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Riccardo Freda: The Life and Works of a Born Filmmaker

Riccardo Freda: The Life and Works of a Born Filmmaker
Roberto Curti Price: $45.00 40 photos, notes, filmography, bibliography, index
376pp. softcover (7 x 10)McFarland  2017                                                http://www.mcfarlandbooks.com/book-2.php?id=978-1-4766-6970-0

Like many American film fans, my knowledge of director Ricardo Freda was mostly limited to his
Horror films I Vampiri /THE DEVIL’S COMMANDMENT (Titanus,1957),Caltiki il mostro immortale /CALTIKI,THE IMMORTAL MONSTER(Lux,1959),L’orrible segreto del Dr. Hichcock /THE HORRIBLE DOCTOR HITCHCOCK(Panda,1962) and Lo specttro /THE GHOST (Panda,1963).

• However, Freda had a career in cinema that lasted from 1937 (Lasciate ogni speranza /LEAVE ALL HOPE ,Juventus Film) until 1994 (La fille de d’Artagnan /REVENGE OF THE MUSKETEERS ,Canal+ )starting and ending his career as a writer.

• Writer Roberto Curti of Cortona Italy has done a remarkable job tracking down an amazing amount of information on Freda’s life and career.His love for the subject comes though with his very detailed synopses of these rarely seen (outside of certain countries), providing the history behind many of them, production facts, and their success or failure in various territories as well as changes made to them .

Curti uses Freda’s memoir Divoratori di celluloide (Emme Edizioni (1981),164 pages)as a starting point ,but also researching though film magazines and newspapers from several countries, as well as tracking down and watching the titles from the director’s long career. Curti points out that the director could often be petty and recall incidents that might not always match the facts.Curti’s interviews and research sometimes contradicts what Freda put into his book.

• Still ,the Egyptian born Italian director lived La Dolce Vita, being an extravagant personal spender and gambler as well as womanizer. It is ironic that he despised films like Fellini’s La Dolce Vita (Riama,1960) as well as the entire neo-realist movement of films like Ladri di biciclette/THE BICYCLE THIEF(Ente Nazionale,1948).

He was more a storyteller who felt that film should be escapist,and take us out of reality. Not only did he have those skills, he was also able to make limited budgets look richer than they were, due to his understanding of film editing and camera placement ,as well as working with innovators like the great Mario Bava. Indeed, the short tempered Freda walked off the set of a I Vampiri ,leavinng it to be  finished by Bava. We see throughout the book that Freda had a habit of walking off set, much to the detriment of his films and career.  I Vampiri has an important place in Italian horror films ,as it was the country’s first true sound horror film (the first Italian horror film may have been Il monstro di Frankenstein(1920) a now sadly lost silent picture).

Freda had prior to I Vampiri had done a lot of regional comedies ( he cared little for the comics in many of his films ,but put in many physical gags inspired by the likes of Buster Keaton ,historical dramas and swashbucklers . Indeed ,his love of classic novels and adventure tales seemed to have merged into Caccia all’umo /LES MISERABLES( Lux,1952) ,making it more of an action thriller!

His swashbucklers seemed to have broken new ground in storytelling in Italy, being more inspired by American filmmakers than the home grown artisans. His love of tracking shots to get a lot of detail within a long take was developed during this period .Having reviewed the Italian historical drama La cena delle beffe / THE JESTER’s SUPPER* (Società Italiana Cines,1942 ,not by Freda, but by a contemporary),I would love to see more these  rarely motion pictures                (see review at https://scarletthefilmmagazine.wordpress.com/2017/05/07/the-jesters-supper-dvd/ ) .

Freda also was one of the first to leap into the sword and sandal films ,even telling an earlier version of the tale of SPARTACUS(Spartaco(API,1953),released in the U.S. by RKO as SINS OF ROME ). He hopped from genre to genre with various budgets and varying success. Comedy (at which he seemed to have a lot of success),drama ,spy thrillers ,Krimi( he faced off and WON against the antagonistic Klaus Kinski) ,swashbucklers,historicals, and of course horror.

His indifference to some parts of the movies he made show with some sloppy work (in ROGER LA HONTE( Comptoir Francais du Film Production ,1966,one of his later films with a decent budget, he allows a major stunt to show clearly that a “woman” passenger is actually a stunt man since his trousers are clearly visible ),as well as his indifference to actors (he was notorious for using doubles when actors gave him any grief). Yet in staging ,he often surpassed the budget with strong imagery and tracking shots that convey a lot of information .Plus several actors who worked with him praised the director .

Curti’s book makes me want to revisit several of Freda’s films and seek out some of his rarities. Curti has done what any film researcher should do, and that is evaluate and place into historical context the work of the subject.

McFarland is to be commended once again for putting out such a detailed volume about a filmmaker not as well known as perhaps he should be. Each film has b&w illustrations of the film posters or on set photographs, The graphics are sharp and easy to see.

This is a MUST HAVE for lovers of film, especially for those who love Euro-Cinema.

Highly Recommended.

Kevin G Shinnick

 

                  "Acquista il libro o ti farò del male ..."

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PANTHER GIRL OF THE KONGO (Republic,1955){Olive Films Blu Ray,2017}

PANTHER GIRL OF THE KONGO (REPUBLIC,1955) {OLIVE FILMS BLU RAY,2017} 2 HRS 48 Min. B&W. DTS-HD Master Audio English. Optional English subtitles. $29.95. https://olivefilms.com/product/panther-girl-of-the-kongo/ (Also on DVD for $19.95

 

Olive Films has done a masterful job of releasing Republic’s penultimate movie serial (the final and 66th one, KING OF THE CARNIVAL, was released later in 1955).

 

Filmed between 16 August and 4 September 1954 as “Panther WOMAN of the Kongo”, the 12-chapter serial was filmed on a budget of $179,341. To put it in perspective, Roger Corman filmed the 69-minute APACHE WOMAN (ARC) that same year for $80,000 and Ed Wood shot his 75-minute BRIDE OF THE MONSTER (Banner) for $70,000.

 

To stretch their budget, Republic had star Phyllis Coates (Lois Lane for the first season of T.V.’s ADVENTURES OF SUPERMAN (Motion Pictures for Television,1952) wear the same outfit as Frances Gifford wore in the earlier 22nd Republic serial JUNGLE GIRL (1941) and a lot of footage was lifted from this earlier serial. By the way,14 years earlier the 15-chapter JUNGLE GIRL had cost $177,404!!

Jean Evans is a jungle adventurer who is handy with both a rifle and a camera. Due to a past incident wherein she saved the village, the Utanga tribe refer to her as Panther GIRL (Ms. Coates, who is still alive today at age 90, was 28 at the time.). While out on a photo shoot for a foundation, they spy some very large crustaceans. The natives suggest she get Larry Sanders (Myron Healey in a rare good guy role), a great white hunter.

 

Evil chemist Dr. Morgan (Arthur Space, a nicer doctor on T.V.’s LASSIE (20th Century Fox,1954-71)) has discovered an abandoned gold mine in the area is full of diamonds (when life gives you lemons….) which he covets. To scare of the natives and interlopers, he has developed is “hormone compound “(steroid abuse even then??) to turn ordinary crawfish into the giant ‘Devil Beasts”.

Since the monsters do not scare off Evans and Sanders, Dr Morgan enlists human goons Cass (character actor John Day) & Rand (Mike Ragan, more commonly seen in westerns) who use the personal touch of shooting at, and knock down fights with Sanders, with heroine often knocked out or tied up.

The Lydecker Brothers, wizards of special effects, did what they could to make crawfish look gigantic. Mostly it involved the hard-shelled stars on miniature sets or people against rear screen projections. The interaction involves one giant claw reaching from above rocks of from off frame to grab Panther Girl or some poor native. I wonder if Roger Corman somehow got it and used the claw for his late ATTACK OF THE CRAB MONSTERS(A.A.,1957). Probably inspired by the giant ants in THEM! (WB,1954), these creatures also have a mighty roar. Bert I Gordon must have studied this serial, as many of his effects seem to be inspired by the techniques used here (his first film KING DINOSAUR, Lippert,1955, used a lizard magnified via rear projection and double exposure).

What is interesting for a film of the period is that there is no romance between the two leads. Maybe the studio felt that the youngsters would not put up with “icky kissing” getting in the way of the monsters, fistfights, and perils. The villain, too, is not out to rule the world as many serial villains seemed to be trying to attempt, but was motivated by old fashioned greed.

 

What does date the film in many cringe worthy ways are its portrayal of the natives. Easily frightened and superstitious, they are often reliant on the white actors to protect them. They speak in pidgin English, and another tribe (The Returi) is bribed to attack the heroes after being bribed by an elixir (alcohol!).

Plus, for the title character, Panther Girl seems to spend a lot of time tied up, screaming, or knocked out while Sanders punches and shoots his way out of the situation. She is also grabbed by the claw at one point and later ape handled by a murderous gorilla (ape specialist Steve Calvert). A lot of Jean Evans‘ action are lifts from JUNGLE GIRL of her swinging from vines and riding an elephant. She does save Sanders (the name maybe a reference to “Sanders of The River” by Edgar Wallace (U.K. first edition by Ward, Lock & Co. (1911))?) from quicksand*, so she is not completely unhelpful.

The production has a very studio bound feel to it, like many television productions of the time. Republic, through its subsidiary, Hollywood Television Service, had been involved with the earlier COMMANDO CODY (1953). The 12-part serial had been originally envisioned as a television series with each chapter running about 25 minutes. The serial finally aired on NBC television in 1955, the year PANTHER GIRL OF THE KONGO was released. One wonders if this too was planned as a television series?

During the 1950s up to the 1970s, movie serials, especially those from Republic, were aired on television regularly. In 1966, it was edited into a 100-minute feature called THE CLAW MONSTERS. When Super 8 home theatre came out, it was released in silent and sound edits. In the 1990s, they started to receive less air time. The home video market kept the titles out in front of fans for many years thereafter, but few have been released in their entirety on DVD and Blu Ray.

The print quality is of the high standard we have come to expect from Olive Films. The picture is quite sharp with few blemishes. The sound is DTS-HD Master 2.0, though the sound has not been remixed to make use of the new sound systems but instead is a clear replica of the original track. The optional yellow English subtitles are very legible and follow the dialogue and action.

Oddly, there were no extras, not even a trailer. It is a shame, as the trailer is unique, with the star narrating part of it before an announcer takes over:

 

For fans of Republic Serials or the lovely Phyllis Coates, this is one you will want to add to your collection.

Kevin G Shinnick

*- Coates once recalled in an interview that after filming in the swamp, Healey insisted the two of them go get penicillin shots!

 

 

No animals were harmed during the making of the film, though I assume many of the monsters met a boiling pot of water for the wrap party .

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THE MAD MAGICIAN (Twilight Time Blu Ray)

 

The Mad Magician 2D/3D (Columbia,1954) Twilight Time Blu Ray $29.95   B&W .72min. https://www.twilighttimemovies.com/mad-magician-the-3d-blu-ray/

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Classic horror fans and Vincent Price fans will want to add this often overlooked film.

Created to cash in on the huge success of HOUSE OF WAX (W.B.,1953), this Columbia film not only used 3-D ,but also borrowed the same star and set their plot in the same period. The decision to shoot the film in black and white may have been a cost saving decision (or as is said on one of the Blu Ray extras, an artistic choice),but it may be why this film is not as popular as Price’s previous period horror film with modern audiences.

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In the film’s favor was a superb cast ,led by Price and a director who knew his way around period thrillers. That director was John Brahm. Brahm had directed two of the best Jack The Ripper inspired films of all time ,THE LODGER (Fox,1944 ) and HANGOVER SQUARE(Fox ,1945),both starring Laird Cregar.

The screenplay was by former actor Crane Wilbur (he had co-starred with Pearl White in the original silent serial PERILS OF PAULINE (General Film Co.,1914)turned playwright and screenwriter.

Wilbur had written a Broadway thriller called OUIJA BOARD in 1920 , but his next play is better known.

THE MONSTER (1922) was later adapted into a Lon Chaney film for MGM . Wilbur hopped back and forth from actor to writer to director on stage and screen before settling down as a script writer. He worked on the screenplay for the spooky thriller THE SPIRITUALIST/THE AMAZING MR X (Eagle Lion,1948) (influenced by his early play OUIJA BOARD?), before working for producer Bryan Foy on the political thriller I WAS A COMMUNIST FOR THE F.B.I. (W.B,1951).

Foy obviously liked his work, as he hired Wilbur to write HOUSE OF WAX . Wilbur wrote for Price one more time with his adaptation of the old stage play THE BAT (A.A.,1959).

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Wilbur may have been responsible for Lenita Lane appearing in THE MAD MAGICIAN, as she was his wife in real life. She also appeared in other screenplays by him. A fine actress in her own right, it is a shame we did not see her in more films (her final appearance was in her husband’s THE BAT, which he also directed).

At the end of the 19th Century, Don Gallico (Vincent Price) works for Illusion Incorporated Company, owned by Ross Ormond (Donald Randolph, later General Mark Ford in THE DEADLY MANTIS(Universal,1957)). The company creates stage effects for magicians, and Gallico has decided that he would like to strike out on his own as an illusionist. He is told, however that even though he created the illusions on his own time ,their contract has proprietary rights to any effects that Gallico creates. Ormond has little respect for his valued employee, having cuckolded Gallico by wooing away his wife Claire (Eva Gabor ,most famous for the tv series GREEN ACRES (Filmways ,1965-71)who had tied of being poor.

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To add insult, Gallico is forced to demonstrate his newest creation, a buzz saw that apparently decapitates anyone placed upon tithe Great Rinaldi (John Emery, who portrayed Dr. Karl Eckstrom in ROCKETSHIP X-M (Lippert ,1950) and in real life was often rumored to be an illegitimate son of John Barrymore!) feels that this is just the piece he wants for his act.

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After Rinaldi leaves, Gallico snaps and kills Ormond with the buzz saw device (the murder is not shown just the insane glee on Price’s face ). Luckily, Gallico is also a master of disguise (and obviously the innovator of slip rubber life masks!) and makes himself up to resemble Ormond to set up an alibi and get rid of the remains.

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When Ormond does not appear after a few days ,the police begin to investigate. By coincidence (or screenwriter Wilbur) Detective Alan Bruce (Patrick O’Neal, later himself to star as the baddie in a HOUSE OF WAX inspired period tv film that was released theatrically, CHAMBER OF HORRORS (WB,1966), who is investigating the mystery, is also the boyfriend of Karen (Mary Murphy, the ‘good girl’ from THE WILD ONE, Columbia,1953) Gallico’s assistant.

Gallico commits a few more murders in various disguises ,disposing of one body in a bonfire (similar to a major sequence in John Brahm’s own HANGOVER SQUARE) . The murders also draw the attention of a plucky female writer ,Alice Prentiss (Lenita Lane).Who will survive the vengeance of THE MAD MAGICIAN ?

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A fun ,quick (72 minutes), there is a strong sense of déjà vu if you had seen HOUSE OF WAX, but the film also solidifies the template for the later Price “Vengeance” horror films like THE ABOMINABLE DR PHIBES(AIP,1971) and THEATRE OF BLOOD(U.A.,1973) with elaborate murders and disguises.

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Price relishes his role, and gives it his all. It is odd seeing Patrick O’Neal as a hero in this his film debut (the Actor’s Studio trained actor had appeared on television prior) but he acquits himself nicely. Lenita Lane is sort of an gay 90s version of Lois Lane . The entire supporting cast fills their roles marvelously .

The direction by Brahm is solid ,though many feel he doesn’t take full advantage of the three dimensional process. I and many others feel he used it sparingly to emphasize certain images by dramatic placement rather than always throwing things into the lens(which he also does ,though, during Price’s magic acts).

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TWILIGHT TIME has done an amazing job with this disc. The 50GB Blu Ray is REGION FREE ,and limited to a pressing of only 3,000 . The 1.85:1 1080p transfer is incredibly sharp in either 2 or 3D. The Grayscale is very rich and compliments the cinematography of Bert Glennon (also from HOUSE OF WAX). The film seems to have strong grain but that appears to be from the original negative . The DTS-HD MA 1.0 mono track sound is clear and hiss free.

There are a lot of extras on this disc :

-First off , as mentioned ,the film can be watched either 3-D(you need a monitor and Blu Ray Player that allows this) or in regular 2-D.

Audio Commentary :There is a wonderful running audio commentary by David Del Valle and Steve Peros   , discussing the behind the scenes production of the film and the careers of many of those involved , as well as the 3-D phenomenon of the era. You can hear in their voices that they are truly enjoying this film (and who can blame them?) .

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Isolated Music Score : You can hear the score by Arthur Lange (composer ,music director ,and orchestrator of over 200 scores, often uncredited) and Emil Newman ( brother of Alfred & Lionel Newman, and composer in his own right on such films as UNDYING MONSTER (Fox,1942)),as well as the Theremin played by Dr. Samuel Hoffman, the former violinist whose eerie playing of Léon Theremin ‘s invention graced the scores of films since SPELLBOUND (Selznick Intenational,1945). Dr. Hoffman’s work appeared in films both big budget (THE DAY THE EARTH STOOD STILL, Fox ,1951) to low budget (BILLY THE KID VS DRACULA, Embassy 1966), usually uncredited.

 

51332560aefeb575e790ed3e7429bc17Master of Fright :Conjuring “The Mad Magician”- Ballyhoo Motion Pictures, under direction by Daniel Griffith, have been providing some of the best making of bonus features for Shout Factory. Now , also working for TWILIGHT TIME, they continue the superb must watch documentaries that they are noted for .Between this and the audio commentary, you get a wonderful history of this film.

Two THREE STOOGES 3-D Short subjects : SPOOKS and PARDON MY BACKFIRE (both Columbia 1953)normal-randall-spooks

SPOOKS was the 148th of the 190 short subjects that the comedy team made for the studio. The boys (Moe & Shemp Howard, plus Larry Fine) are private eyes whose search for a missing girl (this was actress Norma Randals largest role of note) brings them into contact with Dr. Jeckyl (character actor Phillip Van Zandt, who was Muller in HOUSE OF FRANKENSTEIN, Universal 1944) and his brutish helper Mr. Hyde (former boxer Tom Kennedy who was often the heavy to comic greats The Marx Brothers, Laurel & Hardy, and Bob Hope, among others). There is also, of course ,a gorilla (an uncredited Steve Calvert)

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PARDON MY BACKFIRE has the team working as mechanics who capture some on the lam convicts that have the misfortune of pulling into their garage .stooges_pardon_my_backfire

Maybe it was the horror connection, but I felt SPOOKS was the more entertaining of the two. Both films work in 2 as well as three dimension (with hypos, bats, fire, water, and knives being hurled at the audience). The picture and sound quality on both are superb.spookstitle2

-The Original Trailer. Lots of Ballyhoo (That” House of Wax” Man).

themadmagician3d_bdbookletcover_highres__47771_1481961658_1280_1280-Booklet: Once again, TWILIGHT TIME provides another well written information booklet (kudos once again to Julie Kirgo).

THE MAD MAGICIAN leaps to the top of the list for any fan of classic film fans. classic horror fans, 3D lovers, and, of course, Vincent Price followers.

I suggest you order ASAP, as I think that this collectible disc is going to sell out fast!

 HIGHEST RECOMMENDATION.

Kevin G Shinnickmad-magician-debonair

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WAX MASK (blu ray)

7737_tnTHE WAX MASK(aka M.D.C. – Maschera di cera ,Italian 1997) (Blu Ray) release date Jan 31st,,2017 by One 7 Movies .$29.95 .color 94 minutes.      https://www.amazon.com/Wax-Mask-Blu-ray-Robert-Hossein/dp/B01N40CACQ/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1485396004&sr=1-1&keywords=wax+mask

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THE WAX MASK is a wonderful throwback to the Italian Gothic Horrors of the 1960s, mixed in with considerably more graphic gore and nudity as was more permissible in 1997 when this film was made.

1999: DARIO ARGENTO, FILM DIRECTOR

                       DARIO ARGENTO

Dario Argento, the reigning king of Euro Horror ,had tried for a year to raise funds to produce a film to be directed by Lucio Fulci. Fulci , who had his own niche in gory Italian horror (ZOMBI 2, aka ZOMBIE ,1979) ,had fallen out favor ,due to lending his name to projects that he was not involved with ,as well as Fulci being ill at various times from the early 1980s .

 

At first, they had thought of an update of THE MUMMY (Universal,1932) before deciding on a semi remake of HOUSE OF WAX(WB,1953, itself a remake of the 1933 WB classic MYSTERY OF THE WAX MUSEUM) .Fulci wrote a screenplay ,but more delays occurred due to Argento’s THE STENDAHL SYNDROME (1996.)

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 Mystery Of The Wax Museum (WB ,1933)
Fulci passed away March 13,1996 from diabetes . Argento had the script reworked by Daniele Stroppa (who had worked on the screenplays for two of Fulci’s later films ,HOUSE OF CLOCKS(1989) and VOICE FROM BEYOND (1991) .How much the scripts  vary is unknown by this reviewer .
However ,to quote an interview with Massimo F Lavagnini (printed in DRACULINA # 24)
Fulci said:

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…. I think we start shooting in September. About the story, I can say it isn’t a carbon copy of the original HOUSE OF WAX, which obviously inspired us. Our story is settled in 1915 in Torino. The protagonist is a frustrated artist who kills and becomes a monster, because of the faults of society. …………..We have seven or eight ultra-violent scenes . *

 

 

 

Sergio Stivaletti, who had handled effects for Argento on PHENOMENA(1985,aka Creepers) ,OPERA(1987) and THE STENDAHL SYNDROME, as well as DEMONS(1985) and CEMETERY MAN (1994),stepped into the director’s chair . Having directed second unit for Argento, Bava, and Soavi, he had picked up a few pointers on how to director horror with style. Supposedly, Stivaletti, who had been preparing the films effects, had only two weeks’ prep time. If so, it makes the film even more impressive.

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The film opens December 31,1900 in Paris (why does every room in Paris seem to look out upon the Eiffel Tower in movies?). However, the new year brings the discovery of a gruesome double homicide, and the police find that the only witness is a frightened 12 year old girl.the-wax-mask-1

 

The film then jumps 12 years ahead to Rome. At a brothel, Luca (Daniele Auber, who also works in effects, later winning an Emmy in 2002 for Outstanding Makeup for a Miniseries, Movie or a Special (Prosthetic)) bets others there that he can spend the night in a newly opened Wax Museum which recreates some of history’s most notorious killings. The idea of spending the night in a spooky place seems to be lifted from CASTLE OF BLOOD(DANZA MACABRA,1964),showing that the filmmakers know their classic horror films. Sadly, it does not end well for Luca,who supposedly dies frightened to death.

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Museum owner Boris Volkoff (the name a nod to Boris Karloff?)(portrayed by French actor Robert Hossein (THE BURGLARS/Le Casse,Columbia 1971)plans a series of new exhibits to exploit the press that the unfortunate death brings to the museum .

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Volkoff, however, has a dark secret -he and his assistant Alex (Umberto Balli,who seems to have only done one other film)are creating their lifelike figures by capturing people and then injecting them to keep them alive and immobile under the wax!

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Volkoff hires Sonia (Romina Mondello, later in Harry Alan TowersDEATH, DECEIT, & DESTINY ABOARD THE ORIENT EXPRESS (2001)) to create costumes for the figures. Sonia however, happens to be young girl from the film’s opening, and the violent tableaux’s bring buried memories of her parents murder back. Luckily , Inspector Lavin (Aldo Massasso,later in Argento’s PHANTOM OF THE OPERA (1998) and SLEEPLESS( Non ho sonno ,2001))who had investigated the murders of Sonia’s parents is in Rome . With the help of Andrea( Riccardo Serventi Longhi,who appeared in the t.v. film CAVE OF THE GOLDEN ROSE 4 aka Fantaghio 4,1994,for Lamberto Bava) they start to see if they can uncover the mystery of the wax museum .

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The ending is wildly delirious, and lurches into TERMINATOR (Hemdale,1984) territory. Up to then ,however, it is a gory tribute to older horror films with some marvelous effects (though the early CGI, in particular, the fire effects ,were not effective even when the film first came out).

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Reviews were for the most part positive  like this one :

(Variety April 20, 1997 )
Gothic horror is alive and kicking in “Wax Mask,” a luridly entertaining return to the style of Britain’s Hammer productions of the ’60s)

 

and the film appears to have done decent business throughout most of the world, but only garnering a token home video release via Image Entertainment a few years later.mv5bmje1odeyodc0ov5bml5banbnxkftztcwnde1mdkymq-_v1_uy268_cr60182268_al_
The French-Italian co-production looks stunning. From costumes to set designs, the film looks so much more expensive than it’s reported $1.25 million budget (though some estimates put it as high as $3 million). Adding to the sweep and grandeur is the magnificent orchestral score( with choir ) by Maurizio Abeni (who would also compose for Stivaletti’s THE THREE FACES OF TERROR (I tre volti del terrore,2004 ) . The English dubbing is good ,though some of the dialogue is a bit clunky.

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The original VHS/DVD releases back in 2000 had very muddy colors and a dark print ,and though Dolby mixed the sound was very flat .

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Now One 7 Movies (whose DVD release of JESTER’S SUPPER we reviewed back in 2015 https://www.facebook.com/SCARLETreviews/posts/1584658468439774 ) have released WAX MASK in a glorious 1080p version in 1.85.1 (original aspect ratio) blu ray .The Dolby Digital 5.1 sound really lets the score fill your room ,and the sound effects are quite effective. Most impressive are the truly vibrant and rich colors and the clean almost three dimensional photography by Sergio Salvati (who shot many of Fulci’s as well as many Empire films produced by Charles Band). I cannot say how marvelous the transfer is and it puts many a major studios release to shame.
Extras on the disc includewax-mask-00-jpgcgi
Backstage Scenes– some raw video behind the scene footage shot during the making of the film . It is a fun look at the cast and crew working and relaxing during the production. In Italian.

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Special Effects Scenes– the effects team working on the practical on set effects used throughout the film .At one point they get a package from Tom Savini ,and look through his makeup book GRAND ILLUSIONS(Imagine,1983).Producer Argento watches fascinated as they test a mechanical robot arm . In Italian .

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If you are a fan of Italian Horror, this is a must get disc for you. Many fans may have head of the film but up to now may never have seen it. Now is your chance to scoop this film up.
Recommended!

-Kevin G Shinnick

*- DRACULINA issue 24 appears to be sold out but you can always see if some valuable issues turn up by visiting http://www.draculina.com/draculina2.htmldraculina-24

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2000s, Anita Page, Athena Demos, CAMP, cult, diy filmmaking, dvd, fantasy, film, genre, gore, Horror, independent, killer brain, Nazi, nudity, Randal Malone, review, Ron Ford, SCIENCE FICTION, Stephanie Beaton, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, wierd

THE CRAWLING BRAIN

 

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THE CRAWLING BRAIN (2002) released 2016.Blood Banquet Theatre.
$10.99. DVD. Color. Shot on Video. Available from
http://bbtheatre.xyz/collections/1423514-blood-banquet-theatre-distribution-dvd-titles/products/18388604-the-crawling-brain-dvd

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   “Has he health insurance?”Behind the scenes photo

 

If Andy Milligan (GURU THE MAD MONK, Nova Int.,1970) made movies for Independent International that were produced by John Waters, it would give you an idea of the craziness that is THE CRAWLING BRAIN.

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The term “camp” was made for films such as this. The film is a loving if inept tribute to classic b movie camp like THEY SAVED HITLER’S BRAIN (Paragon/Gold key ,1968), BRAIN OF BLOOD(I.I.,1971) MAD DOCTOR OF BLOOD ISLAND(Hemisphere,1968) and most obviously, FIEND WITHOUT A FACE (MGM,1958). Gore and nudity are sprinkled liberally throughout.

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The story has Stefan (Randal Malone) finding out his grandmother is the former nurse/lover of Franz Kindler (the name of the Nazi from Orson Welles classic THE STRANGER(RKO,1946)), a mad Nazi scientist who has his spine and brain placed into a tank until a new body can be found for him.

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        (Young Anita Page Ziegfeld Follies;92 year Ms Page in this film)

 

The grandmother Anita is portrayed by then 92-year-old Anita Page, who starred in the first sound film to win an Academy Award for Best Picture, BROADWAY MELODY (MGM,1929). She passed away in 2008, her last film being released posthumously in 2010, FRANKENSTEIN RISING (Sterling), which also starred Malone.

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The brain suddenly decides to take over Stefan, who manipulates his brother (Mark Shady) into helping him. Every once and awhile the brain crawls from its tank and takes things into its own-err— spinal column, and kills people itself.

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People visit the house end up being used as experiments for surgery, until a new nurse named Jillian (Heather Beaton, EYES OF THE WEREWOLF, Leo Films,1996) arrives to care for Grandma. Jillian, it seems, looks exactly like Anita did when she was young (also played in flashback by Beaton) and it seems once the evil brain finds a new body for itself, Anita may have herself a new host body as well.

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The whole film has a “Hey I got a camcorder, let’s make a movie” feel to it. Shot on video, the entire budget wouldn’t stretch to craft services for one meal on a T.V. show. That said, the film is unlike a lot of s.o.v. product at least competently put together, though the dialogue suffers at times from microphones being too far away.

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Hey there IS a script!

 

Music (credited to Ronald Stein) sounds like it is mostly lifted from DEMENTIA 13(AIP,1963) with certain sounds effects taken directly from FIEND WITHOUT A FACE.

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As to the “acting”, always a major bugaboo of mine in these s.o.v. films:

Randal Malone, who it seems has more than 50 films to his credit, minces through his part like a bitchy Divine wannabee.randal-malone

At the other end of the spectrum we have Stephanie Beaton, who never seemed to get a film that truly showcased her actual acting talent.

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The effects are a fun throwback to the onset physical effects of the films that inspired them (at points reversing the film has the spinal column appear to wrap around its hapless victims).

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(Because You’re Mine, I’ll steal your spine ….)

A well -staged car crash surprised me, although I was left wondering did they just do the stunt and leave?

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               (How dis-arming !)

Indeed, I wish there was a commentary track from those involved, to hear what it was like on set and their thoughts of the final product (and indeed, how they got Anita Page to be in their film).

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Extras are limited to an alternate opening (full nudity as it stands now, topless nudity in the alternate, both supplied by actress Athena Demos) and an alternately edited flashback sequence (which I admit I saw no difference).

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Also included is an over the top trailer that would have put people into their local drive ins had it been made in the 1970s. Finally, there are trailers for other films to be released by BLOOD BANQUET (including DEVILS’ NIGHTMARE(French,1971)).img_20170117_114835
Blood Banquet also sells a 3D version of MANIAC (Roadshow,1934), GRAVE OF THE VAMPIRE (Ent.Pyramid,1972), as well as other S.O.V. titles by Ron Ford.

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Should you wish to see a modern-day exploitation film, leave your brain outside as you watch THE CRAWLING BRAIN.

Trailer.
https://www.youtube.com/watch?v=RMBNzl1tIsc

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Kevin G Shinnick

              (note:some photos courtesy BLOOD BANQUET,some Frame Grabs from the DVD).

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2000s, cult, documentary, dvd, film, FILM HISTORY, genre, Horror, review, SCIENCE FICTION, SEVERIN, studio history, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, William Cameron Menzies

LOST SOULS: THE DOOMED JOURNEY OF RICHARD STANLEY’S ISLAND OF DR MOREAU

SCARLET THE FILM MAGAZINE REVIEWS BLU RAY

LOST SOULS: THE DOOMED JOURNEY OF RICHARD STANLEY’S ISLAND OF DR MOREAUSeverin BLU RAY $20.00 -2014 – 100 Min.

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Order direct at https://severin-films.com/product-category/blu-ray/

This documentary rates up there with LOST IN LA MANCHA (2003) on the horrors and misadventures of filmmaking and what might have been.

 

 
Director David Gregory (the underrated PLAGUE TOWN,Severin 2008) has tracked down many of the players in the production that became a John Frankenheimer (SECONDS, 1966) movie and in Rashomon fashion, we hear of the genesis of the project to what was finally released.

 

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Gregory also explores the history of the 1896 H.G. Wells novel ‘Island Of Doctor Moreau “, which even in itself was surrounded by controversy and Wells’ accusing Joseph Conrad of plagiarism for his 1899 work “Hearts of Darkness”.

 

 

Coming off the relative success of HARDWARE (1990, available from DVD from Severin) and the studio interference on DUST DEVIL (1992, seek out Subversive Cinema Director’s cut which is the most extant version), Richard Stanley was a relatively hot property.14

 
Stanley, then in his 30s, was excited when New Line Cinema greenlit Stanley’s proposed remake. The film that he had proposed from existing drawings would have been a hellish present day reflection on God and Religious ideals (one sketch has Moreau holding a new born creation with the operating light forming a halo around his head as in the background his creatures in surgical gear lick the blood off the instruments.).

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(Doc says no to  AIP version-nom nom nom nom)

The director hated the 1977 version that AIP had released (no footage is used from this version) and his version seemed to want to create the entire world that the creatures lived in.

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Problems began when the studio attached big name stars like Marlon Brando and Val Kilmer, whose egos ballooned as fast as the budget for the film. Due to them, other actors left (James Wood, replaced by David Thewlis, and Rob Morrow, who saw the train wreck about to happen).

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Nature seemed to conspire against them too, as the locale chosen and weather conditions threatened several times to shut the production down. Finally, the studio decided to remove Richard Stanley as director, and desperately sought out a replacement. With only a week prep, John Frankenheimer who had stayed away from the genre since the disastrous mutant bear horror PROPHECY (Paramount ,1979), took over with a new cinematographer and rewrites happening constantly during the course of the remaining filming.

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(I’m sure John Frankenheimer wasn’t smiling often on this set)

This documentary is actually longer than the released ISLAND OF DOCTOR MOREAU (New Line 1996) but has a much more involving story to tell.

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(Director Richard Stanley before the purge)

16Several of the participants had passed on before this documentary was shot (Brando ,Frankenheimer, the 2’4” Nelson de la Rosa(the inspiration for the later Mini Me in The Austin Powers films )) while Val Kilmer seemingly declined defending the myriad comments that showed him to be a “dick” .Also M.I.A.  is Mike Thewlis, but almost everyone else in front and before the camera still with us ,from background Aborigine performers, to the makeup team to the production office to stars ,the charming Marco Hofschneider (EUROPA EUROPA,Orion,U.S.release 1990) and Fairuza Balk, (RETURN TO OZ,Disney 1986) .

 

 
Also on this must have disc is  a lot of amazing behind the scenes video footage shot at the time during production captures the madness and creativity that went on for the six month gestation of the beast that was ISLAND OF DOCTOR MOREAU.

 
Director Stanley seems to have gone into seclusion in France since the madness and frustrations of that film, working on some shorts and screenplays in the interim. Let us hope that he might be tempted back to make an independent production.13
Extras on the blu ray include extended interviews , Graham Humphreys concept drawings, an archive John Frankenheimer interview, a Barbara Steele interview(yes at one time she was involved),and more.

 

 
This is a must have item for general film fans and horror collectors. I have been cautious not to give away many of the surprises in the production as you should discover them for yourselves and shake your head in disbelief that films get made at all!

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Two hoofs turning into thumbs up!!HIGHEST RECOMMENDATION.

-Kevin G Shinnick

Other versions of ISLAND OF DOCTOR MOREAU:
ISLAND OF LOST SOULS (1932) CRITERION Blu ray and DVD .
TERROR IS A MAN (1959) Alpha dvd
TWILIGHT PEOPLE (1972) VCI DVD
ISLAND OF DR MOREAU (1977) MGM DVD
ISLAND OF DOCTOR MOREAU (1996) New Line DVD

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1960s, 1970s, 1980s, 1990s, 2000s, Art house, book, BOOK REVIEW, books, Brigitte Lahaie, cult, fantasy, French, genre, HEADPRESS BOOKS, Horror, international, Jean Rollin, obscure, rare, review, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, vampire, VAMPIRES, wierd

FASCINATION The Celluloid Dreams Of Jean Rollin

FASCINATION
The Celluloid Dreams Of Jean Rollin (paperback, HeadPress) 268 Pages.

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http://www.headpress.com/ShowProduct.aspx?ID=143 £15.99
In the U.S.:
https://www.amazon.com/Fascination-Celluloid-Dreams-Jean-Rollin/dp/1909394238/ref=sr_1_4?s=books&ie=UTF8&qid=1469925570&sr=1-4&keywords=fascination    $19.99
Fascination 1

Jean Rollin was a surrealist filmmaker who became identified with the horror genre. While his films do indeed deal with vampires and the undead in various forms, they also have a lyrical dreamlike quality with imagery that would make Bunuel (with whom he once almost worked) proud. A vampire comes out of a grandfather clock forever frozen at midnight, a woman plays piano within a cemetery, recurring images of figures isolated on an empty beach, these are some of the haunting sights that are mixed in with a sense of loneliness for the preternatural figures within the films.

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Before big budget films like INTERVIEW WITH A VAMPIRE (WB,1994), Rollin was mixing poetry, beauty along with violence and the need to kill the one you love to survive. Sadly, due to the violent reaction to his first full length feature*, Le Viol du Vampire (RAPE OF THE VAMPIRE, Les Films/ABC,1967), his films were considered not worth proper study and failed as both art house films as well as horror. Considering that that first feature was actually two separate films put together, the duality of his films (both art and horror, the use of twins, lookalikes, and parallel storylines) seemed organic for most of the remainder of his career.

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I first heard of Rollin when I saw a full color photo of his wild poster for his third film, Le Frisson des Vampires/THE SHIVER OF THE VAMPIRES (Les Films/1970). It was a wild image, sexy, art deco-ish, and different from most of the film posters that I had ever seen before. I recall that at the time the book was dismissive of Rollin’s films, calling them dull.

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The first of his films that I actually saw was in a cut and poorly dubbed VHS release bowdlerization of his Requiem pour un Vampire/REQUIEM FOR A VAMPIRE(Les Films,1971) called CAGED VIRGINS (Boxoffice International Pictures (1973) shorn from 95 minutes to 65) . The dubbing I recall seemed very sloppy and made the film feel very cheap. The choppy editing to get to the good stuff (i.e. sex) also made the film seem like a cheapo horror.

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Due to his films suffering from poor distribution, Rollin was forced to go into making porno films. It must have been maddening to him that these cheaply made films were better distributed and more financially successful than his personal projects.

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However, it did give him connections, among them finding the beautiful Brigitte Lahaie, an adult film actress with great screen presence who was featured in several of his later films, to the advantage of both. Due to her popularity, people sought out any film that she was in, including Rollin’s work. Their best collaboration was the film FASCINATION (Comex/Les Films ABC ,1979) which has the very striking image of a shroud clad Lahaie wielding a very deadly scythe. Death had never looked more beautiful nor deadly.

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Finally, there arose in England a group of film buffs who began to champion Rollin as a filmmaker to be reckoned with. Redemption UK distributed many a fine print of his works to a growing appreciative audience.

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After a couple of action films for hire, as well as shooting some films that Jess Franco dropped out of(!), Rollin made several more personal fantastique films that were among his finest, garnering good reviews and appreciative audiences. What was little known, however, was that the filmmaker had long been ill, and created his movies while racing back and forth from hospitals.

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(from LIVING DEAD GIRL /La morte vivante,1982)

He completed his last film, Le Masque de la Meduse /THE MASK OF MEDUSA (Les Films,2010) just shortly before he passed away, and it was a perfect film to end his career, as much of it mirrored his first feature, and also referenced many of his other creations.

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HEADPRESS is to be commended for giving us this wonderful tome, FASCINATION: THE CELLULOID DREAMS OF JEAN ROLLIN by David Hinds, as it is probably the most definitive work on the filmmaker that we are likely to see for some time. The author has a great passion and love for the oeuvre of Rollin, having discovered him among the many Euro Horror filmmakers that were coming to the early video store markets in the early 1980s.

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Hinds has done remarkable research, finding and seeing what still exists of much of the director’s work (a few shorts have gone missing, as well as some of his adult films). His descriptions of the films and the behind the scenes stories on their creation and distribution does what any great film book should -it makes you want to go out and see the films for yourself.

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(One of his work for hire productions ,aka ZOMBIE LAKE ,1981)

Hinds has gone the extra step and reviewed the various video, DVD, and even Blu ray releases of these films, so you will know which is the best one to purchase.

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le-viol-du-vampireHe also sought out and interviewed several of the people involved with the films, including the fullest interview with the late director that I have ever read( and perhaps the last that the filmmaker ever gave).

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The only quibble that I have is that for such a beautiful done tribute to Rollin, the photo reproductions are often muddy and very hard to see, resembling a reproduction of a newspaper photo from microfilm.  One wishes that they had tried a bit harder to show the haunting imagery in quality representation, perhaps putting them all in the center of the book on better paper, mixed in perhaps with some color.

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If you are open to seeing and experiencing something beyond the often paint by numbers films that are hailed by our genre fans. Then by all means seek out this book and then see the films!

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HIGHLY RECOMMENDED.

Kevin G Shinnick

*-In 1968, rioting, occupations, and strikes were the norm in Paris it seems to everything. It’s hard now to believe film fans expecting a Hammer type film would react so violently, but given the time it was not so unusual an occurrence.it is forbidden to forbid

(“It is forbidden to forbid” -saying during 1968 protests, and apropos of Rollin’s work )

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