DRAGON COUNTRY

William Redfield and Kim Stanley

DRAGON COUNTRY (1970 telefilm). Produced and directed by Glenn Jordan. Written by Tennessee Williams.

This taped presentation presents two plays written by Tennessee Williams and which were part of his "Dragon Country" collection. "Talk to Me Like the Rain and Let Me Listen" is an early minor piece, a character study of a hustler (Alan Mixon of The Edge of Night) and his girlfriend (Lois Smith), both of whom are clearly living on the edge. He has been abused while being drunk, having cashed his unemployment check, and she has fantasies of a life -- living in a hotel by herself until she becomes an old woman -- that pointedly do not include him. The acting is good, but while the two characters are intriguing enough, Williams doesn't tell us enough about them.

Lois Smith and Alan Mixon

The second, better play is "I Can't Imagine Tomorrow." Kim Stanley (of The Goddess) lives alone in a large house but she is clearly quite ill, possibly dying, unable to climb the stairs to her bedroom. She is the only friend of William Redfield (of One Flew Over the Cuckoo's Nest), a neurotic, shy and lonely schoolteacher who just stopped going to work one day and lives in a small room in a "mausoleum" of a hotel. Stanley seems to have as much contempt for Redfield as love, and she complains that if she didn't speak there would be silence. She also fears he will be utterly alone if he doesn't meet new people somewhere. Redfield is a sad figure, and Stanley taunts him about how much he would love to move in with her, a notion that she initially seems to reject. But ... Stanley and Redfield offer outstanding performances, making the most of another relatively minor play, but one that is nevertheless compelling and even touching at times, although, again, one wishes we knew even more about the principals. Both plays examine how people are so self-absorbed by their own painful realities that they have difficulty reaching out to another suffering soul. Glenn Jordan also directed One of My Wives is Missing, which is quite different from this.

Verdict: Some excellent performances make this a worthwhile watch. ***. 

MUMSY, NANNY, SONNY & GIRLY

Howard Trevor, Vanessa Howard, Pat Heywood, Ursula Howells

MUMSY, NANNY, SONNY & GIRLY (aka Girly/1970). Director: Freddie Francis. 

On an isolated if beautiful estate with a sprawling mansion, a weird family -- consisting of mother Mumsy (Ursula Howells), daughter Girly (Vanessa Howard of The Blood Beast Terror), her brother Sonny (Howard Trevor), and their cheerful nanny (Pat Heywood of 10 Rillington Place) -- collect people and keep them prisoner for bizarre fun and games. If they don't obey the rules they are "sent to the angels." Their latest victim is the "New Friend" (Michael Bryant of The Ruling Class), who after a period of adjustment, so to speak, begins "servicing" Mumsy and Girly, with a jealous Nanny and Sonny becoming more and more agitated. Whose head will wind up boiled in a big pot on the kitchen stove?

Michael Bryant with Howells

Based on a play ("Happy Family") which utilized only the characters but not the rest of the plot, Mumsy is a weird -- too weird -- black comedy that is, unfortunately, devoid of laughs aside from one or two moments (one of which might be the boiling pot, although it's a wonder that nobody smells anything). Although the actors are very, very good, handling these oddball, irritating roles with aplomb, it's hard to take any of them, especially the brother and sister, almost from the start. Things begin to get more interesting towards the end, when the quartet turn against each other, but by then it's too late. These psychos never come off remotely like real people. Freddie Francis only made the picture because he'd always wanted to film inside the impressive setting, Oakley Court. 

Verdict: Proof positive that even homicidal weirdos can be dull. *1/2. 

SAVAGE INTRUDER

Miriam Hopkins

SAVAGE INTRUDER (aka Hollywood Horror House/1970). Written, produced, and directed by Donald Wolfe.

A maniac is running about murdering and dismembering women and leaving their body parts laying about, such as at the bottom of the hill where the Hollywood sign is located. Meanwhile retired movie star Katherine Packard (Miriam Hopkins), who lives in a fabulous old mansion, gets drunk, falls down the stairs, and winds up in a wheelchair. A very strange male nurse named Vic Valance (John David Garfield) is hired to look after Katherine, but before long they are engaged in what might be termed an inappropriate relationship. This does not sit well with the other women in the household: secretary Leslie (Gale Sondergaard); elderly cook Mildred (Florence Lake): and especially housekeeper Greta (Virginia Wing), who is also sleeping with Valance. Then people begin disappearing ...

(John) David Garfield

Savage Intruder is a seriously perverted version of Sunset Boulevard, with a little Night Must Fall thrown in for good measure. The plot is still workable, but the script could have stood some improvement, and while some scenes are well-handled, others are schlocky, and there are times when the direction gets pseudo-psychedelic and artsy-fartsy. A little gore is thrown in now and then, almost enough to classify this as an early slasher film. One bathroom mutilation murder is a bit reminiscent of the splatter films to come. The film gets points for holding the viewer's attention, and there are some good performances as well.

Gale Sondergaard and Miriam Hopkins

This was the last film role for Hopkins, who died two years later at 69. She seems to be enjoying herself in this, having a laugh at her own excesses, and lustily kissing her paramour, pining for some vodka, and getting drunk at a Christmas parade in Hollywood (where she gets boos for railing about "hoods and queers" ruining Hollywood boulevard). Garfield [The Stepmother], the son of John Garfield, has his moments, but he just doesn't seem ready to take on such a big and difficult role as this; he comes off like a talented amateur where other actors could have really taken off in this part. Virginia Wing was introduced in this film, and she's at least professional, and had a few more credits over the years up until the present day.

Gale Sondergaard investigates

Florence Lake, who was younger than Hopkins but looks older, amassed nearly 200 credits, and was a solid character actress of a certain type. However, the actor who makes the best impression is Gale Sondergaard, who registers her usual authority as Hopkins' stern and efficient secretary, and who eventually becomes quite frightened for her employer. Last but not least we have Joe Besser of Three Stooges fame playing a tour bus driver who takes people past Hopkins' house, actually the Norma Talmadge estate in Hollywood. Hopkins at times seems to be channeling her old rival Bette Davis, but this film did not have anything like the box office of What Ever Happened to Baby Jane?

Verdict: Does show how old movie stars often wind up mired in alcohol and really awful people. **1/2. 

FIVE DOLLS FOR AN AUGUST MOON

FIVE DOLLS FOR AN AUGUST MOON (aka 5 Dolls for an August Moon/5 bambole per la luna d'agosto1970). Director: Mario Bava.

George Stark (Teodoro Corra) has invited several friends and associates to his modish estate on an isolated island. George is married to Jill (Edith Meloni), but she is in love with Trudy (Ira von Furstenberg), who is married to Professor Gerry Farrell (William Berger). George, Nick (Maurice Poli) and Jack (Howard Ross) each offer Farrell a million dollars for a formula he has created, then decide to team up and offer him the whole three million, but Gerry isn't willing to sell. Things take a dark turn when houseboy Charles (Mauro Bosco), who was carrying on with Nick's wife, Marie (Edwige Fenech of Next!), turns up stabbed to death, and more murders follow. Before you can say Ten Little Indians more and more bodies are wrapped in plastic and deposited in the freezer in scenes that seem increasingly comical. Most of the actors only register the mildest of dismay over this appalling situation, and Piero Umiliani's wretched musical score never seems to have any relationship to what's actually occurring on screen. The movie has virtually no atmosphere, although the house it is played out in is at least a bit interesting. The murders are mostly bloodless and have no style whatsoever. On the plus side, just about everything is explained (if not quite satisfactorily) at the end, and the movie manages to build up some suspense over who the killer is in spite of its shortcomings. "Everybody seems to be waiting for something that's not happening," muses one character. You can say that again! Bava followed this up with Twitch of the Death Nerve, which is better and bloodier. Bava's best shocker was Blood and Black Lace.

Verdict: Has intriguing elements but not one of Bava's best. **1/2.

THE CONFORMIST

The priest hears Clerici's confession 

THE CONFORMIST (aka Il conformista/1970). Director: Bernardo Bertolucci. From the novel by Alberto Moravia.

In Fascist Italy Marcello Clerici (Jean-Louis Trintignant of Les biches) is engaged to a pretty but vapid woman, Giulia (Stefania Sandrelli of Black Belly of the Tarantula), but making love to her is one of the last things on his mind during his honeymoon in Paris. Marcello has been chosen to do a mission with a colleague named Manganiello (Gastone Moschin)  -- to make contact with an old professor, an anti-fascist named Quadri (Enzo Tarascio), and "eliminate" him as a lesson. Marcello believes that he murdered a man, Lino (Pierre Clementi), who nearly molested him when he was a child, and has done his best to quash any "abnormal" sexual impulses or other unconventional thoughts or actions beneath a veil of alleged normalcy. On his honeymoon Marcello develops a seeming passion for Quadri's wife, Anna (Dominique Sanda), even as Anna reveals a certain hankering for Giulia. Although Marcello tries to keep Anna from taking a trip with her husband, tragedy strikes in the woods ... This film brought Bertolucci to international attention, and it is easy to see why, for it has a crisp and arresting style and despite some silly moments and confusing aspects, is suspenseful and very compelling. Bertolucci fiddles a bit with Alberto Moravia's source novel, adding ingredients that are more up his alley, while staying true to the book's themes (although I confess I haven't read the book in decades). If there is a problem with the picture it's that it isn't quite long enough -- things seem to have been left out in the editing room and the final sequence when our anti-hero begins to unravel is much too abrupt, with no real build-up to events that seem more convenient than dramatic. However, the picture not only boasts assured direction, but excellent performances from the entire cast. There are several stand-out sequences, such as the sensual dance between Anna and Giulia, and the tense and disturbing sequence in the woods. Vittorio Storaro's cinematography is outstanding, and there's a fine, evocative score by Georges Delerue. As much as I admired the film -- when I first saw it years ago it really knocked me out -- I have the nagging feeling that someone like, say, William Wyler could have told the same story and made it more moving and powerful and perhaps even more erotic. Then there is the fact that it could be argued that the psychology of the film is obvious and of the dime-store variety. Still Bertolucci and his co-workers fill the movie with interesting and often stunning and unusual images. Dig that photo of Laurel and Hardy on the window of the dance club!

NOTE: For those in the Los Angeles area, the Art Directors Guild [ADG] will have a special showing of The Conformist at the Egyptian theater, Sunday May 20th, at 5:30 PM. The work of Ferdinando Scarfiotti, who was the production designer for the film, will be discussed as well.

Verdict: Comes this close to being a masterpiece but doesn't quite get there. ***.

FORBIDDEN PHOTOS OF A LADY ABOVE SUSPICION

Dagmar Lassander and Pier Paolo Capponi

FORBIDDEN PHOTOS OF A LADY ABOVE SUSPICION (aka La foto proibite di una signora per bene/1970), Director: Luciano Ercoli.

Minou (Dagmar Lassander of Hatchet for the Honeymoon) is happily married to Peter (Pier Paolo Capponi), whose business has been having problems. One evening Minou is nearly assaulted by an unnamed creepy guy (Simon Andreu) who is some kind of photographer and possible porn star. The creep cooks up a scheme to get Minou in bed with him by telling her he has damaging information about her husband, but the stupid woman never suspects he's taking photos of their sexual encounter. The creep refuses her offer of money to get the negatives, and seems to want to turn Minou into his sex slave. Minou's sympathetic friend, Dominique (Nieves Navarro of Kiss Kiss Bang Bang and the director's wife), insists that she tell Peter what's going on, and she finally calls the police, only things may be even more complicated than Minou suspects. Forbidden Photos is a minor Italian suspense film without much style, but it has enough twists and turns to keep you guessing. Ercoli also directed Navarro and Simon Andreu in Death Walks on High Heels.

Verdict: Minou is a moron. **12.

HOW AWFUL ABOUT ALLAN

Anthony Perkins

HOW AWFUL ABOUT ALLAN (1970 telefilm). Director: Curtis Harrington. Executive producer: Aaron Spelling.

Legally blind, if only psychosomatically, Allan (Anthony Perkins) is released from an institution and comes back to the house where he lived with his sister, Katherine (Julie Harris). Allan was unable to save his father when fire broke out in their home, and Katherine was disfigured during a rescue attempt. Needing money, Katherine takes in a mysterious boarder who rarely speaks and whom Allan can hardly see. He is convinced that there is something sinister about this stranger, and that he is trying to kill him. Allan's former fiancee and neighbor, Olive (Joan Hackett of Dead of Night), does her best to convince him that his worries are all in his head. But Olive may have no idea what Allan is really dealing with. How Awful About Allan certainly has an intriguing premise (taken from a novel by Henry Farrell, who also did the teleplay), and the cast is very interesting, but the developments, besides being psychologically dubious, are not as compelling as one might have hoped for. Giving an unremarkable, even disinterested, performance, Perkins [Pretty Poison] makes Allan completely unsympathetic, and the best work comes from Harris and Hackett -- the former, however, being too true to her character, does little to keep the audience from figuring out the final revelation. Producer Spelling and author Farrell also teamed up for The House That Would Not Die with Barbara Stanwyck the same year.

Verdict: It's understandable why this flick is pretty much forgotten. **.

THE CHRISTINE JORGENSEN STORY

John Hansen 

THE CHRISTINE JORGENSEN STORY (1970). Director: Irving Rapper.

From his early childhood on, George Jorgensen (John Hansen) has felt like he was different, and identified much more as a girl than as a boy. Mistaken for being gay, he decides to discover more on his "condition" and is told that he has an excess of estrogen. George travels to Denmark where he is given permission to have what today we would call sexual realignment surgery. His story makes headlines in the New York Daily News ("Ex-GI Becomes Beautiful Blonde") and both he and his family have to deal with the fall-out of the disclosure. Christine Jorgensen was a true pioneer, and this fictionalized version of her story is interesting, but not all that well done, with a cheap look and tedious exposition. John Hansen is an effective lead, portraying both George and Christine equally well, although at times he's somewhat amateurish. Quinn K. Redeker (of The Young and the Restless) plays a reporter who falls for Christine and gives her her first kiss (which is actually a male-male kiss since Hansen was only playing a woman); Pamelyn Ferdin [The Beguiled] is George's sympathetic sister as a child; Elaine Joyce is a bitchy, homophobic model; Joyce Meadows [The Girl in Lovers Lane] is another, friendlier model; Joan Tompkins is George's ahead-of-her time Aunt Thora; and Will Kuluva [To Trap a Spy] is Professor Estabrook, who sets George on the correct path.

Another character is George's boss, Jess (Rod McCary), who turns out to be gay and gets angry when George denies his homosexuality. Jess nearly winds up assaulting George. A scene that could have been positive, showing a bond between two sexual minorities (however different), is instead thrown away for a bit of ugly, almost homophobic sensationalism. It's especially egregious because Jess is a likable character who tells George of many well-known gay men throughout history.

Irving Rapper also directed another famous movie about an amazing transformation: Bette Davis' Now, Voyager.

NOTE: Chistine Jorgensen's operation was not the first of its kind, but the first that was heavily publicized. There were some differences from earlier operations, and I've no doubt attitudes towards transsexualism and its origins have changed since this film was made nearly fifty years ago.

Verdict: Compelling at first, with a sensitive lead performance, but it drags a bit and, surprisingly, lacks dramatic intensity. **1/2.

AND SOON THE DARKNESS (1970)

Pamela Franklin and Clare Kelly

AND SOON THE DARKNESS (1970). Director: Robert Fuest.

Two young British women, Jane (Pamela Franklin of The Third Secret) and Kathy (Michele Doutrice) are on a bicycle trip through the countryside of France. Kathy is intrigued by a handsome stranger at one cafe, and refuses to go any further with the less-free-spirited Jane; the two have a fight and go their separate ways. Still, when Kathy disappears Jane tries to surmount the language barrier and find out what happened to her friend. To make matters worse, she learns that a young woman was murdered in this town two years earlier and her killer was never caught. Suspects for her disappearance and the earlier murder include the aforementioned stranger, Paul (Sandor Eles of The Evil of Frankenstein), who claims to be working for the Surete; a couple, the Lassals (Hana Maria Pravda and Claude Bertrand) who run an inn; a mentally-disturbed veteran; a British schoolteacher (Clare Kelley); and others. John Nettleton appears as a sympathetic Gendarme. And Soon the Darkness is not without flaws -- to create suspicion in the audience's mind over anyone and everyone, some of the characters behave much more weirdly than they might have -- but it is a very creepy and intensely suspenseful film that has good performances (although Franklin underplays too much), an effective score by Laurie Johnson (with the exception of the awful opening theme), and excellent widescreen photography of lonely, sinister vistas by Ian Wilson. There's a wonderfully macabre sequence involving a closet and a corpse late in the picture. Jane never asks Paul for his I.D. Very well directed by Robert Fuest [Dr. Phibes Rises Again]. Remade in 2010.

Verdict: Handsome and disturbing thriller. ***.

THE OTHER SIDE OF THE RAINBOW: WITH JUDY GARLAND ON THE DAWN PATROL

THE OTHER SIDE OF THE RAINBOW: With JUDY GARLAND on the Dawn Patrol. Mel Torme. Galahad; 1970.

Mel Torme, who had a successful career as a singer in his own right, was importuned to sign up as the musical director of the new Judy Garland Show for television during a slow period. Torme's marriage was also breaking up at the same time, and dealing with the difficult, mercurial, and neurotic Garland while also dealing with his unhappy wife almost gave him nervous prostration. Then there was the usual behind-the-scenes backstabbing and power plays that are generally a part of TV shows where more than one ego is wrestling for control. Due to her consumption of pills and liquor, Garland went through mood swings and personality changes and the crew and co-stars never knew if the lady would even show up for the rehearsals and taping and how good -- or how bad -- she would be if she did. Torme talks about the best and worst moments of the show, and many of these bits can be seen on youtube. While The Other Side of the Rainbow is a good and fast read, the details of how this show was put together by an insider may be more interesting than the already familiar and unpleasant stuff about dipsomaniac Garland. Torme gives the woman her due as a great singer and entertainer, but underneath the praise you can tell there was some honest hatred of Garland over her two-faced and unfair dealings with Torme. For one thing, she sort of tried to push him out after she developed a hankering for young singer, Bobby Cole.

Verdict: Anything you ever wanted to know about The Judy Garland Show and a good look at the inner workings of a dying TV series as well. ***.

FLESH FEAST

Veronica Lake

FLESH FEAST (1970). Director: Brad F. Grinter. Co-produced by Veronica Lake.

Newspaper man Ed Casey (Phil Philbin) hires a woman named Kristine (Heather Hughes) to play nurse in order to infiltrate a compound run by a mysterious doctor named Elaine Frederick (Veronica Lake). Dr. Frederick plans to use flesh-eating maggots on certain patients in order to give them a highly unusual (and totally improbable) face lift. The first patient is Max Bauer (Chris Martell), who looks like a million bucks after "surgery" but who has unfortunate anti-social tendencies, to say the least. Dr. Frederick has certain unexpected plans for the next patient in the lurid if satisfying finale. Jose (Bill Rogers) is a kind of hit man who falls for a pretty young nurse also working in the compound. Dr. Frederick reports to the leader of a group of revolutionaries who turn out to be Nazis. An interesting early scene has an associate of Casey's being killed by a broom with a knife on the end of it as he sits in a phone booth. Flash Feast is probably not Lake's worst movie; it holds the attention and some of the acting, including Lake's, is perfectly okay. Although not unattractive, Lake [Bring on the Girls] looks older than her 47 years due to heavy drinking and was dead three years later. This was her last movie. Brad F. Grinter also co-directed Blood  Freak, which was much, much worse than this.

Verdict: And you thought botox was bad! **1/2 out of 4.

WHEN DINOSAURS RULED THE EARTH

WHEN DINOSAURS RULED THE EARTH (1970). Writer/director: Val Guest.

In another impossible world where humans and dinosaurs interact in the same time period, a pretty blond woman, Sanna (Victoria Vetri), finds she is to be sacrificed to the sun. Due to a fluke, she manages to escape, where she encounters handsome Tara (Robin Hawden), who belongs to another tribe. Trouble begins because Tara prefers Sanna to his chosen mate, and in due course he earns the enmity of most of his tribe. In the meantime Sanna runs off, takes shelter during a storm inside an eggshell, and finds herself befriended by a newly-hatched dinosaur even as it gets larger and larger. Reunited, Tara and Sanna wind up on the run from his tribe, until a cataclysm signals the creation of the moon.

Essentially a sequel or remake of Hammer's One Million Years, B.C., this is not really a better movie but it got more attention and better reviews,with some critics charmed by the business with Sanna and her pet dinosaur. When I first saw this in theaters on a double-bill with The Valley of Gwangi, I was confused, because it looked like a Ray Harryhausen movie but as soon as a triceratops thundered out of a cave, I could immediately see that the animation wasn't as good. That's because the animation wasn't done by Harryhausen but by Jim Danforth, who was certainly not untalented but never quite as good as the Master. While the animation of the aforementioned triceratops lacks that certain fluidity that marks the best of Harryhausen's work, there are still some very good sequences in this, including Sanna's "pet," who reminds one a bit of The Beast from 20,000 Fathoms, and some deadly scuttling crabs the size of large dogs who even seem to have a bit of nasty personality. There aren't enough monsters in the movie, so a couple of clips from the 1960 Lost World are thrown in for good measure. Vetri, Hawden and the others manage some very effective pantomiming, and there's some limited language among the cave people. Oddly these savages seem to care for one another at times. Mario Nascimbene's score is better than the one he did for One Million Years, B.C., although his overuse of a sound like sticks hitting one another is annoying.

Victoria Vetri had quite a few credits before this picture under the name "Angela Dorian," including Rosemary's Baby. She appeared in Playboy and sort of reinvented herself as Vetri, winning a lead role in Dinosaurs that did nothing for her career. She later shot her husband and is in jail for involuntary manslaughter until 2020. Robin Hawden was essentially a British TV actor who later turned playwright and novelist. In this picture he had a lean, attractive swimmer's built but might have had an entirely different career if he'd had a few muscles! Val Guest directed The Abominable Snowman and many other movies.

Verdict: You get a little bored waiting for the dinosaurs to show up, but there are some good FX. **1/2.

A BULLET FOR PRETTY BOY

A BULLET FOR PRETTY BOY (1970). Director: Larry Buchanan.

In this pretty much entirely fictionalized story of "Pretty Boy" Floyd (former pop singer/teen idol Fabian Forte), Floyd is a sympathetic figure who only fell into crime because he was unfairly accused of murdering the man who shot his father to death. Before long prison escapee Floyd is under the wing of a middle-aged madame named Beryl (Annabelle Weenick), robbing banks with confederates, and becoming a kind of handsome folk hero. Forte doesn't disgrace himself in the role but the acting isn't the main strength of this movie, which is clearly aimed at the non-discriminating drive-in market and wears out its welcome pretty quickly. Larry Buchanan was also responsible for Zontar the Thing from Venus. At least this has somewhat better production values.

Verdict: Nothing all that pretty in this low-grade melodrama. **.

NO BLADE OF GRASS

Mediocre duo: Nigel Davenport and Jean Wallace

NO BLADE OF GRASS (1970). Produced and directed by Cornel Wilde.

Extreme pollution and a grain-destroying virus have combined to cause hunger and even cannibalism in parts of the world, and citizens of the UK are afraid it isn't long before the same thing happens to them. John Custance (Nigel Davenport), his wife, Ann (Jean Wallace), their children, and friend Roger (John Hamill) take off for a farm in the countryside but have a hell of a time getting there. Along the way they hook up with Pirrie (Anthony May), a casual murderer, but they descend into savagery just as much as everyone else. Eventually Custance is pitted against his own brother ... No Blade of Grass is well-directed by Cornel Wilde [The Naked Prey] -- who does not appear in the film but offers some narration -- but can't overcome its weak script and the miscasting of its two mediocre leads, Davenport [A Man for All Seasons] and Wallace [Jigsaw], although there are good performances from members of the supporting cast. There are some arresting sequences, such as the harrowing business when the family tries to get out of a mob-ruled city by car, and a tense stand-off between Custance and Pirrie over the daughter, Mary (Lynne Frederick). George Coulouris [Citizen Kane] has a small role as a gun shop owner. Despite all of the very grim goings-on, No Blade of Grass manages to become quite tedious after awhile. There is hardly a sympathetic character in sight.

Verdict: Unremittingly depressing, and not good enough to compensate for it. **.

HOUSE OF DARK SHADOWS

Grayson Hall and Thayer David

HOUSE OF DARK SHADOWS (1970). Director: Dan Curtis.

In this first theatrical feature based on the popular Gothic soap opera Dark Shadows, the storyline that introduced vampire Barnabas Collins (Jonathan Frid) is retold, although it ultimately goes off in its own direction separate from the series. Looking for treasure, Willie Loomis (John Karlen) stumbles across a coffin containing the centuries-old Barnabas and inadvertently releases him. Barnabas introduces himself as a cousin to the American branch of the Collins family, and is struck by the resemblance of Maggie Evans (Kathryn Leigh Scott) to his lost love, Josette. While Barnabas feeds upon young ladies in the vicinity, and even turns Carolyn Stoddard (Nancy Barrett) into one of the undead, two people figure out his secret: Dr. Julia Hoffman (Grayson Hall) and Professor Stokes (Thayer David). Julia discovers that there's a cell in Barnabas' blood that may be responsible for his condition and begins to cure him, falling in love with him as well. But when she discovers that the person he's committed to is not her but Maggie ..uh oh!  Like the series, House of Dark Shadows benefits from some good acting, with Karlen, David and Scott being especially notable; Don Briscoe as Carolyn's boyfriend and Grayson Hall as Julia are also effective, as is Louis Edmonds as Roger Collins. Joan Bennett shows up now and then as Elizabeth Collins, wringing her hands and looking worried. Roger Davis is fine as Maggie's boyfriend, Jeff, and Dennis Patrick (Dear Dead Delilah) appears as a sheriff. While Dan Curtis [Curse of the Black Widow] could never be considered a great stylist, he keeps things moving and manages to build up some tension toward the end. Certain sequences are especially atmospheric and there is some good art direction, most memorably in a climactic sequence in Barnabas' misty basement. The tune that Josette's music box plays is evocative and the old age make up used on Frid is quite convincing. There are some unintentionally comical moments, and this hasn't the visceral impact of the best of the Hammer horrors, but it really isn't at all bad. Followed by Night of Dark Shadows.

Verdict: About a hundred times better than the Tim Burton version. ***.

THE LAST OF THE MOBILE HOT SHOTS

Robert Hooks and Lynn Redgrave

THE LAST OF THE MOBILE HOT SHOTS (1970). Director: Sidney Lumet.

"Go home with you? -- but I don't even know you." -- Myrtle

Myrtle Kane (Lynn Redgrave), who once belonged to a group called the "Mobile Hot Shots," gets a stranger, Jeb Thornton (James Coburn), to pretend he's engaged to her so they can win some prizes on a local game show. Unfortunately, the host also wants to marry them on the program. Jeb takes Myrtle back to his dilapidated plantation, Waverly, where he lives with his black half-brother, "Chicken" (Robert Hooks). The dying Jeb agreed that Chicken would have the plantation after his death if he helped him work it, and signed a paper to that effect, but now he sends Myrtle out to get back the paper by any means possible. But Chicken knows something that may make all of Jeb's manipulations unnecessary. Loosely based on Tennessee Williams' play "The Seven Descents of Myrtle," it's a wonder why anyone thought Mobile Hot Shots would make a good movie. Everyone is miscast, and Lumet is certainly the wrong director. The movie can't seem to make up its mind if it's a comedy or not -- there are a couple of chuckles, but that's it, and the final revelation is a pip  -- but its biggest failing is that with all that's going on it's still a bore [even a climactic flood doesn't help much]. Redgrave seems to be channeling Geraldine Page in Sweet Bird of Youth (although her character is completely different), but she makes one of the the least convincing Williams' heroines ever. Coburn makes some effort but gets nowhere, and Hooks comes off best, but in this movie that's not saying much. Still it's hard to play Williams just right, and mediocre Williams is even harder. Gore Vidal's screenplay at one point seems to hint at homosexual incest, but as it comes out of nowhere and is unconvincing anyway, it was probably just to set up a quick, dumb gag late in the movie. The premise of the picture is intriguing but the development is just dismal. With Hooks playing a character who denies his being black, one would have to say Hot Shots is horribly dated as well. [If one wonders why anyone would want to own a property like Waverly in the first place, all I can say is real estate!]

Verdict: This should just be washed away with the flood. *1/2.

MISSION: IMPOSSIBLE Season Five

The cast of MI including Warren, Nimoy, Lupus and Elliott

MISSION: IMPOSSIBLE Season Five. 1970.

The big change for season five was to do away with the rotating females and use Lesley Ann Warren as "Dana" on a weekly basis. Another change was that Sam Elliott was brought in to play a doctor named Doug Roberts and replaced Peter Lupus for about half of the episodes. Neither Warren nor Elliott lasted more than one season, and Leonard Nimoy made this his last season as well. Another change was that more unexpected developments occurred during missions, increasing the suspense. The jazzed up theme music was pretty lousy, however. This was still a solid season, with several especially good episodes. Robert Conrad played a hit man in "The Killer" and Anthony Zerbe guest-starred in "The Amateur." The object was to get an important list regarding a heroin outfit from a dying mobster in "Squeeze Play." Barney's brother is killed by criminals in "Cat's Paw" with a memorable performance by Abby Lincoln. Lupus and Elliott both appear in "The Party" with intrigue surrounding a bash at an embassy.  Henry Darrow and Kevin Hagen score in "Blast," about an unknown person trying to raise funds for a revolution. In the unusual "Homecoming," Phelps and the team investigate serial murders in Jim's home town; Loretta Swit guest-stars. The season had other good episodes as well.

Verdict: This team doesn't quit. ***.

TASTE THE BLOOD OF DRACULA

Dracula (Christopher Lee) surveys the scene

TASTE THE BLOOD OF DRACULA (1970). Director: Peter Sasdy.

Three gentlemen who are respectable British citizens by day go to the fleshpots at night and crave ever-more excitement. This they certainly get when a dissolute Lord Courtley (Ralph Bates of Dr. Jekyll and Sister Hyde) tells them where they can find the remains of the one and only Dracula (Christopher Lee). For this ultimate thrill the three men pay the price -- literally and figuratively -- when they sort of reconstitute the vampire with fresh blood inside an old church and all Hell breaks loose ... Although Dracula's first appearance is perhaps not given the dramatic thrust it requires, Taste the Blood of Dracula is an attention-holder and features a lot of fine British actors giving it their all. Bates is especially good, along with Geoffrey Keene as Hargood, whose daughter, Alice (Linda Hayden) is in love with Paul (Anthony Corlan/Higgins), son of fellow "adventurer," Paxton (Peter Sallis); Higgins and Sallis also give noteworthy performances. Gwen Watford is fine as Hargood's wife, Martha. Roy Kinnear and Michael Ripper are also in the cast, and Lee plays with his customary authority. Sasdy also directed the memorable Hands of the Ripper for Hammer.

Verdict: Satisfying Hammer horror. ***.

THE HOUSE THAT WOULD NOT DIE

Anderson, Stanwyck, and Wynn

THE HOUSE THAT WOULD NOT DIE (1970 telefilm). Director:John Llewellyn Moxey.

Ruth Bennett (Barbara Stanwyck) and her niece Sara (Katherine or Kitty Winn) move into a country house built in the 1700's and willed to Ruth by her cousin. Ruth bonds with her neighbor, Pat (Richard Egan), while Sara makes good friends with Pat's student, Stan (Michael Anderson, Jr.). During a seance, restless spirits in the house make their presence known, and eventually begin to take over the minds of the inhabitants, especially Sara. Is she going mental, or is something supernatural going on? The viewer will be far ahead of the characters in this mediocre flick which was presented as an ABC "Movie of the Week" back in the day. At least there's an interesting cast. Stanwyck, who always gives a solid performance no matter what drivel she's in, is above the material, as expected. Winn later appeared with Al Pacino in The Panic in Needle Park and The Exorcist and its sequel; she was a very good actress and does the best she can with this material. Richard Egan was in everything from The View from Pompey's Head to Wicked Woman, and Michael Anderson Jr. was with Hayley Mills and Maurice Chevalier in In Search of the Castaways when he was a boy. The medium is played by Doreen Lang, the hysterical woman who slaps Tippi Hedren in Hitchcock's The Birds; she's only mildly hysterical in this. Mabel Albertson shows up briefly as another neighbor and a friend of Lang's. This was produced by Aaron Spelling from a screenplay by Henry Farrell [Hush ... Hush, Sweet Charlotte].

Verdict: Stanwyck maintains her dignity in a forgettable and obvious ghost story. **.

MARK OF THE DEVIL

MARK OF THE DEVIL (aka Hexen bis aufs Blut gequäl/

1970). Director: Michael Armstrong.

"The most attractive things in the movie were my close-ups." -- actor Udo Kier.

Promoted as "the most horrifying movie ever made" -- patrons were given a "stomach distress" (vomit) bag along with their ticket -- Mark of the Devil certainly has its disgusting moments, but the fact is that once you get past the unpleasantness it's not a bad movie. Lord Cumberland (Herbert Lom), a famous witch hunter, arrives at a village with his young assistant, Christian (Udo Kier), and upsets the local witch hunter Albino (Reggie Nalder), who brands women who rebuff his slimy advances as witches. The latest victim is the busty tavern wench Vanessa (Olivera Vuco), who has caught the eye of Christian and vice versa. Cumberland proves little better than Albino, as he threatens a baron (Michael Maien) with torture unless he turns over his inheritance to the "Church," has thumbscrews and the rack applied to a young woman who insists she was raped by a bishop (in the movie's most notorious scene, this poor gal's tongue is extracted), and rapes the beautiful wife (Ingeborg Schoner) of a puppeteer. (The puppeteer is played by Adrian Hoven, who took over the direction of the film from Armstrong according to Kier.) Another hard-to-take scene has the bare-assed baron sat forcibly down on a bed of needles. Sadly, the torture sequences are probably accurate, and the movie makes it clear that there were often political, financial or sexual motives behind the witch hunters' accusations. The villains in this are utterly loathsome, and the ironic ending has the elements, oddly enough, of operatic or Greek tragedy. While the story holds the attention,  the actors are all good, and the pace is fast, Mark of the Devil hasn't got much style. It's too bad the film makers were more determined to make a horror film than a drama with horrifying sequences. Armstrong only directed one more movie 16 years later. This was a West German production, not very well dubbed, but at least we hear Herbert Lom's actual voice.

Verdict: Intense, gruesome, and absorbing. ***.