“Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.”
― Sigmund Freud
“Ladies and gentlemen- welcome to violence; the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains sex.” — Narrator from Faster, Pussycat! Kill! Kill! (1965)
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Patricia Morán as Rita Ugalde: The Exterminating Angel 1962:“I believe the common people, the lower class people, are less sensitive to pain. Haven’t you ever seen a wounded bull? Not a trace of pain.”
Ann Baxter as Teresina Vidaverri Walk on the Wild Side 1962—“When People are Kind to each other why do they have to find a dirty word for it.”
The Naked Venus 1959–“I repeat she is a gold digger! Europe’s full of them, they’re tramps… they’ll do anything to get a man. They even pose in the NUDE!!!!”
Baby Boy Franky Buono-Blast of Silence (1961)“The targets names is Troiano, you know the type, second string syndicate boss with too much ambition and a mustache to hide the facts he’s got lips like a woman… the kind of face you hate!”
Lorna (1964)-“Thy form is fair to look upon, but thy heart is filled with carcasses and dead man’s bones”
The Snake Pit (1948): Jacqueline deWit as Celia Sommerville “And we’re so crowded already. I just don’t know where it’s all gonna end!” Olivia de Havilland as Virginia Stuart Cunningham“I’ll tell you where it’s gonna end, Miss Somerville… When there are more sick ones than well ones, the sick ones will lock the well ones up.”
Delphine Seyrig as Countess Bathoryin Daughters of Darkness (1971)– “Aren’t those crimes horrifying. And yet -so fascinating!”
Julien Gulomar as Bishop Daisy to the Barber (Michel Serrault) King of Hearts (1966)–“I was so young. I already knew that to love the world you have to get away from it.”
The Lickerish Quartet (1970)–“You can’t get blood out of an illusion.”
THE SWEET SOUND OF DEATH (1965)– Dominique-“I’m attracted” Pablo-” To Bullfights?” Dominique-” No, I meant to death. I’ve always thought it… The state of perfection for all men.”
Peter O’Toole asSir Charles Ferguson Brotherly Love (1970): “Remember the nice things. Reared in exile by a card-cheating, scandal ruined daddy. A mummy who gave us gin for milk. Ours was such a beautifully disgusting childhood.”
Euripides 425 B.C.–“Whom God wishes to destroy… he first makes mad.”
WHAT DOES PSYCHOTRONIC MEAN?
psychotronic|ˌsīkəˈtränik| adjective denoting or relating to a genre of movies, typically with a science fiction, horror, or fantasy theme, that were made on a low budget or poorly received by critics. [1980s: coined in this sense by Michael Weldon, who edited a weekly New York guide to the best and worst films on local television.] Source: Wikipedia
In the scope of these transitioning often radical films, where once, men and women aspired for the moon and the stars and the whole ball of wax. in the newer scheme of things they aspired for you know… “kicks” yes that word comes up in every film from the 50s and 60s… I’d like to have a buck for every time a character opines that collective craving… from juvenile delinquent to smarmy jet setter!
FILM NOIR HAD AN INEVITABLE TRAJECTORY…
THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!
I just got myself this collection of goodies from Something Weird!
Just like Alice falling down the rabbit hole, Noir took a journey through an even darker lens… Out of the shadows of 40s Noir cinema, European New Wave, fringe directors, and Hollywood auteurs, brought more violent, sexual, transgressive, and socially transformative narratives into the cold light of day with a creeping sense of verité. WhileFilm Noir pushed the boundaries of taboo subject matter and familiar Hollywood archetypes it wasn’t until later that we are able to visualize the advancement of transgressive topics.
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.
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!”