Uncategorized - FILM & TELEVISION REVIEW

Scream Queens Part 10: 1980-1988

Child’s Play (1988)

Catherine Hicks

The first subject of this installment of Scream Queens is Catherine Hicks star of Child’s Play. Taking the haunted ventriloquist dummy to new heights (or lows considering the creature’s stature), Child’s Play manages to make an impression strong enough to generate seven more films from 1990 to 2019 as well as a TV series.

Hicks was making her mark as a Scream Queen in an extraordinarily bizarre horror film: though it would be her only foray into the genre, her performance grounded the implausible concept into a more than satisfactory suspension of disbelief scenario. The franchise really took off in the 90’s with Child’s Play 2 & 3 and the inevitable, Bride of Chucky!

_{Catherine Hicks & Alex Vincent in Child’s Play (1988)}

Hicks had a long career where she appeared in many TV movies and series. Getting her start as a regular on the TV soap, Ryan’s Hope, Hicks quickly gained recognition and began making TV movies.

_{Catherine Hicks in Marilyn: The Untold Story / Catherine Hicks in Star Trek: The Voyage Home}

Her fourth project, Marilyn: The Untold Story (1980) won her an Emmy. She also appeared in Peggy Sue Got Married (1986), Star Trek: The Voyage Home (1986), and went on to do more TV movies and guest roles on TV until 1996 when she became a regular on the hit show, 7th Heaven which ran until 2007. She has continued working in film and TV.

_{Kathleen Turner & Catherine Hicks in Peggy Sue Got Married / Catherine Hicks in 7th Heaven}

Halloween 2 (1981)

Jamie Lee Curtis & Tawny Moyer

Halloween II picks up right where Halloween ended, and Laurie Strode finds herself in the hospital. Dr. Loomis is searching Haddonfield for the vanished Michael while Laurie tries to cope in the hospital along with nurse Tawny Moyer.

_{Jamie Lee Curtis & Tawney Moyer in Halloween 2 (1981)}

Tawny Moyer worked as a model in the late 70’s and 80’s, and her first screen credit was as a stewardess in 1978’s California Suite. She made TV guest appearances in shows such as Barnaby Jones (1979), Hunter (1984), The A-Team (1984) & Knight Rider (1985) as well as films including the one that she is most remembered for, Halloween II (1981). She has just 17 screen credits from 1978 to 2001.

Fright Night (1985)

Amanda Bearse

Amanda Bearse began her acting career as Amanda Cousins on the day time soap, All my Children . From there want on to do small roles in two films, Protocol (1984) and Fraternity Vacation (1985) before landing in Fright Night (1985) for the first of two roles for which she is best known.

_{Amanda Bearse in Fright Night (1985)}

After Fright Night, she began working almost exclusively in television where in 1987 she joined the cast of Married…with Children.

**Amanda Bearse & Katey Sagal in *Married…with Children* (Season 3)**

The Return of the Living Dead (1985)

Beverly Randolph

The Return of the Living Dead was Beverly Randolph’s first credited feature film. Prior to her appearance as Tina, she had very little experience and most of it when she was very young. In 1965 she had two uncredited appearances in the feature films, Shenandoah as Baby Martha Anderson and in A Very Special Favor as Baby Chadwick. In 1983 she had yet another uncredited appearance in the television series, Quincy M.E. episode, Cry for Help.

**Beverly Randolph in *The Return of the Living Dead* (1985)**

Randolph would not return to the screen until 2015 in No Solicitors along with Scream Queen Felissa Rose (Sleepaway Camp). Working mainly in the horror genre, Randolph has a total of 14 acting credits include the four films currently in production, including Death House (2017), Shriekshow (2022), and the upcoming Sacred Ground: Forbidden.

Poltergeist (1982)

Heather O’Rourke & JoBeth Williams

As Scream queens go, Heather O’Rourke is not just the youngest, but also the one with the most amazing discovery story. While waiting for her mother (a seamstress) in the MGM cafeteria, a man approached her and asked her what her name was, and she replied, “My name is Heather O’Rourke, but you’re a stranger, and I can’t talk to you.” The man was Steven Spielberg. Although she failed the first screen test, Spielberg called her back for a second round and asked her to bring a scary story book. He asked to to scream over and over and she did until she broke down in tears. “I don’t know what it is about her, but she’s got the job.” he advise her and her parents.

Heather O’Rourke in Poltergeist (1982)

She became an overnight celebrity and went on to appear TV shows popular at the time, (1974) (1982-1983), The New Leave it to Beaver (1983) (1986-87), and Webster (1983-84).

Heather O’Rourke Cat’s Eye (1985)

In 1986 Poltergeist II: The Other Side would further her fame as she delivered an astonishing performance. She would go on to appear in Poltergeist III (1988). Although she had recently been diagnosed with Crohn’s Disease and was taking medication during the filming, she showed no signs of the illness. Sadly, her condition was more serious than the doctors thought, and she suffered cardiopulmonary arrest and intestinal stenosis and died at the age of 12 on February 1st, 1988.

JoBeth Williams in Poltergeist (1982)

JoBeth Williams began her career in New York as a regular on daytime TV in both Somerset (1970) and Guiding Light (1972). In 1979, she made her big screen debut in Kramer vs. Kramer as a one night stand caught in the all together by his precocious son (Justin Henry).

JoBeth William & Robert Urich in Endangered Species (1982)

Also in 1982, JoBeth appeared in Endangered Species with Robert Urich. Continuing to work in both film and television and returning to Poltergeist in Poltergeist II: the Other Side (1986). She has continued to working and has clocked more that 120 projects and counting.

Craig T. Nelson & JoBeth Williams in Poltergeist II: the Other Side (1986)

The Shining (1980)

Shelley Duvall

Shelley Duvall in Brewster McCloud (1970)

Shelley Duvall has had a long and eventful career that began when she was discovered by Robert Altman and reluctantly made her first film appearance in the director’s 1970 film, Brewster McCloud.

Shelley Duvall in Thieves Like Us (1974) Shelly Duvall & Sissy Spacek in 3 Women (1977)

This was followed by her role in Altmans’s McCabe & Mrs. Miller (1971), and then Thieves Like Us in 1974. In 1975 she made a splash in Altman’s Nashville, and then in 1977, Altman’s 3 Women. Before making another film with Robert Altman, Shelley Duvall was chosen to play Wendy Torrence in Kubrick’s film based on the Stephen King novel, The Shining.

Jack Nicholson & Shelley Duvall in The Shining (1980)

Stanly Kubrick cuts loose with full tilt horror! A Steven King book, perfect casting, what could go wrong? Well, King might hate the film, but for most viewer’s–it is exactly on the mark. Duvall was sensational as the wife of the slowly unraveling madman.

Shelley Duvall & Danny Lloyd in The Shining (1980)

Shelley Duvall in The Shining (1980)

Duvall went on to a number of staring roles including Altman’s Popeye (1980),Terry Gilliam’s Time Bandits (1981), and Tim Burton’s Frankenweenie (1984).

Shelley Duvall in Time Bandits (1981) Shelley Duvall in Frankenweenie (1984)

Robin Williams & Shelley Duvall in Popeye (1980)

Facts, Rumors & Hearsay

Child’s Play

Katherine Hicks & Kevin Yagher (Chucky’s creator) met on set and were married a year later.

Halloween II

Even though Jamie Lee Curtis receives top billing, Donald Pleasence has a lot more screen time.

Nurse Karen’s car is a 1965 Ford Mustang.

Fright Night

The character Peter Vincent is named for two actors well-known for their appearances in horror movies: Peter Cushing & Vincent Price.

The Return of the Living Dead

The filmmakers had to get approval from Lysol to have Frank spray away the stench of death with their product. “They liked the idea that Lysol would kill any conceivable odor.”

The film’s German title is “Verdammt, die Zombies kommen,” which is roughly “Damnit, the Zombies Are Coming” and the Danish title is “Ligene er ligeglade” which is roughly “The Dead Don’t Care” – playing up the comical aspect of the film.

Poltergeist

This was the highest-grossing horror film of 1982, and the eighth-highest grossing film of the year. It was re-released in October, 1982 to take advantage of the Halloween weekend. It was also shown in theaters for one night only on October 4, 2007, to promote the 25th anniversary DVD, released five days later. The event also included a documentary about poltergeist phenomena, which is available on the DVD.

The Shining

It is believed that Kubrick’s secretary spent weeks, if not months, typing dozens of pages “All work and no play makes Jack a dull boy” for the scene where Wendy discovers those pages that Jack has been typing.

Donald Sutherland

This is a tribute to one of the most amazingly talented actors we have had the good fortune to know through his many performances. Donald Sutherland’s legacy in pictures from some of his many and varied films.

Donald Sutherland in Dr. Terror’s House of Horrors (1965)

Donald Sutherland in Kelley’s Heroes (1970)

Elliot Gould & Donald Sutherland in M*A*S*H (1970)

Donald Sutherland & Jane Fonda in Klute (1971)

Julie Christie & Donal Sutherland in Don’t Look Now (1973)

Donald Sutherland & Jenny Agutter in The Eagle Has Landed (1978)

Brook Adams & Donald Sutherland in Invasion of the Body Snatchers (1978)

Donald Sutherland & Janet Suzman in A Dry White Season (1989)

Kevin Costner & Donald Sutherland in JFK (1991)

Donald Sutherland & Kristy Swanson in Buffy the Vampire Slayer (1992)

Donald Sutherland in Fallen (1998)

Jason Statham & Donald Sutherland in The Mechanic (2011)

Donald Sutherland as President Snow in Hunger Games (2012)

Facts, Rumors, and Hearsay

The Hunger Games

_{There was a swear jar on the set. Co-writer and director Gary Ross said half of it was contributed by Jennifer Lawrence.}

The Hunger Games: Mockingjay – Part 1

_{The dog wandering in District 12 is Donald Sutherland’s dog, Biggles.}

JFK

_{When Oliver Stone spoke at the National Press Club about the movie, someone asked if he meant to insinuate that the government was involved in the assassinations of Martin Luther King, Jr. and Robert Kennedy, as well as JFK’s. He replied with a simple one-word answer: “Yes.”}

_{Donald Sutherland’s monologue, as the mysterious Washington informant known only as X, is sixteen minutes long.}

M*A*S*H

_{Altman’s most innovative technique in the film was the almost constant overlaying of dialogue: as many as four conversations could be happening at once in a given shot. This was considered unorthodox and revolutionary at the time.}

Klute

_{Klute was the first of three theatrical feature film collaborations of actress Jane Fonda and Donald Sutherland. The movies are in order: Klute (1971), FTA (1972) & Steelyard Blues (1973).}

The Mechanic

_{Jason Statham and Donald Sutherland also worked together in 2003’s The Italian Job.}

Buffy the Vampire Slayer

_{Joss Whedon found Donald Sutherland extremely difficult to be around. Sutherland re-wrote the majority of his dialogue and scenes. Whedon felt Sutherland’s rewriting made the scenes incomprehensible. Whedon praised Sutherland’s abilities as an actor, but called his behavior rude and said Sutherland was a dick.}

Invasion of the Body Snatchers

_{Donald Sutherland was hit by a Volkswagen beetle while filming a shot of Matthew and Elizabeth running. He fell onto the windshield and was able to see the driver saying “Oh God, not you!”}

Klute

_{Sutherland and Fonda developed a nonexclusive romantic relationship off screen which lasted until about June 1972. He was her date to the Oscars when she won Best Actress for this movie.}

The Eagle Has Landed

_{To research the role of Heinrich Himmler, Donald Pleasence spent hours at the Imperial War Museum in London watching footage of him and memorizing Himmler’s gestures, walk and facial expressions.}

Ethan Hawke’s WILDCAT (2023)

Directed by Ethan Hawke

Screenplay by Shelby Gaines and Ethan Hawke

Cinematography by Steve Cosens

Edited by Barry Poltermann

Music by Latham Gaines & Shelby Gaines

CAST: Maya Hawke (Flannery O’Connor), Laura Linney (Regina), Philip Ettinger (Robert ‘Cat’ Lowell), Christine Dye (Duchess), Rafael Casal (O. E. Parker), Cooper Hoffman (Manley Pointer).

Maya Hawke in Wildcat (2023)

The grotesques of Flannery O’Connor are brought to life in Ethan Hawke’s Wildcat. Hawke and co-writer Shelby Gaines create a script that illuminates both the inner and outer life of the enigma that was Flannery O’Connor. Hawke has a strong grasp on the writer’s persona as well as her art as he directs his daughter in the lead role.

Philip Ettinger & Maya Hawke in Wildcat (2023)

Maya Hawke gives a strong performance as the intensely brilliant writer, while the narrative moves O’Connor through the downward spiral of her life even as her genius soars. The film illustrates O’Connor’s reality interspersed with her stories as they form in her imagination (Maya Hawke and Laura Linney fill multiple roles as characters in the writer’s imaginings).

Maya Hawke in Wildcat (2023)

This film honors one of the brightest stars in American Literature. Wildcat screened at the 2023 Toronto Film Festival.

Abigail (Universal/2024)

_{Alisha Weir in Abigail (2024)}

Directed by Matt Bettinelli-Olpin & Tyler Gillett

Story & Screenplay by Stephen Shields

Screenplay by Guy Busick

CAST: Melissa Barrera (Joey), Dan Stevens (Frank), Alisha Weir (Abigail), William Catlett (Rickles), Kathryn Newton (Sammy), Angus Cloud (Dean), Kevin Durand (Peter), Giancarlo Esposito (Lambert) and Matthew Goode (Father)

Cinematography by Aaron Morton

Music by Brian Tyler

Edited by Michael P. Shawver

_{Angus Cloud,} _{Kathryn Newton}, _{Alisha Weir, Kevin Durand,} _{Melissa Barrera,} _{Kevin Durand} _&_{William Catlett & in Abigail (2024)}

Abigail is an over the top vampire tale that devilishly delivers more laughs than jump scares. The music over the opening credits is Swan Lake which was also over the opening credits in the 1931 production of Dracula.

_{Gloria Holden in Dracula’s Daughter (1936)} _{The working title for Abigail was Dracula’s Daughter. It is interesting that Universal’s Dracula’s Daughter (1936) ostensibly depicted the events following immediatly after 1931’s Dracula. Frankenstein director, James Whale’s script for the film was rejected for being too bizzare and he left the project. After another director left the picture Lambert Hillyer (who directed mainly westerns) was put in the director’s chair. He was a major reason that even though the film had the highest budget of any of the Universal horror films, it is not as highly regarded as the films that preceded it.}

Abigail is the third film based on Bram Stoker’s Dracula to be released in two years. Abigail was preceded by The Last Voyage of the Demeter (2023), Renfield (2023), and will be followed by the much anticipated Nosferatu in December 2024.

_{Giancarlo Esposito in Abigail (2024)}

The cast plays straight, but there is no mistaking their intent as their exuberant performances keep the film moving at a frantic pace. Melissa Barrera (Joey) leads the misfit band of kidnappers through a grueling night of kidnapping a young ballerina and holding her for ransom. They are met by the creepy Lambert (Giancarlo Esposito), who explains the conditions of their illicit employment.

_{Kathryn Newton, Dan Stevens & Kevin Durand in Abigail (2024)}

After the introductions and instructions the group tries to get to know each other, but part of the deal is that they cannot share their real identities and are given code names by Lambert. The names are derived from the Hollywood Rat Pack (Frank Sinatra, Dean Martin, Joey Bishop, Peter Lorre & sometime member Don Rickles). Keeping with their instructions, they do not reveal any information about themselves.

_{Melissa Barrera & Dan Stevens in Abigail (2024)}

That is when Joey exhibits one of her talents and reads each one of her partners in crime, hitting on the truth about each of them. In turn Frank, revealed as an ex-cop, points out traits of Joey that lead him suggest that she is a recovering junkie. The results of the revelations do more to increase tension than bringing them together.

_{Alisha Weir, Kathryn Newton & Melissa Barrera} _{in Abigail (2024)}

The directors pull out all of the the stops as the first body is discovered by Sammy (Kathryn Newton). From this moment forward the pace picks up and the claustrophobia presses in. Finally realizing their predicament, the group tries to figure out how to fight the beast that their so called victim has turned out to be. They do so with varying degrees of success and more than a spattering of blood. It becomes clear that they are woefully out matched and then a random ray of sunlight slows down the dancing doom.

_{Alisha Weir in Abigail (2024)}

The crew finds a place to stand in the sunlight and consider their options for fighting the vicious creature. The violence is revved up and leads to an unexpected but bloody satisfying conclusion.

Facts, Rumors, and Hearsay

The directors were so impressed by Alisha Weir’s dancing that they added more dance sequences to the film.

The mansion is the Guinness manor in Dublin, Ireland.

Second film of the year featuring Kathryn Newton based on a classic Universal horror movie after Lisa Frankenstein (2024).

Abigail is a Hebrew name for “my father’s joy”.

Abigail is Melissa Barrera’s first collaboration with Radio Silence outside of the Scream movies.

The Shape of Monsters

HEADER: Willem Dafoe in Poor Things (2024)

When Universal announced a rebooting of its classic monster movies there was much excitement and interest generated around the project. In 2017, The Mummy starring Tom Cruise, Russell Crowe, and Sofia Boutella as the eponymous monster was released and to the horror of the Universal fans it was a dismal display of corporate creativity. Unfortunately, the studio had taken a ‘Marvel Universe’ approach without first laying the ground work. The outcome was something of a mixed bag that looked like a Mission Impossible film gone horribly wrong. The project came to a stand still.

_{Sofia Boutella, Annabelle Wallace & Tom Cruise in The Mummy (2017)}

Then, a film that was beyond expectations was released. Guillermo del Torro’s, The Shape of Water (2017), a wonderfully articulated beauty and the beast tale with depth and pathos was deservedly well received, although not officially a reboot of The Creature from the Black Lagoon.

_{Sally Hawkins & Doug Jones in The Shape of Water (2017)}

Universal later decided to work with directors that had their own ideas and Blumhouse’s The Invisible Man hit screens in 2020 starring Elizabeth Moss and was a complete success. In the original film the horror is seeing the wrapped in bandages Invisible Man (Claude Rains). In the reboot it is not seeing him at all. Elizabeth Moss’ performance is one of the strongest of her career and puts her on the A list of Scream Queens.

Elizabeth Moss in The Invisible Man (2020)

The release and success of Poor Things (2023), like The Shape of Water, has again illustrated what is possible when there is actual creativity inspired by the original films.

Poor Things is a brilliant film heavily influence by Mary Shelley’s novel and Universal’s Bride of Frankenstein. The imaginations that have run wild in the creation of this epic fantasy belong to Director, Gorgons Lantimos, and Screenwriter Tony McNamara (Cruella 2021) based on the Novel by Alasdair Gray. The casting of the characters brings them to life and all of the performances raise the story higher at every turn. Emma Stone (Bella Baxter) is spectacular as the progeny of Willem Dafoe’s Dr. Godwin Baxter. Defoe’s performance takes on the man & monster persona with a deft calm that itself is disturbing. Mark Ruffalo’s Duncan Wedderburn is at turns hilariously funny and madly melancholy.

_{Mark Ruffulo in Poor Things (2024)}

The year also brought to the screen Universal’s The Last Voyage of the Demeter, the dark and violent prequel to Dracula. Although both films did well with audiences, only Poor Things gathered accolades from the critics.

Javier Botet in *The Last Voyage of the Demeter*

The action could only have been the crew trying to survive the journey with a vampire on board. Having said that, as the prequel to Dracula, Demeter succeeds eminently and exceeded my expectations with shades of Nosferatu that are chillingly effective.

_{Corey Hawkins & Aisling Franciosi in The Last Voyage of the Demeter (2023}₎

Universal also released Renfield in 2023: the concept really appealed to me. Alas, what could have been a wonderfully comedic turn on the Dracula story was marred with the casting of Nicolas Cage. I may be in the minority on this point, so be it.

_{Nicholas Hoult, Awkwafina & Nicolas Cage in Renfield (2023)}

The film was titled Renfield. Nicholas Hoult was the star in this film. He and Awkwafina had a perfect foil in Renfield’s replacement as Dracula’s thrall in Ben Schwartz. The film would have been much improved if Dracula had been kept off screen for most of the film and was portrayed by an unknown actor.

_{Godzilla on a rampage in Godzilla + 1}

In addition to all of this, Toho’s Godzilla – 1 and the more recently released, Godzilla – 1 – Color have been very well received. Godzilla – 1 is a fascinating reboot of the original with a strong and engaging story line supported by over the top special effects. The recent black and white release of the film will appeal to those viewers that will appreciate the feel and look of the original.

_{Ryunosuke Kamiki & Minami Hamabe in Godzilla + 1}

After the horrors of WW2, disgraced kamikaze pilot, Koichi Shikishima returns home to find that everything that he knew has been destroyed in the war. The guilt he feels for not dying as he was meant to is compounded by all the death and destruction around him. A chance meeting with a displaced young woman slowly pulls him from his self pity.

_{Godzilla was a metaphor for the horror and destruction caused by Oppenheimer’s monster. Unlike the bomb–the people could fight Godzilla. And, in the end–defeat him.}

I do find the irony in Godzilla – 1 being released in the same year as another film. A film that most would not consider a horror/monster film. Oppenheimer is without a doubt the best film of the year, but it is also a terrifically dark film, and yes–Oppenheimer does create a monster. In many ways, his story is also related to Mary Shelley’s Frankenstein. He is a man of his time looking over the abyss and struggling not to fall in as he reaches for something that man was not meant to find. Unlike Doctor Frankenstein, he knows what horror he is bringing into existence.

_{Cillian Murphy in Oppenheimer (2023)}

Christopher Nolan’s Oppenheimer delivers an accessible film about an inaccessible subject. Bringing it all down to a human level, he manages to shine a light into an abyss. We see more than enough to feel his exhalation, horror, and pain.

_{Cillian Murphy & Emily Blunt in Oppenheimer (2023)}

“Whoever fights monsters should see to it that in the process he does not become a monster. And if you gaze long enough into an abyss, the abyss will gaze back into you.“ Friedrich Nietzsche

_{Robert Downey Jr. in Oppenheimer (2023)}

Nolan has created a masterpiece of enormous importance. Every performance resonated the gravity of the story. Cillian Murphy becomes Oppenheimer. Robert Downey Jr. gives the best performance of his career.

Facts, Rumors, and Hearsay

THE MUMMY (2017)

The film’s tagline, “Welcome to a new world of gods and monsters,” is a quote from Bride of Frankenstein, which was produced by Universal and would have been the next in the Dark Universe franchise if “The Mummy (2017)” had been a success.

THE SHAPE OF WATER (2017)

After seeing the trailer, Kevin Smith tweeted, “Seeing something as beautiful as this makes me feel stupid for ever calling myself a ‘director.'”

Director Guillermo del Toro first met Sally Hawkins at the 2014 Golden Globes and pitched the film to her while intoxicated. He says, “I was drunk and it’s not a movie that makes you sound less drunk.”

THE INVISIBLE MAN (2020)

Leigh Whannell decided not to have an opening establishing Cecilia’s abusive relationship with Adrian “because I wanted to just drop the audience into Cecilia’s situation without any back story and make them feel everything through her, and luckily I had Elizabeth Moss who is very good at communicating a lot to the audience without saying anything.”

POOR THINGS (2023)

Mark Ruffalo initially was hesitant about the role of Duncan Wedderburn after first reading the Poor Things screenplay . “I said to director, Yorgos Lanthimos, ‘I don’t think I’m right for this’,” Ruffalo said. “And he just laughed at me and he’s like, ‘It’s you.'”

THE LAST VOYAGE OF THE DEMETER (2023)

Dracula’s look is based on Count Orlok from the unauthorized adaptation of Bram Stokers Dracula, Nosferatu (1922). This was also the model for the look of the vampire Barlow in the original Salem’s Lot (1979)

RENFIELD (2023)

In an interview with Collider, director Chris McKay admitted that the film is actually intended to serve as a direct sequel to Tod Browning’s Dracula (1931). McKay had also attempted to have the film’s trailers and poster refer to this fact, but did not pan out.

GODZILLA – 1 (2023)

The “Minus One” refers to the fact that Japan had already been devastated by WWII (brought down to zero), but with the emergence of Godzilla, it puts Japan into the negative. This is reflected in the film’s original Japanese tagline, which translates to, “Postwar Japan. From Zero to Minus”.

OPPENHEIMER (2023)

In order for the black and white sections of the movie to be shot in the same quality as the rest of the film, Kodak produced a limited supply of their Double-X black and white film stock in 70mm. This film stock was chosen specifically for its heritage – it was originally sold to photographers as Super-XX during World War II, and was very popular with photojournalists of the era.

Robert Downey Jr.’s favorite film of his own. When it premiered at Odeon Luxe Leicester Square in London, he said, “Just going to flat out say it: This is the best film I’ve ever been in.”

Film Noir 5

Illustration by John Harbourne

The Big Heat (1953) Columbia Pictures

Directed by Fritz Lang

Screenplay by Sydney Boehm based on the Saturday Evening Post serial by William P. McGivern

Cinematography by Charles Lang

Music Director Mischa Bakaleinikoff

CAST: Glenn Ford (Dave Bannion), Gloria Grahame (Debby Marsh), Jocelyn Brando (Katie Bannion), Alexander Scourby (Mike Lagana), Lee Marvin (Vince Stone), Jeanette Nolan (Bertha Duncan), Peter Whitney (Tierney), Willis Bouchey (Lt. Ted Wilks), Robert Burton (Gus Burke), Adam Williams (Larry Gordon), Dorothy Green (Lucy Chapman), Carolyn Jones (Doris).

**Gloria Grahame & Glenn Ford in *The Big Heat* (1953)**

Fritz Lang made two films that gave me nightmares, M and The Big Heat. M was undoubtedly his best German film and the American film that holds that place for me is The Big Heat. With the casting of Glenn Ford, Gloria Grahame, and Lee Marvin and the most memorable script Sydney Boehm ever wrote, Lang had a classic waiting to happen. His tight direction keeps the story moving from the opening close up of the gun that crooked cop Tom Duncan is about to use take his own life to Mike Lagana (Alexander Scourby) taking the call from Bertha Duncan (Jeanette Nolan) to Debby Marsh (Gloria Grahame) taking the call from mobster Mike Lagana and in a few lines and moves, making her relationship to Vince Stone (Lee Marvin) perfectly clear.

**Gloria Grahame in *The Big Heat* (1953)**

Lang’s economy of narrative moves the story rapidly within the illusion of placid pace.

**Lee Marvin & Gloria Grahame in** *The Big Heat* (1953)

Sargent Bannion (Glenn Ford) interviews the dead man’s wife (who we know is aware of her husband’s crimes and guilt), yet she points to his ‘health’ as the reason for his suicide. Bannion is not fooled and sets off to get to the truth.

**Jeannette Nolan & Glenn Ford** **in *The Big Heat* (1953)**

At home with his wife (Jocelyn Brando) the same economy is applied and we get a good idea of how close and idyllic a life they have together.

**Linda Bennett, Glenn Ford & Jocelyn Brando in *The Big Heat* (1953)**

Once Lang has given the tour of the landscape, the gloves come off and the violence is quick and shocking.

Bannion’s quiet calm is first disturbed by the torture murder of Lucy (Dorothy Green) who tells him that Donovan did not commit suicide (above left), then by the horrific explosion that was meant for him but takes his wife instead (above right). The car blows up as Katie starts it on her way to pick up the babysitter. The house shakes violently as Bannion holds his daughter tightly before running out to find his wife dead. At this moment, the film switches gears and becomes a wild ride. Bannion is no longer the sensible cop.

Lee Marvin, Gloria Grahame, & Glenn Ford in *The Big Heat* **(1953)**

His good natured demeanor has been blown away and replaced by a determination to get revenge if not justice. Vince and Tierney are psychotic and will only respond to violence. Lee Marvin’s Vince Stone is a monster as is hammered home when he punishes Debby by throwing hot coffee in her face. Marvin’s performance is one of the best of his long career and he is the villain that makes the heroine great. The wild card is Debby. Her erratic behavior making her unpredictable, but she becomes Bannion’s ally and together they bring the action to a crescendo.

There is no question that Gloria Grahame was the quintessential noir femme fatale. It is difficult to believe that Columbia tried to borrow Marilyn Monroe for the role from 20th Century Fox, but fortunately the fee was too high. It’s easy to see that Grahame was the best choice for the role. This was an actress that could move with a sureness and agility that makes the character come alive. There is so much energy in her performance as she sashays her way across the screen with a tight rope walker’s confidence. In the end, Debby does what she knows Bannion cannot, and becomes the tragic heroine.

In the well known, but out of print biography, Suicide Blonde, Lang’s behavior toward the actors was revealed as not always pleasant. Joyce Brando suffered his rath on the scene where she is feeding Ford a piece of steak, doing take after take because the dripping from the meat was not going the way the director wished. Grahame was said to be the focus of most of his ill temper, but whatever the motivation, she delivers an unforgettable performance in an unforgettable film.

The Asphalt Jungle (1950) MGM

Directed by John Huston

Screenplay by Ben Maddow and John Huston based on the Novel by W.R. Burnett

Music by Mikios Rozsa

Cinematography by Harold Rosson

CAST: Sterling Hayden (Dix Handley), Louis Calhern (Alonzo D. Emmerich), Jean Hagen (Doll Conovan), James Whitmore (Gus Minissi), Sam Jaffe (Doc Erwin Riedenschneider), Anthony Caruso (Louis Clavelli), Teresa Celli (Maria Clavelli), John McIntire (Police Commissioner Hardy), Marc Lawrence (Cobby), Barry Kelly (Lt. Detrich), Brad Dexter ( Bob Brannom), Don Haggerty (Detective Andrews/uncredited), and Marilyn Monroe (Angela Phinlay).

As always, John Huston manages to deliver a film that no one else could have imagined. Like Billy Wilder, he could work in any genre or style, while always endowing it with his own signature. The Asphalt Jungle is a seriously powerful Film Noir that taps into just as serious talent.

From Sterling Hayden as the torpedo right off of the farm and Sam Jaffe as the Professor fresh out of prison to Jean Hagen as a woman in love with a ghost, and the novice Marilyn Monroe as the ditzy mistress to Louis Calher’s greedy villain, Alonzo D. Emmerich, Huston has a palette of doomed characters only Flannery O’Conner could love.

Marilyn Monroe & Don Haggerty in The Asphalt Jungle (1950)

“Haven’t you bothered me enough already you big banana head?” Angela to Detective Andrews.

It is endowed with a dark humor as each character suffers from their own deadly obsessions. Dix (Sterling Hayden) only wants to get back to his farm at any cost, Emmerich’s greed guides him as he plots and cheats his way to ruin and Doc’s (Sam Jaffe) weakness for young girls is not only unbecoming, but dangerous.

Although the most self aware of all of the characters, in one of the best scenes in the film he gives coins to a young girl in a diner for the juke box so she will continue dancing as he stares at her, transfixed and losing his head start on the police to make his getaway.

Facts, Rumors & Hearsay

The Big Heat

Bannion’s wife Katie is played by Marlon Brando’s older sister, Jocelyn.

The portrait of Lagana’s mother is of Celia Lovsky, ex-wife of Peter Lorre. She is probably best known for her portrayal of T’Pau, the Vulcan Ambassador, in Star Trek: Amok Time (1967).

The Asphalt Jungle

A poster for this film with Marilyn Monroe in a purple dress was created much later, after she became a household name. Monroe was almost unknown when the film was made in 1950. She certainly wouldn’t have been featured on the poster, and she wasn’t even listed on the original posters.

Marilyn Monroe considered this film one of her best performances, particularly her final scene with Louis Calhern.

Miklos Rozsa’s scoring is minimal, occurring for the main titles, continuing through the opening sequence up to the point where Handley enters the café, and then returns when Handley and Doll return to his boyhood farm. Total scoring just under 6 minutes.

Special thanks once again to John Harbourne for permission to use his wonderful The Big Heat illustration. See more of John’s incredible Film Noir Art at: John Harbourne Artist

Producers & Directors Series 2 Alfred Hitchcock: Part Six

The Enchantment

From the moment Scottie sees her, he is entranced. Even across the distance of the dining room from the bar at Ernie’s, Madeline stands out with her blonde hair and the emerald green of her gown against the lavish red wall covering of the restaurant. Hitchcock’s use of color glares at us from the red walls as Scottie’s obsession begins. The green of her gown will echo through the rest of the film and is the color that Scottie will associate with Madeline. The immediate attraction is discernible in the restaurant scene as Madeline and Elster are leaving: Scottie gets his first fleeting glance as she pauses, then turns to look back at Elster. She personifies beauty and elegance, and against his own better judgement, he takes on the job.

_{James Stewart & Kim Novak in Vertigo (1959)}

The next shot is of Scottie in his car, and then cut to her coming out of her building and getting into her car from Scottie’s point of view. Hitchcock’s choice of the green car provokes thoughts of her in the restaurant the night before. As she drives off, Scottie follows. He becomes her shadow as she quickly becomes his obsession. The longer he tails her, the harder it it will be for him to think clearly. Surely, a trained detective would have been suspicious? He had initially scoffed at Elster’s tale about possession. It is true that he’s just had the trauma of the death of a fellow officer and the guilt that goes along with it, but still? Doing a 180 after a mere glimpse at the woman? We realize that it is the woman in question that turns his head and eventually, sets it spinning.

_{James Stewart in Vertigo (1959)}

The measured pace that began in Madge’s studio, continues as Scottie follows her through San Francisco’s scenic streets of twists and turns that echo the dizzy spiral of his vertigo. The last turn is down an alley behind a flower shop. After she goes in, he follows. Once inside he stands in the shadows, watching while she waits to pick up a pink and white nosegay. Perplexed, he watches. He then goes back to his car and waits, but not before getting a good look at her in her elegant grey suit. When she comes out, he continues to follow.

_{Kim Novak in Vertigo (1959)}

This time she stops in front of Mission Dolores, and after going through a chapel to follow her, Scottie steps out into a cemetery garden. The Mission Dolores foreshadows Scottie’s later realization of where Madeline is being led. He follows on foot, as she goes to stand before a grave. Seeing her first from a distance, he slowly moves closer until he is almost too close. She moves away and then stops, and he sees her in a clear profile before she leaves the graveyard.

_{James Stewart & Kim Novak in Vertigo (1959)}

Going to look at the grave stone, we see it from Scottie’s point of view. It is as though she has been led to her own death, and he has followed. It is the completion of the foreshadowing.

Once again he tails her, this time to the Palace of the Legions of Honor and inside the

_{Kim Novak in Vertigo (1959)}

museum, Scottie finds her sitting before the painting of Carlotta Valdes who holds the identical nosegay to the one Madeleine holds in the painting. Her hair style is also similar to Madeleine’s. Scottie asks the museum guard what the name of the painting is and of course is told that it is, The Portrait of Carlotta.

The next stop is where things take another turn in the spiral. It is the McKittrick Hotel and as Scottie gets out of the car and walks toward the building, we see Madeline from Scottie’s point of view already up in the window of one of the rooms. How did she get up there so fast? It seems impossible. When he opens the door, we see the lobby from Scottie’s point of view that it is empty; there is no one behind the reception desk. His glance then follows the stairs to the landing and we hear a voice, “Yes?” When he looks back down there is a woman behind the reception desk.

_{Kim Novak,} _{Ellen Corby} _{& Jame Stewart in Vertigo (1959)}

When we first see the lobby from Scottie’s point of view the rubber plant is there, but the woman is not. Upon questioning, she tells him that Miss Valdes hasn’t been in today confirming that she has been at the counter all morning, oiling her rubber plant. His reaction does not conceal his disbelief. Scottie asks her to go up and check the room. Although she thinks it is silly, she does as he asks.

_{Ellen Corby & James Stewart in Vertigo (1959)}

As she goes up the stairs, Scottie looks perplexed. She calls down to him that he should come up. As he looks up the stairs at her peering down from the landing; the vertigo is suggested, although he has no trouble on the stairs. He thinks he is being led up to Madeline, but when he gets there, she is not in the room. Still, Scottie can’t accept it as he looks out the window and says, “Her car is gone!”

_{Ellen Corby} _{& Jame Stewart in Vertigo (1959)}

This scene strikes me with the same impact that the opening scene does with Scottie hanging from the questionable rain gutter. Even if he had grabbed the officer’s hand, there was nothing to anchor the man and they both would have plunged to their deaths. In Donald Spoto’s exceptional, Hitchcock: Fifty Years of His Motion Pictures, he says of the scene at the McKittrick Hotel, “...we are as confused as Scottie. Any logical explanation offered in retrospect–that the two women were in collusion, or that Madeleine escaped through a rear door–is in no way supported by the text or the atmosphere at this point. Scottie wonders whether Madeleine is in fact a spirit or a figment of his imagination.” I would add that Scottie has become an unreliable witness. As we see through his eyes, his confusion becomes our own. We also grope to understand, hoping for an explanation that never comes.

At this point, Scottie has completely left reality behind and is prepared to accept any eventuality without question. We accept it as well. We too, have been enchanted by this chimerical beauty.

NEXT: THE HOOK

TV’s Golden Age: The Twilight Zone Part 4

The Lonely (Season 1 Episode 7)

Directed by Jack Smight

Written by Rod Serling

Cinematography by George T. Clemens

Music by Bernard Herrmann

CAST: Jack Warden (James A. Corry), John Dehner (Captain Allenby), Jean March (Alicia), Ted Knight (Adams), James Turley (Carstairs).

The Lonely is an episode that stays with you long after you view it. Jack Warden stars as a prisoner confined to an asteroid. It begins with a wide shot of his prison, the surface of the asteroid and the tin hut and the old car that he tells you about in the narrative that begins as he starts writing in his journal. There is a supply ship “…due or over due…” coming and he hopes it’s Captain Allenby (John Dehner), “…he brings me things.”

When they arrive, one of the crewman taunts Corry with the fact that the courts aren’t reviewing cases of homicide so he should forget about ever being paroled. Captain Allenby tries to placate him, telling him that he has brought him something that will help combat the loneliness. He also asks Corry not to open the crate that it’s in until he and his crew have departed.

This time Captain Allenby has brought him a robot named Alicia ( Jean March) that is impossible to distinguish from a human. Although he rejects her violently at first, he quickly comes to love her as he sees her reactions to his cruelty. In time, he sees her as an extension of himself as she comes to care about the same things that he does. He loses the simple truth that she is in fact, only a robot.

When the Captain’s ship returns earlier than the scheduled three months with the good news of his pardon, Corry is beside himself with joy until a realization of the reality of the situation comes over him. He wants to disagree with what his friend Captain Allenby is telling him, but…

A simple tale that is tautly written and directed with excellent performances. It is among the best of the first season Twilight Zones.

Time Enough at Last (Season 1 Episode 8)

Directed by John Brahm

Written by Rod Serling based on a story by Lynn Venable

Cinematography by George T. Clemens

Music by Leith Stevens

CAST: Burgess Meredith (Henry Bemis), Vaughn Taylor (Mr. Carsville), Jacqueline deWit (Helen Bemis), Lela Bliss (Mrs. Chester).

**LEFT: Burgess Meredith & Jacqueline deWit RIGHT: Burgess Meredith & Vaughn Taylor**

Henry Bemis is a book lover, or at least he loves to read more than anything else in his life. He doesn’t get much time to between his harpy of a wife and his manager at the bank where he is a clerk. One day, Henry is so desperate for some reading time that he goes down into the bank’s vault just to get some time alone and undisturbed so he can read in peace. He is interrupted not by his boss, but by a jarring explosion.

When he exits the vault, he finds that everything has been destroyed by a hydrogen bomb. At first, he has the normal reaction as it dawns on him that he is totally alone in the world, but before panic allows him to pull the trigger, he has the realization that he now has all the time to read that he could desire! That is until fate intervenes in the most unexpectedly mundane way possible.

Time Enough at Last is a tour de force for Burgess Meredith that he embraces as he transforms himself into one Henry Bemis. It is his performance that makes us believe in the man’s travail as he searches for those moments when he will be allowed the only thing that matters to him in his miserable world, reading. It is no wonder that he went on to appear in three more episodes.

**Burgess Meredith in Time Enough at Last** **(1959)**

He is supported by Vaughn Taylor as (Psycho) Mr. Carsville his boss, and Jacqueline deWit (Tea and Sympathy) as his shrewish wife. Serling’s script is as concise as an O’Henry short story, and contains an equally powerful denouement. The photography and sets are dreamlike and the direction earned John Brahm a 1960 Director’s Guild award.

This episode is not only a fan favorite, but certainly one of the most memorable as well.

Facts, Rumors & Hearsay

The Lonely

The first of many episodes to be filmed on location in Death Valley. Unprepared for the terrible conditions they would face, the crew suffered dehydration and heat exhaustion. The director of photography, George T. Clemens actually collapsed and fell from a camera crane during filming.

Ted Knight makes an uncredited appearance as Captain Allenby’s taunting crew member Adams.

Time Enough at Last

Of the 92 episodes of The Twilight Zone written by Rod Serling, this was his personal favorite.

This was Burgess Meredith’s first of four starring roles in the series.

The Horror Chronicles Part 3: Mr. Renfield, I presume?

What we know so far THE CAST:

One of the announced re-boots of the Universal Monsters is Renfield, reportedly a horror/comedy based on Dracula (1931) that focuses on, well Renfield. It is currently filming in Louisiana. I was really excited about the premise, but I have to admit I was thrown when I read that Nicolas Cage had been cast as Dracula. Maybe I am wrong, but I just can’t see him as the Count.

You have to imagine Cage as Dracula & Jessica Biel as Mina in this still from *Next*

It’s one of those situations where I would think an unknown or relative unknown would be a much better choice. Presumably, the other Nicholas is the lead as he is playing Renfield.

_{Nicholas Hoult & Teresa Palmer in Warm Bodies}

Hoult was in the Horror/Romance/Comedy, Warm Bodies in which he portrayed a zombie in love with Teresa Palmer as his Juliet and John Malkovich as her disapproving dad. The film was successful and his portrayal was funny and very convincing. The rest of the cast includes: Awkwafina as Rebecca Quincy, Shohreh Aghdashloo as Ella, Adrian Martinez as Chris, Ahmed Zakzouk as Dancer, and Bess Rouse as Caitlan who is a member of a support group for people in toxic relationships. Ben Schwartz, recently of Space Force, has also joined the cast.

What we know so far THE STORY:

Renfield it seems, is sick of centuries of servitude to the Count and wants his freedom. Awkwafina’s Rebecca Quincy who according to Deadline is a “perennially angry traffic cop” who helps Renfield take on Dracula.

The script by Ryan Ridley is based on an original story by Robert Kirkman. Kirkman is probably best know for his writing on The Walking Dead (based on the comic written by himself and the artist’s Tony Moore and Charlie Adlard) and the animated Invincible. Ryan Ridley Has written for Rick and Morty, Community, and Ghosted. The director is Chris McKay (The Tomorrow War). Expected 2023.

Vampires in the Cinema!

*Nosferatu*, *eine Symphonie des Grauens* (1922) directed by F.W. Murnau

When most people think of vampires, the name Dracula is what first comes to mind. And to many, Dracula was also the first vampire story; that is not the case. The first vampire story was birthed in the same time and place as Frankenstein; or, the Modern Prometheus by Mary Shelley. First credited to Lord Byron (George Gordon), Vampyre was actually written by his physician, Dr. John Polidori based on a story that Byron told on a stormy night in Geneva with poet Percy Shelley, Mary Shelley, and Dr. John Polidori present. The character in the story, Lord Ruthven was actually modeled on the carnally voracious Lord Byron. The irony of both Frankenstein and the first vampire story being birthed in a contest to see who could write the better horror story should not be lost on anyone. Polidori’s Vampyre would influence both Irish writers of the next two vampire tales: Sheridan Le Fanu and Bram Stoker. Le Fanu’s tale of a lesbian vampire, Carmilla was published in 1872 in his collection, In a Glass Darkly. Twenty-five years later, Bram Stoker’s Dracula (1892) was published.

_{Philip Burne Jones, The Vampire (1897) & Carmilla Illustration in Sheridan Le Fanu’s vampire story in the collection In A Glass Darkly (1872)}

The first surviving vampire film is Nosferatu, eine Symphonie des Grauens (1922) directed by F.W Murnau. It is an unauthorized adaptation of Bram Stoker’s Dracula. Murnau may have changed the title and some of the story due to Stoker’s widow refusing to sell the rights to the novel, though it is perplexing because he credits the author in the film. Vampire became Nosferatu and the Count became Count Orlock. Possibly he felt that if he credited the writer the estate would leave him alone, but that was not to be. Stoker’s Estate sued and the court ruled that all copies of the film were to be destroyed. Obviously, some prints survived. There were two other films produced based on the novel, but neither survive: Drakula (1920-Russia), but nothing has survived not even production notes which has lead to the belief that the film did not exist, and Dracula’s Death (1921-Hungary), directed by Karoly Lajhay. An unauthorized Hungarian adaptation that has been lost since its initial release. Film historians know of its existence through photos and ads only.

_{ABOVE: Paul Askonas (Dracula) Margit Lux (Mary Land) in Dracula’s Death (1921)}

Nosferatu, eine Syphonie des Grauens (1922)

W.F. Murnau (1922) *Nosferatu*, *eine Symphonie des Grauens*

Directed by F.W. Murnau

Screenplay by Henrik Galeen based on the Novel, Dracula by Bram Stoker

CAST: Max Shreck (Graf Orlock), Gustav von Wangenheim (Hutter), Greta Schroder (Ellen – seine Frau), Georg H. Schnell (Harding – ein Reeder), Ruth Landshoff (Ruth – seine Schwester), Gustav Botz (Professor Bulwer – ein Paracelsianer), Alexander Granach (Knock – ein Hausermakler), John Gottowt (Professor Bulwer – ein Paracelsianer), Max Nemetz (Ein Kapitan)

Max Schreck in *Nosferatu*, *eine Symphonie des Grauens* (1922)

Nosferatu, (A Symphony of Horror) eine Symphonie des Grauens is not only the first surviving vampire film, it is a classic example of German expressionism still heralded as one of world cinema’s greatest achievements. From the opening frames there is a feeling of oncoming dread. The property agent (Knock) is maniacal as he briefs Hutter on the Count that wishes to buy the estate across from Hutter’s home. Hutter is anxious to please his boss and excitedly prepares for the long journey, but his wife, Ellen has a foreboding and Hutter leaves her with friends while he’s away.

**Greta Shroder, Gustave Botz & G.H. Schell in Nosferatu, eine Symphonie des Grauens (1922)**

Although Nosferatu follows the story of Stoker’s book fairly closely, he made changes in the names of the characters. The film still stands up to viewing today and remains a cinema classic.

Facts, Rumors & Hearsay

Dracula’s Death

Contrary to what has been widely assumed, contemporary film reviews along with the still surviving novella adaptation verify that this movie was not based on Stoker’s novel. It tells an original story only loosely related to the Dracula novel, featuring an insane asylum inmate who thinks he is Dracula and then actually becomes Dracula in a dream sequence.

Nosferatu, eine Syphonie des Grauens

All known prints and negatives were destroyed under the terms of settlement of a lawsuit by the Stoker estate, but the film would resurface through copies in other countries.

The movie was banned in Sweden due to excessive horror. The ban was finally lifted in 1972.