Classic Horror Month Quick Picks and Pans

Man Made Monster (1941) Lon Chaney Jr. stars as Dan McCormick, a carnival performer whose act involves working with electricity. His continued exposure to electric shocks has made him partially immune to the effects of electrocution. When he survives a bus accident that kills the rest of his fellow passengers, he captures the attention of Dr. Paul Rigas (Lionel Atwill). Dr. Rigas views McCormick as the perfect test subject for his experiment, to create a perfect human being that doesn’t require food, but consumes electricity in its place. When his experiment goes predictably awry, McCormick is framed for murder. Chaney brings much pathos to the role as the ill-fated McCormick, who starts out amiable but becomes increasingly morose as his situation becomes dire. It’s a solid effort from director George Waggner, which unfortunately became overshadowed by The Wolf Man (also featuring Chaney as the tragic lead), released later that year. 

Rating: ***½. Available on Blu-ray (Included in the Universal Horror Collection: Volume 3) and DVD

Seven Footprints to Satan (1929) Director Benjamin Christensen (Haxan) presents a new spin on the tired spooky old house trope. Just as he’s about to embark on an overseas expedition, James Kirkham (Creighton Hale) and his girlfriend Eve (Thelma Todd) are whisked away to a dark, secluded mansion, where they encounter a satanic cult. Trapped in the house with the prospect of a fate worse than death, they must keep their wits about them to find an exit. While it’s filled with familiar elements, Seven Footprints to Satan has more than enough to keep you entertained with surprises galore, and a host of offbeat characters. 

Note: The public domain version playing on Tubi is a severely truncated 60-minute version, while an independently produced Blu-ray is available with a restored 75-minute version (complete with color tinting). 

Rating: ***½. Available on Blu-ray and Tubi  

From the Old Earth (aka: O'r Ddaear Hen) (1981) While digging in his garden, an elderly farmer (Charles Williams) discovers an ancient Celtic stone head. When his wife is unnerved by the artifact, he brings it to a college professor (Valerie Wynne-Williams), who surmises the head was meant to evoke the old gods. Not long after the professor takes possession of the object, she and her teenage daughter are haunted by visions of an imposing horned figure. Directed by Wil Aaron, From the Old Earth stands apart as one of the few Welsh language horror films. Running a brief 46 minutes, it feels more like an episode of a horror anthology, rather than a self-contained film, but it’s a unique way to experience folk horror from a different perspective. 

Rating: ***½. Available on Blu-ray (Included in Severin’s All the Haunts Be Ours box set), Tubi and Midnight Pulp

The Comeback (1978) This psychological horror film from director Paul Walker plays a bit like a British giallo, complete with red herrings and some gory surprises. Recently divorced pop singer Nick Cooper (Jack Jones) is back in the recording studio after several years, but someone desperately wants to undermine his return. Haunted by terrible visions and sounds, he begins to think he’s going insane. Meanwhile, there’s a killer (dressed in an old lady costume) running around, leaving a string of grisly murders in his or her wake. The crooning pop music (supplied by Jack Jones) sounds bland and dated by 1978 standards, but the warped murder mystery elements are enough to keep things interesting. 

Rating: ***. Available on Blu-ray and Tubi

Count Dracula’s Great Love (1973) Paul Naschy stars as the title character, who goes by the name Dr. Wendell Marlow. Karen (Haydée Politoff), a young woman, and her friends are forced to search for shelter when their coach suffers an accident. They find a dilapidated old mansion where its solitary occupant, the enigmatic Dr. Marlow resides. As Karen’s friends disappear one by one, becoming vampires themselves, she falls in love with the doctor. It may not be Naschy’s best effort, but it isn’t a bad way to spend an evening. 

Rating: ***. Available on Blu-ray, DVD and Tubi

Murders in the Zoo (1933) The opening scene of this pre-Code horror/mystery sets the tone, with the depiction of a man’s lips being sewn shut after kissing another explorer’s wife. Back in the States, there are a series of deaths linked to an escaped mamba. Lionel Atwill does what he does best as the villainous zoo owner Eric Gorman, who will stop at nothing to keep any would-be suitors away from his wife. The film relies heavily on the audience’s ignorance of various animals (the killer’s m.o., involves employing a severed snake head that somehow continues to produce venom), but if you can suspend your disbelief, it a fun little potboiler. 

Rating: ***. Available on DVD

 

Assignment Terror (aka: Los Monstruos del Terror) (1970) Humanlike aliens from a dying planet, led by Dr. Odo Warnoff (Michael Rennie), set their sights on conquering Earth. Their vague scheme involves activating some of the world’s most infamous monsters, including a Dracula-like vampire (Manuel de Blas), Wolf Man (Paul Naschy, who also wrote the screenplay), a sleepy-eyed Frankenstein’s monster (Ferdinando Murolo) and an Egyptian mummy (Gene Reyes). Meddling humans manage to spoil Dr. Warnoff’s plans. Assignment Terror sets up a fun premise, but House of Frankenstein (or House of Dracula), it’s not. We mostly see the monsters wandering aimlessly about in Warnoff’s castle, along with Rennie, who looks like he’s wondering when his career took a wrong turn after The Day the Earth Stood Still. 

Rating: **½ stars. Available on Blu-ray, DVD and Tubi

Seizure (1974) In an early effort from director/co-writer Oliver Stone, a writer (Jonathan Frid) keeps experiencing intense nightmares of his literary creations coming to life: an impish man named Spider (Hervé Villechaize), a giant (Henry Judd Baker) and a wicked seductress known as The Queen (Martine Beswick). Dreams become reality (Or is it the reverse) as the events in his dreams take shape during a get-together with several friends and family. Who will live and who will die? No thanks to its unpleasant characters, meandering story, and purposely convoluted plot, you might not stick around long enough to find out. 

Rating: **. Available on Blu-ray, DVD and Tubi

 

  

Frankenstein and the Monster from Hell

 

(1974) Directed by Terence Fisher; Written by John Elder (aka: Anthony Hinds); Starring: Peter Cushing, Shane Briant, Madeline Smith, David Prowse and John Stratton Available on Blu-Ray and DVD 

Rating: ****

“You’ve had so many monsters by then that at last you say where this monster has come from. He comes from Hell, from Evil, from Frankenstein’s mistaken belief that he is the creator of man, which of course he isn’t, and will never succeed in being.” – Terence Fisher (excerpted from 1975 interview)

“This was a film that didn’t show my body at all. It was entirely about my face. This was the direction I would have liked to continue in, but I wasn’t given the opportunity to do that. The Frankenstein film was a fluke, in that respect.” – Madeline Smith (from Hammer Glamour, by Marcus Hearn)

The Curse of Frankenstein (1957) was a landmark film for Hammer Films, representing a new era for the production company, as well as surprising audiences (and displeasing critics) with a more graphic interpretation of the classic Mary Shelley tale. The series of sequels that followed continued to add new facets to the Frankenstein mythos, culminating in the final installment, Frankenstein and the Monster from Hell. Budgeted for a paltry £160,000 (but completed for only £137,000 under producer Roy Skeggs’ frugal supervision), the film marked Peter Cushing’s return as the infamous Baron Frankenstein, as well as director Terence Fisher (who was in poor health at the time),** who helmed most of the films in the series. Monster from Hell was mostly shot at Elstree Studios, except for a cemetery scene, which was filmed on location at Highgate Cemetery. Although shooting took place in 1972, the film didn’t see its U.S. premier until 1974.* 

* Fun Fact #1: When the movie was finally released in the United States, it appeared on a double bill with the similarly overlooked Captain Kronos: Vampire Hunter (1974). 

** Fun Fact #2: Sadly, this proved to be Fisher’s last feature film. According to Roy Skeggs, “He’d lost a lot of confidence after his two road accidents, but I eventually persuaded him to come back. I’m very glad I did.”

Peter Cushing stars, once again, as the irredeemable Baron Victor Frankenstein, now working under the assumed name Dr. Victor. Despite sporting a snazzy new hairdo,* Cushing appeared otherwise worse for wear, with a pallid complexion and gaunt, cadaverous face. This chapter in the Hammer Frankenstein saga finds him running a sanitarium for the criminally insane (after wresting control from the unscrupulous asylum director, played by John Stratton). He’s accompanied by mute assistant Sarah (Madeline Smith), who cares for a select few patients under his direct supervision (It’s not difficult to guess that they will provide the raw materials necessary for Frankenstein’s next creation). Unwittingly joining them is Simon Helder (Shane Briant), a gifted young surgeon, who’s sentenced to five years at the asylum for sorcery (after following in the footsteps of Frankenstein’s experiments). With his own hands damaged beyond repair, Frankenstein sees the perfect opportunity in Helder, who can perform the delicate surgery he can no longer accomplish. It doesn’t take long for the Baron’s true intentions to surface, when Helder discovers the hulking, reanimated body of a killer in the doctor’s secret laboratory. Before you can say, “tampering with the laws of nature,” Frankenstein is back in business, transplanting the brain of a mathematical and musical genius, Professor Durendel (Charles Lloyd Pack), into the killer’s skull, and grafting the hands of a sculptor (played by Bernard Lee, in a wordless role) onto the body. But this is only a precursor to Frankenstein’s ultimate goal, mating the monster with Sarah.  

* Fun Fact #3: Cushing insisted on wearing the wavy wig, first used in the Amicus film, And Now the Screaming Starts! (1973).

For his final performance as the eponymous doctor, Peter Cushing could have phoned it in, but being the consummate professional he was, manages to bring new facets to the character. Ever the sociopath, Frankenstein refuses to take any responsibility for his own actions, even when he goads a patient to suicide. Still chasing his elusive quest to create a perfect being, he will stop at nothing to reach that end. Filmed only a year after his wife Helen’s death, it’s a testament to Cushing’s professionalism that he settled back into the role so effortlessly. As in the past, he wrote meticulous notes, and even performed a risky stunt, jumping on the back of fellow performer David Prowse.

An apt subtitle for Frankenstein and the Monster from Hell could have been “Never Meet Your Heroes,” as our young protagonist Simon Helder (Shane Briant) soon learns. At the beginning, Helder is portrayed as a cocksure junior doctor delving into the mysteries of life, ethics be damned. During his court hearing for sorcery, he brashly proclaims that he’s read all of Baron Frankenstein’s writings (hardly the sort of repentant tone that the judge would have expected). As the film progresses, however, his confidence in the elder doctor is compromised beyond any hope of being salvaged.

Madeline Smith shines as Frankenstein’s mute assistant Sarah (also referred to as “the Angel”).* Smith does more acting with her eyes than most actors manage with their entire bodies. A far cry from the shrinking violet of other Hammer heroines, her innocent demeanor belies the horrors she’s experienced within the asylum. In spite of what she’s witnessed and been an accomplice to, she puts on a brave, even cheerful face. In her DVD commentary, Smith downplayed her character as lacking intellect, but Sarah is the movie’s heart and soul, providing enough emotional intelligence for everyone else. Only she can see the humanity in the creature, creating a Beauty and the Beast dynamic. 

* Fun Fact #4: Surprisingly, Smith wasn’t Hammer’s original choice for the role, but Caroline Munro, who had recently completed Captain Kronos: Vampire Hunter.

Buried underneath a pile of makeup, former body builder David Prowse* still manages to make the creature sympathetic. The mostly immobile mask doesn’t convey much expression, so his eyes and body language must do the heavy lifting (Pun unintended…or is it?). He walks hunched over, concealing his six-foot-six-inch frame. The monster’s anguish and frustration is palpable when he picks up his beloved violin, only to smash it to splinters when he lacks the dexterity to play it. In a poignant later scene, he digs up Professor Durendel’s grave, finding himself staring face to face with his own corpse. 

* Fun Fact #5: Prowse, who was the only actor to perform the monster in two Hammer movies, preferred his creature makeup from the latter film. According to Prowse, it took two-and-a-half hours per day to transform into the monster in Horror of Frankenstein (1970), versus only about 20 minutes to don the mask and body suit for Monster from Hell.

While Hammer’s Dracula series arguably ran out of gas long before its final bow, the Frankenstein series finished on a high note with Frankenstein and the Monster from Hell.  Criticized for being a throwback to a more old-fashioned mode of filmmaking, this end to Hammer’s gothic horror era seems fresh today. Comparing favorably to the best entries in the Frankenstein series, Monster from Hell makes up for any budget deficits with atmospheric (if somewhat constrictive) sets, excellent performances all around, and enough blood and guts to satisfy the most jaded horror fan. Thematically, it ties up Baron Frankenstein’s misguided quest to one-up the forces of nature, leaving him as he began, unrepentant and none-the-wiser for his ordeals. 

 

Sources for this article: Shout Factory Blu-ray commentary by Madeline Smith, David Prowse and Jonathan Sothcott; Blu-ray commentary by Steve Haberman and Constantine Nasr; The Hammer Story, by Marcus Hearn and Alan Barnes; Hammer Glamour, by Marcus Hearn; Hammer Films: The Unsung Heroes, by Wayne Kinsey

 

 

The Leopard Man

 

(1943) Directed by Jacques Tourneur; Written by Ardel Wray and Edward Dein; Based on the novel, Black Alibi, by Cornell Woolrich; Starring: Dennis O’Keefe, Margo, Jean Brooks, Isabell Jewell, James Bell, Margaret Landry, Abner Biberman, Tuulikki Paananen, and Ben Bard; Available on Blu-ray and DVD 

Rating: ****

"Time is strange. A moment can be as short as a breath or as long as eternity. Don’t linger. The gates are locked at six.” – Cemetery Gatekeeper (Brandon Hurst) 

Horror manifests itself in many forms. Is it the act itself, or the suggestion of the act that is the most horrific? As Alfred Hitchcock once observed, it’s not the gunshot but the anticipation of the gunshot that’s the most blood chilling. Jacques Tourneur understood this all too well, preferring suspense, shadows, and suggestions over explicit depictions of violence. The Leopard Man (based on the Cornell Woolrich novel Black Alibi),* his final collaboration with producer Val Lewton, was no exception. Like their previous films, Tourneur made up for any budget deficiencies with oodles of atmosphere and palpable psychological terror. 

* Fun Fact #1: When Lewton originally purchased the rights to the novel, the working title was Cat People, which he ended up using for his most famous film in 1942.

The story begins in a nightclub, where Kiki (Jean Brooks) tries to upstage fellow performer Clo-Clo (Margo) with a black leopard.* The leopard is spooked by the clicking of Clo-Clo’s castanets, fleeing the club, and into a sleepy New Mexican town. When a young girl is savagely mutilated, the leopard is believed to be the killer, despite its owner’s assertion that the wild cat wouldn’t likely attack people. Another brutal death occurs, with everyone but Kiki’s manager, Jerry Manning (Dennis O’Keefe), convinced that the leopard is the culprit. But with no concrete evidence to support his suspicions, he’s on his own to ascertain who or what the murderer is. He consults Dr. Galbraith (James Bell),** a former zoology professor who runs a museum of indigenous art, who only casts doubt on the nature of the murders. 

* Fun Fact #2: According to a 1943 Hollywood Reporter article, several extras refused to work with the leopard, named “Dynamite.” Of the 100+ extras who were called, only half accepted the job. 

** Fun Fact #3: According to film historian Constantine Nasr, RKO reportedly wanted Lon Chaney, Jr. to be cast as the enigmatic professor, but Lewton couldn’t negotiate a deal.

In a film with many tense, unsettling scenes, one of the most chilling sequences involves Teresa (Margaret Landry), a teenage girl, who’s sent out in the night to purchase corn masa for tortillas. Despite her protests over an escaped leopard stalking the streets, her mother sternly admonishes her not to return without the masa. Fearing she’s being stalked, Teresa hurries home, only to discover the front door of her house locked. We hear her desperately clawing at the door, while her mother and brother try in vain to unlock it, followed by a pool of blood collecting under the door. Tourneur reminds us it’s not what we see, but what we don’t see that’s terrifying (our mind fills in the blanks). The next victim is Consuelo (Tuulikki Paananen), a young woman visiting her father’s grave, who becomes accidentally locked inside the walls of the graveyard, inadvertently trapping her with the unseen killer. The sound of Clo-Clo’s castanets permeate the soundtrack, ratcheting up the tension. When she becomes the third victim, her castanets become the equivalent to Poe’s “Tell Tale Heart” for the murderer, a constant, nagging reminder of his warped conscience. 

* Fun Fact #4: According to another Hollywood Reporter blurb, RKO and producer Lewton utilized a “fright-detector” during a sneak preview, to measure “both the quantity and intensity of audience screams, gasps and emotional reactions.”

Manning is reluctant to get involved, but his conscience gets the better of him. After he initially declines to join the sheriff’s posse searching for the leopard, he has an abrupt change of heart, deciding to start his own investigation. Despite his unshakeable exterior, he’s compelled by an overwhelming sense of guilt to discover who the real murderer is. Besides Manning, guilt plays a major hand in the lives of several characters: Teresa’s mother for sending her daughter out on the fateful night, Consuelo’s boyfriend, who failed to meet her on time, and the leopard’s owner, Charlie How-Come (Abner Biberman), who becomes convinced that he might be directly responsible for the murders.

 

The Leopard Man defies easy categorization. Is it horror? I think so. Is it noir? Absolutely. Or perhaps it belongs in the catch-all category, suspense? Of course. The film ticks many boxes, proving low budget doesn’t necessarily corollate with low thrills. Tourneur and crew employ a masterful play of light, shadow and sound to create a pervasive atmosphere of dread throughout. The poetic dialogue sets the film a notch above many of its contemporaries, transforming what could have been a simple potboiler into a thoughtful study of the darker side of human nature. Despite its solid reputation with film fans and scholars alike, The Leopard Man somehow managed to get overlooked and overshadowed by Tourneur’s other collaborations with Val Lewton (Cat People, I Walked with a Zombie, The 7^th Victim) at the time, with tepid critical reception (even Lewton and Tourneur had a low opinion of the film). As with many classics reviewed on this blog, however, time proved the film’s worth, ranking favorably among Tourneur and Lewton’s other (deservedly) vaunted works. 

 

Sources for this article: Shout Factory Blu-ray commentary by Constantine Nasr; “Extras Refuse to Work with Leopard,” The Hollywood Reporter (Tuesday, February 23, 1943); “Fright-Detector Used to Check Emotions,” The Hollywood Reporter (Friday, April 9, 1943)

Space Month III Quick Picks and Pans

 

The Terrornauts (1967) Scientists make contact with an alien outpost stationed on a nearby asteroid. Before you can say, “plot complication,” the scientists (along with a meek accountant and an outspoken lunch lady) are whisked away to the asteroid, where they’re confronted with portals to other worlds and hostile aliens. To make matters worse, they’re locked in a war between two extraterrestrial civilizations – and all this for a budget that would make Moon Zero Two look lavish by comparison. Predictably, the not-so-special effects aren’t quite up to the task. While the visuals leave something to be desired, it’s briskly paced and oddly whimsical. If you don’t think about it too much, you might just have a good time. 

Rating: ***. Available on Blu-ray and DVD (Out of print)

Vegas in Space (1991) If you crossed Flash Gordon with Priscilla: Queen of the Desert, for a budget of about $3.95, you might end up with something like this. Astronauts from Earth are sent to a faraway planet to investigate a theft. The only problem is that it’s a planet where men are forbidden, so “Presto, change-o,” the crew reverse their sex to blend in. What else are the gender bending astronauts to do but dance, dance, dance? A fever dream in taffeta and glitter, it’s without a doubt the cheapest movie on this list, but far from the worst (and certainly the most fashionable). 

Rating: ***. Available on DVD, Kanopy and Prime Video

Queen of Blood (1966) American International Pictures recruited writer/director Curtis Harrington to rework footage from the Russian sci-fi movie Battle Beyond the Sun (1959), creating an entirely new story. Unsurprisingly, the footage isn’t exactly seamless (note the prominent red star on a space rocket). John Saxon stars as astronaut Allan Brenner, who’s accompanied by fellow space traveler Paul Grant (Dennis Hopper). Brenner lands on Mars’ moon Phobos, where he finds the sole survivor from an alien spacecraft, a green-skinned woman (Florence Marly) with a taste for human blood. While far from perfect, it’s entertaining enough, despite a surprisingly pessimistic ending. 

Rating: ***. Available on Blu-ray, DVD and Prime Video

Wild, Wild Planet (1965) An international team investigating a series of disappearances leads to a series of clandestine experiments, funded by a giant, evil corporation (Is there any other kind?). The experiments are supervised by mad scientist Nurmi (Massimo Serato) who endeavors to create a perfect race of humans, cobbled together from body parts (if your idea of “perfection” involves bald, four-armed men in black trenchcoats and sunglasses). His actions are thwarted by a pesky space commander (Tony Russel). Filled with bad special effects, cheap-looking miniatures, and mediocre makeup, it’s more mild than wild, but it might be worth seeing for a laugh or two. 

Rating: **½. Available on DVD 

The Phantom Planet (1961) Featuring a premise that wouldn’t have been out of place in a 1930s serial, The Phantom Planet seems dated. A rescue mission is dispatched to determine the whereabouts of a previously launched rocket that suddenly vanished. Capt. Frank Chapman crash lands on an elusive asteroid, where he discovers a civilization of tiny people. He shrinks down to their size (because of the asteroid’s atmosphere – don’t ask), quickly becoming embroiled in the miniature society’s affairs (and a love triangle with two women). There isn’t much we haven’t seen before in dozens of other genre films, except for one of the goofiest looking humanoid extraterrestrials I’ve ever seen, so there’s that. 

Rating: **. Available on Blu-ray, DVD, Prime Video and Tubi 

Journey to the Seventh Planet (1962) An international team of astronauts comprised entirely of white middle-aged men travels to the planet Uranus (insert obligatory joke here), where they encounter a hostile alien presence. The alien creature clouds their minds with visions of women from their past, to manipulate their actions. The story plays like a second-rate Star Trek episode, as the crew members attempt to combat the hallucinations. Obviously done on the cheap, this Danish-American co-production features a script by director Sidney W. Pink (Reptilicus and Angry Red Planet) and Ib Melchior (The Angry Red Planet and Death Race 2000). Will the crew (including B-movie regular John Agar) find a way off the planet? Will you be able to stay awake long enough to find out? 

Rating: **. Available on DVD and Prime Video

 

 

Short Take: Galaxy of Terror

(1981) Directed by Bruce D. Clark; Written by Marc Siegler and Bruce D. Clark; Starring: Edward Albert, Erin Moran, Ray Walston, Grace Zabriskie, Zalman King, Robert Englund, and Sid Haig; Available on Blu-ray and DVD 

Rating: ***

“…I came up with the idea of the monster, but each monster would be a different monster for each member of the cast and would be a monster coming out of their unconscious. This is part of certain Freudian theories I had.” – Roger Corman

“You’re trying to do a science fiction remote planet set on the budget of a cheese commercial. What more of a challenge do you want?” – Bruce D. Clark

After the box-office success of Alien (1979), it seemed as if everyone and their cousin wanted to duplicate that movie’s formula, combining sci-fi thrills and horror chills, but for a fraction of the cost (Saturn 3, Creature, Parasite, and on and on…). It was only a matter of time before Roger Corman and New World Pictures would try to get a piece of the peril-in-space pie. Following his Star Wars rip- (ahem) inspired Battle Beyond the Stars (1980)), Corman brought us Galaxy of Terror.*

* Fun Fact #1: Before it was known as Galaxy of Terror, the movie went through several titles: Planet of Horrors (pre-production), Quest (working title, suggested by production assistant David De Coteau), and was released in the American south as Mindwarp: An Infinity of Terror.

Stop me if this sounds familiar (on second thought, read on): At the behest of a shadowy leader known only as “The Master,” (think the Weyland Yutani Corporation in Alien) the spaceship Quest, crewed by a ragtag bunch of misfits is dispatched to an alien world to respond to a distress call. What they find there are their worst nightmares. Instead of an acid-spewing xenomorph, however, some unseen force is turning people’s worst fears against themselves. Much like Ridley Scott’s film, the crew members are picked off one by one. 

The cast is eclectic enough to keep things interesting, despite the underdeveloped characters. Zalman King is suitably intense as trigger-happy Baelon, who has an unspecified feud with fellow crew member Cabren (Edward Albert). Grace Zabriskie (who would later gain fame as Laura Palmer’s bereaved mother Sarah in Twin Peaks), sporting fake gray hair, is the grizzled Captain Trantor. Ray Walston is the enigmatic ship’s cook, Kore (considering the tech that would go into an interstellar craft, would there even be a need for a chef?). A pre-Nightmare on Elm Street Robert Englund appears as Ranger, a man whose worst enemy is himself. laconic Quuhod (Sid Haig), armed only with his crystal throwing stars, proclaims that he lives and dies by them (guess what does him in?).  

 

For all its derivative elements, Galaxy of Terror provides some innovative aspects as well. It looks like a more expensive production, thanks to inventive effects by a young James Cameron (who served as second unit director and production designer), Allan Apone (makeup effects),* and Dennis and Robert Skotak (who would collaborate with Cameron on several of his future projects). One of the standout pieces is a mysterious pyramid, made to look gargantuan through in-camera effects. The various gore effects are effectively stomach-turning.** Undoubtedly the most memorable effect (and the film’s dubious claim to fame), however, graces the silver screen when Quest crew member Dameia (Taaffe O'Connell) is sexually assaulted by a giant space maggot *** (shot in part by second unit director, James Cameron). 

* Fun Fact #2: Sergeant Apone in Aliens (1986) was named after the effects master, who worked with James Cameron on Galaxy of Terror. 

** Fun Fact #3 (SPOILER ALERT): For Erin Moran’s exploding head scene, the effects team used a gelatin head filled with Dinty Moore stew. 

*** Fun Fact #4: The one-ton space maggot served as a proof-of-concept for the xenomorph queen in Aliens (1986), which employed a similar rig: a giant puppet suspended by a crane.

Besides being a dress rehearsal for Cameron and his effects team (who would go on to bigger and better things), Galaxy of Terror is a reminder that cheap knock-offs can be fun too. Although it might not win any awards for originality, it helped launch the careers of several talented individuals in front of and behind the camera.* If you’re in the mood for something that’s more Corman than Criterion, it’s a decent cure for the late-night doldrums.    

* Fun Fact #5: In addition to the professionals cited above, Galaxy of Terror boasts a pre-acting-career Bill Paxton (carpenter).

 

Sources: Shout Factory DVD commentary by Taafe O’Connell, Alec Gillis, Allan Apone and David DeCoteau; “Tales from the Lumber Yard: The Making of Galaxy of Terror” (2010)

 

 

Planet of the Vampires

(1965) Directed by Mario Bava; Written by Ib Melchior, Alberto Bevilacqua, Callisto Cosulich, Mario Bava, Antonio Roman, Rafael J. Salvia, and Louis M. Heyward (English version); Screen Story by Ib Melchior Based on the short story “One Night of 21 Hours”: by Renato Pestriniero; Starring: Barry Sullivan, Norma Bengell, Ángel Aranda, Evi Marandi, Franco Andrei and Federico Boiso; Available on Blu-ray and DVD 

Rating: ***½

“Do you know what that mysterious planet in Terrore nello Spazio was made of? … A couple of plastic rocks – and I mean ‘two’: one and one! – that were left over from some mythological picture made at Cinecittà. To assist the illusion, I had to fill the set with fog!” – Mario Bava 

“I'll tell you this, if there are any intelligent creatures on this planet... they're our enemies.” – Captain Mark Markary (Barry Sullivan)

Mario Bava had a knack for making low-budget movies look much more expensive than they really were. Undoubtedly, his prior experience as a cinematographer informed his directorial decisions, regarding the film’s appearance with a critical eye. Planet of the Vampires (aka: Terrore nello Spazio), a co-production with American International Films, is no exception, with imagery that could have been in a multi-million-dollar Hollywood production, instead of a movie made for a scant $200,000. Reflecting the international flavor of the production, Planet of the Vampires* boasted an international cast, including American actor Barry Sullivan,** his Brazilian co-star Norma Bengell, Spanish actor Ángel Aranda, and a host of Italian performers. The title (imposed by American International) is a misnomer, since there are no vampires in the film. As many have pointed out, a more accurate title would have been Planet of the Zombies, although in all fairness, either title indicates the sci-fi/horror hybrid that we’re about to see. 

* Fun Fact #1: Before it was known as Planet of the Vampires (or its Italian moniker, Terrore nello Spazio), the film’s title went through multiple iterations, including: Planet of Terror, The Shadow World (Bava’s preferred title), The Haunted World, The Outlaw Planet, The Warlords of the Outlaw Planet, and The Warlords of Planet 7. 

** Fun Fact #2: Mario Bava was reportedly unhappy with AIP’s insistence on casting 53-year-old Barry Sullivan, whom he considered too old for the lead role.

Two spaceships, the Argos and Galliot, answer a distress call from an alien planet. After Captain Markary (Barry Sullivan) loses contact with the Galliot, he and his crew land on the fog-shrouded planet.* But from the moment Markary and his team touch down on the barren, mist-covered wasteland, there seems to be a malevolent intelligence guiding their actions, prompting fear, anger and belligerence between the astronauts. The crew members manage to rein in their impulses long enough to investigate the condition of the Galliot and its occupants, only to discover that their counterparts are dead, including Markary’s brother. The corpses are buried, but to Argos crew’s horror they begin to reanimate, propelled by an unseen force. Before too long, the Argos crew begin to experience the fate of their sister ship, with confusion, violence, and death. Looking for answers, Markary launches an investigation of a nearby ancient alien spacecraft. They explore the derelict spaceship, discovering its fossilized pilot within, along with a voice recording from countless centuries ago.** Markary soon learns about the invisible alien intelligence that first lured the abandoned ship, along with the Gallion – a dying race known as the Aurans. Living on a different plane of existence, they embed their consciousness in the living or dead. Led by Markary, the dwindling crew of the Argos attempt to fend off their zombie comrades and Aurans long enough to escape the planet. 

* Fun Fact #3: The landing scene was shot in an aquarium filled with water. Colored chemicals were added to the water to simulate dust clouds. 

** Fun Fact #4: Bava and crew cobbled together many of the set pieces from found objects. One piece of “alien” equipment in the derelict spacecraft was the taillight from a 1956 Clipper (Packard). 

Over the ensuing decades, there’s been debate ad nauseam about how Planet of the Vampires inspired Alien,* but little agreement about how much was lifted from the original film. After years of dancing around the subject, Alien scribe Dan O’Bannon later confessed that the derelict spacecraft and its skeletal pilot provided the idea for the latter film’s “space jockey” sequence. Director Ridley Scott, on the other hand, adamantly denied he ever saw Bava’s film. Whatever extent was copied or who allegedly saw what, it’s safe to say that Planet of the Vampires’ DNA is in Alien. But that doesn’t necessarily imply that Alien is a “rip-off,” if we look at the history of movies (especially genre films) as a continuum, consciously and unconsciously recycling specific themes and imagery. Both Planet of the Vampires and Alien differ significantly enough in most respects to ensure that seeing one doesn’t guarantee you’ve already watched the other. 

* Fun Fact #5: While there’s much open to debate, there is one indisputable link between the two films. The 20-inch model ship (used for both Argos and Galliot) was fabricated for the shoot by effects maestro Carlo Rambaldi, also responsible for constructing the xenomorph for Alien (1979). 

Although few would attest that Planet of the Vampires is a paragon of performances, plotting, or story, few would deny it’s a great looking film. The costume design for the Argos crew is particularly memorable, with their black, high-collared uniforms that exude a cold, authoritarian appearance. The spacecraft are filled with cavernous gothic spaces – impractical where room would be at a premium, but effective from an artistic standpoint (if you think of the Argos and Galliot as flying castles, not scientifically accurate spaceship designs). Likewise, the surface of the planet takes on an unworldly aura, with its tentacle-shaped rock formations on the surface of the planet appear to have been alive at one time. The pervasive unsettling atmosphere running throughout the film reaches its apex in a scene when the reanimated corpses of several crew members rise from their graves, covered in ghostly plastic shrouds. 

The restored print is lovely to behold, with its saturated colors and noirish shadows (red and green gels create an eerie, atmospheric look). It’s easy to appreciate Mario Bava’s eye for aesthetics and endless ingenuity, making Planet of the Vampires look like an expensive production, despite using mostly in-camera effects. It’s unfortunate that the same attention wasn’t applied to other aspects of the production. Considering the number of screenwriters associated with the movie, the film is noticeably thin in the characterization and dialogue. Characters exist to move the plot along, but accomplish little else, with few standouts in the performances. Barry Sullivan looks suitably authoritative as the commander, however, and co-star Norma Bengell manages to bring glamour and gravitas to her somewhat underwritten role. Ultimately, I admire the film more than love it, but in the same breath can’t deny its impact on the genre. Faults be damned, it just looks cool, and few have done it as well as Mario Bava. Planet of the Vampires is a master class on doing more with less, and one of the most notable Italian sci-fi films of all time. 

 

Sources for this article: Radiance Blu-ray commentary by Tim Lucas; “Mario Bava’s Chthulucene - Terrore nello Spazio (Planet of the Vampires) from H.P. Lovecraft to Donna Haraway,” by Alessandro Brunazzo, Science Fiction Film and Television (Volume 16, Issues1-2, 2023)

 

 

In the Dust of the Stars

 

(1976) Directed by Gottfried Kolditz; Written by Joachim Hellwig and Gottfried Kolditz; Starring: Jana Brejchová, Alfred Struwe, Ekkehard Schall, Milan Beli, Silvia Popovici, Violeta Andrei and Leon Niemczyk; Available on Blu-ray and DVD

Rating: ***½

Akala (Jana Brejchová): “Our first law asks that no human may oppress another.”

Chief (Ekkehard Schall): “A nice thought. But the Turi have no culture. You see, by the time you are on your way home, the Turi will believe they were dreaming. Gods descended from heaven, they were friendly, and then they disappeared. They will likely pray to these gods. Their modest lives may become a little brighter. Nothing More. But that is a great deal.”

East Germany’s state-owned DEFA studios produced films in a wide variety of genres, including fantasies, westerns (no, really!), dramas, and a handful of science fiction movies. Their best-known production was probably the lavish (at least by East German standards) The Silent Star (aka: First Spaceship on Venus) (1960), which provided a visually impressive, albeit sterile vision of the future. Towards the tail end of DEFA’s small cycle of sci-fi movies was In the Dust of the Stars (aka: Im Staub der Sterne),*/** directed by Gottfried Kolditz (best known for his East German westerns). The 1976 East German/Romanian co-production begins conventionally enough, before veering off the rails, creating an experience unlike anything that preceded it. 

* Fun Fact #1: In the Dust of the Stars was the end-product of the DEFA Futurum group, an organization dedicated to creating films that were accessible to a wide audience, envisioning a positive future. Only two feature films (neither of which were well-received by critics at the time) were produced under DEFA Futurum: In the Dust of the Stars (1976) and the fountain-of-youth-themed Das Ding im Schloss (1979). 

** Fun Fact #2: Although not considered a success at the time, In the Dust of the Stars drew 800,000 East German filmgoers in the first 13 weeks.

A team of cosmonauts from the planet Cynro respond to a distress signal from the planet Tem-4, nearly crashing their spacecraft in the process. They meet with Ronk (Milan Beli) a representative of Tem-4,* who informs them that the signal was a mistake. While Captain Akala (played by Czech actress Jana Brejchová)** accepts an invitation to a party in their honor, her second in command (and love interest), Suko (Alfred Struwe), stays behind to test his doubts about the Temians’ sincerity. Meanwhile, the rest of the crew enjoy the wild celebration, including scantily clad dancers, drugs in aerosol spray cans, large snakes, and a feast fit for royalty. Suko determines that the party was an attempt by the Temians to divert the crew from the grim reality of the situation on Tem-4. The Temians are not the original inhabitants of the planet, but the peaceful Turi (who covertly initiated the distress call), have been enslaved to mine raw materials.*** Akala and her crew are faced with a dilemma: intervene between the Temians and Turi, or return to Cynro without taking action. 

* Fun Fact #3: Much of the film was shot on location in the otherworldly region of Pâclele Mari, Romania – home of the Berca mud volcanoes. 

** Fun Fact #4: Jana Brejchová was once married to the famous Czech director Miloš Forman.

*** Fun Fact #5: The Slănic salt mine stood in for the underground quarry where the Turi labored.

Most of the characters are not fully fleshed out, but archetypes to illustrate their differing ideologies. Captain Akala is conflicted about the correct path forward, doubting herself and their mission. Suko, harbors a healthy dose of skepticism about the Temians, Crew member Miu (Regine Heintze), who does an impromptu erotic dance (tastefully depicted in shadow), sides with the rest of the crew, seemingly content to enjoy herself and remain neutral about the Temian situation.

If you think the characters are too vanilla (minus Miu’s dance, of course), hold onto your hats, because you won’t be prepared for the Chief, played with zeal by noted East German stage actor, Ekkehard Schall.* The flamboyant Chief (who makes James Bond’s most memorable foes seem humdrum by comparison) represents a vision of capitalist decadence, enjoying the fruits of the Turi’s labors. In contrast to the enslaved race, he indulges in a hedonistic lifestyle with disco-punk aesthetics, sporting alternating hair colors to mirror his capricious moods and wearing costumes that would make Elton John jealous (I wish an entire movie had been dedicated to him and his wacky exploits). When he’s not barking orders to his lackey Ronk, he orchestrates extravagant music and dance displays** with his electronic console.   

* Fun Fact #6: Schall was married to Barbara Berg, daughter of noted playwright Bertolt Brecht.

** Fun Fact #7: The film’s standout outdoor dance scene was filmed at Romania’s Măgura Sculpture Camp.

It’s unfortunate that In the Dust of the Stars concludes on a less-than-satisfying note, raising more questions than answers: Did the workers start a successful revolt? What will happen with Akala, who stays behind on Tem-4? Will the remaining crew return with military reinforcements from Cynro? Don’t bother looking for answers, since no sequel ever materialized. Ultimately, the film’s parts are better than the sum: notably, Ekkehard Schall’s over-the-top performance, eccentric costume designs, and spirited dance sequences. Despite (or maybe because of) its initial critical and box office underperformance, In the Dust of the Stars should have been the perfect candidate to become a cult movie, running the midnight movie circuit. While it has yet to make much of an impact on audiences, it’s never too late to discover this amusing curio from a bygone era. 

 

Sources for this article: Blu-ray commentary by Rolland Man (presented by David Melville Wingrove); DEFA at the Crossroads of East German and International Film Culture, Edited by Marc Silberman and Henning Wrage; “East Germany's Werkstatt Zukunft: Futurology and the Science Fiction Films of defa-futurum,” by Sonja Fritzsche, German Studies Review (May, 2006, Vol. 29, No. 2)