THE CREEPER (1948)

Bug-eyed: Janis Wilson

THE CREEPER (1948). Director: Jean Yarbrough.

"Nora, get over yourself!" -- Dr. Reade

Nora Cavigny (Janis Wilson) is a highly neurotic young lady who has a phobia involving cats. This has to do with her father's experiments in Africa, something to do with -- get this -- making human tissue phosphorescent as an aid to surgery! Dr. Cavigny (Ralph Morgan) works with Dr. Bordon (Onslow Stevens) and Gwen Runstorm (June Vincent), and they all seem to have varying attitudes about what they're doing. Gwen is engaged to Dr. Reade (John Baragrey of Shockproof). who for utterly unaccountable reasons finds himself falling for the very nutty Nora. Then the claw murders begin ... The Creeper has some atmosphere and generally sufficient acting, although Janis Wilson is perhaps too odd even considering her character. Stevens [Lonelyhearts] makes an impression as Bordon, but the best work comes from June Vincent [Counterspy Meets Scotland Yard], as snappy and borderline bitchy as ever. Eduardo Ciannelli is also in the cast, along with David Hoffman as the rat-faced cat keeper, Andre. The Creeper is suspenseful but the experiments are inane, and the monster in this is particularly lame. Milton Rosen's theme music is a plus. Not to be confused with the Creeper played by Rondo Hatton in House of Horrors and The Brute Man, both of which came out earlier and were also directed by Yarbrough. Hatton also played a Creeper in the Sherlock Holmes feature The Pearl of Death. The 1942 Cat People may have had some influence on this picture.

Verdict: Some fun, but you can see why there was never a sequel nor a series of "Creeper" movies. **1/2.

THE LOST MOMENT

Robert Cummings and Susan Hayward

THE LOST MOMENT (1947). Director: Martin Gabel.

"It's only being with people that makes one lonely."

Publisher Lewis Venable (Robert Cummings) comes to Venice hoping to obtain letters written by the late poet Jeffrey Ashton to the now-aged Julianna Borderau (Agnes Moorehead). Lewis pretends to be an author seeking an atmospheric place to write his novel, and pays an exorbitant fee for rooms in the manor owned by Julianna, who lives with her niece, Tina (Susan Hayward). Both women seem to be keeping secrets regarding Ashton, who simply disappeared many years ago. The Lost Moment sort of uses the basic framework for Henry James' novella "The Ashton Papers," but is turned into an unconvincing psychological mystery with an expected resolution. Cummings [Saboteur] is okay, but not well-cast, and Hayward [I'll Cry Tomorrow] is better as a woman undergoing an identity crisis, while an unrecognizable Moorehead [Dark Passage] certainly scores as the crone-like Julianna. Joan Lorring, Minerva Urecal and Eduardo Ciannelli offer flavorful supporting performances.

Verdict: This dies a slow death long before the conclusion. **.

THE BROTHERHOOD

Misleading poster for "Brotherhood"

THE BROTHERHOOD (1968). Director: Martin Ritt. Produced by Kirk Douglas.

Frank Ginetta (Kirk Douglas of Seven Days in May) is overjoyed that his younger brother Vincent (Alex Cord of The Dead Are Alive) wants to join him in the "family" business, but Vince's new wife, Emma (Susan Strasberg) isn't so sure. Her own father, Dominick Bertolo (Luthor Adler of House of Strangers) is in the business and warns Vinnie that Frank is too old-fashioned and objecting to one good deal after another -- this could have serious repercussions not only for Frank but for Vincent. Then Frank discovers that Bertolo was the man who betrayed his father and many other mafioso years ago, and sets out to get revenge, setting in motion events that will have violent consequences ... The Brotherhood pre-dates The Godfather by several years, and while it is not as good, it is not a bad picture, with some effective performances. It's hard to figure out if Frank is supposed to have an accent or not because it comes and goes, but Douglas is good in the role. Cord is not an especially dynamic performer, but he has several effective moments. The film was a box office loser, probably because the studio used a poster showing Douglas and Cord kissing on the mouth. [Not even The Boys in the Band used such an image.] In the movie the kiss, which is shown from a different angle, is one of several affectionate good-bye kisses Frank gives his brother, and is not indicative of homoerotic incest. At least France retitled the film "The Sicilian Brothers" to make it more clear what was going on. Murray Hamilton and Eduardo Ciannelli make a good impression as fellow members of the brotherhood; Strasberg is given little to do. One of the best, most chilling scenes in the movie has Frank relating to Bertolo how he befriended a man he intended to kill and having absolutely no clue as to the complete immorality of what he's describing.

Verdict: Creditable mafia drama. ***.

MYSTERIOUS DR. SATAN

Both in disguise, Copperhead (Wilcox) faces Dr. Satan (Ciannelli)

MYSTERIOUS DR. SATAN (15 chapter Republic serial/1940). Directors: John English; William Witney.

Just before the older man's death, Bob Wayne (Robert Wilcox) is told by Governor Bronson (Charles Trowbridge), the man who raised him, that his real father was once known as the original Copperhead, who fought for justice but was wrongly labeled a crook. Bob decides to don a mask and become the new Copperhead, so that he can fight the minions of the mysterious Dr. Satan (Eduardo Ciannelli). "Mysterious" is right, because we never learn why he calls himself Dr. Satan nor what his true identity is. (Similarly, the Copperhead disguise seems fairly unnecessary.) Satan is after a remote control device invented by Professor Scott (C. Montague Shaw), whose daughter, Lois (Ella Neal), is trapped in a diving bell with Bob when it springs a leak thanks to the diabolical manipulations of Dr. Satan. The nefarious Satan forces his men and others to wear explosive chest devices that keep them from getting out of line or escaping, and on several occasions employs a large killer robot to do his dirty work. Ciannelli [Johnny Staccato; Monster from Green Hell] is quite good as Dr. Satan, sneering his contempt without ever overacting or chewing the scenery. Wilcox, who was Diana Barrymore's third husband and companion-in-nightmare, was certainly good-looking and was not a bad actor, but he's not a good choice for a serial action hero as his performance lacks dynamism and is rather listless [even if one gives him the benefit of the doubt and imagines that he was trying to differentiate between Wayne and the Copperhead]. Ella Neal is adept and attractive, but the other woman in the cast, Dorothy Herbert, has little opportunity to do more than look interested or perky as reporter Alice Brent. Jack Mulhall [The She-Creature] and Ken Terrell [Indestructible Man] are also in the cast. One of the best cliffhangers has to do with a cell whose far wall begins closing in on our hero as Dr. Satan chuckles. This was originally conceived as a Superman serial, but the rights for that character went to Columbia studios instead; that studio took eight years to finally come out with a serial about the Man of Steel.

Verdict: Entertaining, but not in the class of the best Republic serials. **1/2.

I LOVE TROUBLE

I LOVE TROUBLE (1948). Director: S. Sylvan Simon.

Private eye Stuart Bailey (Franchot Tone) is hired by a man named Johnston (Tom Powers, the victim in Double Indemnity) to investigate his wife, who has been getting a series of letters threatening to expose her "past," and eventually disappears. Bailey discovers that Mrs. Johnston (Lynn Merrick) was once an entertainer known as Janie Joy, so he pursues that angle via some of her old associates, then gets warned off by a thug, Martin (Donald Curtis) in the employ of John Caprillo (Eduardo Ciannelli). Bailey encounters a young lady, Norma (Janet Blair), who claims that the woman he's after is her sister, even though she doesn't recognize a photograph of her. Then there's sexy "Boots" (Adele Jergens) who sometimes drinks too much; Reno (John Ireland), who runs a nightclub; and his boss, Keller (Steven Geray), all of whom may know more about the missing woman than they're saying. There are a couple of twists, a couple of murders, and a final confrontation in Bailey's apartment. I Love Trouble may not get high marks as a mystery nor film noir, but it's smooth and entertaining, and Tone is excellent, and has a highly adept supporting cast. Raymond Burr and Arthur Space have small roles (as muscle and cop, respectively), and an unrecognizable (perhaps slightly more subdued and older) Glenda Farrell is snappy as Bailey's very efficient secretary. Janis Carter [Night Editor] also is vivid in a pivotal role whose exact nature I won't reveal here. Simon also directed The Fuller Brush Man (which also had Blair and Jergens) and many others.

Verdict: Pleasant time-passer with some good scenes and a modicum of suspense. ***.

MONSTER FROM GREEN HELL

MONSTER FROM GREEN HELL (1958). Director: Kenneth G. Crane.

Two scientists (Jim Davis and Robert E. Griffin) shoot animals into outer space to gauge the effect of radiation on them. Unfortunately, some wasps wind up being over-exposed and crash land in Africa in a place the natives call Green Hell. Now the wasps have mutated into gigantic monstrosities that threaten to overrun all of Africa. There's some okay stop-motion animation and the scenes with the monsters -- often portrayed by full-size mock-ups complete with out-sized stingers -- are fun. The movie is padded with exciting stock footage from previous jungle epics. Davis and Griffin aren't bad (especially the latter) but Barbara Turner as doctor's daughter Lorna is amateurish. Eduardo Ciannelli as a guide and Joel Fluellen as a concerned native add some flavoring to the proceedings. The giant wasps look nothing like they do in the film's poster. Good score from Albert Glasser, as usual. NOTE: For more on this film and others like it, see Creature Features: Nature Turned Nasty in the Movies.

Verdict: Generates some positive buzz. **1/2.

THE SPY IN THE GREEN HAT

THE SPY IN THE GREEN HAT (1966). Director: Joseph Sargent. 

The Spy in the Green Hat was the European theatrical version of the two part Man from U.N.C.L.E. episode "The Concrete Overcoat Affair." Thrush has decided upon a crazy plan to turn Greenland into "Thrushland" and is planning to use deadly missiles in their scheme. Louis Strago (Jack Palance) is the person Thrush has assigned to this plan and he is assisted by a sadistic secretary/assassin played by Janet Leigh. While investigating the operation, UNCLE agent Napoleon Solo (Robert Vaughn) is caught in the bedroom of a pretty young Italian girl , Pia (Leticia Roman). Her relatives, prohibition mobsters who are now elderly men (Eduardo Ciannelli; Allen Jenkins), go after Solo to force him to marry her, but wind up teaming up with him when they learn that Pia has been taken captive by Strago. Jack Palance's performance is just a little over the top even for this kind of material, but Janet Leigh strikes just the right note as the psychotic hit woman and she has a nifty (if too brief) cat-fight with Letitia Roman. Ludwig Donath is the ex-Nazi who is working with Thrush and even Elisha Cook shows up as another petty, aging mobster. This is an entertaining UNCLE movie, with the usual quota of excitement and humor. "The Spy in the Green Hat" turns out to be Mr. Thaler, an emissary from Thrush Central, who comes to see Strago carry out the operation successfully. Thaler is well played by Will Kuluva, the actor who was first chosen to play the head of UNCLE [Mr. Allison] before it was decided to go with the better known Leo G. Carroll. [Kuluva also appears in the first UNCLE film To Trap a Spy.] Vaughn and David MaCallum are in good form as Solo and his fellow agent Illya Kuryakin. 

Verdict: As theatrical telefilms go, this isn't bad -- if you're an UNCLE fan. ***.

THE CRIME DOCTOR'S GAMBLE

THE CRIME DOCTOR'S GAMBLE (1947). Director: William Castle. 

The Crime Doctor, Dr. Ordway (Warner Baxter), is visiting Paris and touching base with an old friend, the Prefecture of Police (Marcel Journet), when he becomes embroiled in another murder case in which a rich man is supposedly murdered by his estranged, disinherited son, Henri (Roger Dann). Steven Geray plays the family lawyer, and Micheline Cheirel is Henri's wife, Mignon. Eduardo Ciannelli is a welcome presence as Mignon's knife-throwing father, Maurice. There's also a series of paintings, more deaths, and a climax at an auction before the killer is exposed -- it won't be that much of a surprise to anyone. Still, this holds the attention and is generally well acted. 

Verdict: Okay time passer. **1/2.

THE CRIME DOCTOR'S WARNING

THE CRIME DOCTOR'S WARNING (1945). Director: William Castle. 

Clive Lake, an artist (Coulter Irwin), seeks Dr. Robert Ordway's (Warner Baxter, pictured) help for black outs that he's been having since youth. He has a dragon mother named Mrs. Wellington Lake (Alma Kruger), and naturally becomes a suspect when two of his models are murdered. Everything seems centered on a painting by a more famous artist in which the two women -- and a third -- were featured. Mindless yet intriguing -- and somewhat far-fetched -- The Crime Doctor's Warning holds the attention and is a perfectly flavorful "B"movie. John Litel plays the police inspector, but it's an uncredited Eduardo Ciannelli who perks up the film as Nick Petroni, an old sailor model who's angered that all anybody wants to paint is cheesecake. Director Castle keeps things moving swiftly. 

Verdict: Minor but reasonably engaging. **1/2.

THE MUMMY'S HAND

THE MUMMY'S HAND (1940). Director: Christy Cabanne.

Archaeologist Steve Banning (Dick Foran) and his foolish pal Babe Jenson (Wallace Ford), along with magician The Great Solvani (Cecil Kellaway) and his spirited daughter, Marta (Peggy Moran), travel from Cairo to try to find a tomb and the treasure that goes with it. They come afoul of High Priest Andoheb (George Zucco), who has awakened Kharis, the mummy, by the use of a fluid made from tanna leaves. This film began the tradition of the mummy, still in its bandages, slowly stalking people in the night. There's perhaps a little too much comedy relief, but the performances are good -- especially Zucco and Eduardo Ciannelli as his father -- and there's plenty of atmosphere. Kharis has a similar origin to Im-ho-tep of The Mummy with some differences -- Kharis tried to revive his dead beloved and was buried alive, but his tongue was cut out as well. Frankly, this is much more entertaining and creepier than The Mummy. Marta is not the reincarnation of a princess, thank goodness. Tom Tyler, who was the title hero in The Adventures of Captain Marvel, plays the mummy and plays him well. Followed by The Mummy's Tomb.

Verdict: Minor-league, perhaps, but fun. **1/2.