Review: Revenge of Frankenstein

The Revenge of Frankenstein, 1958, color, Hammer, 90 minutes (U.S. version). Directed by Terence Fisher. Starring Peter Cushing as Dr. "Stein" (Frankenstein). Francis Matthews as Dr. Hans Kleve, Eunice Gayson as Margaret Conrad, Michael Gwynn as Karl as a synthetic man and Oscar Quitak as Karl (before). Schlock-meter rating: 9 stars out of 10.

Hammer films can be somewhat of an acquired taste. Often it will seem that the cast of Mansfield Park has suddenly appeared in a conventional horror film. But I confess to being a big fan of this British horror genre. I love the raw horror of Dracula being confronted by English gentlemen warriors. The Revenge of Frankenstein, a sequel to the Curse of Frankenstein. is an efficient, compact tale with beautiful sets and scenes and marvelous restrained performances by Cushing as Dr. Frankenstein and Gwynne as the suffering synthetic man.

The plot: Dr. Frankenstein avoids death in one portion of Eastern Europe and sets up shop far way under the name of Dr. Stein. He quickly becomes the most popular doctor in town, much to the chagrin of his colleagues. A former student (Matthews) recognizes Frankenstein, but rather than turn him in, works with him to create a synthetic man (Gwynne). Of course, plans go awry and several murders occur by the monster before Stein's true identity is revealed. There is a twist ending that is a little hard to swallow, but it sets everything up nicely for a sequel.

Matthews as Cushing's confederate Dr. Hans Kleve is just window dressing, as is a nurse (Gayson) who inadvertenly sets the monster free. This is Cushing's show, and he is marvelous. He portrays a truly evil, amoral man, but his charisma, energy and controlled emotional performance makes the audience cheer for him. Fisher's direction is as economical as a Don Siegel film. He keeps the film moving at a fast pace and virtually no scenes are wasted.

Even Dr. Frankenstein's motive for creating a synthetic man appears pure at first. It's to place the brain of a dwarf (Quitak) in a "perfect body." However, when the brain and body don't mix and the suffering creation (Gwynne) goes mad with pain and fury, the doctor is curiously cold, revealing his icy interior. As mentioned, Gwynne is great in conveying the suffering of the monster and its agony that it cannot control his pain or actions. The Revenge of Frankenstein is a winner, and deserves a spot in any cult film collection. Notes: British version runs 94 minutes. Film was originally banned in Sweden.

-- Doug Gibson

Review: Dracula: Prince of Darkness

Dracula: Prince of Darkness, 1966, 80 minutes, Hammer, Color. Directed by Terence Fisher. Starring Christopher Lee as Dracula, Barbara Shelley as Helen Kent, Andrew Keir as Father Sandor, Francis Matthews as Charles Kent, Suzan Farmer as Diana Kent, Charles ÿBudÿ Tingwell as Alan Kent, Thorley Waters as Ludwig, Philip Latham as Klove and John Maxim as the coach driver. Schlock-Meter rating: 9 stars out of 10.

This is a magnificent horror film. Two English couples are vacationing in Eastern Europe. They are warned by a priest (Keir, who is great) to stay away from Carlsbad, and above all, an unmarked castle. Of course, they ignore the priest's advice and enter the castle. There, with the help of an evil assistant (Latham), Count Dracula (Lee) is resurrected from dust and the night turns to terror for the couples.

The acting is superb, and director Fisher's economical pacing prevents the film from dragging and maintains suspense. Keir, as Father Sandor, is a great vampire hunter, and carries much of the film with his commanding presence. Barbara Shelley as the ill-fated Helen Kent, undergoes an effective transition within the film. The first half of the film she's a repressed, shrewish early-middle-aged wife. However, after falling prey to Dracula's curse, Shelley becomes a beautiful, passionate woman with full cleavage. She literally looks 15 years younger and deserves credit for pulling off the transformation. Waters as Ludwig, an imbecile who helps Dracula, is a capable Renfield clone, and Latham is sinister and eerie as Dracula's living servant Klove.

The film opens with a final shot from Hammer's classic The Horror of Dracula, where Peter Cushing destroys Lee's Dracula. It was the third Hammer Dracula film, but Lee's second playing the man with a cape. Lee produces scares, despite never uttering a word in the film. He is sinister, yet commanding. Not human, he prefers to communicate with snarls and shrieks of rage or triumph. I won't give away the entire ending, but Dracula meets his fate in a rather unusual manner.

One minor quibble: I wish the Hammer films were shot in black and white rather than color. I understand that it worked well in the 1960s, but today the Hammer films are a bit dated because of the color. They would appear fresher if black and white. The forest settings appear realistic and the castle is suitably creepy. It's a must-rent cult film. Better yet, buy it for your collection.

-- Doug Gibson

Review: Godzilla 2000

Godzilla 2000, 2000, about 90 minutes, color, Toho films, Japan Distributed in the U.S. by Columbia Tristar. Directed by Takao Okawara. Starring Kitagawa Tsutomo, Hiroshi Abe, Takehiro Murata, Mayu Suzuki and Shiro Sano. Rated PG. Rating on a scale of 10: 8.

When I was a child, I saw a lot of Saturday matinee thrillers. I remember really enjoying reissues of the Marx Brothers' Go West and The Seventh Voyage of Sinbad. But I never saw a Godzilla film. I didn't lose any sleep over it as a child, but, when Toho's latest Godzilla flick, Godzilla 2000, opened in August (2000), I persuaded my skeptical wife to catch a matinee at one of those new mega-cinema mall (this place was showing over 30 films). So we settled down with some popcorn, and I put my feet up in the nearly empty theater and waited for some bad dubbing, some fairly cheesy monsters and Godzilla's distinct Japanese shriek.


And that's exactly what I got. Godzilla is cheesy and at times ridiculous, but still, it's a lot of fun. It doesn't try to take itself seriously, and as a result, provides great Saturday matinee popcorn-gobbling fun. When it comes out in video, it's a must for cult fans to rent this film, microwave the popcorn, and catch it late night on the tube. Here's the plot: The Godzilla Prediction Network (I'm not making that name up) is in a race with Japan's Crisis Control Intelligence Agency to find Godzilla, who occasionally rampages the countryside. The Prediction wants to contain Godzilla and study the creature. The Crisis Control bureaucrats, led by one of the most stone-faced actors in film history, want to kill Japan's most famous beast. In between there's a nosy newspaper reporter trying to get the perfect photo of Godzilla. Somewhere in the middle of all this, a huge rock is lifted from the bottom of the sea to sunlight, thereby resurrecting a huge alien monster. Guess who gets the fight it?


There are many moments of camp in this monster-fest. Besides the ridiculous dubbing and still-poor Toho effects, the scene where the woman reporter is chewed out by her editor is fun to watch. It seems she was too close to the Godzilla, and the radiation wipes out a good print! The final, dubbed line in the film is a howler, and I won't give it away.


There's a lot of action, and a lot of Godzilla in Godzilla 2000, and that makes it a winner and a must-see for cult film lovers. As mentioned, after it leaves theaters, it's best seen late at night, with beer or pop and a lot of popcorn. You'll laugh a lot, but you'll also enjoy the story, and the energetic rubber monsters flailing away. After watching this film, I'm sure Toho will bring back the big guy for a sequel every few years.

-- Doug Gibson

Review: Space Probe Taurus

Space Probe Taurus, 1965, American Independent, B&W, 73 minutes. Directed by Leonard Katzman. Starring Francine York as Dr. Lisa Wayne, James B. Brown as Colonel Hank Stevens, Baynes Barron as Dr. John Andros and Russ Bender as Dr. Paul Martin. Schlock-Meter rating:4 stars out of 10.

AIP had high hopes for Space Probe Taurus. Initially planned as a theatrical release, a sequel was in pre-development while the futuristic sci-fi was being filmed. After Leonard Katzman (son of 40s cheapie mogul Sam Katzman) finished the film, AIP execs watched the film. Plans for a theater release were scrapped. The sequel was put on the shelf permanently, and Space Probe Taurus was quickly sold to television. It was a smart move. Space Probe Taurus is so corny although it has a fun goofiness. There is less than 7 or 8 minutes of action in the entire film. The actors talk and talk and talk and talk and still talk. Whenever our stars meet any space monsters (and they're pretty pathetic) the action never rises higher than a Buster Crabbe serial. The sets and FXs are awful. A talented high school class could do a better job. The script is cliche-ridden with stock characters (feminist lady scientist, gruff chauvinist commandeer who will win over the girl, money-grubbing wise-cracking crewman who will of course die, and elderly scientist egghead).

The plot: It's supposed to be roughly around the year 2000, although everyone looks and acts like its the 1960s. Memo to filmmakers: When attempting a futuristic fantasy, try to have space exploration equipment that post dates 1960. Hope 1, a state-of-the-art space ship, is off on a journey to probe the universe. The search is for a planet that humans may one day colonize. The spaceship and its journey through outer space are accomplished with childish FXs that would embarrass any four-year-old Star Wars fan. It's obvious the ship is a 12-inch model and outer space looks like a blackboard with shiny stuff attached to it. Meteorites resemble toasted marshmallows. Yet, for some reason, as I have mentioned, it's goofy fun.

Before our heroes find the planet they are looking for, they intrude on a space station run by a lone alien with a face full of granola. When the alien understandably attacks the U.S. space soldiers they quickly kill him and blow up his ship. That is probably the best scene in the film! Eventually, our boring heroes, after a lot of talk and a definitely-uncool-in-2000 Me Tarzan, You Jane romance between Colonel Stevens (Brown) and Dr. Lisa Wayne (York), find an inhabitable planet. The wisecracking Dr. Andros (Barron) loses his life battling another alien, and our heroes, as they return home, name the planet Andros 1, in his memory.

Notes: Director Leonard Katzman rebounded from this mediocre effort to be a huge success in television. He created, among other hits, Wild Wild West, Walker Texas Ranger and Dallas. Like many independent films, Space Probe Taurus has had other titles, including First Woman Into Space, Flight Beyond the Sun, Space Monster and Voyage Into the Sun. American Movie Classics aired the film twice during the month of April 2002. If one searches enough, Space Probe Taurus can generally be bought via the Internet

-- Doug Gibson

Review: The Ape Man

The Ape Man, 64 minutes, 1943, Monogram, Directed by William Beaudine. Starring Bela Lugosi as Dr. James Brewster, Louise Currie as Billie Mason, Wallace Ford as Jeff Carter, Henry Hall as Dr. George Randall, Emil Van Horn as the ape, J. Farrell McDonald as Police Captain O'Brien and Minerva Urecal as Agatha Brewster. Schlock-meter rating: Seven stars out of 10.

This is a screwball horror film, but a lot more entertaining than most viewers will expect. It's sheer pulp horror that doesn't take itself too seriously. The plot involves a scientist (Lugosi) who for unexplained reasons accidentally turns himself into an ape man. Not trusting his sanity, he frequently locks himself up with an ill-tempered ape (Van Horn in a campy performance). Lugosi's ape man needs human spinal fluid to have even a chance to regain his former appearance and posture. This involves murder and when a colleague (Hall) refuses to help, Lugosi literally goes ape, and commits several murders. He's encouraged by his creepy sister (Urecal) a noted spiritualist who records the groans of ghosts. Lugosi's nemesis are a reporter/photographer duo who soon become wise to all the creepy occurrences.

Of such bizarre plots were Monogram cheapies of the 1940s created. It's a lot of fun to watch, even if the production values are predictably bottom of the barrel. Lugosi, as usual, acts far above the product he's pitching, and he manages to make the audience feel sympathy for his plight. His ferocious temper tantrums are effective. He nearly strangles his sister in one scene. Urecal, by the way, is great as the slightly creepy sister. In an Los Angeles Times review (the paper actually liked the film) the reviewer suggested Urecal be given her own horror film to star in. So far as I know, it never happened, although she was also very good in the Lugosi vehicle The Corpse Vanishes. Currie and Ford as the wisecracking journalists have strong chemistry. B movie veteran actor McDonald is also an asset to the film. The film is slightly marred by a truly goofy character who acts as a red herring, cutting into scenes for no reason and offering cryptic comments and warnings. At the end, he reveals himself to be the author of the tale. As The End is flashed on the screen, he remarks "Screwy, isn't it?"

Like any low-budget film, there are amusing contradictions. Why does Lugosi have an accent, and his sister doesn't? Also, why doesn't anyone seem to notice the ape-like Lugosi and his pet ape traipsing through the city? Of course, suspension of disbelief is a requirement to fully enjoy a Monogram film. So just sit back and take in the show. It's a fun hour of escapism and a great treat for those who enjoy the old C and B horror films. Notes: The film's shooting title was They Creep in the Night. In England, it was titled Lock Your Doors. There is a nostalgic reference to the times when Currie chides Ford for being 4F, and consequently not serving in World War II. He retorts that he's scheduled to enlist at the end of the month.

-- Doug Gibson

Review: Plague of the Zombies

Plague of the Zombies, 1966, British film, directed by John Gilling, Hammer Films, 91 minutes, starring Andre Morell as Sir James Forbes, Diane Clare as Sylvia Forbes, Brook Williams as Dr. Peter Thompson, Jacqueline Pearce as Alice Mary Thompson, John Carson as Squire Clive Hamilton, Alexander Davion as Denver and Michael Ripper as Sgt. Jack Swift. Schlock-meter ranking: Eight stars out of 10.

"Plague of the Zombies" is a superior Hammer entry from the mid-1960s. A very English gentleman doctor (Morell) heads to the small British village, Cornwall, with his daughter (Clare) to visit a protege (Williams) who is the local doctor. Mysterious deaths are occurring. The next to die is the local doctor's wife (Pearce). It's soon discovered that the graves are devoid of corpses. To solve the case, Morell and the local police sergeant (Ripper) reach back to Carribbean lore and the local, very rich squire (Hamilton) who also has an abandoned tin mine ... or so everyone thinks.

Prior to George A. Romero' "Night of the Living Dead," most zombie films involved Haitian voodoo to create the undead. The best example of this is Bela Lugosi's "White Zombie." "Plague of the Zombies"was the last great zombie film with the familiar Caribbean origin The film's villian, Squire Clive Hamilton, is a student of the Haitian occult and eagerly takes its teachings back to his native village. Carson's character is less evil than fanatic. Even as the net closes in on him, he can't stop from trying to turn pretty Sylvia Forbes (Clare) into a zombie. The scenes of zombies toiling in the abandoned tin mine and roaming the country are chilling, as is Alice Mary Thompson's (Pearce) change to a zombie.

As protagonist and antagonist, Morrel and Carson are superb. The former masters the droll wit and sense of honor of an old English gentleman. The latter mixes his mask of polite, gallant breeding very well with his loathsome zombie-creating persona. It's an effective contrast. The Cornwall villagers are realistic. "Plague of the Zombies" does a good job detailing the class differences between the ultra-rich squire and the poor villagers. The oppressed villagers are mere toys for greedy Squire Hamilton and his henchmen. This theme of class injustice lends depth to what might have been just a routine horror programmer.

"Plague of the Zombies" is worth more than a rental. Cult film collectors should own a copy for repeat viewings. It's an example of Hammer at its best. It can easily be found for sale in VHS or DVD prints.

Notes: Morrel, who died in 1978, had a long and distinguished career. His credits include "Dr. Who," "Quartermass and the Pit," "Ben Hur," and he was the voice of Elrond in Ralph Bakshi's animated "The Lord of the Rings." Director Gilling directed and produced the 1952 Bela Lugosi film "Old Mother Riley Meets the Vampire!" It wasn't until 1986 that another major release tackled the zombies, Caribbean curse plot. It was Wes Craven's "The Serpent and the Rainbow." An alternate title for "Plague of the Zombies" is "The Zombies." The film was released on a double bill with "Dracula: Prince of Darkness."

-- Doug Gibson

Review: Return of the Vampire

Return of the Vampire, 1944, B&W, Columbia, 69 minutes. Directed by Lew Landers and Kurt Neumann. Starring Bela Lugosi as Armand Tesla, Frieda Inescort as Lady Jane Ainsley, Nina Foch as Nicki Saunders, Matt Willis as Andreas Obry. Schlock-meter rating: Seven and one-half stars out of 10.

Return of the Vampire was Bela Lugosi's main comeback vehicle in the first half of the 1940s. Lugosi was getting old, and had been relegated to roles in C productions. Columbia was a major studio but Return of the Vampire has a B movie feel to it, and the film failed to revive Lugosi's career. That's not the Hungarian actor's fault though. He's marvelous as Armand Tesla, a vampire trapped by a British family (the Ainsleys) in ruins during World War 1 and freed when his tomb is bombed during World War 2.

Now free, Tesla quickly goes after his revenge. He recruits his one-time werewolf assistant (Willis) and eventually tries to take off with pretty Nicki Saunders (Foch) before his werewolf slave turns on him. The scenes where Lugosi's vampire matches wits with Lady Jaine Ainsley (Inescort), who begins to realize just who he is, are superior moments in the film. The bomb-ravaged, smoky scenes are another highlight of the film, but the script is weak, although Lugosi does the best he can with the hammy dialogue. At the very end, in a heavy-handed attempt at humor, a skeptical police inspector turns to the camera and asks the audience if they believe what just transpired.

Except for a few RKO roles and a great turn as Dracula in Abbott and Costello Meet Frankenstein, Lugosi's career deteriorated badly after the mid-1940s. Work in even C productions like Monogram and PRC dried up, and it was only a few years before Lugosi was so desperate that he began accepting roles from schlock-meister Ed Wood. In this sense, Return of the Vampire is very important as it shows Lugosi at his best playing his signature role -- surprisingly, he only played a vampire in THREE films! Note: Plans were hatched for a sequel to Return of the Vampire, but were never realized.

-- Doug Gibson

Review: Tom Sawyer, 1917

Tom Sawyer, 44 minute-version, B&W, 1917. Directed by William Desmond Taylor. Starring Jack Pickford as Tom Sawyer, Edythe Chapman as Aunt Polly, Helen Gilmore as Widow Douglas, Robert Gordon as Huckleberry Finn and Clara Horton as Becky Thatcher. Schlock-meter rating: Eight stars out of 10.

This early silent is an interesting curio, creaky but far more entertaining than you'd think. Jack Pickford, brother of Mary, plays Mark Twain's famous scamp, and while he was old for the role (20), he pulls it off with a talented performance. His best scenes are when he cons his buddies into whitewashing the fence and his romance of Becky Thatcher, played by 13-year-old Clara Horton. Pickford had an "aw shucks" type of charm that must have made him pretty famous 85 years ago. Chapman as Aunt Polly is agreeably fussy and Gordon smirks effectively as Huckleberry Finn.

The acting is highly melodramatic, the sets are very effective. On the Internet Movie Database, on reviewer describes the film as having the "feel of an old photo album." Incredibly, this was not the first adapation of Twain's novel. That occurred in 1907. The film ends halfway through the novel, the climax being Tom and Huck crashing their own funeral. This has confused several reviewers, but the story goes that director Taylor divided the film into two movies. A year later he released Huck and Tom, which is the second half of the novel. The tinny score irritates a bit, but the film, recently shown on TCM cable channel, is a real treat for silent film buffs.

Director Taylor was murdered under mysterious circumstances in 1922, a scandal that still thrills Hollywood today. Star Jack Pickford died in 1933, his career and health ruined by fast living.

-- Doug Gibson

Review: Zombies on Broadway

Zombies on Broadway, 69 minutes, B&W, RKO. Directed by Gordon Douglas. Starring Wally Brown as Jerry Miles, Alan Carney as Mike Streger, Bela Lugosi as Dr. Paul Renault, Anne Jeffreys as Jean LaDance, Sheldon Leonard as Ace Miller and Darby Jones as Kolaga, the Zombie. Schlock-meter rating: Seven stars out of 10.

This is an enjoyable 1940s B movie with Brown and Carney, RKO's version of Abbott and Costello, as PR hustlers announcing that a new NYC nightclub, The Zombie Hut, will open with a real zombie. To them it's just a gag, but toughman mob owner Leonard tells them to come up with a zombie or else. That sends the boys to the island of San Sebastian where, with the help of a beautiful dancer (Jeffreys), the boys overcome a zombie creating mad scientist (Lugosi) and return with a zombie.

The cast is wonderful. Comedians Brown and Carney do a passable imitation of Abbott and Costello. Carney plays Costello, while Brown is the AbboTt clone who ends up with the strikingly beautiful Jeffreys. Leonard is menacing in his stock role as gangster hood. Thrown in for atmosphere is Darby Jones, who bugs his eyes out as impressively as he did in Val Lewton's classic I Walked With a Zombie. The film moves at a fast, easy pace. Lugosi is suitably conniving as the mad scientist and there's a fun twist ending.

RKO had high hopes for ex-vaudeville performers Carney and Brown, but they never seriously threatened Abbott and Costello at the box office. Still, they made several amusing B features and fading horror star Lugosi appeared in two, the other being One Body Too Many. This seldom-seen-today film is a must for Lugosi fans and those who enjoy the old 1940s B programmers.

-- Doug Gibson

Review: Octaman

A small ecological scientific expedition, headed by Kerwin Matthews,star of such great 1960s classics as Jack The Giant Killer and The 7th Voyage of Sinbad, travels to a small Latin American fishing community to study radioactive contamination in the water. Here they take blood samples of local villagers, since their diet consists mostly of foods found in the sea. One member of the expedition, Mort, discovers a strange, small creature similar to a small octopus. The creature looks like a cheap rubber toy for kids.

Matthews decides to return to the United States to seek more funding for his research and to continue the expedition. He presents his findings to Jeff Morrow, star of This Island Earth and The Creature Walks Among Us. Morrow is not convinced of Matthews' hypothesis that the small octa-creature is a result of contaminated water, so he decides not to fund the rest of the expedition.

Matthews then turns to a wealthy rancher named Johnny Caruso to fund the remainder of the expedition. Caruso is not a scientist, so his interest is mostly in finding his next sideshow attraction and to profit from its discovery.

After returning to Latin America, the expedition learns of a local myth of a giant half man, half sea creature, who attacks and murders local villagers. If any of this sounds familiar, that's because it was written and directed by Harry Essex, a screenwriter for the 1950s classic: The Creature From The Black Lagoon. Some viewers have described Octaman as a low-budget version of The Creature From The Black Lagoon. There are some similarities. For instance, there is a scene where the expedition is trying to leave the local area in their motor home. They encounter a fallen tree that blocks their path on the road, making it so that they cannot leave. This is similar to when the creature in The Creature From The Black Lagoon moves a fallen tree in front of the boat expedition.

It is important to note that the unique Octaman creature was an early creation of makeup wizard Rick Baker, who has gone on to have a very successful career in many big-budget Hollywood films, such as: American Werewolf In London, Star Wars and The Howling. Baker won an academy award for his work on American Werewolf In London and The Nutty Professor. His earliest work was Octaman and in assisting Dick Smith in make-up effects in The Exorcist. The female lead in Octaman, Pier Angeli, died of a barbiturate overdose while the film was in production.

The film was never released theatrically, and went straight to television and later video.

What makes Octaman so interesting is the fact that it is a summation of so many earlier monster movie creatures from the 1950s. As I watched Octaman, I couldn't help but think of the creature in Monster of Piedras Blancas, the tree creature in From Hell It Came, and of course The Creature From The Black Lagoon. Octaman is worthy of a viewing, if not only to see an interesting reference to so many classic monster movies of the 1950s and 1960s.

-- Steve D. Stones

Review: Godzilla versus Monster Zero

Godzilla versus Monster Zero, 1965, directed by Ishiro Honda, color, 93 minutes. Starring Nick Adams as Astronaut Glenn, Akira Takarada as Astronaut K. Fuji, Yoshio Tsuchiya as Controller of Planet X and Kumi Mizuno as Miss Namikawa. Schlock-meter rating: Eight and one-half stars out of 10.

This is an extremely enjoyable, very campy monster-fest with shoddy but fun special effects as Godzilla and Rodan team up to defeat Monster Zero (also known as Ghidorah) and thwart the plans of the controller and the rest of the evil baddies who rule Planet X in a galaxy far, far away. Also, vampy Asian Kumi Mizuno plays a semi-robot spy who gets the hots for mumbling Nick Adams, the Marlon Brando of low budget shockers.

As is often the case with these wonderfully kitschy Japanese monster films, the plot seems to have been hatched out after an all-night mushroom party. Astronauts Adams and Takarada explore Planet X. There, they are told that Monster Zero threatens that planet and Godzilla and Rodan are needed on loan to beat him. The Planet Xers, to get Earth to help, offer a cure for all diseases as a swap for the muscle-bound monsters. Earth agrees but after the monsters are delivered, the baddies of Planet X pull a fast one, telling earthlings that unless they agree to be colonized, the three monsters will destroy Earth. Chaos results with lots of stock footage of wars and riots. All looks grim, but eventually hard-working scientists learn that a recently invented tinny sound can render the Planet X baddies insensible; also an electronic ray is invented to free Godzilla and Rodan from the computerized clutches of the Planet Xers, who are controlled by computers themselves.

The dubbing is surprisingly well done in the American version on AMC. Adams' Jersey persona is in great form as he utters lines like "dirty double crossers," "you rats," and even "baby!" during his romance with the spy Mizuno's Miss Namikawa. Notes: Adams and Mizuno were briefly lovers off the screen. They also starred together in Frankenstein Conquers the World. In 1968, Adams, who had once been nominated for an Academy Award before his career slipped, died of a drug overdose.

-- Doug Gibson

Review: Dr. Terror's Gallery of Horrors

Dr. Terror's Gallery of Horrors, 1966, Color, 82 minutes, American General Pictures. Directed by David L. Hewitt. Starring John Carradine, Lon Chaney Jr., Rochelle Hudson, Roger Gentry, Ron Doyle, Karen Joy, Vic Magee and Mitch Evans. Schlockmeter rating: Four stars out of 10.

This David Hewitt cheapie anthology of horror tales of questionable scariness is legendary for the panning it has received from critics of the genre. The critics are right; this a poor film, with an incredibly low budget. For the entire five tales, I counted only two sound stages. In one case, to save money I suppose, a sound stage was darkened in an unsuccesful effort to make it appear to be a London slum.


Dr. Terror's Gallery of Horrors was essentially an attempt to cash in on the horror anthology craze of the mid 1960s; two better films of that genre that come to mind are Dr. Terror's House of Horrors and Black Sabbath. According to reviewer Tom Weaver in Cult Movies 17, Gallery of Horrors was shot for either $60,000 (that seems too high) or $20,000, or even $15,000! The narrator for the five tales is the ubiquitious John Carradine. He stands in front of (I kid you not) a rigid screen mat of a castle and shoreline. The mat only takes up half the screen, so the producers filled the other half with a blue background.


The acting, except for Carradine, is atrocious from all the performers, including, unfortunately, Chaney Jr. Actress Karen Joy is at least beautiful. The tales are poorly developed. Reviewer John Stanley in Creature Features Movie Guide Strikes Again described the tales as the "scrapings of the horror barrel." There are "twist endings" but the lazy screenwriting (or perhaps it's the low budget) never allow the "payoff climax" to develop. A viewer will wait for the telegraphed twist at the end but just as it starts, the segment ends without exploring the consequences of the plot.


Like any low-budget poverty issue, the film is full of stock footage. According to Weaver's review, stock footage of castles and background music was lifted from the popular Edgar Allen Poe films of that era and other American International pictures. The special effects are laughable. Animated blood sweeps over the screen clumsily in an effort to end segments, and "fires" dance around stock footage of castles.


None of the five tales is particularly interesting, but some are less mediocre than others. The first concerns a couple (Gentry and Joy) who buy an old house in Salem. They find an old, supposedly 17th century clock (that type of clock did not exist in that era), re-set it, and an old man (Carradine, in the film's best performance, which isn't saying much)appears. He asks for an old family. The husband learns the family contained a witch (who never appears on screen by the way), and that Carradine and the witch are likely back from the dead because the haunted clock was re-started. The husband stops the clock, and Carradine burns up. The twist ending has another couple buying the house, setting the clock, and "presto," Carradine reappears.


The second tale is the worst. It concerns a vampire-like creature marauding London slum residents in the 18th century. The twist ending is embarrassing. The third tale may be the best. It had potential. A cuckolded living dead zombie doctor, murdered by his wife and corrupt colleague, returns with his faithful servant to exact revenge. Again, the low budget destroys any potential for surprise, and there is a laughably long far away stock shot of a carriage racing to the doctor's castle that seems to go on forever.


The fourth tale stars Lon Chaney Jr, as a former colleague of Dr. Frankenstein. Chaney's character is now a respected medical professor. With the help of two students, he resurrects a murderer. It's sad to watch the bloated semi-drunk, elderly Chaney stumble through his role. As Weaver points out, Chaney neither looks nor acts like a doctor and should have played the revived corpse (played by Vic Magee). Also, though it seems a colleague of Dr. Baron Von Frankenstein would be living in the 19th century, Chaney's character checks his wristwatch and answers a ringing 1960s-model phone in this episode. The final episode is a poor twist on the Dracula legend that ends with Jonathan Harker (Gentry)turning into a werewolf and turning on Count Alucard, played by Mitch Evans, hands-down the worst Dracula in screen history. Despite the poor quality of Dr. Terror's House of Horrors, it's worth a rental if it can be found. It's an example of the kind of low-budget, harmless, sometimes fun schlock that played drive-ins and on Chiller Theater on TV in the 1960s and 1970s.


Notes: According to Weaver, Carradine received $3,000 and Chaney Jr. $1,500. Also, Weaver said Carradine was supposed to play Count Alucard, but had to leave to fulfill another acting commitment. Gallery of Horrors was the last speaking role Chaney Jr. had. Like many low-budget films, the film had many titles. Others include The Blood Suckers, Gallery of Horrors, Return From the Past (it's TV title) and even Alien Massacre! In 1981 it was released to video as Gallery of Horror by Academy Home Entertainment. How disappointed many teens must have been after renting this "unrated" title with a misleading cover, thinking it was a very gory horror flick, and discovering a hokey, tame unscary G-rated film! Today the film can be purchased via www.moviesunlimited.com and is often available at ebay for auction.

-- Doug Gibson