Tuesday, July 15, 2025

Kingdom of the Spiders

Kingdom of the Spiders Poster

(1977) Directed by Don “Bud” Cardos; Written by Richard Robinson and Alan Caillou; Original story by Jeffrey M. Sneller and Stephen Lodge; Starring: William Shatner, Tiffany Bolling, Woody Strode, Lieux Dressler, Marcy Lafferty and Roy Engel; Available on Blu-ray and DVD. 

Rating: *** 

Mid-Air Spider Attack

“Look, it’s not just a bunch of spiders, it’s a migration caused by some kind of imbalance – probably because a lot of ignorant people like yourself have killed off all their food with your stupid DDT. And I’ll tell you something else, sir, there’s not just a few spiders out there, there’s millions of them, and your town is right in their path.” – Diane Ashley (Tiffany Bolling) 

“Jeff Sneller and I were sitting in a restaurant across the street from CBS Studio Center, and he said, ‘How would you like to write a horror picture?’ And I said, ‘Well, what’s the thing that scares you the most?’ And we both thought for a minute, and both of us at the same time said, ‘spiders.’ And so, we went to a library and checked out a book on spiders, read it as quick as we could, and by the next morning we were writing.” – Stephen Lodge

Rack Hansen and Diane Ashley

If there was a golden age for nature-out-of-balance movies, the 1970s certainly fit the bill. Featuring more killer bug movies than you could spray a can of Raid at (Phase IV, Bug, Empire of the Ants, etc…), audiences were left perennially wondering what sort of creepy crawlies awaited them in the dark. Original story writer Stephen Lodge cited Jaws, The Birds, and a steady diet of ‘50s horror flicks as his (and co-writer Jeffrey M. Sneller) inspiration for Kingdom of the Spiders. With many (if not most) people accustomed to fearing the eight-legged creatures,*/** the filmmakers had a built-in audience. 

* Fun Fact #1: Only about 0.1 to 0.3 percent of spiders are considered dangerous to humans (“Why So Many People Fear Spiders and Snakes,” Psychology Today). 

** Fun Fact #2: According to psychologist Vanessa LoBue, her research with young children suggested fear of spiders (and snakes) isn’t something that’s ingrained, but socialized (ibid). 

Spiders on the Farm

Terror comes to the formerly peaceful small town of Verde Valley, Arizona (filmed in and around Sedona, Arizona), when a poor farmer’s (Woody Strode) prize calf suddenly keels over dead. Veterinarian Dr. Robert “Rack” Hansen (William Shatner) is perplexed by the death, so he contacts the local college for an expert to investigate. Diane Ashley (Tiffany Bolling)*/** arrives to a mystery, discovering not only a species more venomous than previously known, but the normally solitary arachnids coordinating in groups.*** After overcoming Rack’s initial cynicism about the threat, they combine forces to warn the rest of the town, but they meet resistance in the oblivious Mayor Connors (Roy Engel), who seems to have been cut from the same cloth as Amity’s mayor in Jaws. Connors has the upcoming county fair on his mind, and he’s not about to let some spiders ruin his town’s biggest annual event. But the spiders have different plans. 

* Fun Fact #3: Before Bolling joined the project, two other actresses, Donna Mills and Barbara Hale were considered for the role of Diane Ashley, except both were terrified of spiders. Since Bolling didn’t mind working with them, she clinched the part. 

** Fun Fact #4: Prior to Kingdom of the Spiders, Bolling appeared in another arachnid-adjacent role, in Sid and Marty Krofft’s Electra Woman and Dyna Girl (1976), as the crimefighting duo’s archnemesis, Spider Lady. 

*** Despite being an “expert,” she refers to the spiders as insects. But perhaps the most unbelievable aspect of the story was how she managed to afford a new Mercedes convertible as a (presumably) state employee.

Diane and Rack Meet

William Shatner is no stranger to playing smug characters, but Rack Hansen */** might have been specifically sent down from the heavens to harass women. When Diane checks into a motel, a brief exchange with the proprietor implies he’s at least dated (if not slept with) every female resident of legal age. As written (and portrayed by Shatner), he’s a cartoonishly sexist character who thinks being condescending is his idea of flirting. In the most egregious scene, he pursues her in his pickup truck, cuts her off the road, throws her in the passenger seat of her own car and takes the wheel (Our hero, folks). If this is typical Rack behavior, one has to wonder how or why he hasn’t been slapped with several restraining orders. To state Rack and Diane don’t share the greatest chemistry is putting it mildly, since he starts off on the wrong foot and continues to tread with said foot in their interactions. Eventually, he wears her down, although she seems more resigned to her fate than smitten by Rack. 

* Fun Fact #5: Bo Svenson was the filmmakers’ first choice for the role of Rack Hansen, but he turned it down. 

** Fun Fact #6: Shatner was offered $20,000 for the part, as well as a percentage of the profits, but his agent was adamant against him accepting the role for what he considered a paltry sum. Shatner ending up saying “yes” to the part, subsequently firing his agent.   

*** Fun Fact #7: According to co-star Bolling, Shatner kept hitting on her, despite the fact that his then wife Marcy Lafferty was on the set.

Spider Victims

Let’s face it. We don’t give a hoot whether Shatner and Bolling hook up in the end – we’re just here to see spider-based mayhem, and oh, does it deliver. The real acting kudos belong to the movie’s unsung performers, several thousand tarantulas. The filmmakers brought in several different species, some of which were more “people friendly” than others, using the more docile varieties (such as the Mexican red-kneed tarantula) for interactions with the human actors and more aggressive species (Haitian brown tarantulas) for long shots. According to spider handler Jim Brockett, spiders can’t be “trained,” so they needed to be coaxed (often a blast of compressed air did the trick). It was quite a daunting task managing the tarantulas during the shoot, while ensuring that as many as possible survived. Despite the cast and crew’s best efforts, you can clearly see there were some casualties along the way, especially when there are multiple cars and people.

Spider Attack!

Kingdom of the Spiders’* concept of spiders co-existing in a colony was later recycled in Arachnophobia (1990), but recent discoveries proved it’s not entirely fantastical. The behavior was recently observed in Madagascar, with a previously unknown species, so the premise isn’t entirely wonky. The plot’s recipe is simple yet effective: introduce killer spiders, watch them multiply, repeat. While the film score is far from original (Twilight Zone fans will appreciate or be annoyed that the filmmakers chose to repurpose some of Jerry Goldsmith’s musical cues from the TV show), it’s eerily effective when used sparingly. Kingdom of the Spiders tests the mettle of its audience. Even those who don’t mind a spider or two,** might find the hordes of arachnids in the film to be unsettling. Don’t be surprised if you find yourself checking your clothes and bedding for unwanted guests. 

* Fun Fact #8: Shatner had originally planned to direct and star in a sequel to Kingdom of the Spiders with Cannon Films producing, but the deal fell through when Cannon went out of business. 

** Fun Fact #9: Yours truly kept a Chilean Rose tarantula named “Bela” (much to the chagrin of visitors) for about a decade. 

 

Sources for this article: DVD commentary by John “Bud” Cardos, Igo Kantor, Spider Wrangler Jim Brockett, and Cinematographer John Morrill; “Interview with Writer Steve Lodge” (2010); “Spider Solidarity: Scientists Discover New Species With Unprecedented Social Behavior,” by Carolyn Bernhardt, M.A., Entomologytoday.org (March 30, 2023);  Why So Many People Fear Spiders and Snakes,” by Vanessa LoBue Ph.D., Psychologytoday.com 

 

 


Tuesday, July 1, 2025

The Diabolical Dr. Z

 

The Diabolical Dr. Z Poster

(1966) Written and directed by Jesús Franco; Adaptation and Dialogue by Jean-Claude Carrière; Starring: Antonio Jiménez Escribano, Estella Blain, Mabel Karr, Howard Vernon, Fernando Montes, Marcelo Arroita-Jáuregui, Cris Huerta, Guy Mairesse and Jesús Franco; Available on Blu-ray and DVD.

Rating: ***½ 

Irma and Dr. Zimmer

“I don’t think I have a definitive film. Such a thing is not possible for me. But if you’re curious about which film I would save from a fire, I should tell you Necronomicon (Succubus), Black Angel (Venus In Furs), and Miss Muerte (The Diabolical Dr. Z). They are the most sincere. They are the most close to my previous idea to do it, you know what I mean? I like the style of black cinema. I like the style of expressionisimo, and they are the most of myself. I don’t say that I love it, though, because I don’t...” – Jesús Franco (from 2009 A.V. Club interview) 

Dr. Zimmer

Jesús (“Jess”) Franco was an incredibly prolific filmmaker, credited with directing more than 200 movies (considering how many titles he directed under a pseudonym, we may never know the true count). Franco was so prolific that it’s easy to see how rumors spread about shooting more than one film at a time.* The Diabolical Dr. Z (aka: Miss Muerte) an unofficial adaptation of Cornell Woolrich’s 1940 novel, The Bride Wore Black, was itself re-made by Franco (sort of) several years later as She Killed in Ecstasy (1971). The French/Spanish co-production was filmed in and around Madrid.   

* Fun Fact #1: Although Tim Lucas perpetuated this rumor in his DVD commentary, Franco himself denied ever directing more than one film at a time, stating in an AV Club interview, “I never made two or three films together. This is impossible! I only have one head. It is impossible for me to think about two films at the same time…”

Irma, preparing to run over a hitchhiker

Set in Austria, the film takes place in the same universe as Franco’s earlier film, The Awful Dr. Orloff (1962). Dr. Zimmer (Antonio Jiménez Escribano),* who’s a disciple of the eponymous mad scientist (sharing his theories about good and evil residing in the nervous system), meets with the International Neurological Congress to present his findings. Unbeknownst to his fellow scientists, Dr. Z has already taken the step from animal to human experimentation. Presumably subscribing to the adage, “Ask for forgiveness, not permission,” Dr. Z requests clearance to use a human subject, which goes about as well as you’d expect. The subsequent shock of rejection by his peers is too much for him to take, but before he dies, he implores his daughter/assistant Irma (Mabel Karr) to continue his work. In Irma’s case, that means using her father’s experiments to take revenge against the men who discredited him. After faking her own death using a hitchhiker (Ana Castor)** as a stooge, Irma sets out to eliminate Dr. Z’s detractors. Using her father’s invention (a cool-looking but impractical device with flimsy mechanical arms), she brainwashes Miss Death (Estella Blain), an unassuming exotic dancer with freakishly long nails, to carry out her bidding.   

* Fun Fact #2: Despite being the title character, Dr. Zimmer only appears in the film’s first 12 minutes. 

** Fun Fact #3: According to film historian Tim Lucas, Castor was Franco’s first pick to play Irma.

Miss Death

Thanks to Alejandro Ulloa’s* gorgeous cinematography, The Diabolical Dr. Z is quite possibly one of the best-looking films Franco has ever made. Although Franco reportedly lamented the fact that many of his earlier films were filmed in black and white, it’s hard to imagine color enhancing the overall experience. Ulloa imbues Dr. Z with a noirish appearance, typified by long shadows, fog-drenched streets, and imposing low-angle shots. One of the film’s highlights is Miss Death’s sexy/creepy dance sequence on a spiderweb, foreshadowing her lethal mind-controlled escapades in future scenes. 

* Fun Fact #4: This film would prove to be Franco’s only collaboration with Ulloa, who would go on to lens Horror Express (1972).

Dr. Z's Lab

As with many of Jesús Franco’s films, The Diabolical Dr. Z is akin to a waking dream, with logic taking a backseat. But considering the excesses of Franco’s later efforts, Dr. Z shows surprising restraint, most likely enforced by the censors of the time (Miss Death’s revealing costume notwithstanding). Besides the film’s neo-noir leanings, Dr. Z features some excellent performances by Mabel Karr’s as the icy Irma and Estella Blain as the aforementioned Miss Death. Franco himself has a nice semi-comic turn, in the (uncredited) role of the perpetually exhausted Inspector Tanner, who constantly complains about his triplet babies keeping him awake at night. Is The Diabolical Dr. Z proof to the Franco naysayers that he could make a good movie? Well, some naysayers are going to “nay,” no matter what. Those with an open mind (Francophiles and horror fans alike), however, might be pleasantly surprised by this stylish horror thriller.   

 

Sources for this article: Tim Lucas DVD commentary; JessFranco (interview), by Sean O’Neal, AV Club (2009)