Category: Top Classic Horror Films

these are my very favorite films in the genre

Feature & Interview with Iconic Actress, Dancer, and Photographer, Barbara Parkins

The Raven-haired sylph who: "walks in beauty like the night"¦ Of cloudless climes and starry skies; And all that's best of dark and bright; Meet in her aspect and her eyes"¦" "” Lord Byron

Barbara Parkins is an icon of the 1960s, appearing in two of the decade's most popular and legendary film and television productions.

Barbara's exquisite beauty is undeniable, but her captivating performances in Peyton Place and Valley of the Dolls truly secured her legacy in Hollywood history and our collective consciousness. As beloved – Betty Anderson in the television series Peyton Place and as Anne Welles in the notorious adaptation of Jacqueline Susann's sensational novel Valley of the Dolls (1967). These memorable roles continue to resonate with audiences today.

But beyond any of it, the glamour, serious drama, pulp fiction, or even the camp, there is an actress who possesses an otherworldly beauty and a depth of character and quality. Not only has she touched our hearts with her performances as these two classic heroines, but she is also one of those recognizable actresses who project strength, confidence, and poise.

Barbara Parkins will undoubtedly be remembered for her portrayal of Betty Anderson Cord in the iconic 1960s prime-time operatic melodrama Peyton Place, which ran from 1964 to 1969.

Based on Grace Metalious's "˜dirty book,' Peyton Place blew the lid off of the hypocritical conformity of small-town America, capturing the complexities of American morality through high drama, showing the dark underbelly of a quaint community of "˜wholesome' families striving for normalcy amid controversial issues. That everything is not safe, it's not always comfortable, and it is without real struggle. And sometimes, life can be downright ugly. Her novel captures the "complexities of human existence"”the dramas, highs and lows, conflicts, and teenage sexuality"”depicting life’s un-romanticized, unvarnished reality. While the book offended some readers, it intrigued others, and despite being a popular show, critics often deem it shocking yet captivating." (The Baltimore Sun 1999 Laurie Kaplan article THE WOMEN OF PEYTON PLACE)

“Barbara Parkins has caught the public's eye, partly because of her beauty, partly because she is a capable little actress. But mostly because she seems to have an inner fire. She's a volcano in a tight dress.'' (From an article BARBARA PARKINS: MOST PROMISING NEWCOMER – Niagra Falls Gazette March, 1965 by Dick Kleiner)

 

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TAM LIN 1970 & BABA YAGA 1973 – Ava Gardner & Carroll Baker: THE FAERIE QUEEN"¦ & VALENTINA'S DREAM: Two Hollywood icons in search of mythology. Part 2

Baba Yaga or the Devil Witch the (United Kingdom) titles, or Kiss Me, Kill Me/Black Magic (1973) the (US) titles

“Weird {is} the operative word here. Though framed by a simple story, director Corrado Farina's approach to the film is every bit as avant-garde and surrealist as its source material. The plot had me scratching my head in bewilderment. Compelling visuals kept me watching.'' "” from Brian Lindsey’s Eccentric Cinema review.

☞ SPOILER ALERT:

READ PART 1 Tam Lin HERE

In Slavic/Russian folklore, the Baba Yaga is a strikingly revolting witch who flies around in a giant pestle – and steals and eats children. In the middle of a Russian forest, she lives in a shack built on top of giant chicken legs that can move at will. The folklore Baby Yaga is a sinister, macabre mythological presence, unlike the deviant sensual being that Carroll Baker portrays in Corrado Farina's Euro-horror film. This iteration of Baba Yaga is the seductive sorceress who manages to summon – with simmering antagonism, a world of pain – "˜symbolically' baring her predatory, wanting lips, which desire the heroine – Valentina.

According to the Monthly Film Bulletin review from 1974, critic Geoff Brown noted that he reviewed an 81-minute dubbed version of the film Baba Yaga. Brown stated that “due to 20 minutes of the film being cut and through the English-language dub, “the film had lost some of Farina’s socio-political arguments.” However, Brown also commented that most of these removed elements were reduced to “modish chit-chat” on topics ranging through various ideas.”

In the 70s, while exploring Giallo and Euro-exploitation films, I remember my first shudder and first impression of Baba Yaga. I had the feeling that something odd and erotic had taken place, and for me, it was like waking up from a hazy, surreal dream. Carroll Baker has always captivated me, and in the role of Baba Yaga, I felt she brought a level of Old World Hollywood class to a very provocative horror film.

An Italian/ French co-production, Baba Yaga is a delirious mixture of the supernatural, psychoanalysis, dream interpretation, vivid color schemes, pop art, eroticism, and fetishistic imagery. Baba Yaga, the film, revamps Russian folklore and transports the story into contemporary Milan.

As a stylish arthouse horror film from the 1970s, Baba Yaga explores the borderline between reality and imagination, embracing the sleazy allure of after-dark cinema"”fascinating and perhaps too challenging to define. There are striking elements that establish themselves with a clear sapphic element that already existed in Crepax’s work, creating an eroticized vision seen through the heterosexual ‘male gaze’ and driven by what Laura Mulvey termed "to be looked at-ness" that are kept in Farina’s film.

While I am still drawn to the film as an artifact of this decade's concentrated influence on an unmistakably hybrid genre (Horror, Euro-Exploitation, Giallo), Baba Yaga still manages to weaponize the straight male visual pleasure of actualizing their faulty version of lesbianism and bases the narrative around male sexual fantasies.

Farina and Crepax reveal the inherent bias fueled by a male-centric culture through a lens shaped by a male-centric point of view, which emphasizes the heteronormative expectation of female-female sexual exploitation.

Setting these critical observations aside"¦ The backdrop of Baba Yaga's 1970s fashion and Italian pop culture adds washes of a chic, mod, and bold cinematic experience.

Director Corrado Farina, who had previously envisioned another strange art-horror film, They Have Changed Their Faces (1971), now delivers this strange film with a mesmerizing array of visuals. The film seamlessly transitions from sharp pop design to muted Gothic hues and vents into full-fledged experimental cinema. Farina roams free with unrepentant visual skill frame by frame.

Baba Yaga, adapted from the risqué S&M erotic graphic novel series "˜Valentina' by Guido Crepax, thrives on its invocation and sense of a comic book world. Crepax, who earned his reputation as the world's most seductive cartoonist, stands as one of the eminent figures in the realm of adult comics and garnered greater recognition during the 1960s and 1970s.

Crepax's prominence stems not only from his introduction of erotic themes but also from his innovative approach to storytelling within the medium, incorporating nudity and daring themes.

Continue reading “TAM LIN 1970 & BABA YAGA 1973 – Ava Gardner & Carroll Baker: THE FAERIE QUEEN"¦ & VALENTINA'S DREAM: Two Hollywood icons in search of mythology. Part 2” →

TAM LIN 1970 & BABA YAGA 1973 – Ava Gardner & Carroll Baker: THE FAERIE QUEEN"¦ & VALENTINA'S DREAM: Two Hollywood icons in search of mythology. Part 1

“I shall waste you and waste you and waste you”¦”

The Ballad of Tam Lin, Tam Lin, Games and Toys or The Devil’s Widow 1970

“McDowall builds a broodingly enigmatic sense of menace out of stray allusions and apparitions that hover without ever really being explained or over-exploited: the snatches of [Robert] Burns intimating the presence of diabolic machinations; the girl terrified by her own unspoken Tarot prophecies; the dialogue that rings like blank verse, as though it had been used over and over again. Above all, though, this menace is effective chiefly because it is rhymed with a mounting sense of quiet decorum, as though reality, the world of the ordinary, everyday banality, were suddenly present to Tom for the first time.”“¨”” Tom Milne, Monthly Film Bulletin, June 1977

“She Drained Them Of Their Manhood–And Then Of Their Lives! “

That’s the tagline American International Pictures exploited to promote this obscure British fantasy/horror film. Made as a last hurrah at the close of the 1960s, The Ballad of Tam Lin or Tam Lin, emerged from a singular blend of McDowall’s audacious, unwavering, and fearless vision to subvert cinematic tradition and bring on board first-rate talent to see that vision realized.

Back in the day, I was armed with my VCR at the ready to capture those late-night TV excursions into obscure horror. Tam Lin would be one of those hidden gems that still lingers in my mind like a nostalgia hangover.

Dear friends, Ava Gardner and Roddy McDowall on the Tam Lin set.

“The film is a gothic fairytale modernized. When viewed in those terms and in the context of the original folklore – it makes perfect sense.” -McDowall.

Legendary Hollywood Goddess Ava Gardner is the evil “Queen of the Fairies” in Roddy McDowall’s wickedly provocative adult fairytale. Initially presented as a horror film, Tam Lin, with its hauntingly beautiful narrative, emerges more as a tragic fable of love and revenge. Or it can be seen as a dark, cautionary adult fairytale with a tangible Brother’s Grimmesque tale of beware the wrath of a slighted Queen, or there is terror amidst the remote woods. With the emergence of the counterculture of the 1960s, there was a growing fascination with all things pagan and folk-sy, with the use of symbolism, iconography, and formal tropes. For instance, the use of bridges we see throughout Tam Lin has often represented those liminal spaces between divergent realms.

Among its myriad titles, at the heart of Tam Lin lies Michaela “˜Micky’ Cazarete – a worldly Aesthete or  ‘sorceress,’ however you choose to see her… embodied by the luminous Ava Gardner in one of her 44th and final leading roles. As ravishingly beautiful as ever, Gardner plays the succubus-like enchantress always wrapped in stunning, opulent attire and a flickering flame, drawing the wings of any naive lad she captures for her bed.

This post contains SPOILER!:

READ PART 2 BABA YAGA: HERE

The story retells the artfulness of a wicked enchantress, a queen of the faeries who enraptures the young with her otherworldly beauty and beguiles and mesmerizes them to drain their vitality. And there is a cruel twist to this Gothic fable. At sunset of the seventh year, she is compelled to sacrifice her favorite male love to replenish her (life force or her desire.) Eternally restless, she is a damned soul; she is a paradox both breathtaking and horrifying, filled with a hunger that can never be satiated.

Psychedelic Folkloristic cinema like Tam Lin represents a cultural paradigm situated at a point in time where things were poised to move away from the psychedelic utopianism and iconoclasm of the 1960s, which began to pivot towards more introspective, darker turns. Similar in an impressionistic aesthetic, Tam Lin evokes for me another moody art piece horror, Queens Of Evil, aka /Le Regine 1970/Il delitto del diavolo.

Above are two images from Queens of Evil (1970).

Both films stylistically point to the florid decadence that was evolving into the weary and hostile era to come. Like Ian McShane, with his piercing and intense blue eyes crowned by dark brows and lashes, the charismatic bad boy with a sculpted physique, Ray Lovelock, is lavished with adoration within an idyllic setting until he is ultimately led as a lamb to the slaughter.

A striking parallel exists between the archetypal narratives of wayward, virile princes ensnared within a pastoral paradise and the insatiable, evil queens and seductive sirens who seek to possess them. This clash of archetypes, the untamed masculine spirit versus the ruthless feminine intellect, reflects the deep-seated cultural anxieties and preoccupations surrounding the nature of power, desire, and the fear of women’s primacy, in particular, as with Tam Lin, older women’s primacy.

Scene from The Night of the Iguana 1964.

Ava Gardner circa 1960.

I can include another early 70s horror favorite that registers with its mod/post-modern indulgence  – Messiah of Evil 1973. Messiah of Evil began to show signs of a crack in the shimmery good vibes of the 1960s as it dips its toes – heavily –  into the stark contrast of the coming brutal, gritty tone of later 1970s horror films. Tam Lin and Queens of Evil feel akin to the Psychedelic Folkloristic cinema, which captures that brief moment when fashionable trends were turning towards folklore motifs. Films thrive on a strong narrative, and legends are fed by things that are false and things that are true.

Some critics consider it as one of the original folk horror films. Others see it as an improvisation of the post-Rosemary’s Baby cycle of genre films.

Above are two scenes from the folk horror film The Wicker Man (1973).

A pioneering work of folk horror, Tam Lin can be considered a proto-folk horror film. Not only does it predate The Wicker Man by four years, but it shares some striking thematic similarities. Both films delve into the darkness of cults, driven by a need to appease deities through ritual sacrifice. An unsettling yet obscured supernatural atmosphere permeates both narratives, further accentuated by their remote, rural settings, fertile ground for tales of witchcraft and pagan practices. Notably, both films boast innovative and provocative British soundtracks and share the distinction of being primarily filmed in the evocative landscapes of Scotland.

Tam Lin anticipates Blood on Satan’s Claw, released in 1971, and yes, once again, like  The Wicker Man in 1973, showcasing its creeping pastoral horrors. The film’s ’60s art-house decadence and its aesthetic serve as many of the films that could be perfectly placed inside a time capsule from the merging decades of the late ’60s & 1970s. A film movement that draws inspiration from the rich period of European art cinema. Tam Lin’s dreamy and, at times, barely lucid tone frames this moody lyrical love story set in the bucolic countryside of Scotland until it moves into a horror-filled, phantasmagorical manifestation of the original poem the story is based on. Midway, the film shows a visual shift of spiritual flight, transformation, and salvation from supernatural retribution.

Continue reading “TAM LIN 1970 & BABA YAGA 1973 – Ava Gardner & Carroll Baker: THE FAERIE QUEEN"¦ & VALENTINA'S DREAM: Two Hollywood icons in search of mythology. Part 1” →

Beverly Washburn: Reel Tears – Real Laughter! Part 2

This is the second of two features about Beverly Washburn. You can read Part One here.

THE INTERVIEW:

1. Your first part in a film was for the 1950 film noir classic The Killer that Stalked New York starring Evelyn Keyes. You were supposed to be the first victim, a little girl who gets smallpox from Keyes who is on the run spreading the plague. And it was a speaking part. The script said, "˜'There sits little Walda Kowalski with her great big brown eyes and brown hair'' but you had blonde hair and blue eyes. You immediately thought that you wouldn't get the part. But Western star Jock Mahoney lied to the producers of the film at Columbia Studios after he saw you in the lobby while auditioning for the part of Walda. Mahoney met you 3 months earlier at one of your sister Audrey's shows. He was very taken with you, so he raved to the producer that you had done all this work even though you had no credits. And you got the part!

Essentially it was Mahoney's misdirection that helped your career! "¨"¨Does it ever make you laugh that it took a harmless lie, a few speaking lines, and tragically dying from smallpox in a Columbia Studios production to give you the leverage you needed to move forward in your acting career? Can you tell us about that experience?

Getting my first big break was perhaps a little unusual particularly since it was based on a little lie!
I had met Jock Mahoney a few months prior to the audition for the role in “The Killer That Stalked New York” which was to be filmed at Columbia Studios. At 6 years old, I had an agent who had sent me on countless auditions, none of which I ever got due to the fact that I had no experience other than having worked as a model of children’s clothes.

The role of little Walda Kowalski was listed in the script as a little girl with big brown eyes and brown hair. Now that description wasn’t pertinent to the actual role, however when a writer writes in a character, he or she typically envisions what they might look like. Well, right off the bat, it seemed apparent that I wasn’t what they were looking for because I had blue eyes and blonde hair.  As I was sitting in the lobby among many little brown-eyed and brown-haired other hopefuls and my not having any experience, it seemed that this would just be another letdown and another rejection for me. As I waited to go in, something marvelous happened. Jock Mahoney happened to walk through the lobby!  He remembered me as we had met at the Veteran’s Hospital in Long Beach California where he had been the guest of honor and where my sister was performing her act for the Veterans.  He asked my mother what I was doing there and when she told him I was reading for the part of Walda, he said “I’ll be right back.” What we found out later was that he went into the office of the Casting director and told them that I was perfect for the role, that I had done this and I had done that,  when the reality was, I hadn’t done a thing other than model!  He was under contract at the time and had some clout,  so they took his word for it. So as the story goes, he lied, they believed him and I got the part!

I do laugh sometimes thinking about how that all came about. I think about him from time to time and realize how blessed I was to have it unfold the way it did because after I had that one speaking role, it was then that I was able to continue on."¨ It’s such a “catch-22 ” situation because they don’t want to hire you if you don’t have experience, but how do you get the experience if they don’t hire you? I of course will forever be grateful to him for allowing me that one break, albeit he had to tell a little white lie in order for them to give me the role!

Continue reading “Beverly Washburn: Reel Tears – Real Laughter! Part 2” →

Beverly Washburn: Reel Tears – Real Laughter! Part 1

This is the first of two features about Beverly Washburn. You can read my interview with her here.

First off, I'd like to thank Beverly Washburn who graciously lent her valuable time in collaborating with me and guiding me to make this a proper tribute.

Two times a year (every April and October) I get to ramble through the crowds of unwavering fans at The Chiller Theater Convention here in New Jersey.

These events allow us to meet and engage in conversations with beloved actors who stir up a sense of nostalgia for their classic films and television roles, all having now achieved cult status. We celebrate these fond memories and possess a vast appreciation for the legacy of their work. We go to Chiller fanatical about these guests. Some may be a bit austere, but so many are incredibly gracious, funny, down to earth, and grateful for our devotion.

In October of 2023, I went to spend time with my friend Sara Karloff. but also to get the chance to meet someone I've had a long-time fan affection for: Beverly Washburn.

Beverly turned out to be a charming, kind, and genuine person who still possesses that unique intonation to her voice. She has the same sweetness and organically winsome smile she had as a young actor. And I would be careless if I didn't state up front that she is also a champion of animals and has become a true friend.

She might be legendary for her adeptness at weeping, but she can also laugh on a dime. Her laughter comes off without a hitch. It’s a very natural practice for her, showing her marvelous sense of humor with a lightness that flickers from her blue eyes.

Her biography Reel Tears: The Beverly Washburn Story ‘Take Two' ( click the link to purchase) is filled with truly poignant, humorous, and engaging anecdotes about the golden age of Hollywood and beyond. Her writing is refreshing, delightful, and unpretentious. But she is also a courageous writer who shares with bare honesty her very personal journey sometimes tinged with tragedy and her productive career in television growing up as a beloved child actor. Her memoirs include an affectionate forward by her friend Tony Dow of Leave It To Beaver fame.

During the golden years of Hollywood, Beverly Washburn graced the silver screen as a luminary child actor in the 1950s and 1960s. She found the careful balance between comedy and "˜real tears' with the uncanny gift of crying on cue.

A consummate performer, she effortlessly cut across the terrain of both humor and drama, leaving an everlasting mark on the hearts of her audience.

Beverly as Lisbeth Searcy in Old Yeller (1957).

Not only is she the timeless muse who appeared in some of the most cherished movies of the time, but during the Golden Age when television was redefining American culture, Beverly appeared in countless shows as a natural whenever she was featured in the storyline. She always summoned the ability to adopt a serious mood or show with an aptitude for humor that began the moment she stepped on the stage with comedian Jack Benny in 1952. As a favorite child actor during the rise of live television in the 1950s, the little blonde pixie eventually grew into a very pretty ingenue taking the teen fan magazines by storm in the 1960s.

Beverly Washburn appeared in nearly 100 television shows. During her Hollywood years, many of her feature films were nominated for Academy Awards. She worked with some of the most notable directors such as Cecil B. DeMille, George Stevens, and Frank Capra. She also worked alongside some of the greatest Hollywood actresses including Jane Wyman, Anne Baxter, Piper Laurie, Dorothy McGuire, and Barbara Stanwyck.

She was the girl who could not only cry on cue but could reduce the audience to tears. Often asked how she was able to cry so easily on screen, she has said in interviews that she's overly sensitive and just tried to put herself in the character's place in that situation.

Talking to her now, she feels extremely blessed when looking back over her long career, and she never forgets to express the love she has for her fans whenever she's been interviewed. She is also very grateful that her parents were very supportive yet they never pushed her into acting.

She writes in her wonderfully colorful biography filled with joyful photographs and hilarious anecdotes that even though there may have been times when her family might have had only a half of a bean, her mom would share it with anyone. Beverly’s mom and dad were by her side every step of the way and were very well-liked by both cast members and crew. Her mom kept her grounded, humble, and realistic and helped her stay on a good path while navigating the business.

Beverly Washburn grew up in a humble middle-class home in Hollywood California. Acting was something that she realized she wanted to do and truly enjoyed. Beverly is not only incredibly grateful to her many fans, she readily embraces them as the reason she has remained so popular and valued as an actor. And it makes her truly happy when she puts a smile on someone's face.

She followed in the footsteps of a talented family of entertainers, her father's brothers and sisters were in Vaudeville, traveling the circuit with a song and dance act called The Four Pearls. In the 1950s her sister Audrey went to Hollywood High and was a classmate of Carol Burnett. The two became friends and both worked as ushers at the Egyptian Theater on Hollywood Boulevard. Audrey became Penny Marshall's stand-in for Laverne & Shirley and wound up singing backup for Marlene Dietrich in Las Vegas. It was Audrey's show biz career that eventually led Beverly down that path.

Beverly was merely 3 years old when she started modeling children's clothes. When Beverly was 5 years old, she tagged along with her mom and sister Audrey, an acrobat, to entertain veterans at Long Beach Hospital. On one particular occasion, she had a dancing gig at the Capitol Theatre in Yakima Washington. The emcee asked Beverly to come up on stage and sing ‘I'm a Big Girl Now.’ Beverly felt very comfortable in front of an audience. She was a natural.

There she met Western movie star Jock Mahoney – the Range Rider. She was mesmerized by this tall handsome cowboy. He would play a role in setting Beverly's career in motion. Her lack of experience was a hurdle but she and her mom persevered. Beverly's mom saw her potential and hired an agent, Lola Moore, who represented some of the best-known child actors in Hollywood at the time. It wasn't easy at first to get this notable agent's attention. She was turned away by Moore's overwhelmed secretary. But her tenacious mother was not willing to take no for an answer even when Moore's office in Hollywood was overflowing with anxious little girls looking to be the next child star.

In the busy agent's office, her mom managed to catch sight of Lola Moore's photo, so she and Beverly waited in the parking lot. When Moore got back from her meeting at 20th Century Fox, she was met by a little blonde cutie who wasn't afraid to speak her mind. " I sure like your hat, Miss Moore." Beverly flashed that bright smile of hers. Moore who had been an imposing figure had no time for anything but serious business. Studying Beverly with delight, she answered with a hearty " Well you're the only one who does! Know why I wear such large hats?” "No Ma'am I don't." "It's my signature. I want people to know I'm around. I want them to see me coming.''

Beverly was an honest and polite child who looked straight at Moore she said, "I don't know how they could have missed you anyway.''

Lola Moore found this refreshing and laughed and invited the two up to her office to talk. Understanding that Beverly had no acting experience, or whether the camera was going to take to her, Moore set her up with a drama coach Mildred Gardner and she began taking voice lessons, diction, and other important acting techniques. Though Beverly had no formal training, she was a natural. She never got involved as a Method actor. She was briefly taught by Gardner but after a few weeks she informed Beverly’s mother, ” Your daughter has a natural ability to act, and taking lessons would only ruin it.”While the utmost compliment, Beverly has imagined how far she might have gone if she had formerly studied.

This is where she perfected her famous ability to "˜cry' so well. Beverly has described this gift stating that she would think of what she was supposed to be crying about, imagining herself in that situation, and the waterworks would follow. Beverly says of herself that she's a very sensitive and emotional person. TV guide wrote a two-page article entitled BEVERLY WASHBURN EARNS HER SALT BY CRYING ON CUE. In the book Ladies of the Western written by Boyd Majors and Michael Fitzgerald, they included a chapter called ‘Queen of the Criers.’

Beverly loved to be in front of the camera, but when she was ready she was faced with a dilemma. Every time they sent her out on an interview she didn't get it because she had no experience or credits to her name. It was a real Catch-22.

Beverly with Evelyn Keyes in The Killer That Stalked New York (1950).

Then, essentially fate stepped in a couple of months later while auditioning at Columbia Studios for a speaking part in the classic film noir thriller The Killer That Stalked New York which would be released in 1950. Beverly was 6 at the time of filming. Jock Mahoney who was under contract with Columbia, happened to be walking through the lobby and remembered meeting her at sister Audrey's show.

Beverly didn't fit the description of Walda Kowalski, the little girl the script describes as having "˜brown hair and brown eyes' in the film. She thought she wasn't going to possibly get the part because she had blonde hair and blue eyes. Her mother told her in a very soft-spoken voice,” Honey you're not gonna get this part, but just go in and do your best.''

Mahoney asked Beverly's mother why she was at the studio, and she told him that she was going to be reading for a part in the film, and had been getting turned down numerous times because she had no experience. He told her " I'll be right back.'' Later she would come to find out that he went to the producer and raved about all the work she had done even though she hadn't done a darn thing. They believed him and she got the part. On the first day of shooting, Beverly was excited to be sitting in the big makeup chair getting her makeup and hair done which they put in little curls, possibly trying to make her look like Shirley Temple which was fine with Beverly since she was a big fan of Shirley Temple.

The Killer That Stalked New York (1950) is a classic film noir about a woman, Evelyn Keyes, who smuggles jewelry into New York from Cuba. After she contracts smallpox she goes around infecting everyone she meets in the city. The authorities try to track her down before an epidemic breaks out.

Beverly plays the first victim who gets smallpox from Keyes, and that's how they learn about the outbreak. She had two scenes in the motion picture. One is where Keyes gives her a pretty brooch and the second is when she buys the farm. The makeup department afforded her a deathly look by making her as pale as possible, which in B&W made her look grayish. Shown in an oxygen tent, it was a very melodramatic death! After The Killer that Stalked New York, she continued to go on auditions but now she had a big credit to go with her name.

Here Comes the Groom (1951) starring Bing Crosby and Jane Wyman. Beverly with Jacques Gencel.

Because of that one speaking role for Columbia Pictures, other opportunities opened up. After the noir thriller, she was called to a screen test for her next film Here Comes the Groom in 1951. It would be a role in a motion picture directed by Frank Capra and starring Bing Crosby, Jane Wyman, Alexis Smith, and Franchot Tone. The film also featured fashions by costume designer Edith Head and cameos by Louis Armstrong, Dorothy Lamour, Phil Harris, Cass Daley, and Frank Fontaine. Here Comes the Groom was a huge B&W musical, and an important part throughout the film. She plays a refugee who speaks very little French, makes the funniest faces, and shows off a natural sense of comedy at such an early age, as she plays off Jacques Gencel.

Beverly worked on the film for 3 months, afterwards Bing Crosby gave her a beautiful doll that she named Dixie, after Crosby's wife at the time. After filming wrapped up, Crosby signed a photograph for Beverly saying, " I hope to play in your next picture.”

This would not be the only wonderful treasure Beverly would receive from actors. Even Jane Wyman gave her a beautiful dress. While the motion picture was not a huge success at the box office, it did win an Oscar for Best Song "˜'In the Cool, Cool, Cool of the Evening'' written by Hogie Carmichael and Johnny Mercer.

In 1951, her next little part took the form of a theatrical film featuring the iconic superhero, Superman. Titled Superman and the Mole-Men, this film served as the pilot for the subsequent TV series starring George Reeves as the eponymous hero and Phyllis Coates as Lois Lane, the fearless reporter. The TV series ran from 1952 to 1958.

Beverly had so much fun cast as a little girl who plays with a radioactive ball in her bedroom. Two of the mole men (who are not space aliens but come from inner earth) climb through the window and she plays with them until her mother discovers the strange little men with her daughter and screams!

Continue reading “Beverly Washburn: Reel Tears – Real Laughter! Part 1” →

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

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Supernatural 1933

Supernatural (1933) is directed by Victor Halperin and stars Carole Lombard as Roma Courtney, a young woman who finds herself entangled in a web of eerie supernatural events. After a strange encounter with a fortune-teller Madame Gourjan (Beryl Mercer), Roma’s life takes a dark turn. She becomes connected to the mysterious and malevolent spirit of Ruth Rogan (Vivienne Osborne), a black widow murderess who returns to life in Roma’s body, her evil spirit wants to exact revenge on her former lover, a phony spiritualist Grant Wilson (Randolph Scott) who betrayed her.

As Roma investigates the circumstances surrounding Ruth’s death, she becomes increasingly convinced of the supernatural forces at play. The film weaves a tale of suspense and eerie occurrences as Roma races against time to uncover the truth behind the threat that is haunting her.

The Slime People 1963

The Slime People is a 1963 science fiction/horror film directed by actor Robert Hutton. The movie is set in Los Angeles, where a thick, mysterious fog suddenly engulfs the city. As the fog dissipates, it reveals a group of grotesque creatures known as the Slime People who have emerged from the underground. These slimy and subterranean beings begin to terrorize the city’s residents.

The film primarily follows the efforts of a small group of survivors who band together to combat the Slime People and find a way to escape the city. Along the way, they must navigate the treacherous streets of Los Angeles, evade the Slime People’s attacks, and uncover the mystery behind the creatures’ origins. It also stars sci-fi regular Les Tremayne. The Slime People was photographed by William G. Troiano who did the cinematography for the exploitation film Scream of the Butterfly 1965, The Devil’s Messenger 1962, and Horror of the Blood Monsters 1970. Tom Hollan is the guy in the slime suit.

Scars of Dracula 1970

Scars of Dracula is a 1970 Hammer horror directed by Roy Ward Baker. In this installment of the Dracula series, the infamous vampire Christopher Lee’s Count Dracula returns to terrorize a small Eastern European village.

Paul (Christopher Matthews) seeks refuge in the village after escaping from Dracula’s castle. However, as Dracula sets his sights on Paul’s girlfriend Sarah (Jenny Hanley), the villagers become increasingly desperate to rid themselves of the vampire’s curse. The battle between good and evil intensifies as the villagers and a fearless priest attempt to confront the immortal Dracula and put an end to his malevolent reign. Scars of Dracula stars Dennis Waterman, Michael Gwynn as the priest, and beloved Michael Ripper as the Landlord.

Simon King of the Witches 1971

Simon, King of the Witches is a 1971 cult film directed by prolific television scriptwriter Bruce Kessler (Chopper ep. Kolchak). The film follows the surreal journey of the enigmatic Simon Sinestrari, a modern-day, self-proclaimed witch and occultist who lives in the counterculture of Los Angeles. Simon, portrayed by Andrew Prine, uses his mystical knowledge and psychedelic experiences to navigate the tumultuous world of the 1970s. Simon is deeply involved in mysticism and practices witchcraft.

Simon’s quest for enlightenment and his desire to harness supernatural powers lead him to experiment with various rituals and mind-altering substances. Along the way, he encounters a colorful cast of characters, including a fellow witch named Linda (real-life love Brenda Scott), and a police officer who becomes obsessed with him.

As Simon delves deeper into the occult and his own psyche, the film blurs the lines between reality and hallucination, taking viewers on a bizarre and psychedelic journey into the world of magic, mysticism, and countercultural rebellion.

Simon is a complex character who combines elements of mysticism, rebellion, and a sense of being an outsider in society.

Andrew Prine captures Simon’s eccentric nature with a charismatic and unconventional performance as a nonconformist who rejects societal norms, and Prine embodies this by delivering his lines with a mix of intensity and whimsy. His portrayal of Simon’s oddball behavior, such as his penchant for wearing outlandish clothing and embracing a bohemian lifestyle is superb.

Read my tribute to Andrew Prine HERE:

Sugar Hill 1974

Sugar Hill 1974 is an American International film, a unique and potent blend of blaxploitation and horror directed by Paul Maslansky. It’s known for its stylish and gritty portrayal of 1970s New Orleans. The story is centered by Diana “Sugar” Hill, portrayed by Marki Bey whose performance is marked by her charisma, confidence, and undeniable screen presence. a nightclub owner in the vibrant city of New Orleans. When Sugar’s boyfriend, Langston (Larry Don Johnson), is brutally murdered by a group of gangsters led by the ruthless Morgan played by Robert Quarry, she becomes determined to seek revenge. Bey effortlessly manifests Sugar’s journey from a nightclub owner into a vengeful force of supernatural retribution. The Black culture magazine Jet asked the question of why Black horror films drew their inspiration from the Christian vision of the Dracula mythos, ”when there was Voodoo in the Black experience.” Sugar Hill, attempts to rescue the legitimacy of Voodoo. ‘‘If most Blaxploitation celebrated a ‘bad N…’ who challenges the oppressive White system and wins, then Sugar Hill celebrated the ”Baad Bitch who did the same.” (Robin R. Means Coleman)

Mama Maitresses ‘‘How strong is your hate?'’

Sugar Hill ‘‘As strong as my love was, my hate is stronger.”

However, Sugar doesn’t turn to conventional methods of retribution, she uses supernatural forces to combat her adversaries. Instead, she seeks out the assistance of Mama Maitresse (the wonderful Zara Cully), a voodoo priestess, to help her get vengeance through supernatural means. With the guidance of Mama Maitresse and the power of voodoo, Sugar raises an army of undead, zombie-like enforcers to take down Morgan and his criminal empire one by one.

Sugar Hill [after feeding a man to a sounder of starving pigs in a pig pen] I hope they’re into white trash.

 

Sugar Hill ”Hey, Whitey! You and your punk friends killed my man.'

Tank Watson ‘‘You know, you got one of the prettiest asses in town. I’d sure hate to see it kicked in for accusin’ people.'

Sugar Hill ‘‘I’m not accusin’ you, Honk. I’m passin' sentence”

Marki Bey’s performance as Diana “Sugar” Hill in “Sugar Hill” is a standout in the blaxploitation genre. She brings a captivating mix of strength, determination, and vulnerability to her character. As Sugar, Bey portrays a woman who transforms from a grieving girlfriend into a fearless avenger, seeking justice for her murdered lover. Sugar Hill also co-stars Don Pedro Colley as Baron Samedi, Richard Lawson as Valentine, and Charles Robison as Fabulous.

The zombies in this film more closely resemble the creatures of voodoo legend – i.e., the walking dead who do the bidding – than the flesh-eating “living dead” popularized by Romero. According to the film, the zombies are the preserved bodies of slaves brought to the United States from Guinea, Africa.

“Much like the White Final Girl, Black women stare down death. However, these Black women are not going up against some boogeyman; rather, often their battle is with racism and corruption. In this regard, there is no going to sleep once the ”monster” is defeated, as the monster is often an amorphously coded as ‘Whitey”, and Whitely’s oppressions are here to stay. From Horror Noire Blacks in American Horror FIlms from the 1890s to Present by Robin R. Means Coleman

 

Strange Behavior 1981

Strange Behavior 1981  is a disturbing and uneasy atmosphere that fills this science fiction/horror film directed by Michael Laughlin (Strange Invaders 1983, produced The Whisperers 1967 and Two-Lane Blacktop 1972). Set in a small American town, the film follows a series of gruesome murders that seem to be connected to a mysterious research project. The film explores the exploration of mind control, innocence lost, the terrifying realization that they may be capable of committing heinous acts against which they have no free will, paranoia and the juxtaposition of innocence all played out with graphic violence.

The story centers around a teenager named Pete Brady ( Dan Shor), who becomes entangled in the investigation when his friends are brutally murdered. As Pete delves deeper into the case, he discovers that the murders are linked to a behavioral experimentation program led by the enigmatic Dr. Le Sange (Arthur Dignam).

What makes the killings even more chilling is that the perpetrators are seemingly ordinary townsfolk who have been turned into mind-controlled killers on a homicidal rampage.

The film is known for its eerie and atmospheric cinematography, as well as its unique take on the horror genre. It explores themes of psychological manipulation, the consequences of unethical scientific experiments, and the dark side of human behavior.

With its combination of a small-town setting, a mysterious conspiracy, and a rising body count, Strange Behavior is a cult classic that offers a distinctive and unsettling take on the horror genre of the early 1980s. The murders are gruesome, one scene in particular still makes me queasy, not so much for its gore but for the naked realism that it conveys with its cold and mindlessness, and I don’t mean unapologetic, I mean somnambulistic viciousness. The brutal, violent acts of controlled killing, like homicidal puppets, still have a quite shocking effect. This intelligent visual construction of gore and violence diverges from the work of the father of the splatter genre -Hershell Gordon Lewis.

Strange Behavior is set in a small, seemingly peaceful town, which enhances the sense of isolation and vulnerability. The idea that such disturbing events can occur in an otherwise idyllic setting creates a feeling of unease and an atmosphere of mystery and paranoia as characters try to unravel the enigmatic events taking place in their community. The sense of not knowing who can be trusted and who may have succumbed to mind control adds to the film’s tension. The film stars Louise Fletcher, Michael Murphy as Pete’s dad John Brady, and Fiona Lewis as Gwen Parkinson Le Sang’s assistant.

This is your EverLovin’ Joey Sayin’ S’eeee Ya at the snack bark to grab me a tray of the letter T for terror with some cheese on top!

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

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The Raven 1935

Dr. Vollin ‘Your monstrous ugliness breeds monstrous hatred. Good! I can use your hate.'

The Raven is a 1935 classical American horror film directed by Lew Landers, and it features two iconic horror actors, Bela Lugosi and Boris Karloff, in starring roles. This would be the second film that featured the pairing of both great horror stars after the success of The Black Cat. Along with its Gothic atmosphere and Poe-inspired storyline, it is a memorable entry in their respective filmographies. Read my feature on The Black Cat HERE:

Vollin ”Death is my talisman!

Dr. Richard Vollin (Bela Lugosi) is a brilliant but eccentric surgeon with a morbid fascination for Edgar Allan Poe’s works, particularly “The Raven.” Vollin is also known for his expertise in plastic surgery and a questionable reputation for performing radical procedures.

Judge Thatcher “I’ll pay you any amount of money, Dr. Vollin'’
Dr Vollin “Money means nothing to me."
Judge Thatcher “But someone is dying! Your obligation as a member of the medical profession"
Vollin “I respect no such obligation. I am a law unto myself!'’
Thatcher “But you have no human feeling? My daughter is dying!'’
Vollin “Death hasn’t the same significance for me as it has for you.”

Lugosi as Dr. Richard Vollin is a complex character who is both brilliant and deeply disturbed. Lugosi’s portrayal captures the character’s descent into madness and obsession. Vollin’s fascination with Poe’s works is conveyed through Lugosi’s mesmerizing, sinister, and theatrical performance.

When a young woman named Jean Thatcher (Irene Ware) is critically injured in a car accident, her desperate father seeks out Dr. Vollin’s assistance to save her life. Vollin agrees to perform intricate neurosurgery, but his growing obsession with Jean veers off into a deadly obsession. As Vollin’s obsession with Jean Thatcher grows, Lugosi skillfully portrays the doctor’s psychological unraveling. His fixation on Jean is palpable, and Lugosi’s performance is marked by dramatic facial expressions and body language that highlight Vollin’s increasing mania. This doesn’t bode well for her father, Judge Thatcher {Samuel S. Hinds}, and her fiancé, Dr. Jerry Holden (Lester Matthews).

Meanwhile, Edmond Bateman (Boris Karloff), a criminal mastermind who seeks to change his appearance to evade the authorities, approaches Vollin for his surgical skills. Vollin agrees but insists that Bateman becomes his loyal servant in return. Edmond Bateman is a criminal mastermind who seeks to change his appearance through plastic surgery. Batman becomes a  victim of Dr. Vollin’s monstrous cruelty and becomes a sympathetic character despite his criminal past. Throughout the film, Bateman’s loyalty to Dr. Vollin is only through necessity, even as he undergoes a shocking transformation, horribly disfigured at the hands of Vollin’s knife, and depends on Vollin to restore his face.

A standout moment in the picture is when Lugosi peers through the door and watches Karloff with sadistic orgasmic glee as the poor man discovers the horrors that Vollin has inflicted on him,  as the image of his face in a myriad of mirrors stares back in fright. During the gallery of mirrors reveals, when Bateman yells “NO!” that is not Boris Karloff's voice but a post-production dub-over.

Bateman ‘‘I’m saying, Doc, maybe because I look ugly… maybe if a man looks ugly, he does ugly things.'’
Vollin ‘‘You are saying something profound.”

As Vollin’s infatuation with Jean deepens and his madness takes a darker turn, he uses his surgical talents to transform Bateman into a grotesque visage resembling a raven, reminiscent of Poe’s poem. The doctor’s sinister plans culminate in a chilling and macabre climax, with Poe’s themes of obsession, madness, and revenge at the forefront as Lugosi employs his Poe recreations of the instruments of torture.

In the film’s denouement – it all gets wrapped up with Karloff’s twisted visage & sympathetic grotesqueness as he endeavors to end the deadly pendulum that comes a whisker away from Irene’s father getting sliced in half, as he shuts off the mechanism and saves his life. Lugosi shoots Karloff for rebelling and proceeds to trap his prisoners in a claustrophobic chamber with its walls triggered to close in and crush them. At this point, he is stark raving mad – as his maniacal amusement fills his gallery of torture. Yet Karloff takes his last breath and frees the prisoners, instead leaving Lugosi in the chamber to be milled instead.

Belu Lugosi and Boris Karloff’s performances in “The Raven” showcase their abilities to bring nuance and depth to their characters in the horror genre. Lugosi’s theatricality and intensity complement Karloff’s subtler and more sympathetic portrayal, resulting in a memorable and chilling cinematic experience. Their on-screen chemistry adds to the film’s enduring status as a classic of 1930s horror cinema.

For the B.B.F.C, The Raven was the final straw. The British film censors decided to withdraw any further horror movies from being shown in the U.K.

Return of the Vampire 1943

Return of the Vampire is a 1944 American horror film directed by Lew Landers. The movie features Bela Lugosi in a role reminiscent of his iconic portrayal of Dracula.

Set in London during World War II, the story revolves around the resurrection of a malevolent vampire named Armand Tesla (Bela Lugosi). Tesla had been destroyed by Professor Walter Saunders (Gilbert Emery) years earlier, but a bomb during an air raid accidentally uncovers his tomb, allowing him to return to life.

With the help of his loyal werewolf servant Andreas Obry (Matt Willis), Tesla resumes his reign of terror. He seeks revenge against those who thwarted him in the past and sets his sights on a young girl named Nicki Saunders (Nina Foch), the granddaughter of Professor Saunders.

Determined to stop Tesla once and for all, Professor Saunders enlists the assistance of a fellow scientist, Lady Jane Ainsley (Frieda Inescort), and a vampire expert, Sir Frederick Fleet (Miles Mander). Together, they confront the resurrected vampire and his supernatural powers in a battle between good and evil.

Rodan 1956

Rodan, also known as “Sora no DaikaijÅ« Radon” in Japan, is a 1956 Japanese science fiction kaiju film directed by Ishirō Honda. The movie features one of Toho Studios’ iconic giant monsters and is a classic of the kaiju genre.

Synopsis: The story is set in the mining town of Kitamatsu, Japan, where a series of mysterious and deadly events begin to unfold. Miners are disappearing deep underground, and strange fossils are discovered in the depths of the mine.

As the investigation into these anomalies deepens, it becomes evident that a prehistoric creature, a monstrous pterosaur known as Rodan, has been awakened from its long slumber by underground nuclear testing. Rodan, with its supersonic flying ability and deadly strength, emerges as a catastrophic threat. As the military and scientists race to confront the colossal menace, Rodan’s destructive power becomes apparent. The creature’s rampage and aerial attacks on cities lead to widespread devastation and loss of life.

The Reptile 1966

The Reptile is a 1966 British horror film produced by Hammer Film Productions, with a folklorist and Gothic flair. The movie combines elements of Gothic horror and mystery directed by John Gilling and written by Anthony Hinds.

The story is set in the remote village of Clagmoor Heath in Cornwall, England. Newlyweds Harry Spalding (Ray Barrett) and his wife Valerie (Jennifer Daniel) move into a cottage previously owned by Harry’s late brother, Charles.

Strange and unsettling events begin to occur in the village, including a series of mysterious deaths. The local doctor, Dr. Franklyn (Noel Willman), is secretive about the cause of these deaths, and the villagers are filled with fear and suspicion.

As Harry and Valerie investigate the sinister occurrences, they discover that a deadly and supernatural secret haunts the village. A curse transforms one of the villagers into a reptilian creature, a half-human, half-snake entity, and this monstrous creature is responsible for the deaths.

The Spaldings must uncover the truth behind the curse and confront the malevolent force behind it before they too become victims of the reptilian terror that stalks Clagmoor Heath.

This is you EverLovin’ Joey Sayin’ Rrrrrrrgghhh!!! don’t look behind you, I think it’s the letter Ssssss!

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

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The Nightcomers 1971

The Nightcomers is an elegant Gothic 1971 British film directed by Michael Winner who was concerned about potential censorship in the UK because of the provocative nature of the sex scenes. It serves as a prequel to Henry James’s classic novella “The Turn of the Screw” and explores the dark origins of tortured spirits of malevolent lovers and two troublesome children, Miles and Flora.

Set in a secluded countryside estate, the film introduces us to Quint (played by Marlon Brando), a charismatic and enigmatic manservant, and Miss Jessel (Stephanie Beacham), a seductive governess. They both exert a corrupting influence on the estate’s young siblings, Miles and Flora.

As the story unfolds, it becomes clear that Quint and Miss Jessel’s sinister behavior has a profound impact on the children, leading them down a path of moral decay and perverse sexuality. The film explores themes of corruption, innocence lost, and the blurred boundaries between desire and manipulation. The Nightcomers is a mix of chaos, cruelty, and a peculiar kind of fascination between the players and us, the spectators.

Winner’s The Nightcomers possesses a  chaotic gothicness and a provocative and unsettling examination of the origins of the psychological and supernatural horrors found in Henry James’s original story. It’s known for its bold and controversial themes and its exploration of the dark forces that can shape the lives of the young and impressionable and Marlon Brando as Quint the ill-fated gardener, lends an imposing presence that is alluded to in Jack Clayton’s earlier masterpiece.

Henry James’s The Turn of the Screw is a timeless classic, which was brilliantly adapted in 1961 with The Innocents starring Deborah Kerr who turns in an astounding performance of repressed sexuality. A decade later, director Michael Winner, known for films like Death Wish (1974) and The Sentinel (1977), (READ MY PIECE HERE:)presented an original prequel.

from Film School Rejects:

”He (Winner) received the script from playwright Michael Hastings and thought it was brilliant. "It really doesn't mean much as someone else has to not only think it's brilliant but also put up the money, and nobody wanted to put up the money for this film."

While looking for funding a producing partner asked if if he thought Marlon Brando could play the Irish gardener Peter Quint, and Winner replied "Marlon could play the two children, the dog, the cat, the neighbor from the Caribbean, he can do anything." and Brando was surprised to learn that Winner was making the film nearly free of charge, and when he asked why Winner replied "for the honor of working with you."

The role of Miss Jessel was originally intended for Vanessa Redgrave, and she was locked in for the production. She had to drop out, though, when another film ran over schedule. Winner recalled Stephanie Beacham "” she had a single line in his film The Games (1970) "” and offered her the role, at first objecting to doing the role’s nude scenes but eventually ‘she caved in’.

While Beacham went nude for Jessel's S&M-themed sex scene with Quint, Brando of course refused to do the same. "He wore underpants, and for some extraordinary reason Wellington boots."

Flora is meant to be twelve years old but is played by nineteen-year-old Verna Harvey as the role gets weird. On the last day of filming Brando told him that "she's got a very nice ass, I wish I'd noticed it earlier."

One of the scenes shows a drunk Quint telling stories to the children Flora and Miles (Christopher Ellis), and Brando tells Winner he wanted to actually be drunk for the performance "” "so please shoot it at the end of the movie." Winner complied, Brando was intoxicated, and he nailed the scene.

Jessel's death scene required Beacham to be in the water which was extremely cold, but while she was advised to wear the thickest wet suit available she instead went with the thinnest as it kept her figure the best. "She went totally rigid, her face went blue, and we all really thought she was dead. She was carried ashore and some fellow gave her mouth to mouth, and eventually, she survived. That's actresses, bless 'em."

Necromancy 1972

Read my tribute to Pamela Franklin Here:

Necromancy also known as “The Witching,” is a sinister 1972 American horror film directed by Mr. Big himself – Bert I. Gordon. The movie centers on a young widow named Lori Brandon (played by Pamela Franklin) who becomes entangled in a web of dark supernatural forces when she moves to the small town of Lilith. Lilith is the mythic goddess and misunderstood primordial she-demon feared because of the threat of her powerful agency as a woman.

Directed Bert I. Gordon leaves behind gigantism for a moment to delve into satanism. Orson Welles is Mr. Cato a practitioner of the dark arts and leader of a coven in the small town of Lilith who wants desperately to bring his dead son back to life. He seeks out Pamela Franklin who plays Lori Brandon, a girl who has the power to help him raise the dead. When she and her husband Frank played by Michael Ontkean move to the seemingly idyllic town of Lilith they think they’re starting a new life, guided by the lure of a new career for Frank.

However, she quickly discovers that the townspeople are deeply involved in witchcraft and the occult. Lori’s arrival is met with suspicion and hostility from the locals, who view her as an outsider and finds out much to her horror the true reason behind Cato's motives. Some very atmospheric moments, with the ghost of a little boy that taunts Franklin and some eerie exterior camera work. Also co-stars Lee Purcell as Priscilla.

As she delves deeper into the mysteries of Lilith, Lori uncovers a sinister plot involving Cato’s coven of witches, determined to initiate Lori into their dark practices, believing her to possess unique powers. Necromancy’s growing sense of dread and peril permeates the film as Lori is trapped in a sinister world of witchcraft and dark forces and comes to a suffocating and violent end.

Nothing But the Night 1973

Nothing But the Night is a 1973 British horror film directed by Peter Sasdy and features Christopher Lee. The movie revolves around a series of mysterious deaths and a secret organization. Three rich trustees are murdered – appearing as suicides. When a bus filled with orphans and three other rich trustees have “accidents.” but come to learn they are ritual murders.

Over the past few months, three trustees responsible for the Van Traylen fund have met their demise in circumstances resembling suicides. Yet, following a puzzling bus incident involving the last three trustees and dozens of orphaned children, Police Colonel Bingham, portrayed by Sir Christopher Lee, initiates an inquiry. The initial query revolves around the inexplicable burning of the bus driver, who perished in the accident, despite the absence of any fire. To unravel the enigmatic events, Dr. Ashley, played by Peter Cushing, employs hypnosis to unveil the truth.

The story begins with the unexplained deaths of several prominent members of society, all seemingly unrelated. The victims include a judge, a doctor, and an industrialist. Colonel Bingham (played by Christopher Lee) is assigned to investigate these baffling cases, suspecting foul play.

As the investigation deepens, Bingham becomes increasingly convinced that there is a sinister connection between the deaths. It leads him to a strange Scottish orphanage and he discovers that a clandestine group is involved. An organization with a hidden agenda and a willingness to go to great lengths to protect its secrets.

The plot takes a more eerie turn when a young girl named Mary Valley (played by Gwyneth Strong), who has been orphaned and is under the care at a London hospital and the watchful eye of Dr. Haynes (Keith Barron) as the child exhibits strange and unsettling behavior. Sir Mark Ashley (played by Peter Cushing), a psychiatrist, becomes involved in Mary’s case, and together with Colonel Bingham, they begin to uncover the dark and supernatural forces at play.

Nothing But the Night is known for its suspenseful and atmospheric storytelling, as well as the presence of horror legends Christopher Lee and Peter Cushing. The film also co-stars Diana Dors as Anna Harb, Georgia Brown as Joan Foster, Fulton Mackay, Shelagh Fraser John Robinson, Morris Perry, Duncan Lamont and Kathleen Byron as Dr. Rose.

Night School 1981

Night School is a 1981 American slasher film directed by Ken Hughes and a screenplay by Ruth Avergon. The movie is set in the city of Boston and revolves around a series of gruesome murders that occur within the city’s nightlife.

A Boston police detective Judd Austin (Leonard Mann), investigates a series of gruesome decapitations of various college coeds committed by a helmeted, black-leather-clad serial killer which leads him to suspect a well-known anthropology professor as well as his female live-in assistant/lover Eleanore (Rachel Ward). As Detective Austin delves deeper into the case, he discovers a dark secret involving the night school and its students. The killer, shrouded in mystery and wearing a motorcycle helmet, continues to strike, leaving a trail of terror, carnage, and decapitated heads.

The film appeared (as “Terror Eyes”) on the UK’s list of video nasties. Both the cinema and 1987 Guild Home Video releases were cut by 1 minute 16 secs by the BBFC to heavily reduce the gore and shots of slashing during the changing room and café murders

Near Dark 1987

This uniquely radical take on the vampire mythos deserves The Last Drive In treatment with Saturday Nite Sublime. Stay Tuned!

Near Dark is a 1987 American vampire horror film directed by Kathryn Bigelow. The movie follows the story of Caleb Colton (Adrian Pasdar), a young man living in a small rural town who meets and falls for a beautiful and enigmatic woman named Mae (Jenny Wright). Unbeknownst to Caleb, Mae is part of a roving clan of vampires.

When Mae bites Caleb to turn him into a vampire, he is reluctantly initiated into the group, which includes a charismatic but ruthless leader named Jesse Hooker (Lance Henriksen) and several other members with unique and dangerous personalities. Caleb struggles to adapt to his new vampiric nature and the violent lifestyle of his newfound family. Bill Paxton gives a chilling performance as the vicious Severen. Caleb’s loyalty to Mae is tested as he begins to question his place in the dark world of the undead.

This is your EverLovin’ Joey Sayin’ N- No! don’t stand so close to that O’pen window, the Letter O will soon be upon us!

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

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The Mad Doctor of Market Street 1942

GENIUS – OR FIEND?…

I'll be the most important man to have ever walked the earth!

Mad Doctor of Market Street is a lesser-known 1942 American horror film directed by Joseph H. Lewis (Gun Crazy 1950). A product of early ’40s horror, the film is unintentionally campy and racially offensive as with the scene during Atwill’s wedding with Clarie Dodd when the ceremony is interrupted and perplexed by this he tells the chief to have the native men, ‘Dance… or something!”

The film tells the story of Dr. Ralph Benson (played by the classically trained actor Lionel Atwill who has enjoyed the role of over-zealous mad scientist with high-strung verve! ), a brilliant but deranged scientist who conducts unethical experiments on human subjects. Atwill is always arrogant and wild-eyed in films like The Pre-Code Doctor X 1932 and Murders in the Zoo 1933 beloved Universal monster movies like Son of Frankenstein 1939, to Poverty Row Pictures like Man Made Monster 1941 and Frankenstein Meets the Wolfman 1943.

In this comedy/crime/horror drama, the allure of cinema’s obsession with the mad scientist, a character akin to Dr. Moreau, is on full display. Atwill possesses a messianic complex, feigning the ability to resurrect the dead to maintain control over his followers.

Una Merkel stars as Aunt Margaret Wentworth, Claire Dodd as Patricia Wentworth, Anne Nagel as Mrs. William Saunders, Milton Kibbee as Hadley, and John Eldredge as the ship’s officer Dwight.

Dr. Ralph Benson is wanted for murder and escapes on a ship bound for a remote tropical island. At the film’s outset, he escapes aboard a cruise liner bound for New Zealand, inadvertently landing on uncharted terrain alongside a group of fellow passengers. The island’s residents become suspicious of the mysterious doctor’s activities. As they investigate, they uncover Dr. Benson’s dark secrets and the horrifying results of his experiments.

Unfazed by his circumstances, he persists in his experiments, exploiting the locals as both convenient and susceptible test subjects. When a native woman falls into a coma from a heart ailment, he can’t resist showcasing his life-reviving “magic.” This act leads to him being anointed as the “God of Life” by the natives, and he promptly declares himself the island’s supreme ruler.

Unlike the traditional gothic laboratories of Univeral horrors, this story unfolds amidst a lush jungle backdrop. The remaining survivors from the civilized world include a callous ship’s officer who abandons his companions in a futile attempt to escape the island via canoe, only to meet his death at the hands of one of the natives.

A predictable romantic duo emerges, between Una Merkel’s niece Patricia (Claire Dodd) and  Jim (Richard Davies) a former crew member from the sunken liner. Despite an initial clash, they are gradually drawn together. When Tanao’s wife (Rosina Galli) the old woman Atwill “resuscitates” urges him to take a wife"”and he goes after Merkel’s niece Patricia to be his unwilling bride. By the end, his disdain for his followers and his being exposed as a charlatan not really able to work miracles ends with them turning against him.

This film made it’s television debut on 18 January 1958 on New York’s channel 7 (WABC).

The Mad Ghoul 1943

The Mad Ghoul is a 1943 American horror film directed by James P. Hogan. The film follows the chilling tale of a university chemistry Professor Dr. Alfred Morris (played by George Zucco another horror movie Mad Doctor classic), a brilliant scientist who discovers a secret ancient Mayan gas that can turn people into mind-controlled zombies.

After the unsuspecting Ted Allison (David Bruce) becomes an unwitting subject of Professor Morris’s (George Zucco) experiments, the professor’s mind wove a fanciful tapestry. He deludes himself into believing that Allison's fiancée Isabel (Evelyn Ankers), the captivating concert diva engaged to Ted Allison harbors intentions of ending their engagement because she finds the professor more sophisticated. The truth is, Isabel’s heart dances to a different melody, one orchestrated by Eric Iverson, her devoted accompanist (Turhan Bey). To rouse Ted out of his trance-like state, Dr. Morris compels him to perform the macabre art of cardiectomy, on recently deceased and even living bodies, extracting the serum from their hearts needed as a short-term antidote. As a series of gruesome murders appear to coincide with Isabel’s concert tours, investigative journalist “Scoop" McClure (Robert Armstrong) takes it upon himself to pursue this unhinged mad scientist.

The Mad Ghoul co-stars Charles McGraw, Milburn Stone, and Rose Hobart. Costume design by the fabulous Vera West and distinctive ghoulish makeup by Jack P. Pierce who was responsible for Universal’s parade of memorable characters- especially beloved is his work on Boris Karloff’s expressive Frankenstein’s monster. A must-mention for the moody cinematography by the brilliant Milton R. Krasner (The Woman in the Window 1944, The Dark Mirror 1946, A Double Life 1947, The Set-up 1949, No Way Out 1950, All About Eve 1950, Beneath the Planet of the Apes 1970).

The Mummy's Ghost 1944

Read John Carradine feature here:

The Mummy’s Ghost is a 1944 American horror film directed by Reginald Le Borg and part of Universal Pictures’ Mummy film series. The movie continues the story of the ancient Egyptian mummy, Kharis, and the cursed love that binds him. The film is set in the United States, where Kharis (played by Lon Chaney Jr.) and Princess Ananka/Amina (played by Ramsay Ames) are still entwined in a tragic love story from their past lives. Kharis, the living mummy, is brought back to life by an Egyptian priest who wants to reunite him with Princess Ananka, who has been reincarnated in the body of a young woman named Amina.

Journeying from Egypt to America, a high priest (George Zucco) embarks on a quest to reclaim the earthly remains of the ancient Egyptian princess, Ananka, and her guardian mummy, Kharis. Discovering that Ananka’s ethereal spirit has been reborn into a new vessel, he seizes a young woman of Egyptian heritage who bears an enigmatic resemblance to the long-lost princess. Yet, in his insatiable greed, the high priest unwittingly unleashes forces beyond his control, setting in motion a series of deadly events that defy the bounds of his control over Kharis.

As Kharis seeks to find and reunite with his love, he embarks on a reign of terror and destruction. Archaeologists and authorities must stop him before he reaches Amina, who is unaware of her past life and the danger she’s in.

The Mummy’s Ghost continues the themes of love, reincarnation, and supernatural vengeance that are characteristic of the Mummy film series. It’s known for its moody and atmospheric portrayal of Egyptian mythology and the tragic fate of its titular character, Kharis.

John Carradine’s performance in The Mummy’s Ghost (1944) is a notable aspect of the film and adds to its charm within the context of Universal Pictures’ Mummy film series. In the movie, Carradine portrays Yousef Bey, an Egyptian priest who is responsible for resurrecting Kharis, the living mummy, in his quest to reunite him with the reincarnated Princess Ananka.

Carradine’s portrayal of Yousef Bey exudes an air of mystery and malevolence and is shrouded in secrecy and driven by an unwavering commitment to his mission, making him a formidable and enigmatic antagonist. His performance contributes to the overall atmosphere of Egyptian mysticism and supernatural intrigue that is characteristic of the series. While “The Mummy’s Ghost” is not as well-known as some other entries in the Universal Mummy franchise, John Carradine’s performance as Yousef Bey remains a noteworthy element, adding to the film’s enduring appeal among fans of classic horror cinema. The film also co-stars George Zucco as the High Priest, Robert Lowery, and Barton MacLane.

Macabre 1958

Macabre is a 1958 American horror film directed by William Castle.

Small-town Dr. Rodney Barrett (William Prince) has been given a gut-wrenching task: he has become ensnared in a sinister vendetta where he must rescue his little girl who has been abducted and buried alive. He must find her before her air runs out. He races against the merciless ticking clock, with mere hours to unearth her before the suffocating darkness claims her life. Producer-Director William Castle extended He provided every attendee with an official certificate, underwritten by Lloyds of London, assuring them of a $1,000 insurance coverage in the unlikely event they died of fright!

William Castle, known for his innovative and gimmicky promotional techniques, added an extra layer of excitement to the release of “Macabre.” He introduced a promotional gimmick called the “Fright Break,” where audience members were provided with certificates of life insurance in case they were to die of fright while watching the movie. Additionally, Castle hired nurses to be present in theaters during screenings to assist any patrons who might be overwhelmed by fear. These marketing tactics were a precursor to Castle’s later, even more elaborate gimmicks used in films like House on Haunted Hill and The Tingler. The film also stars Jim Backus as Police Chief Jim Tyloe, Christine White as Nancy Wetherby Tyloe, Jacqueline Scott as Nurse Polly Baron, Ellen Corby as Miss Kushins, Dorothy Morris, Phillip Tonge, and Susan Morrow.

Mill of the Stone Women 1960

”Trouble began with a woman…”

Mill of the Stone Women alternative title Drops of Blood” The Horrible Mill Women -is a stylish 1960s Gothic Italian Euro-Cult horror film directed by Giorgio Ferroni and based on the Flemish writer’s short story by Pieter Van Weigen. It is quite Hawthornesque – giving a nod to his short story ‘Rappacini’s Daughter’ as well as the 1953 film House of Wax starring Vincent Price and of course the mythos of Ovid’s Pygmalion & Galatea and a bit of a derivative story based on Franju’s Eyes Without a Face that was released that same year, but nearly as poetic. Ferroni imbues the film with a claustrophobic and hallucinogenic tone, with a nostalgia for the above stories.

The opening scene of the Mill underneath a ponderous sky as Scilla Gabel stares – secretly dark and broken -behind the drapery. Carlo Innocenzi’s score bellows an unsettling lament. In 19th century Holland, a professor of fine arts Professor Gregorius Wahl, and the strange rogue surgeon Wolfgang Preiss as Doctor Loren Bohlem (who secretly desires Elfie ) run a secret lab where the professor’s daughter (Scilla Gabel) who suffers from a strange and rare blood disorder, is kept hidden in the house and forbidden to leave the mill as she must receive blood transfusions with the help of Dr. Bohlem and kidnapped female victims who are later transformed into macabre statuary art. A young journalist Hans von Arnim (Pierre Brice) is sent to Holland to write a piece on the famous ‘carousel’ powered by the windmill, its artist, and the Mill’s famous exhibition of waxen women subjected to gruesome torture and death and becomes fascinated by the work of the brilliant yet reclusive sculptor, Professor Gregorius Wahl (Herbert A.E. Böhme) renowned for his lifelike figures of strikingly beautiful women, who are known to be eerily realistic tableaus. Professor Wahl lives on an island in a historic old windmill the locals call the ‘Mill of the Stone Women.

Hans eventually discovers that the professor’s sculptures are created from the preserved bodies of women who have mysteriously died (sacrificed for their blood in order to sustain Elfie ). In some of the horrifying sequences a wide-eyed Gabel leans over a bound and gagged Dany Carrel and Böhme looms over a kidnapped victim about to have her blood drained, her death soon to come, he has a look of righteous madness on his face as the camera frames him from underneathThe young journalist falls under the spell of Wahl’s alluring daughter Elfie (Gabel) though his true love is Liselotte (Dany Carrel). Eventually, Liselotte’s life will become threatened when Wahl seeks to make her his next victim. Wahl is determined to achieve perfection in his art, and he believes that only the bodies of women who must die can provide the ideal subjects to keep Elfie alive and used for his sinister waxworks. The film works on a grotesque level due to its Gothic Guignol of mechanized forms that emerge forcefully through a door – revolving around a stage of expressionist, historical icons whose fates were shocking and violent  – Joan of Arc, Cleopatra, Mary Queen of Scots "“ life-size figurines from a music box meeting the camera as they turn – eerie specters of the victims in a nightmarish procession upon a rotating carousel.

As Hans delves deeper into Wahl and Dr. Bohlem’s (Wolfgang Preiss)  disturbing and ghastly transgressions against the local women of the village who go missing, he becomes increasingly entangled in a web of dark secrets and surreal horrors. There is a  nightmarish sequence where Wahl and Bohlem subject Hans to a potent hallucinogenic that plunges him into a surrealistic realm where the boundaries of reality and fantasy converge.

He is drawn into a nightmarish descent as he uncovers the truth about the mill, the mysterious deaths, and the professor’s obsession with creating his morbidly aesthetic masterpieces. Ultimately the phantasmic figures go up in flames, a close-up spectacle of grotesquery, the melting reflections of Wahl’s work, shown in  Technicolor – for example, Elfie’s glowing scarlet boudoir hinting at the theme of blood and the moment when she is revealed beneath the lid of her glass coffin holding bright yellow roses in contrast to her deathly pale complexion. All thanks to the art direction by Arrigo Equini and cinematography by Pier Ludovico Pavoni who employs a color palate that recalls Pressburger and Powell’s body of work.

Mill of the Stone Women (1960)stars Pierre Brice as Hans von Arnim, Scilla Gabel as Elfy, Wolfgang Preiss as Doctor Loren Bohlem, Dany Carrel as Liselotte, and Herbert A.E. Böhme as Wahl, Olga Solbelli as Selma and Liana Orfel as Annelore.

Mumsy, Nanny, Sonny, and Girly aka Girly 1970

Everyone is dying to meet Girly!

Mumsy, Nanny, Sonny, and Girly 1970'  is a cheeky British horror-comedy, an Impish yet grisly shocker released as Girly outside of the U.K. directed by cinematographer turned director Freddie Francis. Collaborating with writer Brian Comport, this quirky film emerged under the direction of cinematographer-turned-director Freddie Francis. It unfolds within the atmospheric Oakley Court, a location frequently favored by Francis for his film exteriors.

The film’s origins trace back to Maisie Mosco’s two-act play, “Happy Family.” Screenwriter Brian Comport ingeniously adapted this play into a novella titled “Mumsy, Nanny, Sonny, and Girly.”

At a secluded manor house in the remote England countryside,  the eccentric lives of four peculiar characters play a bizarre role-playing pastime called 'The Game.' Here, they immerse themselves in their archetypal personas.

The family members engage in a bizarre and disturbing game in which they “adopt” unsuspecting strangers from the outside world, bringing them into their home and forcing them to participate in their twisted role-playing scenarios. These scenarios start innocently enough but gradually become increasingly dangerous and deranged. Girly seduces unsuspecting men into their eerie world. Once hooked they are they have no choice but to join this unsettling hobby. As the family’s games take a darker turn, tensions rise, and their unsuspecting guests become trapped in a nightmarish world of manipulation and violence.

Girly: Nasty Nanny is no good! Chop her up for fire wood! When she’s dead, boil her head, make it into gingerbread!

Refusal leads to a dreadful death, preserved on film by the camera-wielding Sonny for the family's morbid indulgence. However, a "˜New Friend' their latest captive designs a way to use the internal conflicts of the four captors and begins to drive a wedge between them.

Mumsy: [Girly is visibly upset by the super 8 snuff reel her family is watching] Girly, come back here and watch the lovely film!
[Girly bites her nails and sits back down to watch the snuff reel]

The principle of The Game lies in the complete abandonment of each primary character to shed their true identity and choose a new role. Mumsy (Ursula Howells) domineering and eccentric assumes the role of the mother figure, Pat Heywood becomes Nanny, a strict and authoritarian caregiver, Sonny (Howard Trevor) a rebellious, mentally unstable son, and Vanessa Howard is the enchanting yet dangerous child-like Girly,  the seductive daughter who is the naughty siren luring men to their doom. Amidst the cryptic rules governing this twisted world, one commandment remains constant: “Rule No. 1 – Play the Game!”Things go awry after one fateful night, Girly and Sonny attend a swinging party in London and meet a prostitute (Michael Bryant) who is accompanied by his client (Imogen Hassall) When Girly fancies ‘New Friend’, she and Sonny entice the couple to join them for a wild night of mischief. At a playground, they push the woman off a giant slide and somehow convince the dazed guy that he murdered his paying date in a drunken stupor.

Girly [Girly watches as Sonny and the other man try to get the man’s girlfriend to go down the slide] Go on!… bitch.
New Friend: Yeah, go on!
Girly [Smiling slyly] Cowardy-cowardy-custard
[Sonny nods his head and then grabs the girlfriend’s leg, causing her to trip]
Girlfriend: AHHHH!!!
[the girlfriend falls several feet to the ground below, breaking neck. The man stares down in shock while Sonny and Girly pick up the girlfriend’s veil from her body]
Girly:[In a childish voice] What’d you push her for, Mister?

They succeed in luring the ‘New Friend’ back to the manor, where he undergoes a rebranding of his identity, and forced to assume the appearance of a schoolboy, and is subjected to humiliating ordeals. His past client serves as a haunting reminder of his alleged crime, designed to keep him in his place.

When Mumsy and Girl both desire New Friend, it creates conflict within the family as he sows the seed of jealousy, conflict, and dissension between the women and turns the family against each other. The question lingers: Who will ultimately join the makeshift graves of their former ‘friends’?

Mumsy, Nanny, Sonny, and Girly is a rare British cult classic known for its unique blend of humor and horror, creating an unsettling and satirical commentary on societal norms and the dysfunctionality of family dynamics.

The original poster art for the film was an eerie black and white family portrait of “The Family,” dressed in traditional English attire (six form uniforms for Girly and Sonny, a maid’s outfit for Nanny, and a World War II era dress for Mumsy). Though this iconography would have struck a chord with British viewers, it was deemed that US audiences wouldn’t understand the image. For the US release, the distributor commissioned a poster of an anonymous girl standing in for Vanessa Howard wearing a cutoff skirt and clutching a doll in one hand and a bloody axe in the other.

This is your EverLovin Joey Sayin’ M is for Menace and Mayhem and lots More to come! The letter N is the nightfall where all things go bump in!

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

L

The Leech Woman 1960

Men Were Her Prey For Eternal Youth!

The Leech Woman is a 1960 American sci-fi/horror hybrid film, the tragic parable about the steep spiritual toll extracted in the relentless pursuit of immortality. directed by Edward Dein (Shack Out on 101 (1955) and Curse of the Undead 1959). The film follows the story of a wealthy but aging woman named June Talbot, portrayed by Coleen Gray (Nightmare Alley 1947), who is desperately seeking a way to regain her youth and beauty. Her husband, Dr. Paul Talbot, played by Phillip Terry, is a research scientist who discovers a remote African tribe that practices a ritual involving a special elixir made from the secretions of male pineal glands. This serum has the power to temporarily rejuvenate and transform the person who consumes it.

The film begins with Dr. Paul Talbot and his wife June in the middle of a heated argument.

Dr. Paul Talbot confronting his alcoholic wife June:  “It’s interesting to watch a “bottle baby” defend her weakness. One thing I can say for you, your approach is always different. Today, it’s complete submission. I can’t even get a rise out of you. You know, I think I like you better when you’re sloppy drunk, and violent. That’s the real you, and that’s the one I like, the one that hates me and gives me a chance to hate back.”

Dr Paul Talbot Old women always give me the creeps!

She has been driven to drink herself into a stupor and is now an emotional wreck because of his vicious emotional abuse. An arrogant scientist obsessed with his work in rejuvenation, Talbot encounters the 152-year-old Malla and it changes everything. She and her tribe’s preternaturally driven magic hold the key to everlasting youth. He follows Malla back to the remote part of the African jungle and beholds a mystical ritual that transforms Malla the ancient old woman into a breathtakingly beautiful goddess with just a few drops of fluid extracted from a sacrificed man's pineal gland.

Old Malla You will never escape me, you are the one in my dreams of blood!

Naturally, Talbot wants to steal the secret formula and cunningly tries to get back together with his wife so he can use her as a guinea pig in his experiments with the serum. But June has other ideas about her devious husband. Once her youth is restored she must choose a man to sacrifice in order to keep her perfection going, so who does she choose to sacrifice? Of course, it's her dirty rat of a husband. Furthermore, she must continue to resort to a series of grisly murders, killing male strangers to extract the elixir from their pineal glands.

Grant Williams plays the hero and amorous attorney Neil Foster, Gloria Talbott is Neil’s girlfriend – the pert, pretty, and envious nurse Sally, John Van Dreelan plays the sneaky jungle guide Bertram Garvay, Estelle Hemsley is wonderful as the sage Old Malla, and the stunning but malevolent Kim Hamilton is the youthful Malla.
Universal (then Universal-International) made this low budget horror film because they needed a second feature to play with their U.S. release of the Hammer production – The Brides of Dracula 1960
The interior set of the Talbots’ ranch house living room was also used in the 1958 Universal spookfest- The Thing That Could Die 1958

The Living Skeleton 1968

The Living Skeleton is a Japanese horror film released in 1968, directed by Hiroki Matsuno, and is his sole cinematic endeavor, known for its eerie atmosphere and unsettling themes.

The story revolves around a young woman named Saeko (Kikko Matsuoka), living in a seaside town, as a child, who survived a shipwreck that claimed the lives of her parents. Now haunted by the unearthly phantoms of a ship’s crew murdered by modern-day pirates. Saeko is bedeviled by the traumatic memories of that night and the loss of her sister Yoriko, who went missing during the same incident.

As Saeko grows older, she becomes involved in a series of mysterious and gruesome murders along the coastline. These murders are connected to a group of pirates who have been using a ghost ship to lure victims to their deaths.

As Saeko delves deeper into the mystery, she uncovers disturbing secrets about her sister’s fate, the true identity of the pirates, and the supernatural forces at play.

The Living Skeleton is celebrated for its atmospheric black-and-white cinematography (Masayuki Katŏ), eerie soundtrack, and its ability to create a sense of dread and unease. It is considered a cult classic of Japanese horror cinema and is known for its unique and unsettling storytelling.

The Living Skeleton (1968) is a haunting mediation on vengeance and grief that is deeply steeped in the darkly poetic style of American noir of the 1940s. It stands as a lesser-known classic, made all the more intriguing by the fact that Notably, screenwriter Kyuzo Kobayashi, who also penned “Goke, Bodysnatcher from Hell,” brings a unique blend of social commentary and jarring storytelling.

The film features eerie underwater sequences creating a surreal and otherworldly mood. It can be described as a ghost ship movie with a Japanese title that, when literally translated, resembles something along the lines of “Bloodsucking Skeleton Ship” or “Bloodsucking Pirates.”

 

The Legacy 1978

Read my Katherine Ross tribute Here: The Women of The Alfred Hitchcock Hour

The Legacy is a 1978 British-American horror film directed by Richard Marquand with a screenplay co-written by Jimmy Sangster and starring Katherine Ross alongside her real-life husband Sam Elliott. The film follows the story of a successful American fashion model named Margaret Walsh, portrayed by Katherine Ross, and her boyfriend, Pete Danner, played by Sam Elliott.

Margaret and Pete are invited to an English country estate for a weekend getaway. However, upon their arrival, they discover that the mansion’s eccentric owner, Jason Mountolive (John Standing), has passed away, and they are unexpectedly drawn into a sinister and supernatural inheritance ritual. The inheritance involves a group of wealthy and influential individuals, each with unique abilities, who must compete for the right to claim Jason’s vast fortune and power.

As Margaret and Pete become embroiled in the strange, bizarre, and deadly events at the estate, they must navigate a web of dark secrets, occult rituals, and supernatural forces.

Long Weekend 1978

Long Weekend is a 1978 Australian horror film directed by Colin Eggleston is a cautionary tale. At the root of the story is a troubled couple, Peter (John Hargreaves) and Marcia (Briony Behets), who decide to take a camping trip in a remote and picturesque coastal wilderness for a long weekend to try and salvage their deteriorating relationship. However, as they embark on their journey, they exhibit a lack of respect for nature and the environment, acting reckless and indifferent – littering and animal cruelty.

As the couple’s disrespect for nature continues, the wilderness seems to retaliate in eerie and inexplicable ways. They encounter a series of increasingly bizarre and terrifying events, including strange animal behavior, unexplained sounds, and unsettling visions. It becomes apparent that the very forces of nature are conspiring against them.

The Lost Boys 1987

Because of its slick, stylish, and tongue-in-cheek black comedy due to Schumacher’s direction, Tom Duffield’s production design (Ed Wood 1994), and Michael Chapman’s cinematography (Taxi Driver 1976, Raging Bull 1980) The Lost Boys is so very worthy of a Saturday Nite Sublime treatment. Stay tuned for a full commentary on the film here at The Last Drive In!

The Lost Boys is a 1987 American horror-dark comedy film directed by Joel Schumacher. (St. Elmo’s Fire 1985, Flatliners 1990).

Following a challenging divorce, a mother Lucy Emerson (the marvelous Diane Wiest) relocates her teenage sons Michael (Jason Patric) and Sam (Cory Haim) to the fictional coastal town of Santa Carla, California, where they will reside with their taxidermist grandfather played by the always engaging Barnard Hughes. However, Santa Carla bears the unsettling reputation of being the “Murder Capital of the World,” with unexplained disappearances plaguing the town. When the elder brother, Michael becomes entangled with a rebellious and charismatic band of outsiders led by David (Kiefer Sutherland), it falls upon his younger brother, Sam (Corey Haim), to rescue him from the clutches of a dangerous gang of motorcycle vampires, after he becomes seduced to join the undead and the object of his desire, Star (Jamie Gertz) The vampires are:  Kiefer Sutherland, Jamie Gertz, Billy Wirth and Alex Winter. The film also co-stars Edward Herrmann as Max and Corey Feldman as Edgar Frog.

With the help of the brothers Frong (Corey Felman and Jamison Newlander), they uncover the truth about the town’s vampire infestation and go on the hilarious yet deadly serious mission to save his brother from the clutches of the badass undead and save their family.

The Lost Boys is known for its 1980s nostalgia, memorable soundtrack by Thomas Newman, and the mesmerizing performances of its cast. It has become a cult classic in the horror genre, known for its blend of vampire lore and teen rebellion, making it a beloved and enduring film.

This is your EverLovin’ Joey Sayin’ See ya ‘L’ater when I bring you the macabre letter M!