THE VAMPIRE'S GHOST

Charles Gordon, John Abbott, Adele Mara

THE VAMPIRE'S GHOST (1945). Director: Lesley Selander. Colorized.

In the village of Bokunda in Africa, dead bodies are turning up partially drained of blood. The natives believe a vampire is on the loose, something which is scoffed at by Father Gilchrist (Grant Withers of Jungle Jim), as well as Roy Hendrick (Charles Gordon), his girlfriend, Julie (Peggy Stewart), and her father Thomas (Emmett Vogan of Hop Harrigan). On an expedition to a nearby village, tavern owner Webb Fallon (John Abbott of Deception) puts a spell on Roy and reveals that he is four-hundred years old and fond of drinking blood. As more murders occur, Fallon develops an overwhelming "fondess" for Julie, whom he hopes to make one of the Undead to ease his loneliness. Will Roy be able to shrug off the mind control and save his lover? 

John Abbott as the unlikely vampire

The Vampire's Ghost -- there is actually no ghost in the picture -- is a cheap Republic horror film that has some well-staged sequences (a night time attack on gambler Roy Barcroft, for instance) but is overall mediocre. In motion pictures vampires tend to be frightening and/or romantic figures, but the funny-lookin' John Abbott more often played comical or weaselly roles. However, Abbott is a good enough actor to be entirely credible as the sinister Fallon. Republic contract player Charles Gordon, who only made ten pictures, is effective as Roy, who doesn't seem much of a match for Fallon. Peggy Stewart, and Adele Mara as the ill-fated dancer Lisa, are also good. Grant Withers and Roy Barcroft, old standbys in classic serials, go through their paces with panache, especially Barcroft. The conclusion at a jungle temple devoted to a long-gone cult of evil is so drawn out that the film, which is less than an hour long, temporarily seems interminable. Lesley Selander also directed the serial Jungle Raiders. 

Verdict: Worth seeing just once. **1/2. 

DANGEROUS BLONDES

Jane gives Miss Ralston a wolf whistle

DANGEROUS BLONDES (1943). Director: Leigh Jason.

Former actress Jane Craig (Evelyn Keyes) is married to popular mystery writer Barry Craig (Allyn Joslyn). Jane's friend Julie (Anita Louise) comes to her with a tale of someone trying to chloroform her in a dark room at the studio where she works, and news of a murder plot during the filming of a commercial later in the evening. Before long Jane and Barry are embroiled in two mysterious killings, which Inspector Clinton (Frank Craven) thinks he has the solution for. Of course it remains for Barry to really explain who the killer is ... Dangerous Blondes is snappy and amusing, if minor, and didn't result in a series about the Craigs, although Keyes and Joslyn are fine in the parts. Others in the cast include Edmund Lowe [Hot Pepper] as an advertising man, William Demarest as a cop, and Ann Savage as Erika McCormick. John Abbott [Deception] makes an impression as the nervous secretary Roland X. Smith, as does Hobart Cavanaugh as Philpot, the elevator attendant. Minerva Urecal appears as a housekeeper and is, as they say, swell. Craven is typically excellent. An interesting scene has Jane giving pretty model Miss Ralston (Lynn Merrick) a wolf whistle.  Leigh Jason also directed Lost Honeymoon.

Verdict: Nothing special but easy to take with quite a few funny moments. **1/2.

DECEPTION (1946)

DECEPTION (1946). Director: Irving Rapper.

"It's so painful to be so happy."

The reinvented pianist Christine Radcliffe (Bette Davis) has been the protege -- and more -- of wealthy and neurotic composer Alexander Hollenius (Claude Rains), when back into her life comes a man she thought was dead and whom she truly loves, cellist Karel Novak (Paul Henreid). Naturally this doesn't sit well with Hollenius, especially when Christine and Karel get married. Will Holenius spill the beans about the truth of his relationship with Christine? Will Hollenius really let Karel be the lead cellist for his new concerto, or is he playing a sadistic game of cat and mouse with the hopeful man? [Two questions that are never asked: Was Karel himself completely chaste during the four years he was parted from his "Schatzi?" and would he object that much, despite his jealous nature, to Christine's carryings-on when she thought he was dead?] Although Davis' character in this acts maddeningly idiotic, and the foolishly melodramatic developments, while compelling (and leading to a great last line), are unnecessary in what starts out as a strong drama, Deception works due to the great dialogue in John Collier and Joseph Than's screenplay (as well as three-dimensional characters), and to a brilliant performance -- possibly his best -- by Claude Rains. Henreid and Davis are also good, although a notch below Rains, and Davis is terribly affected and mannered throughout [but quite entertaining in spite of it]. One of the best scenes has the three main characters at a restaurant when Hollenius increases Karel's nervousness -- he is to audition for him after dinner -- by taking forever to decide exactly what they should all have for supper. The concerto composed by Hollenius was actually composed by Erich Wolfgang Korngold (who also did the rest of the film's score), and it is beautiful. John Abbott does a superlative job as a rival cellist, Bertram Gribble, that Christine tries to bribe. Although some might dismiss this as a mere soap opera, it has a certain quality that lifts it above the ordinary soaper. At the wedding party, while Christine plays piano, Hollenius shatters a glass in his hand. Christine stops playing and, concerned, rushes to his side, whereupon the great man remarks upon how women get hysterical over a scratch but act all smiling and nurse-like at the sight of a mortal wound. It would have been interesting to see how Deception might have worked with a different actress in the lead. Although director Irving Rapper was able to reign Davis in a bit for Now, Voyager, he was unable to do so with this picture.

Verdict: There's more here than meets the eye. ***1/2.