FEAR NO EVIL (1969)

This well made, atmospheric horror film was originally produced as a pilot for a proposed television series to be called BEDEVILED, starring Louis Jourdan as Dr. David Sorrell, a psychologist and expert on the occult. When the series wasn't picked up, the movie was eventually broadcast as an ABC Movie of the Week in 1969. It was made at Universal Studios. A second pilot, RITUAL OF EVIL, also starring Jourdan, was broadcast in 1970. Wilfrid Hyde-White co-starred in both episodes and was to be Jourdan's co-star in the proposed series.

The story has Dr. Sorrell trying to help a young woman (Lynda Day) whose fiance (Bradford Dilllman) has died tragically in an automobile accident. She has been seeing an image of her fiance in an antique mirror that he mysteriously purchased a few nights before his death. Dr. Sorrell begins to suspect the man was a victim of demonic possession. His investigation leads him to a secretive organization of occult believers who experiment with the conjuring of demons.

There were quite a few made-for-TV movies from the late 1960's and into the 1970's that had horror related themes, and this is one of the best. The idea of a mirror reflecting an alternate evil reality was used very effectively in the 1945 English classic DEAD OF NIGHT. FEAR NO EVIL expands upon that idea very well. Director Paul Wendkos creates an atmosphere of tension and dread with a combination of dark sets and an appropriately creepy music score. The story is intriguing and well acted by the cast, which also includes Carroll O'Conner, Marsh Hunt, and Katherine Woodville.

I remember seeing this movie when it was first shown in 1969 and I found it to be very impressive. Since it was a TV movie, and considering the era in which it was made, the violence is minimal and the sexual content was suggestive rather than explicit. Even with those restrictions the movie packs quite a punch with its dark ambience and supernatural theme. It's no wonder that so many people in my generation ended up losing our minds after watching stuff like this in our living rooms every Sunday night. But I'm not complaining.

FEAR NO EVIL and RITUAL OF EVIL were finally given a 2K restoration treatment and released on a double bill by Kino-Lorber in 2020. This was excellent news for those of us who loved one or both of these films. For years, the only prints available were DVD-Rs with poor imagery. The new Blu-ray versions are beautiful. Extra features include two audio commentaries by film historian/screenwriter Gary Gerani, an image gallery, trailers, and newly commissioned artwork by Vince Evans. Also with optional English subtitles.

THE CAPE CANAVERAL MONSTERS (1960)

This obscure sci-fi flick was directed by Phil Tucker of ROBOT MONSTER (1953) fame and released directly to television. The plot involves two extraterrestrials who are sent to Earth to disrupt the space program at Cape Canaveral and prepare the way for an invasion force. Hiding out in a secret laboratory in the mountains, they also plan to capture Earthlings, primarily women, to transport back to their planet. At the beginning of the film, the two aliens, Hauran and Nadja, appear as small circles of light. They need human bodies to perform their dastardly deeds. When they find a man and woman (Jason Johnson and Katherine Victor) on a beach who seem to fit their needs, the aliens arrange a car crash that kills the two humans. They then take possession of their dead bodies and begin walking around like zombies. The crash causes one of the man's arms to be severed. The enterprising female alien picks it up and calmly asserts, "I'll sew it back on in the laboratory". Such a profound demonstration of problem solving skills should bode well for their planned takover of the Earth. The rest of the story involves scientists from Cape Canaveral joining forces with local law enforcement in order to defeat the aliens and keep the Earth safe for truth, justice, and low budget film production.

Speaking of low budgets, this 68 minute gem must have cost considerably less than Mr. Tucker's beloved classic ROBOT MONSTER, if that's possible. The special effects are few and not very special, and the cast appears to consist of mostly amateurs. Except, of course, for Miss Victor, who starred in some other sci-fi flicks of the period (TEENAGE ZOMBIES (1959), WILD WORLD OF BATWOMAN (1966). She manages to inject some dark intensity into her portrayal of Nadja.

The film was shot mostly in Griffith Park in Los Angeles, using the same caves where Tucker filmed ROBOT MONSTER. That explains why mountains are seen near Cape Canaveral, Florida.

Worth seeing for anyone interested in Grade Z sci-fi and horror. I plan to watch this one again and again. But be forewarned. There are no monsters in the picture. Only a couple of space zombies who look just like Jason Johnson and Katherine Victor.

BUREAU OF MISSING PERSONS (1933)

When legendary actress Bette Davis began her career at Warner Brothers in 1932, it was in a prestigious picture called THE MAN WHO PLAYED GOD, starring the esteemed actor George Arliss, who had chosen Miss Davis personally for the film. She made such a positive impression that the studio put her under contract. For the next few years she worked tirelessly, learning her craft and becoming well known by the movie going public. She made eight pictures in 1932, five in 1933, five in 1934, etc. Some of them were A pictures, such as THE RICH ARE ALWAYS WITH US and SO BIG. But just as often she was cast in B pictures that were quickly made on low budgets. She hated these programmers and fought constantly for better roles in better films, but as a contract player she had to do as she was told or go on suspension without pay.

Miss Davis finally got the chance to prove herself as a great actress when she was loaned out to RKO to star in OF HUMAN BONDAGE in 1934. And she won her first Oscar for Best Actress in DANGEROUS (1935). Despite these accomplishments, Warners continued to cast her in the occasional B picture. In frustration, the actress walked away from her studio contract in 1936 and signed with another producer. Warners sued her for breach of contract. She counter sued in an attempt to be free of Warners, but she lost the case. Nevertheless, she managed to get the studio's attention and win their respect. She began working in the better films she had longed for. From 1937 until the late 1940's she was the most important actress at the studio, winning another Oscar and gaining five more nominations along the way.

While Miss Davis may have hated those B pictures, this hardcore fanboy loves them. They give me a chance to see this dynamic actress when she was young and hungry for success. In those films she was stylish and fast talking, holding her own with the other talented contract players from the Warners stable, as well as the bigger stars like James Cagney, Edgar G. Robinson, Pat O'Brien, and Warren William. She played secretaries, business women, murderesses, and clothes designers. And she did the occasional mad scene as well. Whatever kind of role she was given, she was always terrific.

One such B picture is BUREAU OF MISSING PERSONS, a 75 minute gem with Davis top-billed over Lewis Stone, Pat O'Brien, Glenda Farrell, and well known character actors like Ruth Donnelly, Allen Jenkins, and Hugh Herbert. The film, directed by Roy Del Ruth, is about as straightforward as it gets. Lewis Stone is the manager of the bureau and Pat O'Brien is the brash ex-cop who has to learn not to manhandle his clients. He gets involved with Norma Williams (Davis), who comes in looking for her missing husband. The plot thickens very quickly as Norma is revealed to be a suspected murderess who escaped from the police. To complicate matters, O'Briens's character falls in love with her. Unfortunately, not only does she have a husband, albeit missing, but he has a wife, played by Glenda Farrell, one of the best and brightest of the Warner Bros. roster of tough, gorgeous dames.

The story is far from profound, but the talent of these wonderful actors makes the whole thing believable and great fun from beginning to end. Davis and O'Brien had worked together the previous year in another programmer, a really good one, called HELL'S HOUSE, and they have lots of chemistry between them. If you're a fan of Old Hollywood and that magical ambience so peculiar to Warner Brothers films in the 1930,s, you may want to pay a visit to the BUREAU OF MISSING PERSONS to see that up and coming new personality, Bette Davis, and a host of other cinematic friends from that wonderful era. Not a bad way to enjoy 75 minutes of your life!

THE UNGUARDED MOMENT (1956)

During the 1940's and early 1950's, former national swimming champion Esther Williams was a major star at MGM. She was usually seen in a series of "aqua musicals" where she spent most of her screen time in bathing suits performing in elaborate, colorful, underwater extravaganzas. After years of success with films like BATHING BEAUTY, DANGEROUS WHEN WET, and MILLION DOLLAR MERMAID, by 1955, and the release of JUPITER'S DARLING, her box office power began to sink. So MGM, taking note of changing public tastes, decided to drain her swimming pool for good. Miss Williams dried herself off and went over to Universal-International to make a neat little crime thriller called THE UNGUARDED MOMENT. It was directed by Harry Keller and based on a story co-written by actress Rosalind Russell.

The plot has Miss Williams playing Lois Conway, a high school music teacher who begins receiving notes from one of her students asking her for dates. When the notes become more explicit she becomes alarmed, but doesn't inform school authorities. One of the notes asks her to come alone to the boys' locker room at night. Foolishly, she goes, and is assaulted by a boy who runs away before she can see his face. As more events occur, she finds out that the boy is Leonard Bennett (John Saxon), a popular football star. When she finally goes to school authorities, no one believes her, partly because she neglected to keep any of the notes as evidence. The police get involved, as does Leonard's father (Edward Andrews). Although the police lieutenant (George Nader) believes her story, Lois loses her job and her reputation until the case is resolved.

This is a very well done film that deals seriously with the problems women go through when they try to get justice for sexual assaults. Miss Conway's high school principal remarks to her that Leonard is  "kind of a god" in town and finds it easier to accept the boy's denials than the teacher's accusations. And Leonard himself taunts Lois with the assertion that no one will ever believe her story over his.

Serious or not, this is still a 1950's fantasy thriller, and it's necessary to throw in a certain amount of exploitation. The teacher, after all, goes to a boys' locker room in the middle of the night to meet with an underage boy who has obvious sexual designs on her. Clearly not the brightest of choices. Nevertheless, the story evolves in such a way that Lois gets the viewer's sympathy throughout.

The film is loaded with wonderful 1950's teenage B flick atmosphere, including a cool hangout called, I kid you not, The Sugar Shop, complete with a juke box playing that new musical form called Rock and Roll.

Esther Williams proves herself to be a decent actress when on dry land. George Nader is a likable leading man. And John Saxon, in one of his first movies, broods convincingly and shows real sensitivity as Leonard. But the top acting honors go to character actor Edward Andrews as Leonard's very messed up father. He manages to steal the picture with no problem.

Seen briefly is a young actress named Diane Jergens, a minor, but interesting teen queen in a few low budget gems of the period (TEENAGE REBEL, HIGH SCHOOL CONFIDENTIAL). Also featured are Les Tremayne, Jack Albertson, and Edward Platt.

Essential viewing for fans of the 1950's teen angst genre!

CRYPT OF THE VAMPIRE (1964)

The operative word here is atmosphere, for that is the main attraction in this impressive entry into the genre of Italian Gothic Horror. In fact, this film is so choked with atmosphere that the viewer won't mind the horror being more suggested than explicit. Made in 1964, the film's original title translates as THE CRYPT AND THE INCUBUS. It was released directly to television in the United States by American-International Pictures under the title TERROR IN THE CRYPT. I saw the film on TV in the 1970's under that title. It was always a fun watch, even though it was a little difficult to make sense of the story. Years later, I purchased a copy from Sinister Cinema that had poor imagery and sound. Now it can be seen in its uncut, remastered, Blu-ray Gothic glory as part of the first Euro-Crypt of Christopher Lee box set from Severin Films.

Mr. Lee stars as Count Karnstein in this rather loose adaptation of Joseph Sheridan Le Fanu's short novel CARMILLA. The story was previously adapted for the films VAMPYR (1932) and BLOOD AND ROSES (1960). The director, Camillo Mastrocinque, credited as Thomas Miller, would direct Barbara Steele in another Gothic gem, UN ANGELO PER SATANA aka AN ANGEL FOR SATAN, two years later.

Using the word "vampire" in the title is somewhat deceptive, as the vampiric activity is minimal. The main supernatural element of the story is witchcraft. The screenplay uses a frequently repeated plot device that originated with Mario Bava's BLACK SUNDAY, that of a condemned witch placing a curse upon her descendants as she is about to be executed. Count Karnstein's daughter, Laura (Audrey Amber), appears to be the victim of the curse. She has visions of other female Karnsteins being murdered, and her visions turn out to be true. Laura fears she may be possessed by the spirit of her executed ancestor. Her situation becomes even more complicated because of her mysterious attraction to Ljuba (Ursula Davis), a young stranger who is staying at the castle. The family housekeeper, Rowena (Nela Conjiu), herself a practicing witch, tries to exorcise the evil spirit from Laura by summoning Satan during a ritual. Count Karnstein takes a more benign approach by inviting scholar Friedrich Klauss (Jose Campos) to the castle to help find a way to stop the killings and save Laura. Laura and Friedrich are drawn to each other until Ljuba arrives and comes between them.

CRYPT OF THE VAMPIRE is worth a watch for fans of Italian Gothic Horror, in large part for the commanding presence of Christopher Lee in all of his 1960's dramatic and physical prime. Lee plays a noble, sensitive character for a change, rather than a sinister one. But he is perfectly at home in this kind of atmosphere. The plot may be somewhat derivative, but there's no reason to let that get in the way of enjoying the movie. There are more than enough distractions to focus on: the gorgeous Black & White cinematography, the ghostly castle, the howling winds, the incessant ringing of a bell in the tower of a ruined church, and the effective use of music. The erotic attraction between Laura and Ljuba, while not explicit, is somewhat daring for the time period.

There are two options for language on the Blu-ray, Italian and English. Christopher Lee speaks his English dialogue, which is an added pleasure. Audrey Amber's real name is Adriana Ambesi. Ursula Davis' real name is Pier Anna Quaglia. She also had a featured role in Mastrocinque's UN ANGELO PER SATANA in 1966. 

FIREBALL 500 (1966)

After finally getting tired of singing, dancing, holding hands, and trying to work out their unending domestic drama on the beach, Frankie and Annette decided to put their clothes on and take their post-adolescent sensibilities to the race track in FIREBALL 500. Once there, they were joined by fellow 1950's teen idol Fabian and two other exiles from the beach party flicks, Harvey Lembeck and Mike Nader. Rounding out the cast are Chill Wills and Julie Parrish.

With the beach party movies losing popularity, American-International Pictures was ready to embark on a new era of more edgy, exploitative themes. From 1966 onward, they would not only make use of the race track environment, but also explore the world of drug users, bikers, and other aspects of the growing youth counter-culture. FIREBALL 500 was sort of an uneasy bridge between the old beach party mentality and the newer concepts. With contract stars Frankie Avalon and Annette Funicello playing the leads, there was a strong expectation that the moral universe of this film would be identical with, or at least close to, the innocence of Beach Blanket Bingo. The casting of Fabian, another star associated with an earlier, more wholesome era, added to this expectation. But, surprisingly, this film deals with more serious adult themes, such as criminal activity, accidental death, and a more explicit approach to sexuality.

Don't be alarmed. Annette's virtue is thankfully intact by the end of the movie. But both Frankie and Fabian are portraying womanizers who have no trouble whatsoever finding women who are more than willing to get womanized. Julie Parrish portrays an aggressive, proto-feminist type who actively tries to hustle Frankie into bed. And even Annette's character shows a willingness to, shall we say, bend the rules a little bit, while still championing the ideals of home and family.

Frankie and Fabian get to beat the living crap out of each other, which is fun to watch. And we even get to hear Frankie and Annette sing a couple of totally forgettable songs (not together), which serve to remind us that this is still an AIP flick and we're not all THAT far from the beach. And Harvey Lembeck, who played the hapless Eric Von Zipper in the Beach series, gets a chance to play it serious here, and does an admirable job.

All things considered, FIREBALL 500 is an enjoyable experience filled with old cinematic friends and enough racing footage to satisfy those who love seeing stock cars crash and burn.

THE KILLING (1956)

Just when I thought I might never again have one of those "sitting at the edge of the chair" experiences while watching a film in the comfort of my home theater, I discovered Stanley Kubrick's 1956 Film Noir THE KILLING.

One of the most ingenious crime capers ever constructed, the screenplay was co-written by Kubrick and Jim Thompson and based on Lionel White's novel The Clean Break.

Sterling Hayden stars as ex-con Johnny Clay, who is planning the robbery of a race track along with several other men, some of whom actually work at the track. A crooked cop is also in on the deal. Clay wants to use his cut of the loot, which he hopes will be around $2,000,000, to leave town with his girlfriend, Fay (Coleen Gray). One of the men in the group, George Peatty (Elisha Cook, Jr.), mistakenly tells his grasping, cheating wife, Sherry (Marie Windsor), about the robbery. She informs her lover, Val (Vince Edwards), so that he can apprehend the money after it's stolen.

Telling too much of the plot would be a grave disservice to anyone who hasn't yet seen this film. The details of the robbery plan are revealed early in the film as the group meets together to coordinate their movements. But the heart of the story is woven together with the development of each of the characters. The actual robbery is shown from the perspectives of each character as the time frame jumps back and forth to show their different actions and movements. THE KILLING is as much a character study as it is a crime thriller and thus relies more on dialogue and human interaction than the shadowy lighting and bizarre camera angles usually associated with Film Noir. However, it does feature two classic Noir elements: a central character (Johnny Clay) who seems doomed from the start, and another man (George) whose involvement with a femme fatale (his own wife) leads to his destruction.

This film held my interest from start to finish. I found it amazing that these men thought their convoluted plan could possibly work. And it was exciting to see certain parts of their plan work while other parts went horribly awry.

Sterling Hayden is excellent in his leading role. Johnny Clay could almost be a reincarnation of Dix Handley, the doomed criminal he portrayed in THE ASPHALT JUNGLE (1950). He is supported by a marvelous group of actors: Jay C. Flippen, Ted diCorsia, Joe Sawyer, James Edwards, and the incredibly offbeat Timothy Carey. But the best supporting performances are given by Elisha Cook, Jr. and Marie Windsor. They have some of the best lines in the film as George reveals his obsessive love for Sherry, who, in her silky, sexy voice, assaults him with insults and ridicule. Few actresses were as good at this sort of thing as Windsor.

THE KILLING is not only exciting entertainment, but also essential viewing for students of Film Noir and Stanley Kubrick.

IN A LONELY PLACE (1950)

First rate psychological thriller from Columbia Pictures. Directed by Nicholas Ray and starring Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Carl Benton Reid, Art Smith, and Jeff Donnell. IN A LONELY PLACE is a classic example of Film Noir.

Dixon Steele (Bogart) is a struggling screenwriter who has trouble finding work because of his alcoholism and a tendency toward violence. One night, when he's drinking at a local bar with a group of his colleagues, Dix is given a book to read that might be good source material for a screenplay. A friendly hatcheck girl, Mildred (Martha Stewart), has read the book and is very enthusiastic about it. Dix invites her to his apartment to tell him the story so that he won't have to read it himself. After Mildred is finished and some mild flirtation has taken place, Dix gives the girl cab fare and sends her home. The next morning she is found brutally murdered and the police suspect Dix. One of his neighbors, Laurel Gray (Grahame) provides him with an alibi, telling the police she saw Mildred leaving by herself. Laurel and Dix begin seeing each other and she assists him with his writing. But the police continue to suspect Dix. As Laurel learns more about Dix and his violent past, she also becomes suspicious. Then, after witnessing several of his violent episodes, she begins to wonder if perhaps he did kill Mildred.

Bogart gives one of his strongest performances as this terribly complicated and tortured man. He is at once frightening and sympathetic as he has no control over his emotions and is filled with insecurity and paranoia. The story is brilliantly constructed so that not only does Laurel begin to suspect Dix is a murderer, but the film audience does as well. Gloria Grahame is also at her best here, giving a very controlled, restrained performance that increasingly gives way to fear and panic. Laurel is symbolic of every woman who has ever loved and desired a man while at the same time being afraid of him.

The film is also about Hollywood and the dark, downbeat side of the movie industry. Dix and his friends are has-been writers and drunken former actors who are filled with bitterness and self-pity. Laurel is a one time actress who hadn't been very successful. And she too has a past involving a wealthy man whom she is anxious to stay away from.

In spite of some beautiful sets and locations, the look of the film is progressively dark and moody, reflecting the atmosphere of mistrust, suspicion, and hopelessness that surrounds the main characters. The camera shows us every line in Bogart's haggard face as he descends deeper and deeper into paranoia. It took a lot of courage and dedication for him to take on a role like this one.

Essential viewing for students of Film Noir. And for fans of Humphrey Bogart, Gloria Grahame, and Nicholas Ray. Grahame and Ray were husband and wife at the time.

BLOOD OF GHASTLY HORROR (1972)

Yes, there is an abundance of blood. And yes, this movie is indeed ghastly. In the most delightful way, of course.

Produced and directed by Al Adamson, who also gave the universe several other no-budget classics like DRACULA VS FRANKENSTEIN and SATAN'S SADISTS, this film's convoluted plot involves scientist John Carradine implanting a device into a man suffering from brain death, transforming him into a crazed killer zombie. Sort of. There is also a jewel robbery, a kidnapping, several gory murders, and a daring police investigation headed by former Disney star Tommy Kirk (THE MONKEY'S UNCLE).

There are good reasons for the plot being convoluted. Adamson originally made the film as ECHO OF DEATH in 1964. The following year he shot additional scenes and changed the title to PSYCHO A GO GO. Apparently deciding he was definitely on to something really big, Adamson added still more footage in 1972 and released it under the GHASTLY title. The film has also been shown on television under the titles THE MAN WITH THE SYNTHETIC BRAIN and FIEND WITH THE ELECTRONIC BRAIN.

Whatever it's called, this movie is a total mess. Fun to watch? You bet. You can't possibly classify yourself as a horror buff and NOT watch a cult item like this at least once in your life. John Carradine gives another one of his Shakespearean mad doctor performances, while prolific B actor Kent Taylor and Adamson regular Regina Carroll recite their dialogue on cue and attempt to take all of this nonsense seriously. The cinematography (at least some of it) was by Vilmos Zsigmond, who got his start in the motion picture business with films like this. The "zombie" is undeniably creepy, and the film makes good use of a jazz oriented soundtrack.

And the whole experience is over in just 90 minutes, at which time you should feel less ghastly than you did when it started.