L'ORRIBLE SEGRETO DEL DR.HICHCOCK/The Terror of Dr.Hichcock (1962)

The first time I saw this film was on a dreadful VHS copy that was so badly cut that it was quite incoherent. I really wondered if it deserved its reputation as one of the best Italian horror films of the 1960s. To see a good DVD copy of what, by the title, I take to be the English release print leads me to say that it certainly deserves its reputation. Italian Gothic often look good and Riccardo Freda's film is no exception but it is also very well directed and Freda seems much more capable of telling a story than some of his contemporaries. Freda's directions gives us one of Barbara Steele's best performances and she looks gorgeous with those amazing eyes highlighted by lashes that must be at least an inch long. Of course, much of the film's reputation also rests on its somewhat perverse subject. Dr.Hichcock likes his females dead and cold and his wife is happy to indulge his little sexual peculiarities by allowing herself to be injected with an experimental anaesthetic which renders her corpse like before sex. Hichcock, seeking something more closely resembling a corpse, accidentally overdoses and she seemingly dies. Twelve years pass and the Doc is back with his new bride (Miss Steele) who soon starts hearing strange noises and seeing ghostly figures in the garden...and does the sinister housekeeper really have her mad sister locked up ? Freda gives his subject the full Gothic treatment with billowing curtains, screams in the night, black cats, thunder and rain, lightning flashes and a superior score by Roman Vlad. Not least of the film's plus points is the performance by English actor Robert Flemyng as Dr.Hichcock - just melodramatic enough for the subject but subtle enough to make the character more rounded and believable that the average mad doctor. He conveys Hichcock's mounting sexual frustration (at one point he attempts to have sex with a corpse in the hospital but is interrupted) at not being able to indulge his necrophila quite superbly. This is obviously a much better vehicle for his talents than the dire THE BLOODBEAST TERROR where he took on the role at the last minute to replace Basil Rathbone. All in all Freda's film is an excellent, even outstanding, example of the Italian horror film. Rating ****

THE TWO FACES OF DR.JEKYLL (1961)

Oh dear, what a mess! A decidedly lack-lustre and misconceived version of the classic tale. The script by Wolf Mankowitz is no great shakes to start with and Terence Fisher's direction does nothing to help. It's pretty hard to ring the changes on Stevenson's novella and the best versions have been those which were more or less content to tell the story straight. Of course, we find ourselves with a Hammer production without a monster which is always bad news and although Christopher Lee plays his supporting role well enough the central performance by Paul Massie is really not up to scratch as either dull Jekyll or his other half. The depiction of the supposedly depraved London night life is laughable. There are some interesting faces from the Hammer call sheet including a young Oliver Reed and Francis DeWolff - and the legendary Denis Shaw as a mugger. Denis was one of the great Soho characters of the 1960s and fondly remembered by all who knew him (including yours truly) except for the many pub landlords who barred him from their establishments. Poor David Kossoff looks like he'd rather be somewhere else. Rating *

100 TOP HORROR MOVIES OF THE 70's

Here's a bit of fun if you have a hankering after the horror films of the 1970's. The reviews are short but are linked to longer reviews elsewhere - their piece on Vincent Price's MADHOUSE links to my review in the Fleapit. Thanks to Nicole for sending this to me.

http://www.eeriebooks.com/blog/horror-movies/70s-horror-movies-100-top-horror-movies-from-the-1970s/

IDENTITY (2003)

James Mangold is one of the newer Hollywood directors who hovers on the edge of my consciousness with a little flashing light over his head that says "interesting" without his films ever being 100 % satsfying. So it is with IDENTITY which was released in 2003 to, generally, good reviews which lumped it in with the slasher genre but praised it for being superior. There is actually much more going on here. The film has a sort of framing story featuring Alfred Molina as a psychiatrist which gives the film a cute psychological back story that I found both intrusive and as unnecessary as the much criticised epilogue to the 1956 THE BAD SEED. If it works for you that is fine but I was having too much fun with the main section of the film and was quiite happy to take it at face value. A stormy, rain swept night and ten travellers, for various reasons, find themselves marooned at an out of the way motel complex. Attempts to get help soon lead to the discovery that the bridge is out, the road has been washed away and the phones are all down...and there is a homicidal maniac on the loose. No folks, we are not back in a 1930's old dark house thriller but that is the name of the game. One by one the motel guests are being sliced and diced. Red herrings and clues abound and at one point somebody actually utters the classic line (raising a cheer from me) of "Look, we'll just all stay together" which has been ignored by professional victims for decades. There's a head in the tumble drier and you have to go and look for something in your room, on your own, yeah, sure you do. Without ever quite spoofing the genre, Mangold, plays all the cliches and openly lets us know that he knows that we know by pointedly invoking references to THE OLD DARK HOUSE, PSYCHO, HALLOWEEN and, of course, Agatha Christie's TEN LITTLE INDIANS. The revelation of the killer is totally unbelievable but excused by that damed framing plot....but, you know what ? I'd have been just as happy to laugh it all off without the pychological mumbo jumbo. After all if I believe that my lawn can kill me when Night Shyamalan tells me, I'm game fopr almost anything. A superior cast led by Ray Liotta, John Cusack, Amanda Peet, Jake Busey and Rebecca De Mornay play without a hint of send up. Have fun. Rating ***

MADHOUSE (1974)

MADHOUSE is one of those films that you just know isn't very good but you can find lots of perfectly good reasons for enjoying it. It easy to cite Vincent Price and Peter Cushing as valid pluses but for me the film holds lots of good memories as I was lucky enough to be invited to Twickenham Studios by Vincent Price to watch the filming. When I got the invitation I don't think anybody knew that it was going to be such an unhappy set. Vincent's marriage was in tatters due to his relationship with actress Coral Browne, he was unhappy with his co-star Robert Quarry and with the script which was being constantly rewritten by producer Milton Subotsky (I actually witnessed two arguments with Subotsky - a real stand up shouting one between him and actress Adrienne Corri and a more measured but nonetheless angry confrontation between Subotsky and Vincent. Into this bubbling cauldron of miscontent you can also drop the perceived incompetence of director Jim Clark (a talented and highly respected film editor). Adrienne Corri and several other members of the supporting cast were quite vocal in their assessment of Clark's abilities. Of course, to witness such chaos was quite interesting and probably actually enhanced my visit to the studio. Vincent was his usual charming self despite, for obvious reasons, being rather pre-occupied. Robert Quarry was very pleasant and amused by my greeting "It's good to see Count Yorga lives!" and actress Linda Hayden was happy to chat about her career in horoor films and how thrilled she was to work with Vincent. Sadly, Peter Cushing was not working during my visit. The film may not be a masterpiece but if you are Price or/and a Cushing fan there is plenty to enjoy. Jim Clark never directed again and went back to his distinguished career as an editor. Rating **

CHEMICAL WEDDING (2008)

This is a real weird one. Black magician Aleister Crowley has been somewhat ignored by the cinema. Kenneth Anger did his bit with LUCIFER RISING, a couple of lo,w budget efforts and, of course, lots of hints in the films of Crowley's godson Donald Cammell and that is about the sum of it. Back in the 70's AIP were considering a full blown film on Crowley starring Telly Savalas, but it never materialised and Crowley, once dubbed "the wickedest man in England" has continued to elude film makers. CHEMICAL WEDDING doesn't really make up for this lack of cinematic attention but it tries hard and is, I feel, partially, successful. After watching the movie I actually spent most of the night dreaming about Crowley in dreams that were interspersed with scenes from PERFORMANCE, DEMON SEED and HAXAN as well as images from Rex Ingram's THE MAGICIAN (1926) which was based on the novel of the same title by Somerset Maugham which in turn was inspired by Crowley. CHEMICAL WEDDING is a thriller based on and idea by Bruce Dickerson (singer with Iron Maiden) in which a group of scientists at an English university accidently reincarnate Crowley in the more than willing body of eccentric professor Oliver Haddo (also the name of the Crowley figure in Maugham's book) played by Simon Callow. In reality Crowley was a pretty disgusting old bastard and the film certainly doesn't ignore this facet of his personality...at one point Callow unzips his pants and pees over the class he is lecturing! Good as Callow is and as enjoyable as the film is (I applaud any film that doesn't immeadiatly bring to mind half a dozen similar films) it left me wishing that somebody actually attempted a serious film about the "beast" Crowley - and this is more than endorsed by the openinging sequence of the film where two students go to visit the ageing magician in Hastings in 1947 with actor John Shrapnel giving a very convincing performance as Crowley. Direction by Julian Doyle. A most welcome oddity. Rating ***

THE NIGHT HAS EYES/Terror House (1942)

Directed by Leslie Arliss and written by John Argyle, both stalwarts of British cinema of the 3os and 40s, this is a rather neat old dark house thriller set on the Yorkshire moors. Two young female teachers go to visit a remote area in the north of England where a colleague had previously disappeared. They discover an isolated house on the edge of a mire where shell-shocked Spanish Civil War veteran and composer James Mason comes over all mean and moody (not to mention homicidal) at the time of the full moon. Lots of mist and a couple of servants who might not be quite what they seem. It succeeds where other films of this genre fail not because it is particularly scarey but because it actually has a story that holds the interest. Mason's performance is good and set the mould very much for the rest of his 1940's roles. Nothing special but if you really can't resist another old dark house film (I'm sucker for them) you could do worse than this. Rating **

HISTOIRES EXTRAORDINAIRES /Spirits of the Dead(1968)

I think that American International made a half-hearted attempt to sell this as part of their Edgar Allan Poe series but this French production is a very different kettle of fish. Three stories by Poe adapted by famous European directors with big name stars sounds like a sure fire recipe for a superior horror movie. The first episode is directed by Roger Vadim and is based on the tale "Metzegerstein" and stars brother and sister Peter and Jane Fonda. The biggest problem, as you might expect comes from Roger Vadim's usual non-direction but close behind comes the total impossibility of convincing anybody that Jane Fonda is some perverted Countess Bathory wanabe who is forever indulging in salacious orgies and such like - Fonda just looks so sweet and American and innocent even when clad in outrageous and revealing costumes and the dissolute orgies laughable. The second story is "William Wilson" Poe's doppelganger story which stars Alain Delon (who would return to the theme with much better results in Joseph Losey's MR. KLEIN) and is directed by Louis Malle, seemingly without any enthusiasm. Brigitte Bardot also appears but does little to raise the general blandness of the segment. The final and longest story is "Toby Dammit" based (supposedly) on Poe's "Never Bet the Devil your Head" directed by Federico Fellini. Now I'll happily shout from the rooftops that virtually everything that Fellini has done since I VITTELONI leaves me cold. But here he wins hands down. Not because I think his segment is particularly good but simply because the other two are so bland and uninteresting. Terence Stamp plays a wrecked drug addled actor at Cine-Citta who has a more than close encounter with the Devil in the shape of a small child bouncing a ball - an image that Fellini lifted from Mario Bava's OPERAZIONE PAURA made two years previously. At least Fellini steals from the best. Rating **

THE GORILLA (1939)

Another Old Dark House thriller with a cliched plot and a gorilla on the loose. The plots of these films weren't even interchangeable - they were the same. If it wasn't a The Gorilla, it was The Bat or the Octopus, or The Cat. This is actually a pretty enjoyable example of the sub-genre. It stars The Ritz Brothers and features Patsy Kelly and nobody is going to sleep through the amount of noise that quartet can generate. Direction is by veteran film pioneer Allan Dwan who certainly knows how to keep things going at a fast pace - thunder, corpses, red herrings galore, secret panels, clutching hands and, perhaps best of all there is Lionel Atwill looking like he's having great fun and Bela Lugosi who looks like he's highly amused by the silly proceedings. It's hard not to like it. Rating **

THE MONSTER WALKS (1932)

Another tiresome example of an old dark house mystery that doesn't seem to have come to terms with the advent of sound. Even at a mere 63 minutes it is tortuously slow with the actors speaking slowly in deliberately sonorous voices and lots of pregnant pauses, even when they seem to have no dramatic purpose. Frank Strayer (who the following year would direct the far superior THE VAMPIRE BAT) directs as though he is asleep and faces with such material who can blame him. Mischa Auer tries to inject some sinister colour into his character but the chimp looks very unhappy and stressed. Rating *

THE PIT AND THE PENDULUM (1991)

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  I was three quarters of the way through Stuart Gordon's straight to video version of THE PIT AND THE PENDULUM and had decided to consign it to the movie wastebin. It's a pretty nasty and voyeristic piece of torture exploitation which is badly acted by everybody except Lance Henriksen, who seems so convincing that psychiatric help seems more needed than praise. No hint of send up from Henriksen! The sets are cheap and the costumes are obviously leftovers from some bigger if not more worthy project. Then the film gets to the sequence from which it takes its title, the pit and the pendulum, and I have to admit that things become a bit more imaginative and actually have something of the atmosphere of Edgar Allan Poe, and this is followed by ten minutes of footage that really delivers a phantasmagoria almost worth of Matthew Lewis's novel "The Monk" although, sadly the the director blows the whole thing with the final syrupy ending. A shame, because it almost redeemed itself. Go watch Roger Corman's version again. Rating *
  

  
  

The Return of Larry Talbot......

I really don't know how I feel about next year's THE WOLF MAN which as you might expect is a remake of the classic 1941 film starring Lon Chaney. I welcome a return to real period set gothic horror movies but....well, I don't think any fan has quite recovered from the debacle that was VAN HELSING and the disappointment of THE MUMMY (to be fair I quite enjoyed the latter but I'd like to have seen old Im-ho-tep given a more traditional resurrection) At the moment the signs look good. It really is about Larry Talbot (Benicio Del Toro) and it features the gypsy Maleva (Geraldine Chaplin) and Sir John Talbot (Anthony Hopkins) etc. and the director is Joe JOHNSTON who helmed the charming retro sci-fi film THE ROCKETEER. The stills look encouraging. Well we can only hope....

I VAMPIRI/The Devil's Commandment/Lust of the Vampire (1956)

I think it is worth saying a bit about Italian popular cinema. The Italians have never really been that good at creating genres - with the exception of the peplum movies which started with the silent Maciste films and continued with the films featuring Hercules and countless other muscle bound heroes during the late Fifties and early Sixties - but they sure are good at imitation and they weren't slow to jump aboard the Fifties horror revival, the post-Bond spy craze and the Westerns. The directors of this films are for the most part forgettable but certain stars did arise and autuerist critics and fans were right to champion the works of directors like Mario Bava, Riccardo Freda, Antonio Margheriti, Sergio Leone, Vittorio Cottafavi, Sergio Corbucci and later Dario Argento and Lucio Fulci. I think the case has pretty well been made for Bava, Argento and, above all Sergio Leone. The others remain, for me, interesting. Most have made some really good films (I am particularly fond of some of Corbucci's westerns) but more often than not they are praised for having managed to make crap look palatable. A cult seems to form around any director who specialises in horror films, especially if they are gory. Fulci is one such director. Despite the adoration he received from his fans he blatantly lacked the ability to tell a coherent story. I also find Riccardo Freda problematic. His reputation seems to have started with THE TERROR OF DR.HICHCOK, which starred Barbara Steele, has always seemed wildly over-rated to me. I think that the film's admirers are really getting their rocks off on Miss Steele and the necrophiliac plot rather that the quality of the film. I don't think that the film even looks that good - certainly not as good as its semi-sequel THE SPECTRE which is usually regarded as inferior. Which brings us to I VAMPIRI which is credited to Freda although it was completed by Mario Bava. It is a historically important film as it was the first Italian horror film of the sound era and one that encompassed elements of Italian giallo and gothic cinema. It is an interesting film but for the most part not really a very good one. The plot concerns the murder of young girls to provide blood for a noble woman (played by Gianna Maria Canale) who lives in a huge gothic castle on the outskirts of Paris (???) and, my goodness, is it wordy. Talk, talk, talk, with endless scenes where guys in raincoats stand around talking. Only in the last real does the film really come alive as the gendarmes led by the reporter hero (why is this man in such a bad temper all the time?) search the castle. The final unmasking of the vampire is similar to the climax of Hammer's later COUNTESS DRACULA. What makes these scenes come to life is a combination of the impressive sets (obviously a left-over from some historical epic) and Bava's excellent camerawork which fully exploits the gothic atmosphere. Rating **

EL MUNDO DE LOS VAMPIROS/The World of the Vampires (1961)

Guillermo Murray plays the Dracula like vampire in this Mexican horror movie. He's out for revenge against the family of the man who made him one of the undead. Unfortunately for him he is saddled with what is probably the worst set of fangs I've ever seen. They don't just look like they came out of a cornflake box, the look like they were cut from the cardboard of a cornflake box. It's all very unconvincing and strangely undramatic (the vampires can be killed by a musical note!) and doesn't have the saving grace of being very funny. Directed by Alonso Corona Blake Rating *

VOODOO MAN (1944)

One approaches each low-budget horror film of the 30's and 40's with expectations not much higher than Shirley Temple's socks but we keep going back for more because, just sometimes, you find a winner. Isn't serendipity often defined as "Many a gem found in a dustbin". Well, I won't go as far as calling VOODOO MAN a gem but it is a pleasant surprise and is easily the best of the nine films that Bela Lugosi (may he rest in peace) made at Monogram. William Beaudine was never a very inspired director but, then, he wasn't paid to be. His job was to film what he was given and most of what he was given was junk. Here he has an above average script (above average for Monogram, that is) by Robert Charles and some actors who know how to deliver a line convincingly (and with a straight face when needed). The wacky plot has Bela (in good form) as Dr. Marlowe who has spent over twenty years trying to revive his beautiful dead wife with the aid of the local garage owner and voodoo priest (do these jobs usually go together?) played by our old friend George Zucco (nice tank top, George) and a deviant idiot played by John Carradine (to think I drank coffee with this guy!) and a bevy of pretty zombies, the result of Bela's failed experiments. The voodoo ceremonies are an absolute hoot with Bela intoning ominously and George frantically uttering gibberish incantations to his voodoo god while good ole' John Carradine beats out dat rhythm on a drum (needs a little work on the rhythm, John). The film moves at a fast pace and ends when the Hollywood scriptwriter hero delivers a script called VOODOO MAN to the head of his studio and suggests that they get Bela Lugosi to play the lead. "It's right up his street!" Indeed it is, indeed it is. Rating ***

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Tariq writes : I must read more slowly, for an awful moment there I thought you said "Shirley Temple sucks".

THE THREE WEIRD SISTERS (1948)

Until now I'd only met one person who had actually seen this film. I remember an old girlfriend mentioning it but that was the extent of my knowledge. It is very much a forgotten film in England despite Dylan Thomas contributing to the screenplay. Daniel Birt is a director whose name seems to have vanished from memory along with his films (he ended his days directing Richard Greene ROBIN HOOD episodes) and his handling of this film shows why. It lacks pace and any directorial subtleties. But despite that THE THREE WEIRD SISTERS is an extremely interesting film. Three elderly infirm sisters living in a huge Gothic pile in a Welsh mining village connive to kill their younger half-brother, a successful business man, to gain the family fortune. What immediately strikes an odd note is that the motive of the sisters seems to be entirely altruistic in that they feel responsible for the collapse of a row of cottages (they owned the mines under the cottages that caused the disaster) and want to rebuild them. Their brother seems to be a boorish capitalist. But, as the story progresses our sympathies slowly switch. The scene where the brother played by Raymond Lovell confesses to his insecurities and inability to stand up to his sisters is really quite moving. The film is obviously socially concerned - the old ladies symbolise the old order while their brother is the new money that they need but look down on (he has been made to feel inferior as his mother was the cook). The family house is as cracked and rotting as the sisters and finally falls apart a la the House of Usher. Mary Price is in turn sympathetic, sinister and finally murderous as the elder, blind, sister and Mary Clare and Mary Merrall complete the trio. Nova Pilbeam (whose last released film this was had previously appeared in two early Hitchcock's and had been Selznick's first choice to play REBECCA) is excellent as Lovell's loyal and feisty secretary. Anthony Hulme plays the local doctor who slowly realises the truth about the sisters (Hulme's character is called David Davies while the local policeman is played by Welsh actor David Davies) and the ever excellent Hugh Griffiths plays the local socialist worker who acts as a sort of Welsh chorus and the scene where he lectures a group of bemused Welsh Terriers in socialist philosophy seems likely to have part of Dylan Thomas's contribution to the script as does his earlier scene when Lovell first arrives in the village. It is an odd film for sure - part horror film, part social commentary. It doesn't quite work but you have to give it credit for trying. Rating ***

MURDER BY THE CLOCK (1932)

This was a nice surpise. MURDER BY THE CLOCK is a murder mystery with a good dose of horror trappings and both elements happily gel together under the guidance of British director Edward Sloman. It's got good photography and some atmospheric sets. Performances are a little stilted in the way that early talkie performances tend to be but in a strange way this seems to add to the fun. William Boyd (this is not Hopalong Cassidy but William "Stage" Boyd) is very good as the hard-boiled detective and Irving Pichel is great fun as "Philip" the moronic son of the house who likes to kill things with his hands (watch for the funny scene where he is just about to throttle an unsuspecting relative and has to be quietly led from the room by the housekeeper) and I particularly enjoyed Lilyan Tashman as the femme fatale to beat all femme fatales. Not since Lady MacBeth has there been a manipulative bitch to match this character; this gal could give Brigid Shaughnessy a run for her money. The plot which involves cemetries, secret passages, burial alive, mad stranglers etc is actually quite inventive and is not saddled with an annoying juvenile heroine and love interest (Regis Toomey's annoying "oirish" cop comedy relief's wooing of the maid is thankfully kept to the bare minimum). A real find. Rating ***

Irving Pichel plays peek-a-boo

NIGHT MONSTER (1941)

Forde Beebe's NIGHT MONSTER is, for my money, a rather routine old dark house horror movie from Universal. It has all the right elements but they never really come together and Ford Beebe never really gives it the pace that he used to mgive to his serials. It isn't that Beebe is a bad director - he's a workman like most of the directors of this sort of fare and there is no denying that the individual suspense/horror scenes are well handled but the bits in-between tend to drag. There is a more than competent cast which includes both Bela Lugosi and Lionel Atwill (neither of whom are really given anything to do), Nils Asther, Leif Erikson, Frank Reicher and Don Porter. The female lineup is particularly strong with Irene Harvey, Fay Helm, Doris Lloyd and, best of all, perky little Janet Shaw, who disapears far to early from the proceedings. Rating **

RETURN OF THE VAMPIRE (1943)

One of a pair of Low-budget B-movies made by Columbia in 1943 (the other being CRY OF THE WEREWOLF) this film has always been a bit of a favourite of mine when I'm in one of my less demanding moods. Of course, it stars Bela Lugosi, which is a plus for any horror film, as a vampire named Armand Tesla (didn't David Bowie play his brother Nikola in the recent THE PRESTIGE?) who is Dracula in all but name. Another plus is a nice werewolf played by Matt Willis who is a sort of low-rent Lon Chaney Jr. The hapless victim is Nina Foch (who was the werewolf in CRY OF THE WEREWOLF) and the disbelieving Scotland Yard detective is the ever reliable Miles Mander. All in all it's a nice little programmer with good sets and some atmospheric photography. It's directed by Lew Landers (who had helmed the 1935 THE RAVEN at Universal) based on a story by Kurt Nuemann who would later go on to direct THE FLY. Rating ***

CHANDU THE MAGICIAN (1932)

Discovery is one of the great pleasures of being a film buff, especially if it is not anticipated. A couple of years back I bought a box-set of Lugosi movies and included in this set was THE RETURN OF CHANDU starring Bela Lugosi. The film was pretty routine serial stuff whose only distinction was it starred Bela Lugosi and no film with Lugosi in it is ever a total loss. So, when I heard that the recent box-set of 20th Century Fox horror films included the earlier CHANDU THE MAGICIAN I didn't get that excited. I was very tired the first time I tried to watch it and fell asleep during the first few minutes of the film so it was with a heavy heart that I settled down to watch it again. Wow! was I wrong? CHANDU THE MAGICIAN is a real gem. It is a precurser of such films as the RAIDERS OF THE LOST ARK and Universal's recent remake of THE MUMMY. Unlike its sequel were Lugosi played the hero Chandu, this time around Bela is much more at home as Roxor, a super villain bent on world domination by means of a death ray.

Further more this is prime Lugosi - he's lean and mean, looks sensational and delivers each line with blood curdling relish. Edmund Lowe is a likeable but totally uncharismatic actor who really doesn't stand a chance playing the hero against Lugosi's scenery chewing villainy. The action comes fast and furious and is imaginatively staged by that genius William Cameron Menzies (the dialogue scenes are mainly the work of French director Marcel Varnel) who also designed the movie and supervised the wonderful model work (watch for the amazing tracking shot through a model tomb - I still can't figure how it was done!) which is photographed by the great James Wong Howe. CHANDU THE MAGICIAN is superb and comes with a good commentary, a really informative documentary and, for once, an exceptionally good stills gallery. Rating ****