Queen B’s of 1950s Science Fiction & Horror 🎃

This Halloween season I’m covering those fierce women who graced the 1950s Science Fiction & Fantasy/Horror screen with their beauty, brawn and bravado! Like years past–I pay tribute to the Scream Queens of the 1930s & 1940s

MonsterGirl’s Halloween 🎃 2015 special feature! the Heroines, Scream Queens & Sirens of 30s Horror Cinema!

Heroines & Scream Queens of Classic Horror: the 1940s! A very special Last Drive In Hall🎃ween treat

We’ve arrived at the 1950s decade’s deliriously dynamic dames… Who had to deal with mad scientists, gigantism, alien invasions and much more menace & mayhem!

Of course I plan on doing the 1960s and 1970s in the next year–and you’ll notice that I am listing some of our Queen B’s future films & television appearances of a supernatural or science fiction nature, and even a few scattered exploitation films that fit the bill. Added are a few photos to fill out the framework of their contribution to the genre. I’ve included honorable mentions to those who starred in at least one film and perhaps a few science fiction & horror anthology shows on television.

And I guess I should be super clear about this, so no one gets their hackles standing on end, not one actress who wound up only getting an honorable mention, (be it one of your favorites and believe me their are a few of mine on that smaller list), by any means does it imply that I think they have a less substantial participation in the decade’s genre.

All these actresses have performed in other types of films-other genres and dramatic roles and enjoyed a full career that transcends the science fiction & horror films they appeared in.

Allied together they created the fabric of the 1950s decade, colored by their unique and valuable presence to ensure that science fiction & horror/fantasy will live on to entertain and enamor a whole new generation of fans and aficionados.

Collectively and Individually these women are fantastic , and I feel very passionate about having put this wonderful collection together as a tribute!

BEVERLY GARLAND

I can’t begin to describe the admiration I’ve developed over the past several years, by delving into Beverly Garland’s long impressive career as a popular cult actress. All I can think of saying– seems crude– but it’s what truly comes to mind… Beverly Garland kicks some serious ass!!!

From historian/writer Tom Weaver-“For most fans of 50s horror there are just no two ways about it. Beverly Garland is the exploitation film heroine of the period. A principal member of Roger Corman’s early stock company, she was the attractive, feisty leading lady in such Corman quickies as It Conquered the World, Gunslinger, Naked Paradise, and Not of this Earth. In between Corman assignments she braved the perils of the Amazon River on writer-director Curt Siodmak’s Curucu, Beast of the Amazon, and a less harrowing Hollywood backlot swamp in Fox’s the Alligator People. Her 1960s film work included Pretty Poison, The Mad Room and the multi-storied Twice Told Tales with Vincent Price. Overall, this list of titles is unmatched by any other ’50s genre actress.”

The diverse, dynamic and uniquely sexy Beverly Garland was born in Santa Cruz, California. She studied with dramatics teacher Anita Arliss, sister to Hollywood actor George Arliss. Garland also worked in radio actually appeared semi-clothed in various racy shorts, until she made her first feature debut supporting role in the taut noir thriller D.O.A (1949) starring Edmund O’Brien. Beverly started out doing small parts in science fiction/horror films such as The Neanderthal Man 1955 and The Rocket Man 1954. But her cult/exploitation status was forged when she signed onto to work with legendary filmmaker Roger Corman, the first film takes place in Louisiana called Swamp Women. In 1983 Beverly Garland received a star on the Hollywood Walk of Fame. She worked right up until 2004 and sadly passed away in 2008.

There are so many credits Beverly Garland has under her belt, I can only list the few that are memorable for me, but here she is linked to her massive IMDb list of credits for you to peruse. One of the roles that stands out for me is her groundbreaking role in the late 1950s as Casey Jones a policewoman for NYC in the series called Decoy (1957) Garland finds herself in diverging & dangerous situations where she not only uses her sexy good looks but her smarts and her instincts to trap criminals from all walks of life. It’s a fabulous show and it shows not only how diverse Beverly Garland is but the show was a historical first for a woman starring in a dramatic television series.

Beverly Garland has performed in drama’s including a musical with Frank Sinatra directed by Charles Vidor The Joker is Wild (1957) Film Noir (The Miami Story 1954, New Orleans Uncensored 1955, Sudden Danger 1955, The Steel Jungle 1956, Chicago Confidential 1957, Science Fiction/Fantasy, Adventure, Exploitation, Westerns and Crime dramas & Thrillers like Pretty Poison 1968. For the purposes of The Last Drive In tribute to this magnetic actress, here are those performances in the genre I’m featuring both film & television series!

“The Memories of working with Roger Corman are pleasant because I got along with him very well. He was fun to be around and work with. We always did these films on a cheap budget, and people were always mad at Roger because he’d hardly feed us! And no matter what happened to you, your worked regardless… You could be dead and Roger would prop you up in a chair!”-Beverly Garland

From Beverly Garland’s Interview in “Interviews with B Science Fiction and Horror Movie Makers: Writers, Producers, Directors, Actors, Moguls and Makeup” by Tom Weaver (McFarland 1988).

In The Mad Room (1969) her character was pregnant–so was she at the time, with her son James.

[referring to her 1950s Roger Corman cult films] “It’s funny today because it’s so ridiculous. But at the time, it was very serious! We were just actors doing our best, I think. None of us overacted. I’m not saying we weren’t good. We didn’t do it tongue-in-cheek. We really meant it. We gave our all. We were serious, good actors and we played it seriously.”-Beverly Garland

“Maybe I do come on strong, and people sense in me a strength and a positiveness . . . It’s really the way I look and act, not the way I am . . . Once you cut through the protective coating, I’m strictly molasses.”-Beverly Garland

Audrey Dalton“I noticed you wrote a bit about Beverly Garland.  She was such a dear friend of mine.  She was in Pretty Poison with Noel Black who just passed away last year. Bev died years ago and even though she remained active in the Scarecrow and Mrs King for so long, she loved acting in “B” films the most.”

Waitress Nola Mason in The Neanderthal man 1954, Ludine in The Rocket Man 1954, Vera in Swamp Women 1956, Claire Anderson in It Conquered the World 1956, Dr. Andrea Romar in Curucu the Beast of the Amazon, Nadine Storey in Not of this Earth 1957, Joyce Webster in The Alligator People 1959, Ellen Winslow in Stark Fear 1962, as Alice Pyncheon in Twice-Told Tales (1963) Mrs. Stepanek in Pretty Poison 1968, Mrs. Racine in The Mad Room 1969, Science Fiction Theatre (TV Series) Katherine Kerston / Sally TorensThe Other Side of the Moon (1956) … Katherine KerstonThe Negative Man (1955) … Sally Torens, The Twilight Zone (TV Series) Maggie- The Four of Us Are Dying (1960) , Thriller (TV Series) Ruth KentonKnock Three-One-Two (1960)

Tom Weaver – In your Corman movies you yourself generally played plucky, strong willed, sometimes two-fisted types.”

Beverly Garland- “I think that was really what the scripts called for. In most all the movies I did for Roger my character was kind of a tough person. Allison Hayes always played the beautiful, sophisticated “heavy” and I played the gutsy girl who wanted to manage it all, take things into her own hands. I never considered myself much of a passive kind of actress-I never was very comfortable in love scenes, never comfortable playing a sweet, lovable lady. Maybe if the script wasn’t written that way, then probably a lot of it I brought to the role myself. I felt I did that better than playing a passive part.”

Swamp Women (1956) An undercover policewoman helps three female convicts escape from prison so that they can lead her to a stash of stolen diamonds hidden in a swamp. Co-stars Marie Windsor, Carole Mathews, Mike Connors, Susan Cummings and Ed Nelson!

Also in Swamp Women 1956, Garland was expected to do her own stunts, even dropping out of a 20 foot tree. Roger Corman told her “When you’re killed you have to drop”  Roger planted three guys underneath the tree to catch Beverly when she let’s go. “And when they killed me I just fell-dead weight on these three poor guys!” Roger told her “You’re really one of the best stuntwomen I have ever worked with.”

Even after breaking her ankle in Gunslinger 1956, Beverly was a trooper, she did all her fight scenes and worked to finish the film for Roger Corman, even though she couldn’t walk for weeks after that!

As Ellen Winslow, Garland takes a courageous role as a non-victim of abuse and assault, she pushes back head on against the grain instead of wilting from the trauma she prevails. The film showcases the gutsy quality Garland herself tried to portray in all her performances. in the darkly psychological Stark Fear (1962) A sadistic husband mentally tortures his wife, while eventually planning to murder her. Although no one believes her, she gets help from an unexpected source.

Beverly Garland recalls making Swamp Women co-starring Marie Windsor with Tom Weaver-“Swamp Women! Ooh that was a terrible thing! Roger put us up in this old abandoned hotel while we were on location in Louisiana- I mean it was really abandoned! Roger certainly had a way of doing things back in those days-I’m surprised the hotel had running water! I remember that we each had a room with an iron bed. Our first night there, I went to bed and I heard this tremendous crash! I went screaming into Marie Windsor’s room, and there she was with the bed on top of her-the whole bed had collapsed! Well, we started laughing because everything was so awful in this hotel. just incredibly terrible, and we became good friends.”

Carole Mathews, Marie Windsor and Beverly Garland in Swamp Women

Beverly Garland not only exuded a gutsy streak in every role she took, she shared the notable distinction of starring in one of Boris Karloff’s THRILLER episodes called Knock-Three-One-Two co-starring with the wonderful character actor Joe Maross who has a gambling problem and will be beaten to a pulp if he doesn’t pay his bookie. So he enlists the help of a psychopathic lady killer to murder his wife Beverly for her tightly held purse and large savings account!

Tom Weaver asks Beverly Garland if she enjoyed working on Twice-Told Tales (1963) — “Oh, I love it because I loved Vincent Price. He is the most wonderful sweet, adorable man! I don’t remember much about the movie, I just remember working with Vinnie and how wonderful he was.”

Tom Drake, Bill Elliott, and Beverly Garland in Sudden Danger (1955)

On working with Roger Corman on Gunslinger (1956) after Allison Hayes another seasoned actress and a bloomin’ trooper who broke her arm during filming. The working conditions were dismal but Beverly Garland isn’t a woman you can keep down. “I always wondered if Allison broke her arm just to get off the picture and out of the rain. It poured constantly. But what I adored about Roger was he never said, ‘This can’t be done.’ Pouring rain, trudging through the mud and heat, getting ptomaine poisoning, sick as a dog–didn’t matter. Never say die. Never say can’t Never say quit. I learned to be a trooper with Roger. I could kid him sarcastically about these conditions and laugh. That’s why we got along so well. On Gunslinger, I was supposed to run down the saloon stairs, jump on my horse and ride out of town. Now we never had stunt people in low-budget films. Riding, stunts, fights–we all did it ourselves and we all expected it, and we all just said it was marvelously grand. I told myself just to think tall. So my first take I thought tall and sailed right over the saddle and landed on the other side of the horse. The second take I twisted my ankle running down the stairs– a bad twist.”

Beverly Garland and Allison Hayes in Roger Corman’s western Gunslinger (1956)
Directed by Noel Black Beverly plays Mrs Stepanek the mother of sociopathic Sue Ann Stepanek played by Tuesday Weld. Anthony Perkins is Dennis Pitt a mentally disturbed young man with delusions, released from an institution only to stumble into Folie à deux with someone who is more violent and disturbed than he is!

Beverly Garland plays feisty nurse Nadine Storey in Roger Corman’s creepy alien invasion film Not of this Earth 1957 co-starring the white eyed vampiric villain Paul Birch as Paul Johnson-why not smith?

About working with Roy del Ruth on The Alligator People–“He was sweetheart of a guy and a good director. The Alligator People was a fast picture, but he really tried to do something good with it. And I think that shows in the film. It’s not something that was just slapped together. It as such a ridiculous. story…).. I felt when I read the script and when I saw the film, which was a long time ago, that it ended very abruptly. It all happened too fast; it was kind of a cop out. But there really was no way to end it. What were they going to do-were they going to have us live happily ever after and raise baby alligators?”

Beverly Garland having fun on the set of The Alligator People
Beverly Garland with Lon Chaney Jr. in Roy del Ruth’s The Alligator People
Directed by Roy Del Ruth-Beverly stars as Joyce Webster a woman who while under hypnosis recalls a horrific story She went in search of her husband who has gone missing. He is part of a secret experimentation with on men and alligators. Co-stars Bruce Bennett

Directed by Curt Siodmak Curucu Beast of the Amazon 1956 stars Beverly Garland as Dr. Andrea Romar and John Bromfield as Rock Dean who venture up the Amazon River to find the reason why the plantation workers are fleeing from a mysterious monster!

On first seeing the cucumber creature that Paul Blaisdell designed for It Conquered the World–“I remember the first time I saw the It Conquered the World Monster. I went out to the caves where we’d be shooting and got my first look at the thing. I said to Roger, ‘That isn’t the monster…! That little thing over there is not the monster, is it?’ He smiled back at me , “Yeah, Looks pretty good, doesn’t it?’ I said, ‘Roger! I could bop that monster over the head with my handbag!’ This thing is no monster, it was a terrible ornament!’ He said, ‘Well don’t worry about it because we’re gonna show you, and then we’ll show the monster, back and forth.’ ‘Well, don’t ever show us together, because if you do everybody’ll know that I could step on this little creature! Eventually I think they did do some extra work on the monster: I think they resprayed it so it would look a little scarier, and made it a good bit taller. When we actually filmed, they shot it in shadow and never showed the two of us together.”

Beverly Garland as Clair talking on the radio to IT– “I hate your living guts for what youve done to my husband and my world, and I’m going to kill you! Do you hear that? I’m going to kill you!”…) “So that’s what you look like, you’re ugly…) You think you’re gonna make a slave of the world… I’ll see you in hell first!

It Conquered the Wold (1956) is yet another Roger Corman campy gem that features my favorite cucumber monster created by Paul Blaisdell. Beverly stars as Claire Anderson married to Dr. Tom Anderson played by Lee Van Cleef who communicates with an alien life from who claims he comes in peace. Co-stars Peter Graves and Sally Fraser

Tom Weaver asks —“Do you ever look back on your B movies and feel that maybe you were too closely associated with them? That they might have kept you from bigger and better things?

Beverly Garland —“No, I really don’t think so. I think that it was my getting into television; Decoy represented a big turn in my life. Everybody did B movies, but at least they were movies, so it was okay. In the early days, we who did TV weren’t considered actors; we were just horrible people that were doing this ‘television’ which was so sickening, so awful, and which was certainly going to disappear off the face of the earth. Now, without TV, nobody would be working. No-bod-y. But I think that was where my black eye came from; I don’t think it came from the B movies at all.”

Tom Weaver-“Which of your many horror and science fiction roles did you consider your most challenging?”

Beverly Garland–“Pretty Poison. It was a small part, but it had so much to say that you understood why Tuesday Weld killed her mother. I worked hard to make that understood not a surface one, but tried to give you the lady above and beyond what you would see in a short time.”

Beverly Garland as policewoman Casey Jones in the stirring television series Decoy broadcast from October 14, 1957, to July 7, 1958

AUDREY DALTON

The bewitchingly beautiful Audrey Dalton was born in Dublin, Ireland who maintains the most delicately embroidered lilt of Gaelic tones became an American actress of film in the heyday of Hollywood and the Golden Age of television. Knowing from early on that she wanted to be an actress while studying at the Royal Academy of Dramatic Arts was discovered by a Paramount Studio executive in London, thus beginning her notable career starring in classic drama, comedy, film noir, science fiction, campy cult classic horror and dramatic television hits!

Since then I’ve had the incredible honor of chatting with this very special lady whom I consider not only one of THE most ethereal beauties of the silver screen, Audrey Dalton is a versatile actress, and an extremely gracious and kind person.

Read More about this lovely actress Here: MonsterGirl Listens: Reflections with Great Actress Audrey Dalton!

Audrey Dalton’s made a monumental contribution to one of the biggest beloved 1950s ‘B’ Sci-Fi  treasures and she deserves to be honored for her legacy as the heroine in distress, pursued by a giant bunny killing Mollusk “That monster was enormous!” –Audrey commented in her interview with USA Today.

Gail MacKenzie in The Monster that Challenged the World 1957, Baroness Maude Sardonicus in William Castle’s Mr. Sardonicus 1961 Boris Karloff’s Thriller (1960-1962)- Norine Burton in The Prediction, Meg O’Danagh Wheeler in The Hollow Watcher and Nesta Roberts in Hay-Fork and Bill-Hook.

Audrey Dalton plays Meg O’Danagh who is haunted by local prejudice and the rural boogeyman that is The Hollow Watcher

Audrey Dalton in Hay-Fork and Bill-Hook shown here with Doris Lloyd as Mother Evans. There’s witchcraft afoot in the Welsh moors.
William Castle’s Mr. Sardonicus 1961 stars Audrey Dalton as Baroness Maude Sardonicus who is a prisoner to her husband’s madness driven to fury because his face has been stuck in a horrifying grimace when he found his father was buried alive. Co-stars Guy Rolfe as Sardonicus and Ronald Lewis

BARBARA RUSH

Barbara Rush and Marlon Brando in The Young Lions 1958-Twentieth Century Fox
Barbara Rush and Harry Townes in Strategy of Terror (1969)
Frank Sinatra and Barbara Rush in Come Blow Your Horn (1963)
Frank Sinatra, Dean Martin, Sammy Davis Jr., Richard Bakalyan, Victor Buono, and Barbara Rush in Robin and the 7 Hoods (1964)

Barbara Rush appeared in director Martin Ritt’s turbulent suburban drama No Down Payment 1957 with ex-husband Jeffrey Hunter though they weren’t married to each other in the film.

Jeffrey Hunter, Pat Hingle, Patricia Owens, and Barbara Rush in Martin Ritt’s No Down Payment (1957) co-stars Joanne Woodward, Sheree North, Tony Randall.

Barbara Rush, Possesses a transcendent gracefulness. She moves with a poise like a dancer, a beautiful gazelle stirring in the gentle quiet spaces like silent woods. When I see Barbara Rush, I see beauty personified by elegance and decency. Barbara Rush will always remain in my eyes, one of the most gentle of souls on the screen, no matter what role she is inhabiting. She brings a certain kind of class that is not learned, it’s inherent.

She was born in Denver, Colorado in 1927 and began at University of California. Then she joined the University Players, taking acting classes at the Pasadena Playhouse. Paramount scooped Barbara up and signed her to a contract in 1950. She debuted with The Goldbergs (1950) as Debby Sherman acting with Gertrude Berg as Molly Goldberg -a popular television program that follows the warm, human story of famous Jewish Bronx radio & TV family the Goldbergs, and their everyday problems. Co-starring David Opatoshu and Eduard Franz.

Before joining the Goldbergs she met the strikingly handsome actor Jeffrey Hunter who eventually became a hot commodity over at 20th Century Fox. Barbara Rush and Jeffrey Hunter fell in love and were married in December of 1950. They became Hollywood’s most gorgeous couple, and the camera seemed to adore them. Their son Christopher was born in 1952.

During her time at Paramount, Barbara Rush appeared in the science fiction catastrophic end of the world thriller directed by Rudolph Maté —When World’s Collide 1951 co-starring Richard Derr, Peter Hansen and John Hoyt.
As time went on Barbara Rush co-starred with some of the most desirable actors in Hollywood, James Mason, Monty Clift, Marlon Brando, Paul Newman , Richard Burton and Kirk Douglas. Her roles ran the gamut from disenchanted wives, scheming other women or pretty socialites
Though Barbara Rush is capable of a range of acting, the one great role of a lifetime never seemed to surface for her, though what ever she appeared in was elevated to a higher level because of her presence.
Television became a wonderful avenue for Barbara Rush’s talent, she appeared in guest parts in many popular tv series of the 1960s and 1970s. She also co-starred in tv movies. One enjoyable character she played was a guest villain on the 1966 television series Batman as femme fatale ‘Nora Clavicle” Barbara Rush also played Marsha Russell on the popular television drama Peyton Place 1968-69

Barbara Rush also turned to work on the stage. She garnered the Sarah Siddons Award for her starring role in Forty Carats. Making her Broadway debut in the one woman showcase, “A Woman of Independent Means” which also subsequently earned her the Los Angeles Drama Critics Award during its tour. Other showcases included “Private Lives”, “Same Time, Next Year”, “The Night of the Iguana” and “Steel Magnolias”.
Barbara Rush still possesses that transcendent beauty, poise and grace. She will always be someone special someone memorable.

INTERVIEW QUESTIONS:

Joey Q: Did you ever imagine Jack Arnold’s “It Came from Outer Space” (1953) with you (in that black dress by Rosemary Odell) aiming that laser beam would become so iconic, and leave such a lasting impression on fans and film historians after all these years?


Barbara Rush: A: I’d never think that anybody who saw it needed to see it again, but if it left an impression, that’s fine. I loved the chiffon dress. It was too weird that these people that came from other space were too frightening to look at, so they took the form of regular humans. What I thought was interesting that these creatures didn’t actually want to be there and weren’t vicious at all. They were just trying to fix their ship and get it together. I remember thinking that with a lot of science fiction films; we were so afraid these creatures, but they were just trying to get away and weren’t threatening at all.

Joey Q: Is there a role you would have liked to play — let’s say in a Gothic thriller? Or was there ever a script for one that you turned down that you regret now? Were there any other high quality A-picture science fiction film scripts sent to you after “When Worlds Collide” (1951) and “It Came from Outer Space” (1953)?

Barbara Rush 

A: I don’t remember anything that was given to me to do other than those two pictures. That was all just orders from the studio. The science fiction film I admired the most was the picture E. T. – I just love that film and it is my favourite, but I never thought it was something I wanted to be in myself.

Joey Q: “The Outer Limits” is one of the most extraordinary anthology television shows of the 1960s. It was clearly ahead of its time, beautifully crafted and though-provoking. You star as the tortured Leonora in the episode “The Forms of Things Unknown” which is perhaps one of THE finest of the series written by Joseph Stefano, all due to the cinematography, lighting, and particularly the ensemble acting. Do you have any lasting impressions or thoughts about that role and/or working with Vera Miles, Cedric Hardwicke, David McCallum, and Scott Marlowe?

Barbara Rush A: I loved doing that show and loved Vera Miles. She was just the most wonderful person to work with. She was so funny. There was a scene where she had to run after me in the forest in the rain. After that miserable experience she told me:”Barbara, I promise you I’ll never chase after you in the rain, in the forest, ever again.” I thought the episode was very interesting, though.

Joey Q: In that same high calibre of dramatic television series, were you ever approached by William Frye, Doug Benton, or Maxwell Shane from Boris Karloff’s “Thriller” series or by Alfred Hitchcock for his anthology series? You would have been extraordinary in either television program! These shows were remarkably well-written and directed and I’m certain there would have been a perfect role for your wonderful acting style. Did you ever receive a script or were you ever interested in appearing on either of those shows?

Barbara Rush A: Unfortunately they didn’t really seem to want me. They never got in touch with me about anything. I would have loved to work for Hitchcock – I liked his films.

Joey Q: It seems that the early 70’s found you a niche in the macabre. Perhaps this is because you are such a consummate actress and the contrast of your gentility works well with the darker subject matter. In 1971 you co-starred with Henry Darrow in a short piece on Rod Serling’s “Night Gallery” – “Cool Air.” It was a Gothic romantic tale based on H.P. Lovecraft’s story about a woman who falls in love with a man who must remain in a refrigerated apartment dare something dreadful occur. Then, in 1972 you appeared in “The Eyes of Charles Sands” as Katherine Winslow co-starring Peter Haskell and Joan Bennett, a film about ESP and solving a murder. Then came “Moon of the Wolf” where you co-starred with David Janssen and Bradford Dillman, two very handsome leading men. Did you enjoy venturing into these uncanny story lines?

Barbara Rush A: I particularly enjoyed working with Bradford Dillman, who was a dear friend of mine. We more or less grew up together, in Santa Barbara. In one of these he played a werewolf and he’d have these hairy mittens as part of his costume and he’d come trampling in all the time – as a werewolf! I have a tendency to get very hysterical about how funny people can be, and he’d just make me crack up. 
We were shooting – I think in New Orleans or Mississippi, somewhere in the south – on location, so it was very hot. Poor Brad who had to walk around in those mittens.

 

IMDb trivia -Along with Leonard Nimoy, David McCallum, Cliff Robertson and Peter Breck, she is one of only five actors to appear in both The Outer Limits (1963) and The Outer Limits (1995) and the only woman to do so. She played Leonora Edmond in The Outer Limits: The Forms of Things Unknown (1964) and Barbara Matheson in The Outer Limits: Balance of Nature (1998).

Attended and graduated from the University of California, Santa Barbara (1948). She graduated from the Pasadena Playhouse School for Performing Arts in Pasadena, California.

Is mentioned in the movie Shampoo (1975), when hairdresser Warren Beatty says “I do Barbara Rush’s hair”.

Was separated from second husband Warren Cowan in 1969 at the time she learned of first husband Jeffrey Hunter’s sudden death following brain surgery after falling down a flight of stairs.

Appears in No Down Payment (1957) with ex-husband Jeffrey Hunter, they both portraying married characters, but not married to each other.

She is one of five actors to have played “Special Guest Villains” on Batman (1966) who are still alive, the others being Julie Newmar, John Astin, Joan Collins and Glynis Johns.

“I can safely say that every movie role I was ever offered that had any real quality went to someone else.”-Barbara Rush

As Joyce Hendron in When Worlds Collide 1951, as Ellen Fields in It Came from Outer Space 1953 Night Gallery episode as Agatha Howard in ‘Cool Air’ released on December 8, 1971 based on a story by H.P. Lovecraft and The Outer Limits as Leonora Edmond in episode The Form of Things Unknown written by Joseph Stefano released on May 4, 1964, as Karen Lownes in Kraft Suspense Theatre tv series ‘In Darkness, Waiting (1965), as Nora Clavicle and The Ladies’ Crime Club Batman Series 1966, Moon of the Wolf (TV Movie) 1972
as Louise Rodanthe, as Katherine Winslow in The Eyes of Charles Sand (1972), The Bionic Woman (TV Series) – Jaime’s Mother (1976) … Ann Sommers / Chris Stuart, 1979 Death Car on the Freeway (TV Movie) as Rosemary

Jack Arnold, Richard Carlson, Charles Drake, Russell Johnson, and Barbara Rush in It Came from Outer Space (1953)

Everybody wants to know about Barbara Rush’s fabulous clothes in It Came From Outer Space, in particular this lovely black gown.. so here it is–designed by Rosemary Odell

COOL AIR. First aired on December 8, 1971 Paintings for the opening of each episode were done by artist Tom Wright

The classy fashionable villainess Barbara Rush as Nora Clavicle and The Ladies’ Crime Club Batman Series 1966
Vera Miles as Kasha and Barbara Rush as Leonora pushed to the limit of all they can bare poison Scott Marlowe a sadistic blackmailer and leave him in the trunk of their car. As they flee the scene they stumble upon an Old Dark House where the servant Ralph Richardson takes care of Tone Hobart played by David McCallum a solitary sad young man, an introvert who tinkers with clocks, an inventor who is able to tip the balance of time and bring back the past and ultimately the dead. Barbara Rush conveys a depth of sadness and vulnerability that is tragic and beautifully pieced together for this macabre story written by Joseph Stefano. The lighting traps each player in the shadows of their own machinations. It is a brilliant little morality play.

Barbara Rush and Vera Miles on the set of The Outer Limits television series episode The Form of Things Unknown

The cinematography by Conrad L. Hall is extraordinarily moody and dark in this psychological supernatural story by Joseph Stefano.

Continue reading “Queen B’s of 1950s Science Fiction & Horror 🎃”

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

TerrorbannerBS

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

 HORROR HOTEL (1960) or The City of the Dead

CapturFiles

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

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

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

“Horror Hotel, next to the graveyard”

Remake of City of the Dead due 2013
Remake of City of the Dead due out some time in 2013?

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

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

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

Night of the Eagles title

Burn Witch Burn

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Night of the Eagle I do Believe

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

Alfred Hitchcock Hour The-Sign-Of-Satan with Christopher Lee as Karl-Jorla

Horror Hotel was filmed on a sound stage in England, with an all British cast, yet the plot was set in an obscure village in America’s provincial Massachusetts for it’s historical relationship to the Salem Witch Trials and the mystique of the witchcraft frenzy that was so pervasive during the Puritanical 17th Century.

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1692 in Salem Village, 185 people were accused of witchcraft, 156 were formally charged, 47 were pressured into confessions and 19 victims were ultimately executed by hanging. It remains a shameful phenomena in colonial American history. More women than men were accused and executed. Illustration by Douglas Grundy / Three Lions / Getty Images

Horror+Hotel the coven

With a haunting bit of cinematography by Desmond Dickinson (Olivier’s Hamlet 1948, Horrors of the Black Museum 1959, the noir classic The Frightened City 1961, A Study in Terror 1965, one of my guilty pleasures which is Beast in the Cellar 1970, Who Slew Auntie Roo 1972 with my one of my favs Shelley Winters and Beware My Brethren 1972) and art direction by John Blezard and Original music by Douglas Gamley.

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The cast includes Christopher Lee as Professor of Demonology Alan Driscoll, Dennis Lotis as Richard Barlow and Venetia Stevenson as avid student Nan Barlow. Interestingly enough, it’s quite shocking that the script actually kills off the supposed heroine Nan within the first 30 minutes of the film, much like Janet Leigh’s character Marion Crane in Alfred Hitchcock’s Psycho 1960.

Patricia Jessel as Elizabeth Selwyn

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Patricia Jessel is the imposing Elizabeth Selwyn/Mrs.Newlis an obvious anagram for the 300 year old witch much like name switcheroo used by Sidney Blackmer’s Roman Castevet in Rosemary’s Baby 1968. Tom Naylor plays Bill Maitland Nan’s prowess boyfriend. Betta St. John is Patricia Russell the granddaughter of the blind Reverend Russell played by Norman Macowan. Ann Beach has an impish sort of Patty Duke like quality to her as the poor mute Lottie a slave under Mrs. Newlis’ iron grip and Valentine Dyall (love him as Dudley the caretaker ‘all you city people’ in Robert Wise’s The Haunting ’62) plays Reverend Jethrow Keane also resurrected from those by gone days of witch burnings.

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Rosemary Woodhouse figures out through a little game of scrabble the true identity of her kindly old neighbors

Bill Maitland brandishing the cross

I’m not sure why this absolute gem has been so overlooked, when it’s still such a genuinely frightening and effectively creepy contribution to the classic horror genre. It’s moody and saturated with an unearthly fog that blankets the town and exudes an impending sense of doom and dread. The film is almost impressionistic with it’s tonality of the macabre which permeates the landscape with the undead specters walking amidst the fog soaked night, and we as spectators know of the looming arcane rites of the ritualistic blood sacrifices held by ambiguous figures in monkish robes.

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The camera work is startling at times, and surprisingly cerebral for a low budget film, as in the opening sequence when they are executing Elizabeth Selwyn, the camera closes in tightly on several grotesquely puritanical, pious and unrelentingly exaggerated expressions of hostility and hypocrisy as the villagers call out with their blood lust to burn the witch, their fever for punishment, lacks any godliness, as they are framed more hideous than Elizabeth Selwyn who is tied to a stake and set on fire. Only a quick glance at a little girl’s face read in panic as Selwyn evokes the power of Satan and a darkness washes over the villagers like a paint stroke of black light. The use of shadow is almost reminiscent of Jacques Tourneur’s thoughtful psychological terror plays of the 40s, (Cat People 1942, I Walked With A Zombie 1943, noir classic Out of the Past 1947 and Curse of the Demon 1957) While not in the same league as the master of shadow and light the great Val Lewton or Tourneur, there are some elements with the added sphere of paranoia that creates an atmosphere filled with uncanny dread and unknowable spaces and devilish premeditation, that evokes some of the same type of moodiness.

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Jacques Tourneur’s beautifully visually impressionistic masterpiece of Val Lewton’s
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Jacques Tourneur’s Curse of the Demon 1957 starring Dana Andrews
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The mysterious Reverend Jethrow Keane lurking in the ghostly mist in Horror Hotel aka City of the Dead

Again, not being hindered by the restraints of a small budget, the film appears as a beautifully eerie Lovecraftian fable, filled with an entire village inhabited by listless cult followers dedicated to the worship of Satan. They haunt the streets swathed in ritual robes shrouded in shadows and fog, wandering through swirling mists, and an ominous sweep of fog that obscures these undead spirits of the night, soulless, dressed in robes or outdated clothing. The entire village is vexed by black magic reigned over by the resurrected witch Elizabeth Selwyn who was burned at the stake more than 300 years before in 1692. While it’s obvious that the degenerating, decomposing village of Whitewood is a sparsely designed set on a humble sound stage, John Llewellyn Moxey manages to infuse this little city of the dead with a very disquieting ambiance. Dickinson lights the inhabitants of Whitewood and the hazy mysterious village itself using very enigmatic black and white compositions.

SYNOPSIS:

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“WITCH!!!!!!!!!”

The film opens as the fog shrouded village of Whitewood is at first an empty frame consumed within a smokey cloud of air except for a giant iron fire pit blazing to the left of screen. Like specters emerging through the deathly fog, several villagers move closer into focus until they are upon us in mid screen. They are thirsty for the blood of the declared witch Elizabeth Selwyn who has brought about the death of Abigail Adams. They decree that she should be put to death as a witch, and so they converge on her little cottage, dragging her out and tying her to a large wooden stake. As she faces her accusers it seems as if she is emitting a hissing sound like a serpent. A pilgrim woman slowly grinds out the words, “Wiittcch!!!! as Elizabeth Selwyn contemptuously spits on her.

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‘Help her Lucifer, Help Her’

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The camera closes in on a villagers face, a grotesque caricature.

The elders and the crowd of villagers scream out for her death. To burn the witch. The pyre is set on fire, but as she becomes engulfed in the purifying flames, she declares her devotion to Satan. Meanwhile Jethrow Keane secretly still an acolyte of Elizabeth pretends to deny that he has consorted with the witch, privately begging “Help her Lucifer, Help Her.” As the fevered villagers watch Elizabeth burn, she cackles and laughs her unspoken vow to come back and wreak revenge on the descendants of Whitewood. She has made a pact with the devil for eternal life in exchange for providing him with human sacrifices, which she manages to procure by luring unsuspecting visitors to her rustic Raven’s Inn.

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It’s modern day… the village is now left in desolation and gripped in an eerie pal that hangs over everything with it’s deathly fog. Now 1960 Professor of Demonology Alan Driscoll is relating the story of Elizabeth Selwyn, demonstratively narrating to his class the lurid story, ending with the same chant the villagers had been shouting,  “Burn Witch Burn, Burn Witch Burn…” An intense look occupies his deep and darkly riveting eyes. While most of the class is bored and distracted, Nan who is consumed with the legend of witchcraft and Elizabeth Selwyn’s legacy, stays after class to continue talking to Professor Driscoll, much to the dismay of her hunky boyfriend Bill.

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Nan looking for some good material for her thesis asks Driscoll for some guidance. He informs Nan in a very grim manner that the myth of human sacrifice isn’t just a story, that it still exists, and that it is said that Elizabeth Selwyn still walks the murky streets of Whitewood. So Professor Driscoll sends Nan Barlow to Whitewood, Massachusetts to conduct her research about the local prevailing myth that witchcraft is alive and well and still being practiced by a coven in the decaying old New England village. Nan goes willingly to uncover the truth behind the rumors of sightings of Elizabeth Selwyn believed to have come back from the dead.

Professor Driscoll is not just an avid academic of the occult, he is also an ancestor of Whitewood and a practicing Warlock in cahoots with Elizabeth Selwyn now having taken the name of Mrs.Newlis who has in fact been resurrected from the grave and now runs the claustrophobic and infernal Raven’s Inn, equip with trap door that leads to the subterranean primitive altar where blood sacrifices are held, and shadowy figures come to dance cheek to cheek to smokey jazz music by the flickering light of the fireplace at the Raven’s Inn.

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Of course Nan’s brother a scientist, is not thrilled with Nan going on a witch hunt, but thinks that she should be allowed to pursue her academic dream. However boyfriend Bill is not happy at all by the news that his girlfriend is about to take a road trip to some small village out of the way chasing ridiculous nonsensical theories.

Nan gets in the car and begins to drive. Passing by a gas station she asks if she’s headed in the right direction, and of course the attendant gives a worried look when she tells him that her destination is the town of Whitewood.

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