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What I’ve Watched In… May 2015

Favorite of the Month: Avengers: Age of Ultron (2015)

Favorite of the Month: Avengers: Age of Ultron (2015)

In the interest of full disclosure (and to generate a little content here) I thought I’d present a regular tally of what movies I managed to see in the previous month. Some of them I’ve written or talked about, most of them I haven’t. This list includes movies I saw for the first time, movies I’ve seen a thousand times, movies I saw in the theater, movies I watched at home, direct-to-DVD, made-for-TV and anything else that qualifies as a movie. I also choose my favorite of the month among those movies I saw for the first time, marked in red. Feel free to discuss or ask about any of them!

1. Avengers: Age of Ultron (2015), A
2. Showrunners: The Art of Running a TV Show (2014), B+
3. Face/Off (1997), B-
4. Digging Up the Marrow (2015), B
5. Theatre of Blood (1973), D
6. Evacuate Earth (2012), B
7. Mr. Jones (2013), C
8. Grizzly Man (2005), B
9. Chillerama (2011), B+
10. Nightbreed: The Director’s Cut (2014), B-
11. Moon Zero Two (1969), D; MST3K Riff, B
12. Max Max (1979) B
13. The Crucible (1996), A
14. The Great Gatsby (1974), A
15. The Road Warrior (1981), A-
16. Mad Max Beyond Thunderdome (1985) B+
17. Mad Max: Fury Road (2015) A
18. Tomorrowland (2015), A
19. The Boxtrolls (2014) B
20. Forest of the Damned (2005), F
21. Everly (2015), B-
22. The Karate Kid (1984), B+
23. Sparks: The Origin of Ian Sparks (2013), D
24. The Karate Kid Part II (1986), B-
25. The Karate Kid Part III (1989), D+
26. Goodfellas (1990), A

Lunatics and Laughter Day 2: Abbott and Costello Meet Frankenstein (1948)

abbott-and-costello-meet-frankensteinDirector: Charles Barton

Writers: Robert Lees, Frederic I. Rinaldo & John Grant

Cast: Bud Abbott, Lou Costello, Lon Chaney Jr., Bela Lugosi, Glenn Strange, Lenore Aubert, Jane Randolph, Frank Ferguson, Charles Bradstreet

Plot: Chick and Wilbur (Abbott and Costello, respectively, although why they even bothered with giving their characters names at this point is beyond me) are employees of a delivery company. They get a nervous phone call from Larry Talbot (Lon Chaney Jr.) in London, asking about a pair of crates being sent to a house of horrors. He tells them that he’s flying to Florida the next day, and they are under no circumstances to deliver the crates until he arrives. The full moon rises in London and Talbot undergoes a startling transformation, becoming a Wolfman. Confused by the growling on the phone, Wilbur hangs up. Moments later, Mr. McDougal (Frank Ferguson) arrives to pick up the crates, which he claims contain the remains of the true Count Dracula and Frankenstein Monster. He tells this to Sandra (Lenore Aubert), Wilbur’s girlfriend, who Chick thinks is far too alluring to be with his bumbling friend.

Despite the call from Talbot, McDougal has the proper paperwork, so Chick and Wilbur deliver the crates To McDougal’s House of Horrors. Wilbur is on-edge, surrounded by the creepy contents, but Chick is convinced Dracula and the Monster are just characters from stories. As he leaves Wilbur alone, Dracula (Bela Lugosi, reprising his role for the first time since 1931) rises from his coffin, terrorizes him, and mesmerizes him. With Wilbur entranced, Dracula awakens the Frankenstein Monster (Glenn Strange). McDougal and Chick arrive and argue over where the exhibits are while Wilbur, hysterical, tries to explain what happened, but McDougal has them arrested.

Dracula flies to a remote castle where waits Dr. Stevens (Charles Bradstreet) and his assistant… Wilbur’s girlfriend, Sandra. Dracula wants to avoid Frankenstein’s mistake and give the monster a new brain, one so simple and naïve that it will never question his master. Sandra, of course, has just the brain in mind.

Talbot finds Wilbur and Chick, just out of jail, and confirms Wilbur’s story. He has been chasing Dracula, but he can’t go to the police for fear of revealing his own secret. As the moon is about to rise, he gives Wilbur the key to his hotel room and begs him to lock him up overnight, not letting him out no matter what he hears inside. Wilbur’s compliance lasts almost 45 whole seconds, before he goes into Talbot’s room to bring him a bag he left behind. In another comedy sequence, Wilbur narrowly avoids being torn to shreds by a Wolfman he never sees.

McDougal, furious over Wilbur and Chick’s release from jail, meets insurance investigator Joan Raymond (Jane Randolph), who plans to use her feminine wiles to trick Wilbur into revealing the location of the missing exhibits. She narrowly avoids Sandra, who came by to arrange a meeting with Wilbur for that evening’s masquerade ball. Joan convinces him to take her to the ball as well, and while Wilbur revels in his two dates, Chick tries to figure out what his dumpy friend has that he doesn’t. (As Sandra tells him, “A brain.”) The two go to Talbot’s room, where they find it’s been torn apart. Talbot wakes and tells them about his curse – he was bitten by a werewolf, and transforms whenever the moon was full. As Wilbur saw the monsters, he pleads with him to help him. They don’t believe him, and continue their preparations for the ball.

Chick, Wilbur and Joan pick up Sandra for the ball (Wilbur allowing each girl to believe the other is Chick’s date). Sandra finds Joan’s ID card for the insurance agency, while Joan finds Sandra’s copy of Frankenstein’s book on life and death. Each suspicious of the other, they return and meet Sandra’s employer, Dr. Lejos, who Wilbur somehow fails to recognize as Dracula wearing a robe instead of his cape. Lejos insists that Dr. Stevens join them for the party, but Sandra suddenly claims she has a headache and can’t go. She brings Dracula aside and says that Joan and Wilbur’s snooping and Stevens’s inconveniently inquisitive nature are making the operation too dangerous. Angry, he hypnotizes her and bites her, and they go to the ball.

At the ball, Chick and Wilbur encounter a fearful Talbot, who is upset by Chick’s wolf-mask. Sandra, now a vampire, tries to bite Wilbur, but he’s saved by Chick and Talbot, seeking the now-missing Joan. As they search, the full moon appears and Talbot transforms. He attacks McDougal, who blames Chick when he sees the wolf-mask. The party goes mad and people flee, with Chick and Wilbur finding a hypnotized Joan with Dracula. He mesmerizes the boys and takes Wilbur and the girls away. Finally convinced, Chick finds Talbot and they go to Dracula’s mansion, where Wilbur’s brain is being prepared for transplant. Talbot and Chick burst in. Talbot is about to free Wilbur, but once again, he transforms, and Frankenstein’s Monster breaks free. The five of them engage in a mansion-encompassing battle of positively Scooby-Doo-ian proportions, until finally the Wolfman seizes Dracula and they plunge off a cliff. The Monster chases Chick and Wilbur to the dock, where Stevens and Joan set him on fire. As they sit in a boat, Wilbur berating Chick for not believing him, a cigarette hovers in the air, and the unmistakable voice of Vincent Price introduces himself… he’s the Invisible Man.

Thoughts: This film is, inarguably, the greatest horror-comedy ever made. Okay, maybe it’s not inarguable. You can argue it. You’d just be wrong. What’s not arguable, however, is that it is by far my favorite movie out of all the films selected for Lunatics and Laughter, and (with the possible exception of Ghostbusters) the one that I’ve watched the most times. It isn’t Halloween unless I see Bud and Lou go toe-to-toe with the greatest Universal Monsters.

That, in fact, is what makes this such a fantastic movie, friends. Universal Studios took their two greatest comedic stars at the height of their popularity and mashed them into a movie with three of their most popular monster franchises, even getting the classic Bela Lugosi and Lon Chaney Jr. to reprise their roles as Dracula and the Wolfman, respectively. (Only Boris Karloff as Frankenstein’s monster is missing from the classic trinity, and he would get his chance to dance with the boys later in Abbott and Costello Meet the Killer, Boris Karloff and again in Abbott and Costello Meet Dr. Jekyll and Mr. Hyde).

It’s such simple alchemy – director Charles Barton got five amazing performers and allowed them to do what they do best for 83 incredible minutes. Abbott and Costello pull off the same sort of brilliant wordplay and slapstick that made them Hollywood legends, while Lugosi, Chaney and Strange (playing the Monster for the third time since Karloff’s retirement) give their performances all the force and horror they had in their respective series. The film doesn’t bother with little things like continuity either – there’s no effort to explain how Talbot knew Dracula or the monster, how Dracula found the creature’s remains, or even how any of the monsters were alive, as most of them had a tendency to die at the ends of all of their films. The sequels usually had a halfhearted resurrection scene, but Barton sees no need to even bother with that. The audience doesn’t care about any of these things. They know who Bud and Lou are, who Dracula and the Wolfman and the Monster are, and that’s all they need.

And damned if they weren’t right.

Like I’ve said, comedy and horror are flip sides of the same coin, and I’ve never seen a movie that demonstrates it as perfectly as this one. Our five lead characters (because that’s who Bud and Lou are, no matter what names they were using in the movie, they played the same two characters they always did) come from totally different styles of film: slapstick comedy and tales of pure terror. But when we put them together there is no clash. Everybody is themselves, everyone is entirely in-character, and it all fits together seamlessly. Even the scenes with Lugosi popping in and out of his coffin, giving Costello the stimuli for one of his legendary freak-outs, works for a Dracula who simply enjoys toying with his eventual prey. He even pulls the same sort of hypnosis and gets the same light-across-the-eyes treatment as he did in the original 1931 version of Dracula.

The plot, meanwhile, is straight out of the horror movie handbook. Dracula’s scheme to give the monster a simple brain keys into Costello’s movie persona perfectly. At the same time, it’s still the kind of devilish plan that many a horror movie villain has concocted over the years. Hell, let’s be honest – it’s a more logical plan than thousands of the others movie monster baddies have conjured up over the years. Talbot’s logic – “the police won’t believe me unless I tell them I’m a wolfman” – is kind of sketchy. It’s more likely they’ll just think him even crazier. But it’s still the same sort of logic that dominated this sort of movie back in the 40s and 50s, and therefore is easy to forgive. Similarly, the special effects are of the highest quality available at the time. Talbot’s werewolf transformation looks as good as it ever did in his own films. And while it may be pretty obvious that the Monster burning on the dock at the end is a mannequin being pushed along with sticks, in 1948, how else were you gonna get that shot?

Truly, the only moment that strains credibility, even for the time, is when Talbot and Chick plan their rescue mission. Talbot tells Chick they should hide and wait, since it is now morning and Dracula will be helpless until nightfall. Um… wouldn’t that make this the perfect time to attack? Come on, dude. (Honorable mention, though, goes to the fact that Talbot makes his transformation four nights in a row. Isn’t three usually the limit for a full moon?)

Bud and Lou, a classic vaudevillian comedy team whose act translated to film and television far better than most of their contemporaries, pull off a lot of the same shtick they usually do. They engage in verbal battles, with Bud tossing out unnecessarily complicated words so Lou can amusingly misunderstand them. Bud leaves Lou alone at inconvenient moments so he can be the sole witness to creepy happenings and have entertaining panic attacks. And once or twice, Lou is allowed to get the better of his buddy in a battle of the logical fallacies. In short, they take their standard routine and inject it into a horror movie. But not for one second does it feel forced, do any of the comedic interludes feel like a distraction, or does any of it feel like padding. They’re just there to have fun, as they always do. (Reportedly one scene – where Wilbur sits on the Monster’s without realizing it – took an absurdly long time to film because Glenn Strange simply couldn’t stop laughing at Costello’s antics in his lap.)

Even the old comedy trope – the panicky one sees the madness, the straight man conveniently misses everything until the last minute – feels fresh and original here. And no, it wasn’t, not even in 1948. When Chick pulls out the wolf-mask, you just know there’s going to be a moment when Wilbur encounters the real Wolfman and thinks it’s his buddy in disguise. You’re waiting for it. You would feel disappointed if it didn’t happen. But Abbott and Costello never disappointed on that front.

The finale is simply great. From the moment Talbot and Chick arrive at the mansion until Vincent Price makes his uncredited cameo, we go through one chase after another, with doors and props being smashed at every turn, our heroes bumbling into the monsters at the worse possible moments, often saved through circumstance, luck, or the good ol’ Rule of Funny. If you are physically capable of watching this movie without laughing, you need intense psychoanalysis. And if you didn’t love the Universal monsters before, this will do the trick.

Mutants, Monsters, and Madmen Day 9: The Fly (1958)

theflyDirector: Kurt Neumann
Writer: James Clavell, based on the short story by George Langelaan
Cast: Vincent Price, David Hedison, Patricia Owens, Charles Hebert, Herbert Marshall

Plot: A scientist (David Hedison) is found dead, his head and arm crushed into an unrecognizable mess. His wife (Patricia Owens) confesses to the crime, but refuses to provide details, although she seems obsessed with finding a strange white-headed fly. As the investigation begins they find she actually crushed him in a hydraulic press twice… something the victim’s brother (Vincent Price) cannot fathom, as they had a loving marriage. Owens begins to come unraveled, going berserk when a nurse crushes a fly on the wall. Finally, Price coaxes the truth from her: his brother was destroyed by his own invention – a disintegrator-integrator – which horribly mingled his body with that of a housefly, turning him from man to beast. As they attempted to find the fly that now had his arm and head, his mind became more and more frayed, until he finally begged her to kill him. Price keeps the story to himself, allowing the court to believe her insane, and sparing her from a murder charge.

Thoughts: I wish I could have found other films between the last one (1942’s Cat People) and this 1958 classic, but as I tried compiling my list, I was stunned at the utter dearth of memorable horror films from the late 1940s and early 1950s. This isn’t to say there weren’t scary movies, but that doesn’t necessarily make them the right choice for my little project here. It actually gets back to what I said about horror at the very beginning – horror is subjective. Each person, and in a larger sense, each culture determines for itself what it considers terrifying, and in the late 40s and 50s the fears of the American public weren’t running along the lines of vampires and witches and monsters. In the wake of the atom bomb, we were afraid of science gone wrong. With the rise of the Soviet Union, we feared the threat of international communism. The result is that the best, most iconic scary movies of this era don’t necessarily fall into the category of horror, but belong more appropriately on the science fiction list (which I hope to use for this same sort of project in the future). The truly disquieting films of the time were things like The Day the Earth Stood Still (1951) and Invasion of the Body Snatchers (1956) – both excellent films worth discussing, but I feel like they belong more in the realm of sci-fi than true horror.

So that brings us to 1958 and The Fly, which still straddles the line between science fiction and horror, but falls with enough of its bulk on this side of the line to make it on the list. While not exactly built on hard science, the movie attempts more of a feeling of realism than most other sci-fi shockers of the area, which often dealt with the likes of insects and other animals mutating into giant beasts thanks to radiation exposure, eventually leading to their death by missile and their ridicule at the hands of a guy in a satellite and his two little robot pals. In The Fly, director Kurt Neumann does make an effort to help the science seem plausible, at least to an audience without deep understanding of such things. (At one point, while trying to guess the nature of his brother’s experiment, Price even suggests a flatscreen television.)

Vincent Price, of course, gets top billing for this movie, but for my money that really should have belonged to Patricia Owens as Helene. Price is in the framing sequence – the 30-minute buildup to the flashback and the 10-minute denouement at the end – but Owens really carries the film. We see her at the beginning as the shellshocked, borderline deranged woman who has just witnessed her husband’s death, then go to the backstory where she’s a kind, devoted wife. She’s really magnificent in the part, going from the heights of joy for her husband’s success to a slow spiral into despair when his experiment falls apart. Finally, at the end we get pain and resignation from her. Genre pictures are rarely recognized for the performances of their actors when award season rolls around, but I would put Owens’s performance in this film right up there with any great actress of the era.

The film follows a fairly standard format for horror films of the era, where the truly terrifying stuff happens largely off-screen. This is to the good, because when the blanket comes off David Hedison and we finally see his transformation… well… just as Owens is as fine an actress as any of the day, his creature costume is as goofy as any of the day. It’s a silly-looking monster helmet with a some device to make the pincers twitch a little bit. I find the final scene far more chilling – Price and the inspector (Herbert Marshall) manage to track down the white-headed fly to a spider’s web where it’s been captured and about to be consumed. The effect of a tiny little David Hedison caught in the spider’s web, superimposed against film of a real spider, is impressive by 1958 standards, and the effect of his miniscule voice pleading for help as the predator advances upon him is creepy even today. It’s probably the most memorable scene of terror from the film, far more so than the human-size fly.

The film plays upon the fear of unchecked science, questions of insanity, and a good dose of body horror (which, no doubt, is why David Cronenberg was the man tapped for the 1986 remake). All of these elements add up to one of the best films of the era.

From the end of the age of monsters, we’re about to step into the world of more psychological terror. Next on my list is the film many consider the first slasher movie, the 1960 film Peeping Tom.