Steven Rubio's Online Life

geezer cinema: godzilla, mothra and king ghidorah: giant monsters all-out attack (shusuke kaneko, 2001)

The first Geezer movie in a month, and we had to deal with a few holdups. It was my turn to pick, and I got tickets for Black Adam, but I wasn't feeling too good, so I exchanged them for tickets the next day. But we didn't feel much better, so we opted to stay home. I read that November 3 is Godzilla Day, so I hunted down a Godzilla movie for us to watch. Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack got some good reviews, so I chose that one.

I've seen a lot of Godzilla movies, although not as many as the real fans. I saw the original from 1954, saw Mothra vs. Godzilla (1964), Godzilla vs. Mothra (1992), and many more, right up to last year's Godzilla vs. Kong (my favorite is the 2014 Gareth Edwards-directed Godzilla). I looked up some info about this new-to-me movie ... fans were looking forward to it because director Shusuke Kaneko had done good things with a Gamera reboot (three films in the late 90s). GMK (as it is known to fans) is something of a reboot itself, existing in a universe where only the original happened (although there's a brief dig at the 1998 American crapfest). It's 50 years later, and Godzilla hasn't been seen since 1954. But he turns up, and in this one, he is a pure bad guy. The other titular giant monsters rise to fight him, along with Baragon, who for some reason doesn't make it into the title. There is some humor that I couldn't tell whether it was intentional, acting that was reasonably good (especially from Chiharu Niiyama), and excellent special effects beyond the guys in monster suits (not just guys ... Rie Ōta was Baragon, and she was the first female suit actor to be a kaiju in a Godzilla movie). It's entirely possible this is a better movie than Black Adam ... maybe we made out in the end.

the mysterians (ishirō honda, 1957)

Anything I watch while on vacation will be driven by devices. If I'm going to watch a movie on my Kindle, I'm not picking a big-screen classic. Criterion is streaming lots of horror movies this October, including a bunch of Japanese movies from Ishirō Honda that were staples of my TV watching as a kid. The Mysterians came fairly early in his monster-movie career, and before he died, Honda said it was his favorite.

These posts will mostly be quickies... I'm typing this on my phone, for instance, which encourages brevity. The Mysterians is more science-fiction than monster movie, as an alien race from a destroyed planet comes to Earth ("in peace") looking for a place to relocate. No one takes them seriously... All they want is a small piece of land. They also want to teach the Earth people about the dangers of nuclear war (the reason their planet was destroyed). Like I say, sounds OK to me, but the reactions by the humans are completely hostile, with first the Japanese and then the entire Earth increasing their military response (and failing against the superior technology of the aliens). 

Oh, there's one more thing: the aliens are largely radioactive, they have trouble making healthy babies, so they want to take a few female humans for mating purposes. 

It's all predictably loony. It's fun watching these movies with subtitles. It's as if they quit being Saturday afternoon junk and become art films. The effects are good in The Mysterians. But I think it's a stretch to call it a clear classic outside of its genre.

devil's partner (charles r. rondeau, 1961)

This is the seventh film I have watched in "My Letterboxd Season Challenge 2021-22", "A 33 week long challenge where the goal each week is to watch a previously unseen feature length film from a specified category." This is the 7th annual challenge, and my third time participating (my first year can be found at "My Letterboxd Season Challenge 2019-20", and last year's at "My Letterboxd Season Challenge 2020-21"). Week 7 is called "Hades' Choice Week":

What the Hell?!

Alt. take: Beelze-busted!

This week's challenge is to watch a previously unseen film prominently featuring the Devil.

Junk, but watchable, if only barely. If you and a couple of friends made this movie and showed it to your other friends, they would likely be amazed that you were able to pull off an actual feature film. But the competition isn't home movies, it's movies like Roger Corman's Creature from the Haunted Sea, with which Devil's Partner was released as part of a double-feature. Devil's Partner is competent, but it completely lacks any of the goofy fun that Corman regularly turned out. This can happen when both of your screenwriters are making their debuts as writers (neither ever wrote another film). Director Charles R. Rondeau was a prolific television director whose five feature films were nondescript.

The plot has an unlikeable old man dying mysteriously in a small town, after which his nephew turns up and insinuates himself into the community. He's up to no good, and soon lots of people are dying in unusual ways (being chased down and stomped by a horse is particularly silly). Rondeau and company do what they can to hold things together ... as I say, it's a competent movie, it just lacks anything beyond that basic competence. The acting is decent, with a couple of recognizable faces (Ed Nelson, Edgar "Uncle Joe" Buchanan). Still, as is often the case with such movies, the best thing is that it's only 73 minutes, so you won't be wasting too much of your time.

the raven (lew landers, 1935)

This is the fifth film I have watched in "My Letterboxd Season Challenge 2021-22", "A 33 week long challenge where the goal each week is to watch a previously unseen feature length film from a specified category." This is the 7th annual challenge, and my third time participating (my first year can be found at "My Letterboxd Season Challenge 2019-20", and last year's at "My Letterboxd Season Challenge 2020-21"). Week 5 is called "Universal Monster Week":

The originators of the form here in American horror, the Universal Monster series offers up...scares? Well, they used to, anyway. For the most part, they're now fun novelties to look back upon and maybe even poke fun at if you're into that sort of thing.

This week's challenge is to watch a previously unseen Universal Monster movie.

There are a couple of Universal Monster films that are legit classics ... for me, the two James Whale/Boris Karloff pictures Frankenstein and The Bride of Frankenstein top the list. There are other good ones, and at the least, Universal provided a base that ensured even the lesser pictures were OK. The Raven is one of those lesser movies, and to be honest, it's only borderline OK.

The plot is silly, designed solely to stuff the name Edgar Allan Poe into the picture. Bela Lugosi plays a deranged doctor with a Poe obsession, and that's pretty much the extent of Poe's influence on the movie.  Lugosi's doctor has recreated some of the torture devices featured in Poe's stories, most notably one from "The Pit and the Pendulum". Boris Karloff plays an escaped murderer who, via silly plot shenanigans, is forced to do Lugosi's billing (the doctor has a name, but face it, the characters are essentially "Lugosi" and "Karloff"). Some of the frights are scary enough, and the movie only lasts a minute longer than one hour, so it's not a burden to watch it. But Lugosi's hammy overacting is worse than usual, overshadowing Karloff's usual touching portrayal of a monstrous person. There is nothing here to excite anyone other than Universal completists.

 Other Challenge choices included The Incredible Shrinking Man.

creature feature: the giant claw (fred f. sears, 1957)

As often happens with crappy movies like this, the trivia is more interesting than the movie. So I should mention a couple of things that didn't suck about The Giant Claw. The acting by leads Jeff Morrow and cult fave Mara Corday is decent. Some of the dialogue (writers were Samuel Newman and Paul Gangelin) is OK ... at one point, it sounds like outtakes from To Have and Have Not. Fred F. Sears does what he can with the low budget, which was pretty much his best talent as a director.

But that budget! The title monster is as ludicrous as any seen in 50s sci-fi. The legend is that Ray Harryhausen was intended to do the monster effects, until producer Sam Katzman decided to pay $50 (!) to a Mexican model maker. The resulting marionette elicits laughter every time it appears. (One of the trivia points of the film is that Morrow saw it in his hometown, but left before the movie ended because the crowd kept laughing at the monster and he didn't want to be recognized ... Wikipedia adds that "he allegedly went home and began drinking"). One standard way to save money on these films is to use stock footage, and Katzman certainly does this. But he also uses footage from other movies. The IMDB lists Earth vs. the Flying Saucers, Thirty Seconds Over Tokyo, The Day the Earth Stood Still, and Flash Gordon Conquers the Universe as source material. Not to mention the general similarities to Rodan.

On a personal level, the best thing about The Giant Claw is that my wife picked it. I've been watching crappy Creature Features on Saturday afternoons for 60 years, but she usually rolls her eyes at the idea. So I was happy to watch this one, since I don't get too many opportunities to enjoy a Creature Feature with my wife.

creature feature: the curse of frankenstein (terence fisher, 1957)

The film that introduced Hammer Films to horror. British television star Peter Cushing played Baron Frankenstein, Christopher Lee was the monster, and Hazel Court began her career as The Queen of Scream (although she had been in movies for more than a dozen years), setting the standard for Hammer heroines, big screams and big cleavage (Court's autobiography was called Horror Queen). Frankenstein is far more the center of this film than is the monster, and Cushing is as good as anyone has been as the Doctor. Lee is hampered by his makeup, which was created shortly before shooting began, looked cheap (albeit ugly enough), and didn't give Lee much chance to draw our sympathy the way Karloff did.

The biggest problem with the film is that the first half, wherein Frankenstein works to perfect his ability to create life, is kinda boring. It was a big hit in its day ... some attribute this to its being in color, thus letting audiences get a better experience when watching the gore. As you might expect, the gore, however shocking it was in 1957, barely raises an eye today.

There's nothing really wrong with The Curse of Frankenstein. The acting is good, and for such a low-budget film, it has an attractive look to it. But all in all, nothing special.

The quick shot of Peter Cushing looking into the magnifying glass brought this scene instantly to mind:

creature feature: the skull (freddie francis, 1965)

Amicus Productions came out of England in 1962, but it was founded by Americans. Their horror films are a lot like Hammer, probably on purpose. The Skull is directed by Hammer stalwart Freddie Francis and stars Peter Cushing and, in a smaller role, Christopher Lee. It is based on a short story by Psycho novelist Robert Bloch, "The Skull of the Marquis de Sade", and the title of that story pretty much explains the plot. After his death, the Marquis' skull is stolen from his grave, and it carries with it an evil that travels across time to the present day (I was surprised when people in The Skull turned on lights and rode in cars ... I didn't realize we'd moved past the 19th-century prologue).

The whole thing is loony nonsense, but Cushing effectively makes us believers, at least for the 83-minute running time. (Even at 83 minutes, The Skull is stretched thin ... there's a lot of filler.) Francis gives us some ingenious looks, in particular some shots from a point-of-view inside the skull. While the effect of the skull floating ominously in space sounds silly, it's actually effectively scary. The music is by Elisabeth Lutyens, an interesting figure of some note. She was a composer of some repute, and the first woman to score a British film.

None of the above raises The Skull much beyond the norm for 60s horror, but it's reasonably entertaining.

creature feature: strait-jacket (william castle, 1964)

Not all Creature Features are the same. This one stars Joan Crawford, and that right there is a big difference from the norm. It wasn't the only time Crawford worked in the "Psycho-biddy" (aka Hag Horror) genre. In fact, she was there at the beginning, in Whatever Happened to Baby Jane? While they weren't psycho-biddy, her last two movies were called Berserk! and Trog. Point being, Crawford gives Strait-Jacket some star power, but the end of her career stuck her in several similar pictures.

The screenplay was by Robert Bloch, who wrote the novel on which Hitchcock's Psycho was based. Beyond Crawford and Bloch, though, the key figure in Strait-Jacket was the legendary producer/director William Castle. Castle was best known for his promotional gimmicks, which he gave names to: "Emergo", "Percepto", "Illusion-O". "Percepto" was used for The Tingler, one of the stupidest movies ever (the title character was a parasite attached to human spines that emerged whenever someone was really scared). Stupid, yes, but the gimmick was classic: at some theaters, a vibrating device was placed under some seats, and when, in the movie, a Tingler escapes in a movie theater, those seats vibrated. The odd thing was, growing up and watching these movies on TV, minus the gimmicks, they were still enjoyable.

Strait-Jacket was relatively low-key in this context: audience members were given cardboard axes as they entered the theater.

As for the movie, Crawford gives her all, even managing on occasion to avoid the kind of hammy overacting you expect from a camp picture like this. She doesn't embarrass herself, and that's probably all we can ask. An uncredited Lee Majors makes his first big-screen appearance. Diane Baker is fine as Crawford's daughter. Crawford had a lot of control over the movie ... she made sure to stick a six-pack of Pepsi in one scene, and the man who plays her doctor in the film was non-actor Mitchell Cox, who was a Vice-President at Pepsi. Other than completists, I don't know that fans of Crawford need to see this, but fans of William Castle will enjoy it, if they haven't already seen it.

creature feature: abbott and costello meet the mummy (charles lamont, 1955)

People who have never seen it probably don't believe that Abbott and Costello Meet Frankenstein is a good movie. By a happy coincidence, Universal had Abbott and Costello under contract and all those Universal horror characters needing a new outlet. So you take the two comedians, toss in Dracula, the Wolf Man, and Frankenstein's monster, toss in Lenore Aubert as a femme fatale, and voila! They had the original Wolf Man, Lon Chaney, Jr., reprising his classic role. And most notably, Bela Lugosi made only his second (and last) appearance as Dracula. There were some classic A&C skits, and the scares were actually real. And Abbott and Costello were still in the prime as one of the most popular comedic duos around.

This set off a series of "Abbott and Costello Meet" movies. There was Meet the Killer, Boris Karloff, and Meet the Invisible Man, and Meet Captain Kidd, and Meet Dr. Jekyll and Mr. Hyde, and Meet the Keystone Cops.

Which takes us to Abbott and Costello Meet the Mummy. It was the last picture they made with Universal, and their next-to-last movie, period ... Lou Costello died in 1959.

It wasn't very good. The Mummy was played by stuntman Eddie Parker, and he wasn't scary. The other stars were people like Michael Ansara and future Mel Cooley Richard Deacon (he wasn't scary, either). Marie Windsor livened things up a bit, and the last fifteen minutes or so are fun in a frantic way. But Bud and Lou look tired. In the credits, their characters are listed as Pete Patterson and Freddie Franklin, but during the film, they just call each other by their actual names, as if it didn't really matter (it didn't). The whole thing plays like a Crosby-Hope-Lamour Road movie, only a weak one. Peggy King popped in for a song, and in an incongruous moment, there's a giant lizard of some sort (it wasn't scary, and the special effects weren't special).

So it's easy: if you have a hankering for something like this, Abbott and Costello Meet Frankenstein is out there. Don't bother with The Mummy.

creature feature: the curse of the werewolf (terence fisher, 1961)

Decent Hammer film, but no more than that. Oliver Reed plays the title character ... he only got second billing, though, and was paid only £90 a week. Of course, he doesn't even turn up until halfway through the movie, so maybe the billing and the paychecks were appropriate. Probably the most interesting other person in the cast was Anthony Dawson, who was a bad guy in 3 of the first 4 Bonds, twice as Blofeld.

This is the only werewolf film made by Hammer Studios. It was also the first werewolf film to be shot in color. It looks OK, as most Hammer films did. As I said about The Brides of Dracula, "the Hammer films were a step above the usual" for late-night Creature Feature TV shows. But this fact, plus the presence of Oliver Reed (who admittedly makes a good werewolf), don't make The Curse of the Werewolf into a good movie. It drags, especially during the first half, and characters that seem important disappear later in the film. Worst of all, the film takes place in "Spain", so while everyone speaks with a British accent, their names are Don Alfredo and Leon and Christina Fernando. Once in a while, someone calls someone "Señor," and it sticks out like the proverbial sore thumb.