reviews

The Satanist (1968)

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Hooboy, this one was a stinker. Directed by Zoltan G. Spencer (nee Spence Crilly), The Satanist is a B&W horror nudie (a kind of subset/cousin of the genre of nudie cuties that Brandon has been writing about of late) that was released in 1968 and was thought to be irretrievably lost after its last screening in 1971; film archivists generally agree that only five prints of the film were ever made, and the single surviving print was unearthed only a year ago. It has been screened only two or three times since then, including at the Forgotten Film Festival in Philadelphia last summer, and most recently at the Alamo Ritz for the Halloween season. Unfortunately, of all the missing films out there in the world that are begging to be found, this is one whose discovery doesn’t enrich the world all that much.

The plot follows a writer who has recently experienced a nervous break and is, under orders from his doctor, trying to get some stress-free rest in the country with his beautiful wife, Mary. In short order, the two meet their neighbor Shawna, a “student of the occult” whose home is decorated with “numerous” “arcane” objects. The writer sees an apparition of a topless woman in a mirror, but does not share this with his wife, chalking it up to his nervous exhaustion. Later, he returns to Shawna’s home and spies through her window as she feels up another woman before turning into a man and engaging in softcore intercourse with her. His wife catches Shawna attempting some rite with his glasses (topless, of course), and the two decide to leave, but feel obligated to attend a party that Shawna had invited them to before they discovered her witchy ways. Obviously, this is a bacchanal during which the writer is tied up and forced to watch as Mary becomes the bride of Satan, as each man in attendance dons a ridiculous-looking ram’s head and thrusts vainly in the general direction of her nethers. The film then ends with the writer back in the frame story, where he sits in a wheelchair stating that it is up to you, the viewer, to determine whether or not his experience was real or the result of his mental breakdown. Of course, his doctor sure does look an awful lot like Shawna, doesn’t she?

There is nothing that could save this movie, not even an ending that mocks The Cabinet of Dr. Caligari. At only 64 minutes, this movie feels as if it is hours long, and there’s nothing to do for long stretches of it while topless women roll around in relative chastity with hairy, mustachioed men. There’s no exchange of dialogue at all in the film, as all lines are delivered by the writer in voiceover, expositing here and explaining there, and any fun that comes from the film is in the pompous verbosity and overwrought delivery. Even the titles for the director’s later works, like Terror at Orgy Castle and Sister in Leather, are more automatically engaging than this film. There are monologues here that are begging to be sampled and looped, but that does not make up for the long stretches of screentime that are devoted to titillation. Even as an esoteric, forgotten piece of cinema, this is one to avoid.

-Mark “Boomer” Redmond

The Thing (1982)

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I’ve greatly enjoyed every John Carpenter movie I’ve ever seen, save maybe a couple nu metal-era misteps like Ghosts of Mars. As much as I love the director’s landmark films & his soundtrack work, though, there are still a few major titles from Carpenter that I haven’t yet made the effort to catch up with. That’s why it was a godsend that the Prytania Theatre is dedicating the October schedule for its Late Night movie series to Carpenter’s work, culminating at the end of the month, of course, with a screening of Halloween. As I mentioned in my recap of the theater’s recent screening of Cinema Paradiso, The Prytania is a century-old New Orleans institution, the oldest operating cinema in the city, a fine venue for seeing great films for the first time. It was where I first saw Jaws, their frequent selection for America’s favorite holiday: Shark Week. When Robin Williams passed away last year it was where I first saw Terry Gilliam’s The Fisher King. And, most recently, it was where I finally watched John Carpenter’s masterful monster movie The Thing, screened on the first truly cold night of the year (how’d they plan that?), so that you could feel a fraction of the chill of the film’s Antarctica setting in your bones. Technically, it’s still fall outside, but when Kurt Russell gripes in the film, “First goddamn week of winter,” it was easy to empathize. All that was missing was a shape-shifting alien & a bottle of Jim Beam.

The Thing is essentially a 1950s Roger Corman monster movie taken to its most logical & most pessimistic extremes. In fact, the short story the film is based on had been previously adapted into an actual 1950s creature feature (and would later be resurrected for an episode of The X-Files & a cheap CGI trifle of a remake). A practical effects masterwork, The Thing‘s titular creature is just as ambiguous in form as it is in name. It’s a grotesque, rapidly evolving mess of undercooked biology, calling into mind the hot mess of vaguely defined monsters in the back half of 1981’s psychological horror Possession. The thing arrives on Earth via a disc-shaped, Millennium Falcon-esque UFO in the opening credits with very little detail provided for its origins. A complicated “organism that imitates other life forms,” the thing is alien in every sense of the word. It transforms in ways that are shocking & disgusting because they don’t make sense in the context of anything we’ve ever seen or understood in biology. Even in cinema, we’ve seen dogs used to create tension or terror, but never by splitting their faces open to reveal a mass of spider-like tentacles. We’re used to monsters killing for sport or nourishment, but not so much a creature that infiltrates a species through physical imitation, like a disease. Cellular activity found in corpses, blood that actively avoids extreme heat, half-cooked human imitations that look just about almost right except for long claw-like hands that resemble gigantic, deep-fried softshell crabs: the thing is far beyond human comprehension of basic biology, constantly opening compartments of itself like horrific Russian dolls to reveal more & more layers of ambiguous terror. Too often sci-fi horror models the designs of its creatures around what we already know. The Thing‘s creature might be the most alien alien to ever grace the screen.

Finding themselves face to face with this unknowable threat is an all-male crew of scientific researchers isolated in Antarctica for the winter. Even as scientists our protagonists have a difficult time making sense of the thing. Kurt Russell’s character exclaims early on, “I don’t know what the hell’s in there, but it’s weird & pissed off, whatever it is.” Once the thing infiltrates their ranks & starts imitating human lifeforms (a computer model helpfully explains, “Possibility that one or more crew members are infected: 75%”), everyone becomes suspect. The group of goofs, once prone to drunkenly playing computer chess, rollerskating to Stevie Wonder, and smoking six-paper joints in the lab, soon has to ask of each & every team member, “How do we know he’s human?” The notorious scene of extensive, pointless, paranoid violence in Carpenter’s They Live (“Put the glasses on! Put ’em on! “) is drawn out here to a full length narrative. Nearly every member of the crew is an affable goof, so it’s a very tense atmosphere in which at least one of them is not what they seem, but instead is a shape-shifting mess of mismatched body parts & gore.

I’m not sure of the exact reason The Prytania is spotlighting John Carpenter this month (not that I would complain if they did so every October), but it does feel like kind of the perfect time to do so. After scoring his own films for decades, the director just released his first studio album, Lost Themes— complete with his first music video & live concerts. Screening They Live earlier this month was a fitting tribute to the recently deceased “Rowdy” Roddy Piper, as it was easily his best work outside the wrestling ring (and I’m bummed to say I missed it). Even in a more general sense, the current cinematic climate is adoringly looking back at the Carpenter aesthetic & it’s all too easy to see echoes of his work in films as recent as The Guest, It Follows, and Cold in July. In other words, everything’s coming up Carpenter.

If I only catch one film during this mini-Carpenter Fest, I’m glad I at least got to experience The Thing for the first time on the big screen. The movie’s visuals are on par with the best the director has ever crafted. The strange, rose-colored lighting of emergency flares & the sparse, snow-covered Antarctica hellscape give the film an otherworldly look backed up, of course, by the foreign monstrosity of its titular alien beast. The film’s creature design  is over-the-top in its complexity and I sincerely hope every single model made for the film is preserved in a museum somewhere & not broken into parts or discarded. Also up there with Carpenter’s best work is the film’s dark humor, not only in Kurt Russell’s drunkenly cavalier performance, but also in the absurdity of the film’s violence & grotesqueries. It played very well with a midnight, BYOB audience. The only thing that’s missing here from Carpenter’s typical masterworks is one of his self-provided, glorious synth soundtracks, but with a pinch hitter like Ennio Morricone stepping in to fill the void, it’s near impossible to complain. The Thing is a perfectly crafted creature feature, one that even satisfies art cinema tastes with a resistance to tidying up its ambiguity in a bleak, mostly open conclusion. It’s by no means a stretch to rank it among the best of Carpenter’s works & I’m grateful to The Prytania for providing the opportunity to see it large, loud, and (in the spirit of the film’s isolated crew of scientific researchers) more than a little drunk with a live audience at a late hour. It was special.

-Brandon Ledet

Desperate Living (1977)

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fourstar

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Full disclosure: I may have implied I knew more about the John Waters canon than is strictly accurate in my review of Polyester. The truth is that I saw (the intentionally filthy and shocking) Pink Flamingos and Mondo Trasho in high school eleven years ago, and have randomly seen both Cry Baby and Hairspray a few times each, although even I, with my limited knowledge, know that these two are not really indicative of Waters’s body of work (a friend once told me that Cry Baby is a straightforward representation of the genre that Hairspray was meant to satirize, which seems accurate to me). I also once started watching Pecker, but the VHS broke about thirty minutes in, so I can’t speak to that movie, really. That was my entire experience with the Waters oeuvre until a few weeks ago, and I may have made some not-quite-accurate generalizations in my previous review. Feel free to point out my errors in the comments!

In the meantime, it was my pleasure to see Desperate Living, Waters’s 1977 picture starring Mink Stole as decoy protagonist Peggy Gravel. Peggy was recently released from a mental institution, and now her frayed nerves mean that she’s having trouble readjusting to family life as she shrieks and screams her way around her home until she and her housemaid Grizelda (Jean Hill) accidentally kill Peggy’s husband Bosley (George Stover, of Blood Massacre). The two of them then flee town and, after an encounter with a policeman (Turkey Joe) who forces the two women to give him their underpants and kiss him (gross), end up in a shantytown called Mortville, where many vagrants and fugitives make their home under the cruel rule of Queen Carlotta (Edith Massey), a nightmare Disney queen who forces her citizens to obey her every whim, no matter how silly or dangerous. Peggy and Grizelda take shelter in a ramshackle building–like all buildings in Mortville other than Carlotta’s palace–owned by Mole McHenry (Susan Lowe), a genderqueer former wrestler, and her sexy girlfriend Muffy St. Jacques (real life Mafia moll Liz Renay). When Carlotta’s daughter Coo-Coo (Mary Vivan Pearce) tries to run off with her lover, a garbage collector who resides within Mortville’s nudist colony, Carlotta has her guards kill the man. Peggy, who has “never found the antics of deviants to be one bit amusing,” joins Carlotta in her quest to kill all of Mortville with an unholy elixir consisting of rabies and rat urine.

Desperate Living starts off in a more objectively humorous place than the film ends, as we follow Peggy’s histrionic reaction to some normal (and some questionable) child behaviors before Grizelda smothers Bosley with her massive rear end. Once the action leaves the Gravel household, however, all sorts of horrible things happen that require a certain appreciation for filth-as-comedy. Firstly, the encounter with Sheriff Shitface is objectively disturbing, as he sexually assaults two women at gunpoint; once in Mortville, the whims of Queen Carlotta are more subdued if more deadly (forcing everyone to put their clothing on backwards and walk in reverse motion is harmless, even if her orders of execution are creepy). Still, there are a lot of laughs to be had here if you are in the right mood, and there’s also a lot of fetish fuel if you’re into that sort of thing (Ed Peranio’s striptease as Lieutenant Williams manages to be both silly
and sexy), what with all the mesh shirts and leather pants floating around. Still, this is not a movie for the weak of stomach, or anyone who would find the detachment of a vestigial phallus odious. Recommended for lovers of the weird.

-Mark “Boomer” Redmond

Burnt Offerings (1976)

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fourstar

Dan Curtis is most well remembered as the creator of gothic soap opera Dark Shadows (poorly remade as an irreverent fish-out-of-water comedy starring Johnny Depp in 2012), but  remembrance of his legacy should also include his direction of 1976’s horror film Burnt Offerings. A kind of haunted house flick, the story concerns a run-down neoclassical manor home and the spell that it casts over a hapless family in order to rejuvenate itself.

The owners of the mansion are the wheelchair-bound Arnold Allardyce and his sister Roz (Burgess Meredith and Eileen Heckart, prominently featured in the film’s trailer but in what amount to extended cameos). They are delighted when the Rolf family, consisting of father Ben (Oliver Reed), mother Marian (Karen Black, whom Curtis directed the previous year in Trilogy of Terror), and twelve-year-old son Davey (Lee Montgomery, future heartthrob of Girls Just Wanna Have Fun), express interest in renting the house. Of course, for the low rental price of $900 for the whole summer, there is one caveat; the family must care for the ancient Mrs. Allardyce, a recluse who requires only that meals be left outside her door thrice daily. Ben is resistant at first, but Marian, already affected by the house, insists, and the trio, along with Ben’s elderly Aunt Elizabeth (Bette Davis), arrive at the mansion the following week.

Things seem to go well for a while. Davis is a particular treasure as the wisecracking Aunt Liz, and although Marian becomes more withdrawn (becoming obsessed with Mrs. Allardyce’s collection of photographs and listening to a music box for hours on end), the rest of the family bonds on their vacation. Things begin to take a turn for the worse as Ben starts to have nightmares about a creepy, grinning chauffeur (Anthony James) he encountered at his mother’s funeral as a child, and his roughhousing with Davey in the pool takes on a dark turn as he feels compelled to drown the boy. Soon, the lively Aunt Elizabeth grows ill and dies while the house continues to become less decrepit. Ben ultimately tries to flee the grounds with Davey, but forces conspire to block his way, as his hallucinations of the evil chauffeur begin to appear even in his waking states. When the pool once again tries to drown Davey, Marian’s spell is briefly broken and she agrees to flee with the rest of the family, but the house will not let them go so easily.

A forgotten treasure, Burnt Offerings shares more than just its genre with Poltergeist: they also both share a PG rating. Although it’s still a bit of a shock to think about Spielberg’s haunted house movie being given such an age-inappropriate rating, it’s easier to see how the creepiness of Burnt Offerings slipped under the radar. There are no ghosts in the Allardyce house; the house itself seeks to feed upon the life force of its inhabitants, and very little explanation is given as to how or why the house came to be this way. In a more modern movie, the audience would likely be forced to deal with an unsatisfying origin story for the house’s hunger, but the lack of context actually adds to the horror factor; unanswered questions often leave a stronger impact than unfulfilling answers, and Offerings is a movie that understands that. The only thing that could conceivably be called a specter is the grinning chauffeur, who is effectively unsettling despite never performing any malicious actions. Who is he? Nobody, really, just a creepy guy that Ben encountered as a child and who left an impact on him, which is a nice touch. He’s not affiliated with the house except in the way that he relates to Ben’s unspooling sanity, and he actually stands out as one of the creepier boogeymen that have haunted horror films of the past, calling to mind the Thin Man from the Phantasm series.

Further, the way that the house uses its occupants to act out violence against each other is also quite scary. The tension builds slowly in this film, starting first with images of life and renewal (a dead potted plant suddenly has a green leaf, a burned-out light bulb begins to work) before more outrageous elements occur (gas leaks in locked rooms, dilapidated siding and roof tiles flying off of the house and being replaced by fresh fixtures). If the film had spent less time establishing the Rolfs as a happy family before tearing them apart, the escalation of terror wouldn’t work half as well as it does, and I can’t believe such a great film has faded into relative obscurity. It’s definitely worth tracking down and enjoying.

-Mark “Boomer” Redmond

Masters of the Universe (1987)

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I was a huge He-Man fan as a kid. Huge. The biggest. My light-up, plastic He-Man sword that made electronic clashing noises when you banged it against imagined enemies & inanimate objects was a prized possession. That is, until I moved onto the next well-marketed obsession: Teenage Mutant Ninja Turtles, Power Rangers, WWF, whatever. It’s curious that although I watched the cartoon religiously & loved my plastic sword that bellowed “By the power of Greyskull!” when you pressed the right button on the handle, I somehow never watched the He-Man movie (not that I can remember, anyway). Promised by infamous schlock producers Golan-Globus to be “the Star Wars of the 80s”, 1987’s Masters of the Universe bombed. Hard. Critics hated it. It failed to make a profit. It still, nearly three decades later, holds a mere 17% on Rotten Tomatoes’ Tomatometer. In short, the film was & remains a failure.

Well, at least Golan-Globus & the Canon Group got the Star Wars claim partly right. Sure,  the film was far from the technical marvel, financial goldmine, or cultural landmark that Star Wars was, but Masters of the Universe at least made its best effort to mimic the visual style of the George Lucas classic. While the film was at it, it was also keen to borrow some visual ideas from Jack Kirby. And the covers to oldschool fantasy novel paperbacks & story records. The resulting aesthetic is a fascinating mix of bleep-bloop sci-fi machines & the medieval sorcery of skulls, magical crowns, and wizard staffs. Masters of the Universe excels most in costume in set design. Yes, you can see constant Star Wars reminders in the format of the opening credits & costuming (“These soldiers aren’t Star Trooper knockoffs! They’re uniforms are black! They’re different!”), as well as Skeletor’s irrefutable Darth Vader vibes, but there’s oh so much more going on. Besides the medieval wizardry adding an extra layer of visual cool (I’m serious!) to the Star Wars appropriation, the film is also bold enough to take the freakshow on the road. He-Man (played by a perfectly cast Dolph Lundgren) & his three intergalactic cohorts take a trip through a portal (somewhat resembling God’s anus) that results in their arrival in 1980s California. By the time Skeletor & his cronies arrive in a morbid parade procession in downtown Los Angeles, bent on world domination, the film reaches its full potential as a goofy trifle trying to modernize/cash in on that Star Wars magic.

The reasons why large stretches of the He-Man movie are set in America, even outnumbering the scenes set in the fictional land of Eternia, don’t really matter. There’s a MacGuffin called “The Cosmic Key” (presumably the same one that provides motivation for pro wrestler Stardust) that lands He-Man & his crew in California, but it honestly doesn’t amount to much significance. Masters of the Unvierse is far more entertaining if you clear your mind of plot-related concerns & focus on the ridiculous visual feast laid before you. For instance the question of why He-Man would bring a sword to a laser fight isn’t nearly as satisfying as the cartoonish spectacle of He-Man weilding a sword in a laser fight. The exact reasons why Skeletor’s third act acquisition of grand galactic power would transform his costume into a golden, intergalactic, imperial ensemble that feels like the best Jack Kirby knockoff to ever grace the silver screen don’t matter nearly as much as the image itself, which is a wonder to behold, however brief.

Similiarly, it would be smart for dedicated fans of the He-Man cartoon (if they’re still out there) to disregard all plot & character details they remember from the television show. Instead of the all-powerful Sorceress’ gigantic eagle headdress, she wears a complex crystal crown. There’s no mention of He-Man’s gigantic feline sidekick Cringer/Battle Cat. Nor is there any mention of He-Man’s “true” identity, Adam, which is really just He-Man wearing more clothes than usual (not that his own parents can recognize him in his skimpy costume). Gone also is He-Man’s awful Prince Valliant haircut. It’s kind of interesting what elements do remain of the original cartoon, however accidental. Many of the episodes of the original show consist largely of He-Man & pals searching for one thing or another instead of actually battling Skeletor & his evil gang. In the movie, this search happens to be a pursuit for the Cosmic Key. Curiously, what also remains from the show is the oddball sexuality seeping through the characters’ skimpy costumes & penchants for sadomasochistic torture. Very early in the film it becomes apparent that Masters of the Universe is just as interested in He-Man’s pectoral muscles as Russ Meyer would’ve been if they happened to be gigantic breasts. There’s also a scene where our hero (who Liz Lemon would almost certainly refer to as a “sex idiot”) is getting beaten at Skeletor’s command that I’m pretty sure has inspired a new fetish in me: laser whips.

However, a lot of what makes Masters of the Universe a fun watch, besides the surprising high quality of its set & costume design as well as its visual effects, is when it disregards its source material & basic reason completely. For instance, once The Cosmic Key is in the hands of a bonehead Californian musician, its keys are revealed to have musical tones to them that allow it to be played like a synth. Because of this detail, it’s rock & roll that saves the day just as much as, if not more than, He-Man. With some goofy rock & roll/medieval space wizard culture clashes like this, combined with roles filled by Lundgren, Billy Barty, and Courtney Cox, as well as some super cool villains that include a humanoid lizard, a werewolf-looking beast thing, a humongous bat, and their space age Rob Halford friend, Masters of the Universe makes for a really goofy picture. The visual accomplishments occasionally elevate the material, but it’d be untruthful to sell the film as being good for anything but a lark. Fans of shoddy Star Wars knockoffs, 80s cheese, and Jack Kirby cosplay are all likely to find something of value here. I wasn’t quite as enthusiastic about the He-Man film as I used to be about my toy He-Man sword (how could I be?), but I ended up enjoying it far more than I expected.

-Brandon Ledet

Crimson Peak (2015)

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Crimson Peak is luscious, extravagant, and terrible – a perfectly gothic Gothic Horror. Guillermo del Toro makes another entry into his visually stunning filmography, providing a richness and grotesqueness in both storytelling and cinematography.

I really appreciate that Crimson Peak is a classic Gothic Horror, with the storyline sticking closely to the standard tropes of the genre – isolation, bloody histories, unnatural relationships, menacing architecture, Victorians, obvious symbolism, endangered virgins, things that gibber and chitter in the night, etc.  Del Toro makes references to the Hammer Horror aesthetic, appropriate for a movie with such an overstated sense of dramatic Victorian style (although, to be fair, the Victorians were really dramatic to begin with).

The plot is not complicated or particularly innovative, but the storytelling is superb and the style is to die for.  Crimson Peak is perfectly dark and creepy, with Mia Wasikowska, Tom Hiddleston, and Jessica Chastain delivering a wonderful combination of passion, tension, and insanity.  Del Toro knows how to keep the audience horrified and engaged, and he continues to exercise his use of obscenely rich visuals.

I’d recommend Crimson Peak to anyone looking for Halloween movie.  It’s not a slasher movie or a suspense drama, but it’s terribly good fun.

-Erin Kinchen

Black Friday (1940)

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After the last gasp for air in Universal Pictures’ famous monsters brand with the re-release of Frankenstein & Dracula as a double bill that resulted in the creatively bankrupt Son of Frankenstein, there wasn’t much work to go around for actors Boris Karloff & Bela Lugosi. The drought that followed for the eternally typecast horror movie heavyweights is perhaps what turned up the heat on their professional rivalry & turned their next collaboration, 1940’s Black Friday, into such a disastrous bore. A bland gangster film with only the slightest hints of horror or sci-fi in its formula, Black Friday is a shameful what-could’ve-been experience, one made dull by Lugosi & Karloff’s refusal to play nice & share the scraps that Hollywood had left for them to fight over.

In Black Friday, Boris Karloff plays a brilliant neurosurgeon who saves his close friend’s life by replacing his brain with that of an infamous mobster. Once a meek college professor, Karloff’s buddy starts to show personality traits of the gangster his surgeon-savior-friend effectively murdered to extend his life. The split-personality professor now has the hots for the deceased gangster’s showgirl girlfriend, drinks & smokes with the same mannerisms, threatens violence in a way far outside his normal character, and (much to Karloff’s surgeon’s piqued interest) talks of a hidden fortune stashed before his death. Rival gangsters & the showgirl dame rush to uncover the fortune before the surgeon can beat them to it, while he’s not fighting off suspicion about what happened to his once genteel friend. It’s even less exciting to watch this all unfold than it sounds, exhausting even for a feature barely more than an hour in length.

If you’re asking where Bela Lugosi fits into all of this, you’re not alone. The original script cast Lugosi as the troubled neurosurgeon & Karloff as the split personality professor-gangster. That formula might’ve actually been interesting. Alas, Karloff insisted on playing the surgeon & instead of taking the role of the professor-gangster Karloff had left vacant, Lugosi was relegated to the much smaller part of a rival gangster. Perhaps the reason they didn’t switch roles outright was that playing the rival gangster allowed Lugosi to avoid ever filming a scene with Karloff. It also allowed him to continue their onscreen meta rivalry that dated all the way back to the actors’ first collaboration, The Black Cat. As a result, although Lugosi is second billed he only has a bit role in the film and does not appear in a single scene with his rival.

There are only a few isolated moments of interest in Black Friday. The film’s opening credits play over a calendar reading Friday the 13th & are followed by an intense death row march that promises a much more horrific vibe than what follow. The film’s sole moments of outright horror are a brutal car crash stunt & an onscreen brain surgery, both motifs echoed from earlier Karloff-Lugosi collabs The Black Cat & The Raven. Watching Lugosi play gangster & Karloff don surgical gear are fantastic images, but aren’t put to much use. The only line of dialogue that really stuck with me was when Karloff’s daughter pesters him about his professor friend’s sudden change in personality & he snaps, “Haven’t you guessed?! The operation I performed was a brain transplantation,” as if that were the most obvious explanation for the change. The rest of Black Friday is a forgettable slog made hopelessly dull by two great actors who were visibly tired of working with each other on occasional projects & fighting over the scraps of the rest.

-Brandon Ledet

Son of Frankenstein (1939)

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One of the most satisfying things about watching the Bela Lugosi/Boris Karloff collaborations The Black Cat, The Raven, and The Invisible Ray is that it’s been nice to see the two horror legends play characters outside of their usual roles as Count Dracula & the Frankenstein monster. It’s been even more of an unexpected treat to watch their offscreen professional rivalry reflected in their antagonistic onscreeen dynamic, adding an interesting meta context to their work together. Both of those elements are missing from Son of Frankenstein. The final film in Karloff’s trilogy of Universal Pictures Frankenstein productions, Son of Frankenstein is a dreary, by-the-numbers affair. The first Frankenstein film had a strange, otherworldly magic to it already dubbed on this site The Spirit of The Spirit of the Beehive. Its followup, The Bride of Frankenstein, is remarkable for its prowess as an early example of the horror comedy. The third film has, what, Bela Lugosi’s first performance as Igor? A replacement Dr. Frankenstin Jr. with a John Waters mustache? The first appearance of the Frankenstein monster’s fur vest? These might be interesting images in isolation, but they hardly amount to justification for a 100 minute feature, the lengthiest of the Lugosi-Karloff collaborations at the time of its release.

This spirit of creative bankruptcy is apparent in Son of Frankenstein as soon as Franken-junior is introduced with the line, “This one’s probably just as bad as his father!” Franken-junior also laments early on that people often get his father mixed up with his monstrous creation, upset that his family name is synonymous with horror & monsters. That pretty much sums up the entirety of the film’s interesting dialogue. Franken-junior is, of course, met with a cold reception when he moves into his deceased mad scientist father’s spooky castle and, of course, becomes obsessed with recreating Franken-senior’s work. Through a little bit of revisionist cheating, it’s revealed that the Frankenstein monster (played by Karloff, of course) & Igor (played by Bela Lugosi, as mentioned), are still for the most part physically intact, despite certainly being destroyed in the earlier films. Somewhere along the way Franken-junior’s little moppet offspring, Franken-junior Jr., “adorably” gives his dad away to the cops in a high-pitched squeak that pretty much made me want to watch the little bastard drown in a fire. That’s the most I felt of the film’s conflict. The only element of interest, really, is that Karloff’s monster & Lugosi’s Igor are good buddies, forming a sweet sort of symbiotic relationship in a world that wasn’t made for them, to say the least.

Although Karloff’s reign as the top-billed performer continues here & you’d think that Lugosi’s secondary role as Igor would push him to the side,  Son of Frankenstein actually stands as a victory for Lugosi in terms of the actors’ longtime struggle to hog the spotlight. It’s not the best of their joint efforts, but at least Lugosi got more lines? He’s oddly captivating as Igor, especially in his Wolfman-like make-up (why did Lugosi never play the Wolfman?!) complete with a broken neck from a past lynching, while Karloff is remarkably dull as the monster he’s played so well in the past. In a completely non-verbal performance, his sole moment of interest is a scene in which he smashes Franken-junior’s very sciency science lab in a blind rage, an image that’s begging for an “open up this pit” meme. The rest of the film is just Karloff going through the motions while Lugosi tries to make the most of his role as a hairy, deformed Igor.

Son of Frankenstein arrived in the midst of a career slump for both Lugosi & Karloff. The decline of monster films that followed The Raven had limited the amount of roles the spooky duo were offered, but a successful double bill re-release of the original Dracula & Frankenstein films renewed interest in the Universal Pictures “famous monsters” brand, which lead to Son of Frankenstein‘s production. Although the film was a financial success for the studio, it’s a creatively weak endeavor at best, amounting to not much more than a collection of “what if?”s. What if, as originally planned, horror icon Peter Lorre had played the role of Franken-junior? What if Bela Lugosi had played the Wolfman instead of Igor & battled Karloff’s monster in a continuation of their meta rivalry? What if Franken-Junior Jr died a slow, agonizing death in a fire, putting an end to his annoying little squeaks forever? Alas, nothing so satisfying is delivered in Son of Frankenstein. That didn’t stop the studio, however, from returning to the well at least one more time in Ghost of Frankenstein. Karloff smartly declined to reprise his role for that trifle, obviously growing tired of the limitations of his most famous character. Unfortunately, Lugosi’s escape from the franchise was not so easy, as he returned as Igor in the Lon Cheney film. Poor Bela.

-Brandon Ledet

The Invisible Ray (1936)

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three star

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One thing Universal Pictures definitely got right in their series of Boris Karloff & Bela Lugosi collaborations was allowing the two actors to stray from their legendary roles as the Frankenstein monster & Count Dracula. Unfortunately for Lugosi, the 1936 picture The Invisible Ray only allowed him to stray as far as the role of a mad scientist, something he had played almost as often as he portrayed the world’s most famous vampire. Fortunately for the audience, the film made enough room for two mad scientists, so Karloff & Lugosi could continue living their offscreen professional rivalry in meta, fictional contests. Karloff always gets top billing in these pictures, which I’m sure drove Lugosi mad, but in their first few movies together they typically traded the narrative spotlight back & forth. In The Black Cat they shared it. In The Raven Lugosi stole the show. In The Invisible Ray Karloff actually earns his top billing, playing the more interesting, omnipresent mad scientist of the pair.

The best The Invisible Ray has to offer is in the spooky mad scientist sci-fi horror in the the two segments that bookend the duller half of the film. The promise of this antiquated sci-fi horror glory is apparent as soon as the film’s “Forward”: “Every science fact accepted today once burned as a fantastic fire in the mind of someone called mad. Who are we on this youngest of planets to say that the INVISIBLE RAY is impossible to science? That which you are now to see is a theory whispered in the cloisters of science. Tomorrow these theories may startle the universe as a fact.” So what “science fact” are we to look forward to in the future? Apparently an alien element known as Radium X, delivered to Earth via a “few thousand millions of years” old asteroid crash has been discovered by Karloff’s maddest-of-all scientist. Karloff has a million & ten different uses for Radium X that range from curing blindness to the creation of a sort of death ray. Too bad exposure to the element causes his skin to glow in the dark & the gentlest of his touches to kill on contact. Lugosi’s less-mad scientist wants to use Radium X to help prove his vague theories about how “the Sun is the mother of us all,” and although the two men work together on the element’s discovery & procurement, they disagree on its practical applications, something that gives Lugosi’s dissenter the moral high ground once Karloff’s touch becomes luminous & deadly. In a lot of ways this reflects their real life professional rivalry, seeing how they both had a distaste for one another, but worked on eight feature films together anyway.

I’ve skipped over a lot of the film’s second act shenanigans, which involve a lengthy expedition to Africa in the quest to harvest Radium X from the asteroid crash site. This being a 1930’s film, there’s a lot of unseemly representation of black characters in these scenes as subservient, easily frightened native tribesmen, but if nothing else this is the first instance I’ve seen of a non-white character having a speaking role in any Karloff/Lugosi collaboration so far. There’s also some thought given to how women’s contributions to the scientific community, represented here in Karloff’s much-suffering wife & mother, are often attributed to men. Of course, these instances of non-white, non-male representation are a little thin & undercooked. At best, it’s a modest start & not much more. As I said before, the best The Invisible Ray has to offer is in its mad scientist spookiness. Early scenes featuring a Frankenstein-esque castle being repurposed as a planetarium provide some great, oldschool outer space weirdness, which combined with Karloff’s transformation into The Very Visible Man supplies The Invisible Ray with its most memorable elements. Karloff is particularly captivating in the film, whether he’s donning a stunning welding mask & cape combo (complete with rubber gloves), glowing like a nightlight, or dispensing of his enemies with the simple act of a genteel handshake. By comparison, Lugosi’s presence is far more understated, distinguished only by a goatee that makes him look like a mid-90s alt bro. The Invisible Ray was far from the pair’s best collaboration at the time of its release (that would be The Black Cat), but it’s also far from their nadir. In short, it’ll do.

-Brandon Ledet

The Raven (1935)

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fourstar

Although it’s difficult to imagine a more perfect collaboration between between spooky superstars Bela Lugosi & Boris Karloff than their first film together, The Black Cat, their next tribute to the work of Edgar Allan Poe at least comes close to matching it. After making a brief appearance in the vaudevillian trifle of a romantic comedy Gift of Gab, Lugosi & Karloff returned to what they do best: being generally creepy & making meta references to their offscreen professional rivalry. The Raven doesn’t alter much of the pair’s The Black Cat dynamic. They merely switch roles as victim & villain, this time with Lugosi taking the reins as the film’s murderous creep with a spooky mansion & Karloff talking a backseat as the bitter, broken prey. Otherwise, it’s essentially just more of the same. When then “the same” is as great of a benchmark as The Black Cat, though, that’s not exactly a problem.

Much like with The Black Cat, The Raven starts with a car crash that leaves a young woman in Lugosi’s medical care. This time Lugosi plays a surgeon, Dr. Richard Vollin, instead of a psychiatrist, but the dynamic is still remarkably similar. In The Black Cat, Lugosi’s doctor falls for his patient because of her resemblance to his deceased wife. In The Raven, he falls for his patient because she portrays the (deceased wife) character Lenore in a staged performance of Poe’s “The Raven” (an especially beautiful one that looks like a sequined masquerade). Vollin is a Poe collector & enthusiast to an obsessive degree, something he calls “more than a hobby”, so the possibility of seducing a real life Lenore is too tempting to pass up. He lures his faux Lenore, along with her father & her beau, to his spooky mansion as part of a plan to not only live out the tragic love story of Poe’s “The Raven”, but also the torture chamber antics of the Poe story “The Pit & The Pendulum.” To help him with this dastardly plan, Vollin volunteers to perform plastic surgery on an escaped convict (played by Boris Karloff, of course) only to physically maim the poor lout & turn him into a monster. Lugosi intones to Karloff, “Monstrous ugliness brings monstrous hate. Good! I could use your hate,” and essentially turns the mangled convict into his own personal Igor (perhaps as a nod to Karloff’s long history of playing Frankenstein’s monster).

Although Karloff receives top billing for The Raven, something he was also awarded in The Black Cat, this is unmistakably Bela Lugosi’s show. Watching the horror legend recite Poe’s “The Raven” in front of an exaggerated raven’s shadow, don surgical gear to apply a knockout gas to the camera lens, gleefully give tours of his torture chamber, and recite lines like “Death is my talisman, Mr Chapman. The one indestructible force, the one certain thing in an uncertain universe. Death!” are all priceless moments for oldschool horror fans. I like to think that Vincent Price was a fan of this specific Lugosi performance & modeled his own effete murderers in Roger Corman’s Poe productions, particularly in The Pit & The Pendulum and The Masque of the Red Death, after the horror icon.

As for the film itself, it didn’t do so well financially & seemed to ruffle a few feathers with its playfully morbid atmosphere, despite it being very much toned down from what was delivered in The Black Cat. This reception reportedly lead to a temporary ban on the horror genre in England & just a general slump in production of major studio horror films for a long time to come, much to the detriment of Lugosi’s & Karloff’s careers. This shift in attitude is even detectable in the film’s press kit which asks, “Was Edgar Allan Poe a mental derelict?” and goes on to suggest that Poe’s characters were “but a reflection of himself.” It’s a shame that the film mostly fell flat with audiences, since another success like The Black Cat could’ve lead to more work for Lugosi & Karloff where they didn’t have to play Count Dracula & the Frankenstein monster every damn film. The Raven is a pretty great alternative to that overwhelming portion of their work, one that continues the meta-rivalry of the chess game in The Black Cat in yet another great, loose tribute to Poe. I’d say that even though Karloff had the upper hand this round in receiving top billing, it was Lugosi who scored the victory. He’s just so much fun to watch here & all of the movie’s best moments are dependent upon his performance.

-Brandon Ledet