THE ADVENTURES OF FRANK MERRIWELL

Donald Briggs as Frank Merriwell

THE ADVENTURES OF FRANK MERRIWELL (12-chapter Universal serial/1936). Directors: Clifford Smith; Lew Landers. Colorized version.

Famed college athlete Frank Merriwell (Donald Briggs) is beloved by most of his classmates aside from the jealous and bitter House Peters (House Peters Jr.) Merriwell's father has been missing for two years, but Frank learns of a ring that may lead to a treasure. While Frank and his pals ponder this, an evil man named Daggett (Ben Hewlet), who always wears a weird mask, is out to get the treasure for himself. Frank and a whole host of classmates -- and his girlfriend, Elsie (Jean Rogers of Flash Gordon) -- travel by boat in pursuit of clues to the treasure. They eventually find the gold but it is alternately stolen by and taken back from Daggett and his desperadoes. Along the way Frank and his buddies find themselves in mortal danger ... 

Ben Hewlet as Daggett

Frank Merriwell, whose adventures originally took place around the 1890s, was once a very famous fictional character with dozens of stories detailing his exploits. These translate well to the serial medium, and make use of several good cliffhangers: a train smashes into an uncoupled runaway engine; Frank and Elsie are nearly crushed by a towering tree when it crashes downward; Frank is attacked by an escaped lion at the circus etc. The pace of the serial is generally swift, but there are duller detours showing us stage acts, assorted parties, and the unfunny antics of class cut-up, the dufus Harry (Sumner Getchell). 

John King and Jean Rogers

There is some strange casting in the serial. As mentioned the character of House Peters is played by House Peters, Jr., the son of silent film star House Peters. Other classmates of Merriwell's are also played by the sons of (at the time) well-known actors, including Wallace Reid Jr. and Edward Arnold Jr. However, Frank's best buddy, Bruce, is played by John "Dusty" King, who displays an excellent baritone singing voice and later went on to play the lead in the serial Ace Drummond. Adventures of Frank Merriwell, even when colorized, remains a bit creaky and forgettable, despite a couple of decent moments. The villain in this is utterly colorless. 

Verdict: You may be wishing this was over long before it's over! **1/4. 

CAPTAIN KIDD AND THE SLAVE GIRL

Anthony Dexter and Eva Gabor

CAPTAIN KIDD AND THE SLAVE GIRL (1954). Director: Lew Landers. 

Captain William Kidd (Anthony Dexter) is convicted of piracy and sentenced to hang (as he was in real life). In this completely fictionalized story, Kidd's death is faked with the complicity of Lord Bellomont (James Seay), who hopes to eventually learn where Kidd's treasure is buried. To that end Kidd is given a new name and put on board a ship helmed by Captain Pace (the ever-uninteresting Lyle Talbot). Also on board is Judith Duvall (Eva Gabor) who was put there to report back to Bellomont. After an adversarial relationship, the two eventually become lovers, possibly because Kidd walks around with his shirt off through much of the movie. Eventually the two encounter Blackbeard (Michael Ross) and lady pirate Ann Bonney (Sonia Sorel). It's a question who will wind up with the treasure and if Kidd and Judith will ever make it back to England. 

Alan Hale Jr. with Dexter

Captain Kidd and the Slave Girl is fast-paced and amusing, with a dashing and adept performance by Dexter, who'd previously played Valentino and appeared in the trash-classic Fire Maidens of Outer Space. Gabor is better than expected, Ross [Attack of the Fifty Foot Woman] makes a blustering Blackbeard, and Sorel is quite effective as Bonney. It's fun watching Kidd turn Gabor into a galley slave early in their relationship, and even more fun watching Gabor and Sorel having a zesty "cat-fight." A hilarious scene has Kidd telling Judith to pretend to be his slave when she is wearing a fancy gown. Someone in the make up department had the lousy idea of painting a beard and mustache on Dexter's face instead of letting him grow one or using a fake beard with spirit gum -- in some shots it looks very strange. Alan Hale Jr. is excellent as Jay Simpson, a good friend of Kidd's who sticks with him to the bitter end. William Tannen also makes an impression as Steve Castle, a decided enemy of Kidd's, and smaller roles are played by William Schallert, Harry Lauter, Ken Terrell, and others who appeared in numerous B movies and serials. Although this movie was released in color, the only print I could find was black and white. 

Verdict: A sexy Kidd never hurts! ***. 

THE POWER OF THE WHISTLER

Richard Dix

THE POWER OF THE WHISTLER (1945). Director: Lew Landers.

Jean Lang (Janis Carter of Slightly French) spies a stranger (Richard Dix of Lovin' the Ladies) in a bar and decides to read his fortune from across the room with playing cards. When the cards say that he faces death within 48 hours, she  decides to see if she can help him, and discovers that he has lost his memory in an accident. Along with her sister, Francie (Jeff Donnell of The Fuller Brush Girl), Jean and the stranger, whom she calls George, hunt down every clue they can to his identity. But will smitten-but-stupid Jean eventually get an unpleasant surprise when she finds out who the man really is ... ? This is the third in the Columbia mystery series based on the radio show The Whistler, and, as usual, the unseen narrator pipes in now and then to push the story along and to, alas, minimize the suspense that's been built up in the first half of the film. Too much information is given away too early so that the final quarter just plods along on a predictable path. This is too bad, because the basic premise is fine, and there are many opportunities for tense sequences (especially one involving a poisoned birthday cake) that are just frittered away by routine direction and not enough taut music. Hitchcock might have done something with this. Dix is pretty good in the lead, the two ladies are fine, and Loren Tindall makes a pleasant impression as Francie's fiance, Charlie. Tala Birell plays a ballet dancer who was once involved with "George."

Verdict: This is one you will probably watch and quickly forget. **1/4. 

HOT ROD GANG

John Ashley

HOT ROD GANG (1958). Director: Lew Landers.

John Abernathy III (John Ashley) lives with his two dotty aunts, Abigail (Helen Spring) and Anastasia (Dorothy Neumann). According to the dictates of a will, John must stick to the straight and narrow in his behavior, so he has to hide his interest in hot rods  -- especially when he splashes mud on an old prune, Dryden Philpott (Lester Dorr) --  and rock and roll. Wearing a false beard, John becomes a singer called "Jackson Dalrymple." Meanwhile John carries on a mild romance with new girl Lois (Jody Fair of Ghost of Dragstrip Hollow), whom he at first mistakes for a square. Bandleader Gene Vincent plays himself. Ashley is nice-looking, professional, and manlier than the usual boys in these movies, but he radiates a kind of negative aura, and it's perhaps understandable why he never amounted to much as an actor (he later turned producer). Russ Bender is on hand as a cop, Dub Taylor is Al, and Claire Du Brey [Everybody's Baby], Marie Dressler's companion, plays Agatha, the peppery maid. There are several songs -- you can  have a full life without hearing any of them.

Verdict: Not much about hot rods in this flick. *1/2.

JUNGLE MANHUNT

Sheila Ryan and Bob Waterfield

JUNGLE MANHUNT (1951). Director: Lew Landers.

Photojournalist Anne Lawrence (Sheila Ryan) has come to Africa to search for Bob Miller (Bob Waterfield), a former war hero and football player who vanished into the jungle 9 years before. Miller seems to enjoy playing, as Ann puts it, "Great White God" to the natives, but he seems much more benign than certain "skeleton men" -- wearing black uniforms with skeletons painted on them -- who are decimating villages and enslaving many of the natives. Dr. Heller (Lyle Talbot) has cooked up a scheme to mine radioactive igneous rock that can be turned into valuable industrial diamonds. This is one of the better Jungle Jim adventures, with our hero (Johnny Weissmuller) leading Anne and Bob into isolated territory where they encounter a 100 foot lizard that battles a "sailback" crocodile in stock footage, not all of which seems to have come from One Million B.C. Bob Waterfield was a hunky former quarterback who was married to his high school sweetheart, the famous Jane Russell, for twenty-five years. Although he has an appealing personality in this, good looks and a fine physique seemed to be his chief assets and he only appeared in three films; Jungle Manhunt is the only one in which he actually played a character -- he later became head coach for the Los Angeles Rams. Sheila Ryan [Hideout] is a welcome and perky presence in the movie, and Lyle Talbot [The Vigilante], who gets a great death scene, gives a better performance than usual. Rick Vallin, cast again as a native, spends much of his time dealing with chimp Timba. At one point he seems a bit exasperated with his or her antics but on other occasions he certainly acts like he's charmed by the scene-stealing ape, who gets a lot of footage. The shark vs octopus stock footage that we see in so many movies also reappears in this one.

Verdict: 100 foot lizards, pretty gals and football players -- all in one movie! ***.

TAILSPIN TOMMY

TAILSPIN TOMMY (12 chapter Universal serial/1934). Director: Lew Landers.

Air enthusiast Tommy Tompkins (Maurice Murphy) of Littleville is given the nickname "Tailspin" by an aviatrix named Betty Lou Barnes (Patricia Farr). Proving his ability as a pilot, Tommy gets a job delivering mail by air, and distinguishes himself with his acts of bravery. Wade Taggart (John Davidson) runs a rival company and tries to wipe out Tommy with acts of sabotage. Finally, the young man comes to the attention of Hollywood, who casts him as -- what else? -- a pilot in their aerial adventure film " Midnight Patrol." Based on Hal Forrest's comic strip, this is a kind of creaky old serial but the flying scenes are still fairly exciting, and there are some good cliffhangers involving crashing aircraft, a well-done earthquake, a train hurtling toward a chasm where the bridge has collapsed, and Tommy being dragged behind a plane as he dangles from a rope. The serial temporarily becomes a bit weird with a sequence in which Tommy and Betty Lou find themselves in an old mansion where a mad scientist traps them in a room with electrical dynamos. Noah Beery Jr. [The Three Musketeers] plays Tommy's intellectually challenged friend Skeeter, and others in the cast include William Desmond, Grant Withers, Dennis Moore, and the never-young Walter Brennan in a bit.  Maurice Murphy makes a pleasantly boyish and enthusiastic Tailspin. He had been acting since the age of ten, and amassed 57 credits. Followed by Tailspin Tommy in the Great Air Mystery in which Murphy was replaced by Clark Williams.

Verdict: Not an especially memorable serial but it has points of interest. **1/2.

AFTER MIDNIGHT WITH BOSTON BLACKIE

Al Hill (?) and Chester Morris

AFTER MIDNIGHT WITH BOSTON BLACKIE (1943). Director: Lew Landers.

"Diamond" Ed Barnaby (Walter Baldwin) gets out a jail and reunites with his grown daughter, Betty (Ann Savage of What a Woman), and tells her he has some diamonds set aside for her future. He tries to leave town for his own protection but is murdered before he can do so. Betty comes to Ed's old friend Boston Blackie (Chester Morris) for help, which he is eager to provide. Boston tries to find the diamonds, discover who murdered Ed, protect his daughter, and stay out of the way of Inspector Farraday (Richard Lane) and his associate Mathews (Walter Sande), who still think Boston is some kind of hoodlum despite many evidences to the contrary. Cy Kendall is competent but typically uninteresting as an obese crime lord. Dick Elliott [Up in the Air] and Lloyd Corrigan are also in the cast. A sub-plot has Boston's pal, the Runt (George E. Stone) engaged to a bubble dancer, Dixie Rose Blossom (Jan Buckingham), whose wedding keeps being interrupted.

Verdict: A standard, mildly entertaining BB adventure. **1/2 out of 4.

THE CRUEL TOWER

THE CRUEL TOWER (1956). Director: Lew Landers.

"I've seen guys with two left feet before, but not on the same leg."

Hungry and needing a job, Tom Kittridge (John Ericson of Rhapsody) goes to work for "Stretch" Clay (Charles McGraw) who is building a kind of water tower in a small town. Stretch has a girl named Mary (Mari Blanchard) even though he already has a wife who's dallying with Stretch's associate, Casey (Steve Brodie). Then there's chubby Joss (Peter Whitney), who is brain-damaged and loyal to Stretch. Unfortunately jealousies and rivalries break out, which isn't so good when men are working high up in the air ... The Cruel Tower might have had more impact had the fellows been working on a skyscraper (as has been erroneously reported elsewhere), but there's still some suspense and excitement, and the tower is plenty high enough for me. Alan Hale Jr. [The Killer is Loose] plays a man who comes afoul of Stretch. The acting is more than okay, with Blanchard [No Place to Land] perhaps making the best impression.

Verdict: Entertaining, with a taut climax, but it just misses being special. **1/2.

ALIAS BOSTON BLACKIE

Chester Morris and Richard Lane

ALIAS BOSTON BLACKIE (1942). Director: Lew Landers.

Boston Blackie (Chester Morris) is at a prison putting on a Christmas show for inmates when he encounters Eve (Adele Mara of Back from Eternity), the desperate sister of convict Joe Trilby (Larry Parks.)  Joe insists that he was framed by two men, and contrives a way to escape from prison so he can get his revenge upon them. Boston, in the meantime, tries to catch up with Joe to prevent him from committing murder, even as Inspector Farraday (Richard Lane) tries to catch up with both of them. Boston holds a gun on a cop, locks him in a closet, impersonates a police officer, and so on, but somehow when everything is neatly resolved Farraday never presses charges on Boston, a man he's never trusted and always wants to arrest. Morris is fine, but the best performances come from Larry Parks [The Boogie Man Will Get You] and Paul Fix [The Bad Seed] as the cabbie, Cavarone. Cy Kendall gives one of his better performances in this.

Verdict: Ok BB entry. **1/2.

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 VANISHING SHADOW

Ada Ince with affectionate robot

THE VANISHING SHADOW (12 chapter Universal serial/1934). Director: Louis Friedlander [Lew Landers].

Stanley Stanfield (Onslow Stevens), the son of a man ruined by the wicked Ward Barnett (Walter Miller) finds himself an unexpected ally in the person of Barnett's daughter, Gloria (Ada Ince), who strongly disapproves of her father's activities and hopes to reform him. Fat chance. In the meantime Stanfield -- whom Barnett has framed for murder -- has another ally in weird Professor Van Dorn (James Durkin) who has invented a machine that can make a man vanish, leaving behind only his shadow [hence, the "vanishing shadow"]. Virtually the entire cast disappears using this device at one point or another. Van Dorn has also invented a death ray that can zap plants, buildings and people, and a big robot that runs wild and is almost as much of a threat as the bad guys. There are some lively fist fights in this, and exciting cliffhangers as well: a car is smashed by a train; the death ray runs amok; Gloria walks into an electro-field; and so on. The Vanishing Shadow is not badly acted [look for Lee J. Cobb in a small role] and is a fun if very silly serial.

Verdict: Enjoyable hokum. ***.

REDHEAD FROM MANHATTAN

REDHEAD FROM MANHATTAN (1943). Director: Lew Landers.

The delightful Lupe Velez from the Mexican Spitfire series plays dual roles in this fairly amusing musical: Rita, whose boat is sunk as she reaches New York; and her identical cousin Maria, who is now known as Broadway star Elaine Manners. Maria has hid her marriage and pregnancy from the boss because he doesn't hire married women, so lookalike Rita's arrival is a godsend -- she can take Maria's place in the musical while the latter goes off to have her baby. Complications include a lover boy (Gerald Mohr from Angry Red Planet) who wants to marry Elaine, and a saxophonist named Jimmy (Michael Duane), who was on the same boat as Rita. [This whole business with the boat torpedoed, sunk, or whatever is sort of glossed over.] Velez is excellent in two roles, making them reasonably distinct, and shines in her snappy production numbers which feature some lively songs. In his second film Michael Duane is good-looking but betrays little real acting ability; still he amassed a few more credits up until 1948. Lewis Wilson, the first actor to play Batman, is cast as Elaine's husband. Shirley Patterson,/Shawn Smith --who was also in the Batman serial with Wilson --  is a switchboard operator. This was released by Columbia on the Port Pictures label.

Verdict: If you enjoy Velez, you may get a kick out of this. **1/2.

THE RAVEN

THE RAVEN (1935). Director: Lew Landers. 

The credits should give a thrill to any classic film enthusiast: "Karloff and Lugosi in THE RAVEN!" Unlike such films as Black Friday, The Raven is a highly memorable teaming of the two great horror stars. Lugosi is Dr. Vollin, an Edgar Allan Poe enthusiast, who operates on Jean Thatcher (Irene Ware) at the urging of her father, Judge Thatcher (Samuel S. Hinds). Unfortunately, Vollin falls in love with Irene, and her father tries to discourage Vollin, basically telling him he's too old and unsuitable, enraging the doctor. Vollin enlists Edmond Bateman (Karloff), a disfigured man who's come to him for help, in his scheme to get revenge on the Wares and others. Vollin operates on Bateman and makes him even more hideous, telling him that he won't make him look normal unless he helps him carry out his plan. This plan involves descending rooms, chambers whose walls close together to crush those inside, and of course a pendulum that threatens to cleave the judge in two in a bravura climax. Karloff and Lugosi play well together and the movie is delightfully gruesome fun. With the exception of Hinds, the other actors in the cast don't even seem to be on screen whenever the two stars appear. 

Verdict: Not really much to do with Poe, but quite entertaining nonetheless. ***.

THE MAGIC CARPET

THE MAGIC CARPET (1951). Director: Lew Landers.

Caliph Ali (Gregory Gaye) is a malevolent ruler and a phony. The real caliph, Abdullah (John Agar), infiltrates Ali's camp by posing as a doctor and curing Ali's hiccups. He also takes on the identity of "The Scarlet Falcon." And we mustn't forget the flying carpet that Abdullah uses now and then just so this mediocre Arabian nights fantasy can have some special effects. The only fun moments in the movie are provided by Lucille Ball as Ali's sister, Princess Narah. "I've been wracked with pain since my accident," she tells the doctor in the inimitable Lucy style. Raymond Burr plays a colleague of Ali's who's hopelessly in love with Lucy. Lucy's encounters with Patricia Medina, who loves Abdullah (whom Lucy merely lusts for) never erupt into out and out cat fights, although Lucy does give Medina a pretty fair slap at one point. Agar is adequate.

Verdict: Watch 7th Voyage of Sinbad instead. *1/2.

HONEYMOON DEFERRED

HONEYMOON DEFERRED (1940). Director: Lew Landers.

Private eye Adam Farradene (Edmund Lowe) has just gotten married to Janet (Margaret Lindsay) when an old girlfriend, Eve (Julie Stevens), calls him away because her boyfriend has been murdered and she needs his help. Janet isn't thrilled when Adam's secretary Kitty (Joyce Compton) covers him with kisses at the reception (photo), but his running off at the start of their honeymoon is really too much! Lowe handles this light-weight material with his usual verve and charm, but the killer is revealed halfway through the picture, stripping the film of most of its suspense. Chick Chandler is Adam's buddy, "Hap," and Anne Gwynne certainly makes an impression as the strange Cecile. But the picture is almost completely stolen by the wonderful Elisabeth Risdon as Sarah, a long-time friend of Farradene's. Risdon was also Lupe Velez' disapproving mother-in-law in all those Mexican Spitfire movies.

Verdict: Has its moments -- but you can see why this was forgotten. **.

THE RETURN OF THE VAMPIRE

THE RETURN OF THE VAMPIRE (1944). Director: Lew Landers.

Columbia studios made this Universal-style horror film but couldn't use the name Dracula, so Bela Lugosi plays not the infamous Count, but Dr. Armand Tesla, who wrote about vampires in the 17th century and then became one himself. His antagonist is not Van Helsing, but Lady Jane Ainsley (Frieda Inescort), whom he particularly hates because she helped to kill him once. (An interesting aspect, that reminds one of Dracula's Daughter, is that Lady Ainsley is nearly threatened with prosecution for her part in Tesla's impalement.) Tesla is assisted by Andreas (Matt Willis), a mentally-enslaved manservant who is also a rather talkative wolf man. Taking on the identity of Dr. Hugo Bruckner, Tesla sets his sights on Nicki (Nina Foch), a young lady who is engaged to Ainsley's son John (Roland Varno). Lots of fog and atmosphere can't quite disguise the fact that the script is weak, and Inescort gives a surprisingly cold and perfunctory performance under her perfectly modulated speech. The Return of the Vampire is entertaining but old-fashioned, far below the creative level of Son of Dracula made two years earlier. There are some good scenes, however, and the film is fun. Bela is effective as Tesla even if his gestures are a touch hammy.

Verdict: Not all it could have been. **1/2.