LURED

LURED (1947). Director: Douglas Sirk. 

"I am an unmitigated cad." 

 George Sanders, Boris Karloff, Charles Coburn -- and Lucille Ball -- all in the same movie? Not only that but George Zucco and Sir Cedric Hardwicke, too? Too bad it's such a lousy movie. Lucy is a show girl of sorts whose friend disappears after answering a romantic personal ad. The police employ her as a decoy who will answer different ads and hopefully bring the murderer of several young women, the friend included, to light. George Sanders is a theatrical agent who takes a shine to Lucy. Boris Karloff is a weird, mentally ill clothing designer, Zucco is a police officer (as is Alan Napier of Batman TV fame), and Joseph Calleia is an even weirder friend of Karloff's. Charles Coburn is miscast as a Scotland Yard inspector -- it's one of the few times this wonderful character actor fails to make much of an impression, although he does have his moments (such as a scene with Hardwicke). Lucille Ball does make an impression -- but in the wrong way. 

Although her Lucy characterization was four years in the future, at times the movie resembles "Lucy Meets Jack the Ripper." Her comic gifts and timing are much in evidence, but in the wrong movie. And her whole persona is much too contemporary to be convincing in a period piece. On the other hand, she's the only bright note in the movie, despite solid performances from Sanders and some of the others. However, in no way can it be considered a memorable dramatic performance. There are some atmospheric shots, but Douglas Sirk is no Hitchcock and the music is all wrong. A hilarious aspect is that early in the film one of the victims describes the (fairly obvious) killer as being "handsome." Well ... wait and see, if you care to. 

Verdict: Seems like five hours. *1/2.

THE MAN THEY COULD NOT HANG

THE MAN THEY COULD NOT HANG (1939). Director: Nick Grinde. 

A young assistant agrees to become part of an experiment with a doctor he works with, Savaard (Boris Karloff), even though the assistant's fiancee, Betty (Ann Doran), begs him not to do it. In essence the young man has to be killed so that Savaard can bring him back to life. Horrified, Betty gets the authorities, who shut Savaard down just before he can revive his assistant, dooming the young man to an early death. Savaard is put on trial for murder, and vows revenge on all those who put him away. The fascinating climax has him trapping everyone in an old house and swearing that every fifteen minutes someone will die! Karloff, not exactly looking fetching with blond, wavy hair, gives one of his best performances in this entertaining and interesting thriller. 

Verdict: One of the better Karloff vehicles. ***.

THE BLACK ROOM

THE BLACK ROOM (1935). Director: Roy William Neill.

A dire prophecy hangs over a feudal kingdom: the younger brother will murder the older in the infamous "black room" of the castle. To prevent this from occurring, the black room is sealed up, but the evil twin Gregor finds another way in. When the good twin Anton - both are played by Boris Karloff -- returns to the kingdom he learns that Gregor is suspected of doing away with several women who have completely disappeared. Although the movie doesn't make nearly enough of its horrific sequences, this is a very interesting macabre thriller with Karloff in top form -- both of him! Marian Marsh is lovely as the pretty Thea, who ignites romantic interest in the twins and others, but Robert Allen is pretty bad as her heroic lover, Lt. Lussan. Thor the dog gets high marks for his spirited performance as a hound who harasses Gregor.

Verdict: 2 Karloffs for the price of one! ***.

THE GHOUL (1933)

THE GHOUL (1933). Director: T. Hayes Hunter.

Poor Boris Karloff got stuck in another stinker with this very boring, alleged thriller/horror film. Karloff plays an egyptologist who vows to return from the grave to get back at his enemies, and keeps his promise. There's also two cousins -- one male, one female -- who are caught up in a family feud and get involved because Karloff was their uncle. This has an interesting supporting cast, including Ernest Thesiger from Bride of Frankenstein and Cedric Hardwicke. "No doubt you will succeed in making a painful interview intolerable," Hardwicke says to one character. But it's very disorienting to see the likes of Ralph Richardson in a Boris Karloff horror film. He plays a priest and is as excellent as ever. Karloff and the others are fine but wasted.

Verdict: Might help you go to sleep. *1/2.

THE SECRET LIFE OF WALTER MITTY (1947)

Danny Kaye

THE SECRET LIFE OF WALTER MITTY (1947). Director: Norman Z. McLeod.

Walter Mitty (Danny Kaye) is an editor at a pulp publishing house that puts out magazines of horror and crime. His own life -- living with his unpleasant mother (Fay Bainter) and engaged to an unappreciative fiancee (Ann Rutherford) -- is dull  enough for him to indulge in a variety of fantasies. He imagines himself as a brilliant physician, a famous pilot in the RAF, a riverboat gambler, old west cowboy, and so on. But then he meets a beautiful blond (Virginia Mayo) and his life suddenly gets more exciting -- and dangerous. The blond is named Rosalind, and she gets Mitty involved with deadly spies who are after a book that lists the location of art treasures hidden away from the Nazis. In their attempts to get the book, Mitty almost loses his life on more than one occasion.

Virginia Mayo with Kaye

Walter Mitty holds the attention for the most part, is generally well-acted, and has some clever and amusing moments -- a shot of Whistler's Mother in a bathing suit -- but it just isn't that funny. A routine Kaye does in which he imitates an old music professor goes on forever and hasn't a single laugh. The song numbers by Sylvia Fine, Kaye's wife, are pretty awful. The ever under-rated Virginia Mayo is luminescent, however, and there's some good work from Fritz Feld as a European designer of women's hats. (Kaye later does an imitation of him with some characterizing the caricature as "homosexual," but I doubt if that was the intention.) Thurston Hall is fine as Kaye's boss, who is near-apoplectic at times, and Boris Karloff shows up as a very peculiar psychiatrist.

Boris Karloff with Kaye

Rutherford does a nice job as the fiancee, and Florence Bates is typically on-target and amusing as her somewhat disapproving mother. Bainter [The Children's Hour] makes Mitty's mother a borderline harridan, treating her son like he's a ten-year-old, and she isn't funny enough to make the character palatable; a very good actress but not a skilled comedienne. Gordon Jones of The Green Hornet serial plays a man who has a romantic interest in Rutherford; Konstantin Shayne [The Unknown Man] is a nasty character known as the Boot; and the ever-cadaverous Milton Parsons plays his butler.

Verdict: Kaye running around amiably but not that memorably. **1/2. 

HALLOWEEN HORROR -- PART ONE

HALLOWEEN HORROR -- PART ONE.

Welcome to the first week of our two week, two part Halloween horror special at Great Old Movies. This first week we cover everything from horror on Live Television to two Boris  Karloff movies, one Italian giallo film, a slasher-type picture with Jamie Lee Curtis, a British Hammer Horror anthology series, and a film entitled, appropriately enough, Pumpkinhead.

More to come next week!

THE BLACK CASTLE

Rita Corday, Boris Karloff, Richard Greene

THE BLACK CASTLE (1952), Director: Nathan Juran.

Sir Ronald Burton (Richard Greene of The Blood of Fu Manchu) believes that an evil man named Count Karl von Bruno (Stephen McNally of The Lady Gambles) was responsible for the disappearance of two of his friends as an act of revenge for events that happened in Africa. Under an assumed name, Burton travels to von Bruno's imposing castle near the Black Forest, where he sets about trying to find evidence of his friends' possible imprisonment or deaths. Burton receives unexpected aid from the count's lovely wife, Elga (Rita Corday), who was forced to marry him, and the castle's doctor-in-residence, Meissen (Boris Karloff of Lured). But someone overhears Burton and Elga conspiring and there may be hell to pay ...

Stephen McNally

I had never even heard of this movie when I spotted it on youtube, and found it to be a pleasant surprise. Karloff plays a sympathetic role for a change, and both Greene and Corday offer admirable performances. The scene-stealer, however, is Stephen McNally, who is really excellent as the charismatic but malevolent count. McNally had always been a very contemporary kind of actor, but he handles his role in this costume melodrama with aplomb. The Black Castle might be considered more of a thriller than a horror film, but it does have such horror elements as a creepy old castle with a dungeon, people nearly being buried alive, and even a pit full of snapping alligators! In addition to the aforementioned actors, we have solid support from Lon Chaney Jr. as the brutish servant Gargon, John Hoyt as Count Stelken, Michael Pate as the sinister von Melcher, and Turo Owen as Burton's very loyal manservant, Romley, among others. Romley makes a great sacrifice, but is sort of forgotten at the end. Nathan Juran also directed The 7th Voyage of Sinbad and many, many others.

Verdict: Nifty little old castle thriller with very good performances. ***. 

DIE, MONSTER, DIE! [SECOND LOOK]

Boris Karloff

DIE, MONSTER, DIE! (aka Monster of Terror/1965). Director: Daniel Haller.

Stephen Reinhardt (Nick Adams) comes to the town of Arkham to see his fiancee, Susan Witley (Suzan Farmer), and discovers that she and her parents, who live on a large, foreboding estate, are shunned by the unfriendly townspeople.  Nahum Witley (Boris Karloff) rolls around in a wheelchair scowling, even though he is capable of walking. His wife, Letitia (Freda Jackson) stays in bed where she hides her face and urges Stephen to take her daughter by the hand and get her the hell out of there ... Did, Monster, Die! is the first adaptation of H. P. Lovecraft's masterful novella The Colour Out of Space, and they essentially make a mess of it. The story has been transplanted from a New England farmhouse, and all that really remains is the meteor that fell to Earth and turned the heath into a no-man's land while simultaneously mutating plants, animals and people, including most of the Witley family. The special effects are uneven, the widescreen cinematography [Paul Beeson] is good, and Karloff gives his customary solid performance in material that is beneath him. Adams [Pillow Talk] plays it in such a gruff manner that you expect him to come out with "dese" and "dem" any minute, and Farmer [Dracula Prince of Darkness] , who was introduced in the picture even though she had many earlier credits, makes little impression. Director Haller, who was originally an art director, handles a few scenes with some suspense and excitement, but the picture on a whole is kind of shoddy and unconvincing. There is a glowing greenhouse, some peculiar-looking animals in cages, and a killer plant that tries to squeeze Susan to death. Later adaptations of the story include The Curse and The Colour Out of Space.

NOTE: I have already reviewed this film once on Great Old Movies, but watched it again after re-reading the Lovecraft story that inspired it; I didn't like the film any better. The original review is here.

Verdict: Lovecraft deserves much better. **. 

YOU'LL FIND OUT

Kay Kyser bolstered by Petter Lorre, Bela Lugosi, and Boris Karloff

YOU'LL FIND OUT (1940). Director: David Butler.

Playing himself, band leader Kay Kyser brings his College of Musical Knowledge, along with singers Ginny Simms and Harry Babbitt (also playing themselves) to a spooky mansion where resides Janis Bellacrest (Helen Parrish of First Love), who happens to be engaged to Kay's manager, Chuck Deems (Dennis O'Keefe). Before long the group finds itself cut off from everyone with a cut phone line and a bridge that falls apart due to an explosion. Janis' Aunt Margo (Alma Kruger of Craig's Wife) is friends with a spiritualist named Prince Sallano (Bela Lugosi), who seems to be held in little regard by Professor Fenninger (Peter Lorre) and Judge Mainwaring (Boris Karloff). As Kay, Chuck, and alleged comic Ish Kabibble explore secret passages in the old mansion, attempts are made on Janis' life more than once. RKO obviously hedged its bets by bringing in that triumvirate of terror in the persons of Lugosi, Lorre, and Karloff, who get right into the silly spirit of things with marked professionalism and without losing their dignity. Kyser remains a likable presence, although some of the comedy shtick he does in the film is not only unfunny but painful to watch; ditto for Kabibble, whose jokes wouldn't impress a three-year-old. However, O'Keefe [Abroad with Two Yanks] is just right for this kind of material and he and Kyser make an engaging comedy team at different points in the story. Ginny Simms, who was not only Kyser's singer but was involved with him at the time, zestfully sings two nice numbers, including "I'd Know You Anywhere" and "One Track Mind." Late in the picture Kyser has the band instruments imitating human voices with horrific results. There's an amusing business with the dog Prince, who gets phosphorescent paint on his tail at one point, and later on plays catch with a bomb! Experienced director David Butler helps keep this whole thing running more or less smoothly. A number called "The Bad Humor Man" may have made the "Good Humor" ice cream people nervous.

Verdict: Silly, but with some nice numbers and a few laughs, not to mention those horror stars! **1/2. 

"FRANKIE" AND FRIENDS

Boris Karloff as Frankenstein

"FRANKIE" AND FRIENDS.

Great Old Movies has already posted reviews of the classic Universal Frankenstein films, as well as many of the Peter Cushing verions  -- just type "Frankenstein" in the search bar above for them all to come up --  but this week we look at some later films about Frankenstein's monster. First there is a review of Mary Shelley's original novel -- a really great and faithful film adaptation has yet to be made of it -- then reviews of a later Peter Cushing/ Frankenstein entry; a flick with Robert De Niro playing the monster; Roger Corman's Frankenstein Unbound; and others. Mary Shelley could not possibly have known that her creation would explode into all aspects of popular culture -- indeed she might have been horrified!

DOOMED TO DIE

Henry Brandon, Catherine Craig, William Stelling

DOOMED TO DIE (1940). Director: William Nigh.

Cyrus Wentworth (Melvin Lang) is bitterly opposed to his daughter Cynthia's (Catherine Craig) marriage to Dick Fleming (William Stelling) because he is the son of his shipping rival, Paul Fleming (Guy Usher). Paul is hoping to consolidate both firms, especially after there's an accident at sea which claims many lives. Naturally the Flemings are the top suspects when Cyrus is murdered, but Cynthia sticks by her fiance. Of course Captain Street (Grant Withers) is convinced Dick is guilty, but reporter "Bobbi" Logan (Marjorie Reynolds) gets James Lee Wong (Boris Karloff) on the case. Other characters embroiled in the mystery include Matthews (Wilbur Mack), who works for Wentworth; attorney Victor Martin (Henry Brandon); and insurance adjuster Baldwin (Tristram Coffin). Doomed to Die is not awful and moves fast, but it's just blah; it's a series that ran out of gas early on. One of the problems is that the blustery character of Captain Street and his prickly relationship with Bobbi wore thin. The considerable talents of Henry Brandon [Captain Sindbad] are completely wasted in this movie. This was the penultimate Mr. Wong movie, and the last to star Boris Karloff. Keye Luke replaced him for Phantom of Chinatown. Catherine Craig is much better in this than she was in Spy Train.

Verdict: One last gasp for Karloff's Mr. Wong. **.

THE FATAL HOUR

Hands up! Grant Withers and Boris Karloff

THE FATAL HOUR (1940). Director: William Nigh.

Police captain Bill Street (Grant Withers) is disheartened to learn that old friend and fellow cop Dan O'Grady has been murdered and his body dumped in the river. Criminologist James Lee Wong (Boris Karloff) thinks there's little he can do as the case seemingly has no connection with the Chinese-American community, until Street reminds him that many Chinese objects have been smuggled; O'Grady himself was investigating a smuggling racket. The people the two men investigate include dealer Frank Belden (Hooper Atchley); his son (Craig Reynolds of Romance on the Run), who is in love with adventuress Tanya (Lita Chevret); radio actor Griswold (Jason Robards Sr.); financier Forbes (Charles Trowbridge of Mysterious Dr. Satan); and crooked club owner "Hardway" Lockett (Frank Puglia of The Boogie Man Will Get You), who owns the Club Neptune. Street has a love-hate thing going with reporter Roberta Logan (Marjorie Reynolds). The actors, especially Karloff, are swell, and Tristram Coffin has a small role as a desk clerk in a hotel. The Fatal Hour has a fairly clever murder scheme but the movie is not very memorable. One of the characters is inexplicably murdered in police headquarters right outside Street's office.

Verdict: Pleasant time-passer but little else. **.

THE MYSTERY OF MR. WONG

A well-composed cast shot from "Mr. Wong"

THE MYSTERY OF MR. WONG (1939). Director: William Nigh.

"I confess I'm completely at a loss."

James Lee Wong (Boris Karloff) is invited to the home of Brendan Edwards (Morgan Wallace), who shows him the fabulous and cursed sapphire known as the Eye of the Daughter of the Moon. Not much later, Edwards participates in a parlor sketch [during a Charades-like game called "Indications"] in which he gets shot by a jealous husband, but in a plot twist used in other films, Edwards is really killed. At first there seem to be real bullets in the gun, but this is just the first of a number of interesting twists in the movie. Suspects include his wife, Valerie (Dorothy Tree of City in Darkness); his secretary Harrison (Craig Reynolds of Romance on the Run); the musician Strogonoff (Ivan Lebedeff); and the maid, Drina (Lotus Long); among others. Wong is assisted by his old associate Professor Janney (Holmes Herbert of Daughter of the Dragon) as well as Captain Street (Grant Withers). Karloff is excellent, as usual, there's a good wind-up, and the picture is quite entertaining.

Verdict: Snappy Mr. Wong mystery. ***.

MR. WONG, DETECTIVE

Boris Karloff and Grant Withers

MR. WONG, DETECTIVE (1938). Director: Hugh Wiley.

Mr. Wong is the third Oriental sleuth introduced after Charlie Chan and Mr. Moto. James Lee Wong originally appeared in stories that appeared in Collier's and was the subject of several pictures for cheapie studio Monogram (where Charlie Chan eventually wound up). In this first Mr. Wong movie, Wong (a well-cast Boris Karloff) receives a plea for help from the frightened Dayton (John Hamilton), who runs a chemical company and who is convinced that someone is out to get him. As usual in these pictures, the client winds up dead, and there are more murders to follow. The murder method is poison gas but the killer is especially clever in figuring out how to get the gas to the victim. Suspects and other characters include Captain Street (Grant Withers of Radio Patrol) who's investigating the case; his gal, Myra (Maxine Jennings); the bitter inventor Roemer (John St. Polis); the mysterious Olga Petrov (Evelyn Brent of Daughter of Shanghai); and Dayton's partners, Meisle (William Gould) and Wilk (Hooper Atchley). The performances are fine and the picture moves fairly quickly, although a musical score certainly would have helped. Withers and Brent also appeared together in the serial Jungle Jim. 

Verdict: Not bad intro to the Mr. Wong series. ***.

CHARLIE CHAN AT THE OPERA

"Warner Oland vs. Boris Karloff"

CHARLIE CHAN AT THE OPERA (1936). Director: H. Bruce Humberstone.

"The opera is going on tonight even if Frankenstein walks in!"

The San Marco Opera company is beset with major problems when prima donna Lilli Rochelle (Margaret Irving) receives death threats from an unknown person. The chief suspect is baritone Gravelle (Boris Karloff), who has just escaped from an asylum, but it is also true that Lilli is carrying on with baritone Enrico Barelli (Gregory Gaye) and this hardly sits well with Lilli's husband, nor Barelli's wife, Anita (Nedda Harrigan). Then there's young Kitty (Charlotte Henry) and her boyfriend, Phil (Thomas Beck) who desperately need to see Lilli but won't say why. Then the murders occur and a fiend stalks the opera house ... The words above the title read "Warner Oland vs. Boris Karloff" which is not quite what happens, but close, and both give excellent performances. Keye Luke is on hand and sharp as ever as Number One Son, and William Demarest plays the rather racist and insulting cop, Kelly. The opera "Carnival" was not a real opera but a pastiche put together by Oscar Levant [The Cobweb]; it resembles Italian verismo. There is a moving wind-up, and Karloff's dubbed [uncredited] singing voice is wonderful. One of the best and most entertaining Chan films, even if some things have to be taken with a grain of salt.

Verdict: Not surprising that that genius Chan is an opera fan. ***.

THE BOOGIE MAN WILL GET YOU

Boris Karloff and Peter Lorre

THE BOOGIE MAN WILL GET YOU (1942). Director: Lew Landers.

In this black comedy that seems influenced by the Broadway show Arsenic and Old Lace  (which itself was filmed two years later) Boris Karloff plays a crazy scientist in a crumbling old inn and Peter Lorre is the sheriff and just about every other official in the area. Winnie Slade (the oddly named Miss Jeff Donell of Night Editor) is a kooky gal who decides to buy the inn even though it's off the beaten track, an idea which her ex-husband Bill (Larry Parks) thinks is nutty. Professor Billing (Karloff) seems to think he can imbue a man with the ability to fly by putting traveling salesmen into a machine he's invented, but they all wind up dead -- apparently. "Slapsy" Maxie Rosenbloom plays a powderpuff salesman, Maude Eburne is a homicidal housekeeper, Frank Puglia [20 Million Miles to Earth] is "Jo Jo," an escaped lunatic, and Don Beddoe [The Face Behind the Mask] is a choreographer who takes a room at the inn. The cast is interesting, to say the least, with Parks and Puglia coming off best, but the material is far, far below the talents of the actors, and both Karloff and Lorre seem a mite uncomfortable, although everyone tries their best to make this funny and spirited, which it ain't. The movie has only a couple of titters and is mostly tedious.

Verdict: Makes a Bowery Boys film look intellectual. *1/2.

THE STRANGE DOOR

Laughton vs Karloff in a fight to the finish!

THE STRANGE DOOR (1951). Director: Joseph Pevney.

"Don't think badly of me. Family affection was never my strong point."

"I'm sorry I can't invite you to the wedding, but I fear a man who's been dead for twenty years might cast a gloom over the company."

"The Sire De Maletroit's Door" is not one of Robert Louis Stevenson's more memorable short stories, but it was expanded into this interesting film which teams Charles Laughton and Boris Karloff and turns them into adversaries. Denis de Beaulieu (Richard Stapley/Wyler) is on the run from a murder charge when he happens upon an entrance to De Maletroit's manor house that locks firmly behind him. De Maletroit, sitting calmly in his parlor, informs Denis that he is his nephew -- by marriage -- and a sort of shotgun wedding is in the offer. Seems De Maletroit has a pretty niece, Blanche, (Sally Forrest), who is in love with a man who vanished, but whom her uncle wants married to a mountebank so as to make her life miserable. His motives become clearer as the film progresses, climaxing with a wild scene in a dungeon with a cell whose walls slowly and inexorably come closing together. Laughton is as wonderful as ever, Karloff is fine as a manservant who is loyal to another, and Stapley is okay, although Sally Forrest is more decorative than anything else. The Strange Door is not a great movie, and one might have wished for more interaction between its two famous stars, but Laughton is given some great dialogue and delivers it with his customary aplomb.

Verdict: Anything with these two ... ***.

ABBOTT AND COSTELLO MEET THE KILLER, BORIS KARLOFF

Percy Helton flirts with Lou in drag as a maid

ABBOTT AND COSTELLO MEET THE KILLER, BORIS KARLOFF  (1949). Director: Charles Barton.

Running out of monsters to exploit, Abbott and Costello simply decided to star in a comical murder mystery with Boris Karloff chief among the supporting cast. House dick Casey (Bud Abbott) and fired bellboy Freddie (Lou Costello) are up to their necks in intrigue when one of the guests at the hotel where they're employed is murdered. While Inspector Wellman (James Flavin) suspects Freddie because the dead man got him sacked, there are others who may have done the deed, including possible husband-poisoner, Angela (Lenore Aubert), Mike Relia (Vincent Renno), T. Henley Brooks (Roland Winters), desk clerk Jeff (Gar Moore), his sweetie Betty (Donna Martell), her father Crandell (Harry Hayden), and the sinister pseudo-swami, Talpur (Boris Karloff), who is fairly murderous but may not be the main killer of the story. Melton, the hotel manager (Alan Mowbray) is appalled by the whole business: "We don't permit murders at this hotel," he insists. Unfortunately, more dead bodies begin turning up in Freddie's bath tub and closet, and worse, they keep disappearing as well. There's an exciting climax in vast caverns with a bottomless pit, with impressive scenic design and special effects, but the second most memorable sequence has Great Old Movies favorite Percy Helton flirting with Freddie when he's in disguise as a maid! The boys are in fine form, as are Karloff, Helton, Mowbray and Flavin, and the rest of the cast seems to be having fun as well. This is a delightful black comedy and one of the team's best movies. Gar Moore later turned up in Curse of the Faceless Man and Lenore Aubert was in Abbott and Costello Meet Frankenstein which was also directed by Charles Barton.

Verdict: Quite entertaining and often very funny. ***.

FEAR CHAMBER

Karloff in his Fear Chamber

FEAR CHAMBER (aka The Torture Zone/1968). Directors: Juan Ibanez; Jack Hill.

Dr. Karl Mantell (Boris Karloff) is convinced a life form, a kind of "primordial plasma," has not only taken up residence in the earth's core but is the "source of all the untapped knowledge of the universe." [How he has arrived at these bizarre conclusions is never made clear.] Mantell's daughter Corinne (Julissa) and her friend Mark (Carlos East) descend into the earth and discover one of these creatures, bringing it back to the lab. They discover the creature feeds on hormones created by terror, so to that end these wonderful people imprison women in a "fear chamber" in which they are subjected to skeletons, spiders, snakes, pools of blood, and think they are going to be sacrificed on an altar. [A startling moment has Karloff in his priest's robes stripping them off for medical whites and going directly into his modern laboratory, which is directly adjacent to the "fear chamber."] The life form, which resembles a steaming rug, communicates with the humans via computer and kills people by sucking out their life energy as well as their terror, leaving them aged corpses. Mantell has a psychologist, Helga (Isela Vega), who spies on female applicants as they change into medical robes and seems to get a thrill out of whipping women, possibly under the influence of the monster. Brutish Roland (Yerye Beirute) is only interested in the monster because it's promised to deliver him many diamonds. Helga and Roland are apparently being played by the life form, which hopes to transmit information to others of its kind within the earth. Supposedly inspired by the writings of Poe [don't you believe it!] Fear Chamber actually has some interesting ideas and elements, but it's disjointed, badly edited and confusing [signs of post-production tampering], with highly unlikable protagonists. At times it simply seems thrown together. A scene when a woman unknowingly does a sexy dance for the monster hits a high camp note if nothing else. There are some other arresting moments amid the often amateurish absurdity. Karloff is fine, and luckily his distinctive voice isn't dubbed. This was made in Mexico the year before his death and released a couple of years later. A frustrating aspect to the picture is that these "scientists," who terrorize women and seem like complete nuts, never really get their comeuppance.

Verdict: Zestily absurd at times but not very good. **.

BLACK SABBATH

BLACK SABBATH (aka I tre volti della paura/1963). Director: Mario Bava.

A trio of horror stories from the director of Blood and Black Lace. In "The Telephone" a young lady is bedeviled by an old boyfriend who escaped from jail, or is it really a woman friend [or lover] who is causing the turmoil behind the scenes? This segment is interesting but half-baked, bordering on stupid. In the best and second segment, "The Wurdalak," starring Boris Karloff and Mark Damon, a family must wonder if their returning patriarch has become a vampire. The best scene has a dead little boy crying out pathetically for his grieving mother. In the final sequence, "The Drop of Water," a woman steals a ring from a hideous corpse that haunts her. Like most of Bava's films, the art direction is excellent, but sometimes the garish color works against the film's atmosphere. Frankly, the first and third sections should have been dropped and the middle segment expanded into a full-length feature.

Verdict: One out of three ain't bad. **1/2.