: William Wyler cut several scenes hinting at Martha’s homosexuality for fear of not receiving the seal of approval from the Motion Picture Production Code. At the time, any story about homosexuality was forbidden by the production code.
Directed by William Wyler, cinematography by Franz Planer(Criss Cross 1949,Breakfast at Tiffany’s 1961) working with Wyler they used effective mood changes with his lighting, creating an often provocative atmosphere. The film showcases some truly great performances by the entire cast, Audrey Hepburn,Shirley MacLaineandJames Garner (who sadly passed away on July 19th of this year.) Including Veronica Cartwright and Fay Bainter. Miriam Hopkins mixes a sad yet infuriating empathy toward her flighty judgmental and often elusive tie to the theatre she harkens back to. She is incapable of being there for her tormented niece.
The story concerns the struggle of two young and independent women trying to make a go of it by running a private boarding school for adolescent girls. The intrusion of a lie, ultimately founded on a malicious rumor concocted by the spoiled young niece Mary Tilford (Karen Balkin) begins to spread like deadly poison that Karen (Hepburn) and Martha (Maclean) are having a lesbian relationship. And the lie proceeds to ruin Karen’s engagement to Joe, worried parents flood to the school to pull out their children at risk of being exposed to that ‘love that dare not speak it’s name!’ and basically causes the ruination of Karen and Martha’s dream.
Whether the idea be true or not, the wake of the devastation of all the lives involved lead to poetic & unfortunate tragedy.
Martha and Karen’s quite independent business relationship and personal friendship seemed to challenge very conventional standards of a woman’s role, creating an uncomfortable pall over the town, the school and the women involved in the scandal, and we sense this dis-ease on film. This all seems to feed the accessibility of suspicion when Mary makes her accusation, fueled by things she’s overheard Aunt Lily recklessly say about Martha.
Mrs. Lily Mortar–“Friendship between women, yes. But not this insane devotion! Why, it’s unnatural. Just as unnatural as can be.”
Mrs. Lily Mortar:Any day that he’s in the house is a bad day. You can’t stand them being together and you’re taking out on me. You’ve always had a jealous, possessive nature even as a child. If you had a friend, you’d be upset if she liked anybody else. And that’s what’s happening now. And it’s unnatural. It’s just as unnatural as it can be.
Miriam Hopkins, is an added unpleasant moral eccentric and parasite who feeds off Karen and her niece Martha who have always had an apparently strained relationship because she’s money-grubbing, spineless and a user right from the beginning.
Miriam Hopkin’s Aunt Lily glides through the film like narcissus’ secretary waiting for that great part that is never coming. Supposedly on tour with a drama company, or just avoiding the scandal, when she could have cleared the women’s reputations and saved the school from being shut down.
At time’s she histrionic, over-theatrical, melodramatic and a relic of bygone days. Like an obsolete thespian Harpy who lingers around the house, tormenting poor Martha who is struggling with her own inner demons that Aunt Lily seems all too well to recognize.
Aunt Lily trying to stir up dramaturgical dust while teaching her pupils elocution, she shows herself to be out of fashion, a bit of an outcast, and as dried up as the dead flowers, the young conniving and at times socio-pathic Mary steals from the garbage to give to Lily as a ruse for being late to class.
Aunt Lily is needful, maneuvering and scheming as she insinuates herself into the lives of Karen (Audrey Hepburn) and her niece Martha (Shirley MacLaine) A non stop know it all… with a showy flare for dramatics.
At the school, Aunt Lily teaches the girl elocution lessons, music and theatre which is perfect for her narcissistic compulsion to inflate her own ego while pushing her highfalutin ideas of breeding “breeding is everything”. Lily is materialistic, money hungry and will use Martha for whatever she can get out of her.
After Lily accuses Martha’s relationship with Karen as being ‘unnatural’ And how her mood changes when ever Joe, Karen’s fiance (James Garner) is in the house. Martha throws her out. Paying her off so she’ll stay away. Hopkins does a truly perfect job of being the parasitic opportunist who offers nothing but grief.
I loved Miriam Hopkins as the gutsy Mrs. Shipton -‘The Duchess’ in The Outcasts of Poker Flats 1952.
Until 1970 when like most great screen sirens, who seemed to inevitably get handed that part of Grande Dame Guignol caricature of the fading Hollywood star. Hopkin’s last film was the brutally disturbing Strange Intruder in 1970. She playing the recluse Katharine Parker, who is befriended by a psychopathic woman hater, then terrorized by him- John David Garfield (Yes son of the great John Garfield). Gale Sondergaard plays her companion Leslie who staunchly remains at her side to no avail.
WhileMiriam Hopkinswho played Martha in the original filmThese Three (1936) agreed to play the part of Martha’s Aunt Lily, Merle Oberon, who played Karen in the original film, turned down the part of Mrs. Tilford.
Mr. Happy… Bosley Crowther once again fangs the performances of The Children’s Hour with his serpentine wit. Published in The New York Times review March 15th 1962
“But here it is, fidgeting and fuming, like some dotty old doll in bombazine with her mouth sagging open in shocked amazement at the batedly whispered hint that a couple of female schoolteachers could be attached to each other by an “unnatural” love.
If you remember the stage play, that was its delicate point, and it was handled even then with a degree of reticence that was a little behind the sophistication of the times. (Of course, the film made from the stage play in 1936 and called “These Three” avoided that dark hint altogether; it went for scandal down a commoner avenue.)
But here in this new film version, directed and produced by the same William Wyler who directed the precautionary “These Three,” the hint is intruded with such astonishment and it is made to seem such a shattering thing (even without evidence to support it) that it becomes socially absurd. It is incredable that educated people living in an urban American community today would react as violently and cruelly to a questionable innuendo as they are made to do in this film.
And that is not the only incredible thing in it. More incredible is its assumption of human credulity. It asks us to believe that the parents of all twenty pupils in a private school for girls would yank them out in a matter of hours on the slanderously spread advice of the grandmother of one of the pupils that two young teachers in the school were “unnatural.”
It asks us to believe the grandmother would have been convinced of this by what she hears from her 12-year-old granddaughter, who is a dubious little darling at best. And, most provokingly, it asks us to imagine that an American court of law would not protect the innocent victims of such a slander when all the evidence it had to go upon was the word of two children and the failure of a key witness to appear.
In short, there are several glaring holes in the fabric of the plot, and obviously Miss Hellman, who did the adaptation, and John Michael Hayes, who wrote the script, knew they were there, for they have plainly sidestepped the biggest of them. They have not let us know what the youngster whispered to the grandmother that made her hoot with startled indignation and go rushing to the telephone. Was it something that a 12-year-old girl could have conceivably made up out of her imagination (which is what she was doing in this scene)?
And they have not let us into the courtroom where the critical suit for slander was tried. They have only reported the trial and the verdict in one quickly tossed off line.
So this drama that was supposed to be so novel and daring because of its muted theme is really quite unrealistic and scandalous in a prim and priggish way. What’s more, it is not too well acted, except by Audrey Hepburn in the role of the younger of the school teachers. She gives the impression of being sensitive and pure.
Shirley MacLaine as the older school teacher, the one who eventually admits in a final scene with her companion that she did have a yen for her, inclines to be too kittenish in some scenes and do too much vocal hand-wringing toward the end.
Fay Bainter is fairly grim as the grandmother but little Karen Balkin as the mendacious child is simply not sufficiently tidy as a holy terror to make her seem formidable. James Garner as the fiancé of Miss Hepburn and Miriam Hopkins as the aunt of Miss MacLaine give performances of such artificial laboring that Mr. Wyler should hang his head in shame.”
You could say that Evelyn Ankers is still the reigning queen of classical 1940s horror fare turned out by studios like RKO, Universal and Monogram. But there were a host of femme screamtales that populated the silver screen with their unique beauty, quirky style and/or set of lungs ready to wail, faint or generally add some great tone and tinge to the eerie atmosphere when ever the mad scientist or monster was afoot. Some were even monstrous themselves…
For this upcoming Halloween I thought I’d show just a little love to those fabulous ladies who forged a little niche for themselves as the earliest scream queens & screen icons.
I’m including Elsa Lanchester because any time I can talk about this deliriously delightful actress I’m gonna do it. Now I know she was the screaming hissing undead bride in the 30s but consider this… in the 40s she co-starred in two seminal thrillers that bordered on shear horror as Mrs Oates in The Spiral Staircase1945 and a favorite of mine as one of Ida Lupino’s batty sisters Emily Creed in Ladies in Retirement 1941
I plan on venturing back to the pre-code thirties soon, so I’ll talk about The Bride of Frankenstein, as well as Gloria Holden (Dracula’s Daughter, Frances Dade (Dracula) and Kathleen Burke (Island of Lost Souls) Gloria Stuart and Fay Wray and so many more wonderful actresses of that golden era…
The depraved mad scientist Lionel Atwill working with electro biology pins gorgeous red headed Anne Nagel playing June Lawrence, to his operating slab in Man Made Monster 1941. Lon Chaney Jr. comes hulking in all aglow as the ‘Electrical Man’ which was his debut for Universal. He carries Anne Nagel through the countryside all lit up like a lightning bug in rubber armor. Man Made Monsterisn’t the only horror shocker that she displayed her tresses & distresses. She also played a night club singer named Sunny Rogers also co-starring our other 40’s horror heroine icon Anne Gwynne in the Karloff/Lugosi pairing Black Friday in 1940.
She played the weeping Mrs.William Saunders, the wife of Lionel Atwill’s first victim in Mad Doctor of Market Street 1942. And then of course she played mad scientist Dr Lorenzo Cameron (George Zucco’s) daughter Lenora in The Mad Monster 1942. Dr Cameron has succeeded with his serum in turning men into hairy wolf like neanderthal monsters whom he unleashes on the men who ruined his career.
Poor Anne had a very tragic life… Considered that sad girl who was always hysterical. Once Universal dropped her she fell into the Poverty Row limbo of bit parts. Her brief marriage to Ross Alexander ended when he shot himself in the barn in 1937, and Anne became a quiet alcoholic until her death from cancer in 1966
Martha was in noir favorites The Big Sleep 1946 & Alimony1949. This beauty played an uncredited Margareta ‘Vazec’s Daughter’along side Ilona Massey as Baroness Elsa Frankenstein and the marvelous older beauty Maria Ouspenskaya as Maleva the gypsy! in Frankenstein Meets the Wolf Man 1943.Then she played heroine Dorothy Coleman in Captive Wild Woman 1943 and Miss McLean in The Mummy’s Ghost 1944.
Originally Martha MacVickar she started modeling for photographer William Mortenson.David O Selznick contracted the starlet but Universal took over and put in her bit parts as the victim in Frankenstein Meets the Wolf Man and in other ‘B’ guilty pleasures like Captive Wild Woman &The Mummy’s Ghost. She was also the pin-up girl for WWII magazines.
Martha also starred in other noir features such as Ruthless 1948 and The Big Bluff 1955. She was Mickey Rooney’s third wife.
Though Logan made very few films including Opened By Mistake 1940, her contribution to women who kick-ass in horror films and don’t shrink like violets when there’s a big bald baddie coming after you with a net and a bottle of chloroform, makes you a pretty fierce contender even if you are only 7 inches tall! As Dr. Mary Robinson (Janice Logan), Logan held it all together while the men were scattering like mice from the menacing google eyed Dr. Cyclops played superbly by Albert Dekker.
Fay Helm played Ann Terry in one of my favorite unsung noir/thriller gems Phantom Lady1944 where it was all about the ‘hat’ and she co-starred as Nurse Strand along side John Carradine in Captive Wild Woman. Fay played Mrs. Duval in the Inner Sanctum mystery Calling Dr. Death with Lon Chaney Jr. 1943
Fay Helm plays Jenny Williams in Curt Siodmak’s timeless story directed by George Waggner for Universal and starring son of a thousand faces Lon Chaney Jr in his most iconic role Larry Talbot as The Wolf Man 1941
Fay as Jenny Williams: “Even a man who is pure in heart and says his prayers by night, may become a wolf when the wolfbane blooms and the autumn moon is bright.”
Fay was in Night Monster 1942. Directed by Ford Beebe the film starred Bela Lugosi as a butler to Lionel Atwill a pompous doctor who falls prey to frighting nocturnal visitations. I particularly love the atmosphere of this little chiller with it’s swampy surroundings and it’s metaphysical storyline.
Dr. Lynn Harper (Irene Hervey) a psychologist is called to the mysterious Ingston Mansion, to evaluate the sanity of Margaret Ingston, played by our horror heroine Fay Helm daughter of Kurt Ingston (Ralph Morgan) a recluse who invites the doctors to his eerie mansion who left him in a wheelchair.
Fay gives a terrific performance surrounded by all the ghoulish goings on! She went on to co-star with Bela Lugosi and Jack Haley in the screwball scary comedy One Body Too Many (1944)
Bela Lugosi as half ape half man, really needed a shave badly in The Ape Man 1943, and Louise Currie and her wonder whip might have been the gorgeous blonde dish to make him go for the Barbasol. One of the most delicious parts of the film was it’s racy climax as Emil Van Horn in a spectacle of a gorilla suit rankles the cage bars longing for Currie’s character, Billie Mason the tall blonde beauty. As Bela skulks around the laboratory and Currie snaps her whip in those high heels. The film’s heroine was a classy dame referred to as Monogram’s own Katharine Hepburn! She had a great affection for fellow actor Bela Lugosi and said that she enjoyed making Poverty Row films more than her bit part in Citizen Kane! And I would be remiss if I didn’t mention that she appeared in several serials, from both Universal & Republic like The Green Hornetand Captain Marvel.
Tom Weaver in his book Poverty Row HORRORS! described The Ape Man as “a Golden Turkey of the most beloved kind.”
Louise Currie followed up with another sensational title for Monogram as Stella Saunders in Voodoo Man 1944 which again features Lugosi as Dr. Richard Marlowe who blends voodoo with hypnosis in an attempt to bring back his dead wife. The film also co-stars George Zucco as a voodoo high priest and the ubiquitous John Carradine as Toby a bongo playing half-wit “Don’t hurt her Grego, she’s a pretty one!”
Director Arthur Lubin’s quirky horror flick starring the wonderful Gale Sondergaard as the wickedly delicious Miss Zenobia Dollard… Brenda Joyce plays Jean Kingsley the young woman who goes to work as a caretaker for the creepy eccentric Zenobia, not realizing that the woman is draining her blood each night so she can feed her very beloved plant! Also featuring Rondo Hatton(The Brute Man, House of Horrors 1946) as Mario the Monster Man.