Review: Jesse James Meets Frankenstein's Daughter

Jesse James Meets Frankenstein's Daughter, 1966, Embassy Pictures, 88 minutes, color. Directed by William Beaudine. Starring John Lupton as Jesse James, Narda Onyx as Dr. Maria Frankenstein, Estelita as Juanita Lopez, Cal Bolder as Hank Tracy/Igor, and Jim Davis as Marshall MacPhee. Rating: Three and one-half stars out of 10.

In the mid-60s Embassy Pictures produced an odd duo: Billy the Kid versus Dracula and Jesse James Meets Frankenstein's Daughter. THEY WERE NOT COMEDIES, for which we should be thankful for, since they are much funnier as straight western/horror melodramas. Billy the Kid (also reviewed on this site) is a little better, primarily because John Carradine overacts in a campy manner as the vampire. I doubt that these films played beyond the Saturday matinee level, if at all. Any web surfers know?

Except for the many chuckles at the horrendous dialogue and ultra-cheap special effects, Jesse James Meets Frankenstein's Daughter is a pretty wretched film. The plot? Dr. Maria Frankenstein and her cowed brother Rudolph are hiding out in the Wild West trying to resurrect the dead without success. They are, however, scaring the entire countryside, which seems to consist of only an aging Mexican diva named Juanita (Estelita) and her stereotypical parents. Soon arrives James (Lupton) and his big sidekick Hank Tracy (Bolder), whose been wounded. They're on the run, and Maria agrees to help Hank, but she plans on using him as a guinea pig for an artificial brain. Maria at first tries to seduce Jesse, but he rebuffs her so she tries to have him killed. After Hank becomes the monster, she changes his name to Igor, and has him kill her brother. Somewhere in this mess Jesse and Juanita fall in love and Maria is foiled in her plans.

If this film was black and white and had more unique dialogue, you'd swear it was an Ed Wood film. The laboratory in the film rivals that which was used in Bride of the Monster for bargain basement props. The acting is horrendous. The dialogue is all cliches, conveyed with eye-rolling melodrama. However, the one bright spot is Onyx as Dr. Maria Frankenstein. She plays her role with a kind of mad gleefulness. Her expressions, particularly her eyes, are those of a full-fledged loonie. She was born for this role. Bolder as Jesse's sidekick Hank turned Igor is portrayed as am imbecile, although it's debatable as to whether that was the script's intention or the result of Mr. Bolder's acting skills.

This film if seen, is best viewed as a midnight offering at a party. It will provide some laughs. Some trivia: Estelita died of influenza soon after the film was completed. Lupton, who played Jesse James was a veteran character actor who played mainly TV roles. He was on several Gomer Pyle USMC episodes playing various officers.

-- 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: Voodoo Man

Voodoo Man, 1944, directed by William Beaudine, 62 minutes, B&W, a Monogram film. Starring Bela Lugosi as Dr. Richard Marlowe, George Zucco as Nicholas, Louise Currie as Stella Saunders, Wanda McKay as Betty Benton, Tod Andrews (Michael Ames) as Ralph Dawson, Henry Hall as sheriff, John Carradine as as Toby and Frank Moran as henchman. Schlock-meter rating: 7 stars out of 10.

"Voodoo Man" is one of Lugosi's later Monogram films and it has a very simple but enjoyable plot: Southern California gas station owner Nicholas (Zucco) is a voodoo high priest. With the help of two moronic henchmen (Carradine and Moran) he creates roadblocks and kidnaps pretty young women. He takes them to his reclusive house, where Dr. Richard Marlowe (Lugosi) is keeping the kidnapped women in a trance. Marlowe then tries to resurrect his dead wife by praying to the great God Ramboona and using phrases such as "Mind to body ..." Through it all Zucco officiates and Carradine plays the drums ....

Eventually a pretty motorist, Stella Saunders, (Currie) is kidnapped on the way to a wedding for her friend Betty Benton (played by McKay). Benton's fiance, Hollywood screenwriter Ralph Dawson (Andrews), joins forces with Hall's sheriff to track down the voodoo-spouting kidnappers. Currie and McKay find themselves in danger as the plot reaches its climax.

There is really something quite endearing about these Monogram cheapies. The plots are so fantastic. What's on the screen can't measure up to the script, but the films are so enjoyable. The pairing of Zucco and Lugosi is a must for film afficionados. The pair are great together. Lugosi's doctor is almost a sympathetic character. He is truly motivated by love for his dead wife. Veteran Monogram actors Carradine, Moran, Currie and McKay are in fine form. The films also have the light subplot Monogram utilized, usually with a reporter being pressured by a boss. In this case it's groom-to-be Dawson, whose studio boss wants a script. There is a great ending where Dawson, having turned in a script based on the voodoo-based kidnappings, casually suggests to his boss that Bela Lugosi be hired for the lead. Another great piece of dialogue is Hall's sheriff spouting "Gosh all fishhooks!"

Notes: Lugosi and Zucco were paired again three year later in the low-budget color mystery "Scared to Death." Moran was a former heavyweight boxer who had fought Jess Willard for the world heavyweight title about 30 years earlier. Carradine played Count Dracula in two Universal horrors, "House of Frankenstein" and "House of Dracula." Currie was called "Monogram's Katherine Hepburn" by executive Sam Katzman. He was referring to her beauty and acting talent. McKay was a former beauty contest winner. Currie starred with Lugosi in "The Ape Man." McKay in "The Corpse Vanishes."

-- Doug Gibson

Review: Billy the Kid versus Dracula

Billy the Kid versus Dracula

Billy the Kid versus Dracula, directed by William Beaudine, Circle Films, 1961. Starring John Carradine as Count Dracula, Chuck Courtney as Billy the Kid, Melinda Plowman as Betty Bentley. Others in cast include Harry Carey, Jr., Roy Barcroft, and Olive Carey. 1966, Color, 73 minutes. Schlock-meter rating: 6 stars out of 10.

I have a soft spot for this movie, which puts me at odds with just about every other film critic. Okay, I know that the plot is feeble, the acting poor, the special effects a joke. And it's a fraud to vampire lore, since Carradine spends a lot of his time out in broad daylight.

Nevertheless, it's a fun little film if not taken seriously and the offbeat plot (Hero Billy the Kid matching wits with Dracula) is unique enough to merit a few stars. The plot: Dracula (on vacation?) is in the Old West. He provokes Indians into killing everyone on a stagecoach, then assumes the identity of a rich Eastern banker whose niece (who Dracula has the hots for) is about to marry a reformed Billy the Kid. THAT IS a bizarre plot -- even Ed Wood may not have come up with something that unique.

This is definitely not Carradine at his best; in fact he seems many times to just walk through his role (he considered it his worst film), but the old vampire master has a few good scenes, and manages to be quite sinister at times. Billy The Kid versus Dracula was made with Jesse James meets Frankenstein's Daughter (not quite as good). Both were directed by Beaudine and played primarily Saturday kiddie matinees together. The film can be seen occasionally late at night on TCM.

-- Doug Gibson