THE HORRIBLE DR. HICHCOCK

THE HORRIBLE DR. HICHCOCK (aka L'orribile segreto del Dr. Hichcock/1962). Sub-titled Italian version. Director: Riccardo Freda (Robert Hampton).

London, 1885: Cynthia (Barbara Steele) is the new wife of Dr. Bernard Hichcock (Robert Flemying), who has created a new anesthetic. Cynthia doesn't know that Bernard's first wife Margherita (Maria Teresa Vianello) was an accidental  victim of this new drug, and even he doesn't know that Margherita is still alive, insane, being attended to by the housekeeper, Martha (Harriet Medin of The Whip and the Body). Nothing good can come of this situation, and of course it doesn't. This is a Gothic tale with some overtones of Jane Eyre. Steele is dubbed, so we lose the impact of her great voice, but the film has an interesting score by Roman Vlad, as well as some style and atmosphere. This was double-billed with The Awful Dr. Orloff in U.S. markets. Freda also directed Caltiki, the Immortal Monster.

Verdict: Fairly standard Italian horror flick has its moments. **1/2.

SHATTERED LOVE: A MEMOIR Richard Chamberlain

SHATTERED LOVE: A MEMOIR. Richard Chamberlain. ReganBooks; 2003.

TV's "Dr. Kildare" writes about his life and philosophy of living in this disappointing memoir. While Chamberlain does write interestingly of career highlights such as Shogun, The Thornbirds [with Barbara Stanwyck], appearing on Broadway in My Fair Lady -- he's had a much more interesting career than people might imagine -- he spends too much time gassing off in psychobabble (and I do mean babble) style about new age religion. Just when you're getting interested in some aspect of his professional or personal life -- his reaction when he was "outed" while still being immersed in self-hatred -- off he goes on a tiresome jaunt on the nature of God and such. It's as if Chamberlain, recognizing that he was essentially a good-looking, totally self-absorbed  actor, had to go to all sorts of people for help in getting over himself. He may not even understand that most people don't need to go through all of this just to become more decent human beings. More anecdotes about his early days in television, background on a few more movies, would have been welcome. Chamberlain writes how an older actor told him he became a star before he learned how to act, but this is belied by a Bourbon Street Beat episode -- pre- Dr. Kildare -- in which he gives an excellent performance in only his third credit. He makes no mention of this show and indeed gets through Dr. Kildare in only a few pages. The show lasted for five seasons -- surely there were many more interesting episodes and guest-stars than Gloria Swanson? Nowadays too many celebrities don't just want to give you inside stories of their days in Hollywood, but feel a need to be some kind of guru to the reader. Too bad. After the book was published Chamberlain had a good role on Brothers and Sisters and is still working today.

Verdict: Some good passages nearly lost in a sea of psycho-babble. **1/2.

DANGEROUS

DANGEROUS (1935). Director: Alfred E. Green.

Don Bellows (Franchot Tone) is a successful architect engaged to Gail Armitage (Margaret Lindsay). One day Don spots the dissipated actress, Joyce Heath (Bette Davis), who has gone on a long bender after her once-promising career disintegrated. Joyce, and anyone who could hire her, are convinced she is a jinx. Admiring her talent and feeling that she once inspired him, Don takes it upon himself to bring Joyce back into the light -- and the limelight. But can Joyce overcome her own fears and insecurities, or will she sink back into the morass of doubt and depression? Dangerous is a good and entertaining picture, but one senses there's an even better movie lost in there somewhere. The sudden introduction of Joyce's husband, Gordon (John Eldredge), adds an almost weird plot turn to the movie, as well as an ending that may be strange to many (although I thought it worked). Davis [Dark Victory] won a Best Actress Oscar for Dangerous, although she's certainly given better performances elsewhere. Both she and Lindsay [Baby Face] ruin some dramatic scenes by rushing through their lines as if there's an explosive fire on the sound stage just out of camera range, and there's an unintentionally comical moment when a producer says of Joyce: "even in rehearsal it's the greatest performance I've ever seen." Unfortunately, Davis' on-stage emoting in this scene is laughably mediocre. There's some very good dialogue in the movie, but a little too much of "Mildred" from Davis' Of Human Bondage. Both Joyce and Gail are convinced  they will wind up with Don when neither lady has a good reason for thinking so. Franchot Tone [I Love Trouble] gives a fine performance; Eldredge is also good in a very under-written role; and Alison Skipworth is terrific as Bellows' housekeeper, Mrs. Williams. Dick Foran and Mary Treen have smaller roles and are swell.

Verdict: Snappy if suspect melodrama with some good lines and acting. ***.

THAT MAN IN ISTANBUL

Horst Buchholz

THAT MAN IN ISTANBUL (aka Estambul '65/1965). Director: Antonio Isasi.

Since the extremely popular From Russia With Love took place mostly in Istanbul, is it any wonder that a spy film made the following year would also use the city as its setting? But this flick is perhaps more similar to Kiss Kiss Bang Bang in that the hero is a shady character who gets into the spy action for money. An atomic scientist named Pendergast (Umberto Raho) has been kidnapped, but just as he is being returned his plane blows up -- but was he on it? American agent Kelly (Sylvia Koscina) suspects that Tony Mecenas (Horst Buchholz), who has a gambling operation, a few henchmen and many female admirers, might be behind this deception. However, the two wind up working together as a bunch of Chinese (who seem to work for a Spectre-like organization that also has its own island) and assorted roughnecks are out to find Pendergast and kill off anyone who gets in their way. That Man in Istanbul doesn't make a lot of sense, and doesn't begin auspiciously, but it gets a bit better and has some effective sequences, chief among them a fight high in a minaret-like tower, and a suspenseful climax when Tony and Kelly try hard to get away from a boat that's about to explode. Klaus Kinski [The Million Eyes of Sumuru] shows up briefly but has a decent fight-to-the-death with Tony, who runs half-naked through a Woman-Only sauna and winds up in the back seat of a limo with a startled dowager. The film is essentially farcical, with Buchholz turning to the audience at one point and saying, "What -- me worry?" Tony's affectionate nickname for Kelly is "baby fat" and there's another lady named Elisabeth (Perette Pradier) who gets involved in the action. Buchholz [Dead of Night] does not give a bad performance as a "cute" light-hearted operative, but no one would have cast him as Bond. An international "eurospy" co-production.

Verdict: A really good-looking hero never hurts. **1/2.

FLASH GORDON'S TRIP TO MARS

Kane Richmond and Buster Crabbe

FLASH GORDON'S TRIP TO MARS (15 chapter Universal serial/1938). Directors: Ford Beebe; Robert F. Hill

When destructive winds buffet the earth causing mass disaster, Flash Gordon (Buster Crabbe) heads to Mongo with Dr. Zarkov (Frank Shannon) and Dale Arden (Jean Rogers), but they discover that a deadly ray is trained on earth from Mars. On Mars, Flash discovers that old adversary Ming the Merciless (Charles Middleton) has joined forces with Azura, Queen of Magic (Beatrice Roberts) -- known as "Her Magnificence" -- who is fond of turning anyone who displeases her into living clay. Flash and company take quite a while, nearly the entire serial, to finally turn off that ray, but along the way we see interesting sets, bridges made out of solid light, cloaks that allow people to fly through the air, and an underground tube through which Flash races in a speedy vehicle. Trick photography, as it used to be called, makes the clay people seem to come out of walls made of the same material (these sequences remind one of the rock people in the later Missile to the Moon) and there's a group of Forest People who are even more threatening. The cliffhangers aren't particularly special in this serial, although there is a disintegrater room sequence in chapter nine. With her hair short and brunette instead of long and blond, Jean Rogers is less of a sex object and comes off braver and more competent than in the original serial, but she doesn't look as hot. Beatrice Roberts [Love Takes Flight] is only acceptable as Azura, but Middleton again steals the show as the marvelous Ming. Flash is such a gentleman that at one point he actually apologizes to Ming: "I'm sorry I have to rough you up, Ming." Huh? Crabbe seems a little bored at times. Jack Mulhall, Anthony Warde and future Spy Smasher Kane Richmond [Haunted Harbor] are also in the cast, with Richmond playing an enemy soldier.

Verdict: Hearty hokum. **1/2.

ARKANSAS JUDGE

ARKANSAS JUDGE (1941). Director: Frank McDonald.

Tom Martel (Roy Rogers, who is not the star but heads the supporting cast) comes back to Peaceful Valley, Arkansas where two women are waiting for him: "Nice girl" Maggie (Pauline Moore), daughter of the judge, and the much sexier Hettie (Veda Ann Borg of Jungle Raiders). However, there's bigger trouble when old Widow Smithers (Elly Malyon) insists that $50 was stolen from her flour barrel by Mary Shoemaker (Spring Byington of On Their Own), who does cleaning for all the ladies in town. Before long the whole community is torn apart, and Hettie's father, August (Frank M. Thomas), who heads the church council, wants everyone to shun Mary but has suspicions about his own daughter. In the meantime Tom and Hettie grow closer, much to Maggie's consternation. The members of Maggie's family are played by Leon, Frank and June Weaver, who had formed a hillbilly singing group called "The Weaver Brothers and Elviry." As Cicero, Frank just whistles a la Harpo Marx. Minerva Urecal has a small role as one of the town biddies. Arkansas Judge is a good comedy-drama with pleasant songs, good performances, and an unpredictable story line. And Roy! Pauline Moore appeared in three Charlie Chan movies, the best of which is Charlie Chan at Treasure Island.

Verdict: Nice picture. ***.

HEY LET'S TWIST

HEY LET'S TWIST (1961). Director: Greg Garrison.

"I'm paralyzed with fascination."

Widower Papa Dee (Dino Di Luca), who loves to listen to Caruso, owns an Italian restaurant that is barely getting by. His sons Joey (Joey Dee) and Ricky (Teddy Randazzo), who play with a group called the Starlighters, decide to turn the restaurant into the Peppermint Lounge and offer milkshakes (!) with the twist. The seriously weird Zohra Lampert [The Mad Mad Tea Party Affair] plays columnist Sharon, who takes a shine to sexy Ricky, while ditsy Piper Patton (Jo Ann Campbell), who also lusts for Ricky, has to make do with Joey. This is the highly fictionalized story of Joey Dee and the Starlighters, and the Peppermint Lounge where they performed. The character of brother Ricky was made up for the film and to add a little sex appeal for the teenyboppers. Di Luca and Kay Armen as his likable lady friend Angie offer the best performances, but Lampert and Randazzo are also good. Randazzo was mostly a musician, and he had only one other acting credit in Rock Rock Rock! Dee [Two Tickets to Paris] is personable but not much else. He played himself in two movies, both directed by Greg Garrison, but had no other acting credits.

Verdict: Shake that booty! ** out of 4.

DIE SCREAMING MARIANNE

DIE SCREAMING MARIANNE (1971). Director: Pete Walker.

Marianne Evans (Susan George) is supposed to be marrying Sebastian (Christopher Sandford) when she finds out that someone stupidly filled in the name of their friend, Eli (Barry Evans), on the marriage certificate -- and it's legal. Sebastian only wanted to marry Marianne because he knows that she's heir to a fortune which is coveted by her father (Leo Genn), and half-sister, Hildegarde (Judy Huxtable). Hildegarde unaccountably has a hankering for the unattractive father, but all of the characters in this are a little weird -- without being terribly interesting. They all wind up on the father's estate where unpleasant things occur. Director Pete Walker normally put together horror items like House of Whipcord but this is more of an un-thrilling thriller with a very low-grade production. George is unlikable as both actress and character, Huxtable is adequate, Evans is somewhat appealing, and Genn [Personal Affair] was probably wondering how he wound up in this mess.

Verdict: Not worth a single scream. *1/2.

CURSED

CURSED (2005). Director: Wes Craven.

"There's no such thing as 'safe sex' with a werewolf."

Ellie (Christina Ricci of Lizzie Borden Took an Axe) and Jimmy (Jesse Eisenberg) are a likable brother and sister team living on their own, but their lives are upended when they are attacked by a werewolf, whose identity is unknown. As the two wonder what's going to happen to them due to the werewolf curse, they try to ferret out the identity of the original werewolf, whom they suspect might be Ellie's boyfriend, Jake (Joshua Jackson of I Love Your Work). Or could it be someone else they know? Cursed is an entertaining, well-acted flick, with some exciting scenes and good FX work, but it becomes rather stupid as it progresses. Actor Scott Baio plays himself in a couple of scenes, as does former talk show host Craig Kilborne, and Lance Bass. Good-looking Milo Ventimiglia plays Bo, a homophobic jock who bullies hetero Jimmy, but who turns out to be gay himself; he's fine.

Verdict: Likable actors and characters help put this over. **1/2.

BOND ... JAMES BOND

BOND ... JAMES BOND

In honor of the release of the latest James Bond movie, Spectre, this week we have a round up of 007 adventures dating from the sixties (From Russia with Love with Sean Connery) to the 21st century (Die Another Day with Pierce Brosnan) with Roger Moore and Timothy Dalton in-between. All of these gentlemen -- including the latest Bond, Daniel Craig, as well as George Lazenby -- did their own take on the famous fictional spy, and I think all of them were very good, if different.

As for the evil organization, SPECTRE, it has been around since Dr. No in 1962. Dr No was working for the Russians in Ian Fleming's novel; Spectre, run by Ernest Stavros Blofeld, was invented for the films [maybe the studio didn't want Cold War problems?] The training center, Spectre Island, was introduced in the second Bond film, From Russia with Love, and really came into its own in Thunderball. As for Blofeld, he was up to his tricks in several later films, including You Only Live Twice.

DIAMONDS ARE FOREVER

DIAMONDS ARE FOREVER (1971). Director: Guy Hamilton.

"Making mud pies, double oh seven?" -- Blofeld.

Although it is generally considered that Roger Moore's Bond films -- with a couple of exceptions -- were the most absurd and cartoonish of the series, it was clear that Diamonds are Forever was already a step in that direction. George Lazenby wasn't interested in playing Bond again after On Her Majesty's Secret Service -- possibly a bad career choice -- so Sean Connery was again drafted to do duty as 007. Bond takes the place of a man involved in a stolen diamond pipeline, a scheme that takes him to Las Vegas where Ernst Stavos Blofeld (Charles Gray of The Devil Rides Out) has taken the place of a Howard Hughes-type, Willard White (Jimmy Dean), and where the master villain has yet another diabolical plan that Bond must demolish before the end. Connery is quite good as Bond, Jill St. John [The Lost World] makes an impression as jewel thief Tiffany Case (as does Lana Wood as "Plenty"), and Gray is excellent as the sinister, smirking Blofeld. In Ian Fleming's novel there are two homosexual hit men, but they are not the caricatures of the movie, with Bruce Glover as Wint being even more offensive than Putter Smith as Kidd. The sixties sensibility also includes the two female bodyguards Bambi (Lola Larsen) and Thumper (Trina Parks), who are like a condescending nod to women's lib, but who are dispatched by Bond fairly easily. Leonard Barr is fun as the deadpan comic "Shady Tree." Despite its many flaws, Diamonds Are Forever is very entertaining and colorful, with at least one excellent fight scene in an elevator, a nice bit in a crematorium, and an interesting interlude in a scientific laboratory and an underground desert pipeline, not to mention Bond scaling skyscrapers and the like.

Verdict: Lots of mindless fun.***

OCTOPUSSY

OCTOPUSSY (1983). Director: John Glen.

Ian Fleming wrote a short story featuring James Bond for Playboy magazine and gave it the provocative title of "Octopussy." The film that emerged uses only the title and little else. The renegade Russian General Orlov (Stephen Berkoff) has a diabolical plan to cause world-wide chaos by setting off a devastating bomb at a circus in Berlin. Orlov's allies include the exiled Afghan Prince Kamal (Louis Jourdan) and the woman only known as "Octopussy" (Maud Adams), who has a bevy of beautiful gals doing her bidding in both criminal and legitimate enterprises; she is unaware of the bomb plot. Then there's her ally, Magda (Kristina Weyborn), who engages with Bond (Roger Moore) over a certain suspicious Faberge egg.  Much of the movie takes place in Delhi, where we're treated to a variety of typical Indian stereotypes and cliches. There's a suspenseful climax with the circus and the bomb, and an excellent and harrowing epilogue with Bond trying to survive on the wing of a plane. Never considered the greatest of the 007 movies, Octopussy is nevertheless a very sleek and entertaining picture, extremely colorful, and with opulent settings and interesting set-pieces. Moore is fine, Jourdan is excellent, Adams is not bad as Octopussy, and Kristina Wayborn is lovely as Magda but isn't given enough screen time to really show what she can do, acting-wise, although she's a trifle stiff in her dinner scene with Bond. Vijay Amritraj scores as Vijay, an ill-fated agent, and Kabir Bedi makes an impression as Kamal's rather striking assistant, the master assassin, Gobinda. Another assassin uses a kind of buzzsaw/yo yo as a weapon. The theme song "All Time High" [Barry/Rice] is one of the best for a Bond movie, although Rita Coolidge's voice isn't quite sexy enough to do it justice.

Verdict: This seems to get better each time you see it. ***.

THE LIVING DAYLIGHTS

THE LIVING DAYLIGHTS (1987). Director: John Glen.

Timothy Dalton inherited the role of James Bond from Roger Moore and made an excellent, much more realistic 007 in an outing that has little of the overly campy humor and absurd situations of Moore's films. The pre-credit sequence, in which a training exercise at Gibraltar goes horribly wrong, is outstanding. The main story has to do with the defection of General Georgi Koskov (Jeroen Krabbe), whom Bond protects from a possible sniper attack. The "sniper" is a pretty cellist named Kara (Maryam d'Abo) but Bond resists killing her when he sees what an amateur she is and suspects something's up. The two wind up teaming up as assorted factions try to kill them. The action takes Bond from Czechoslovakia to Vienna to Tangiers and finally Afghanistan where the thrilling climax takes place on a plane as Bond and the assassin Necros (Andreas Wisniewski) dangle in the air and struggle even as a bomb is ticking in the cargo bay. Dalton makes a fine, more human Bond; Krabbe is wonderful; D'abo is hardly a classic Bond sexpot but she is effective and convincing; and there are good performances from Joe Don Baker [Criminal Law] as an American arms dealer, John Rhys-Davies as General Pushkin, and Art Malick as rebel Kamran Shah. "M" and "Miss Moneypenny" have been replaced by other actors, but Desmond Llewelyn is back as the marvelous "Q." Thomas Wheatley deserves special mention for his portrayal of fellow agent, Saunders, who is a bit tight-assed but likable. John Barry's music is a plus, especially the end title song "If Someone Was You." Followed by Licence to Kill, Dalton's second and last appearance as Bond.

Verdict: Entertaining, highly credible 007 outing. ***.

THE WORLD IS NOT ENOUGH

Bond (Pierce Brosnan) and Elektra (Sophie Marceau)

THE WORLD IS NOT ENOUGH (1999). Director: Michael Apted.

"There's no point in living if you can't feel alive."

Bond (Pierce Brosnan) is assigned as bodyguard to oil heiress Elektra King (Sophie Marceau), who has just gotten out of the clutches of kidnapper, Renard (Robert Carlyle). But is something else going on here? Bond tries to figure out who's the real villain as he stops a plutonium meltdown, battles bad guys near an exploding pipeline, tries to rescue a kidnapped "M" (Judi Dench), and faces torture at the hands of the series' most fascinating -- and perhaps only? -- major villainess. In addition to Brosnan and Marceau, there are good performances from Robbie Coltrane as Zukofsky and Carlyle as Renard, and an acceptable one from Denise Richards as Dr. Christmas Jones. The title is the Bond family's personal motto. Apparently this made more money than any other Bond film released in the 20th century. Brosnan first appeared as Bond in Goldeneye.

Verdict: Not on the level of Goldfinger or some of the other classic Bonds, but entertaining enough. ***.

DIE ANOTHER DAY

Rosamund Pike and Halle Berry

DIE ANOTHER DAY (2002). Director: Lee Tamahori.

James Bond (Pierce Brosnan) is captured during a mission and spends over a year in a prison in North Korea. General Moon (Kenneth Tsang) blames Bond for the death of his corrupt son, Colonel Moon (Will Yun Lee), but is the colonel really dead? After Bond affects his escape, "M" (Judi Dench) sees him as a useless non-agent, but 007 goes rogue (as he did in Licence to Kill) and takes off to capture the dangerous spy and terrorist, Zao (Rick Yune). Along the way he encounters American operative Jinx (Halle Berry), who also uncovers a clinic in Cuba where criminals can have their appearances altered via DNA manipulation. Bond learns that Gustave Graves (Toby Stephens), a man without a past and who has made a fortune in diamonds, may have made an alliance with Zao. Bond has both Jinx and undercover agent Miranda Frost (Rosamund Pike) helping -- or hindering -- him as he investigates Graves' operation in Iceland, and has a final encounter with Graves on a plane carrying a devastating weapon. I must say that I loved Die Another Day, which is one of the most exciting Bond movies in years. Brosnan is perfect as a more human Bond; Berry [Catwoman] and Pike [Gone Girl] are fine; Dench is on the money; and Stephens makes a sensational Bond adversary. Rick Yune, Yun Lee, and Tsang also offer superlative performances. There's a superbly-handled sword duel between Bond and Graves at the latter's club; a frenetic business with lasers running amok as Jinx tries to escape captivity; a laser beam pursuing Bond from on high as he races across the ice in his "invisible" car; and an outstanding climax with multiple battles on a plane that is breaking into pieces all around the participants. The only negatives are the over-abundance of high school-type double entendres that really make anyone over the age of eight groan. [For example: Miranda: "Has Mr. Bond been exploring his big bang theory for you? Jinx: "Oh, I think I get the thrust of it."]. Not to mention Madonna's dreadful title tune. Madonna [Shadows and Fog] herself, without her mole, shows up briefly as someone or other ("Verity"), and isn't bad. Die Another Day is full of entertaining absurdities. This is Brosnan's last appearance as Bond and his best 007 outing.

Verdict: Breathless, fast-paced fun. ***1/2.

HAPPY HALLOWEEN!

HAPPY HALLOWEEN! 

Welcome to Great Old Movies' annual round-up of horror movies. This year it's a mixed bag of old and new, with everything from Vincent Price and Barbara Steele to those lovable maniacs Michael Myers and Jason Voorhees and other mad slashers, as well as "horrible" books, and blood-curdling TV shows.

Curl up with a nice slice of pumpkin pie (with real whipped cream) and have some Halloween horror!

NIGHTMARE CASTLE

NIGHTMARE CASTLE (aka Amanti d'oltremtomba/1965). Director: Mario Calano.

When Dr. Stephen Arrowsmith (Paul Muller) discovers that his wife, Muriel (Barbara Steele), is having an affair with hired man David (Rik Battaglia), he imprisons, tortures and murders both of them. Somehow Muriel is declared dead even without a body, and her twin, Jenny, winds up married to the doctor, after inheriting everything, and living back in creepy Hampton Castle. Arrowsmith is a certified nut job, but Jenny herself seems to be going crazy -- or is dead Muriel trying to take over her twin's mind? Dr. Derek Joyce (Marino Mase) tries to help her, but will their attraction to one another lead to another disaster...? There are ghosts, murder plots, horrified servants, fiery conflagrations, and more, not to mention lots of atmosphere. Unfortunately, despite all that the movie is still just mediocre. Steel's great voice has been dubbed, minimizing her impact, but the acting from all seems more than adequate.

Verdict: Zesty if disappointing Italian horror flick. **1/2.

DR. PHIBES RISES AGAIN

"Hackett isn't saying anything!"

DR. PHIBES RISES AGAIN (1972). Director: Robert Fuest.

In this sequel to The Abominable Dr. Phibes, the not-so-good doctor (Vincent Price) is after certain Egyptian scrolls that he hopes will bring his beloved Victoria (Caroline Munro) back to life, but first he has to get rid of anyone who might get to the scrolls first. Phibes' chief adversary is archaeologist Darrus Biederbeck (Robert Quarry of A Kiss Before Dying and Count Yorga, Vampire), but Phibes has absolutely no problem ridding himself of everyone in Biederbeck's party by various inventive, diabolical -- and often quite funny-- means. There's a fog that melts away flesh; a phone device that snaps a spike through the caller's ear; a body- crushing device; an attack by falcon; crawling scorpions; and the like, all served up with ghoulish and amusing relish. Peter Cushing, Beryl Reid, Fiona Lewis, Hugh Griffith, and Terry-Thomas have smaller roles, while Price himself seems to be having a ball.

Verdict: Gruesome and funny in equal measure, this is a sequel that's as good as the original. ***.

PENNY DREADFUL SEASON 1

PENNY DREADFUL Season One. 2014.

"No one in this room is kind -- that's why you're here." -- Sir Malcolm Murray.

This Showtime series takes place in 19th century London and throws together some classic characters from horror fiction -- Victor Frankenstein (Harry Treadaway of The Disappeared), Dorian Gray (Reeve Carney), Professor Van Helsing (David Warner), etc. -- and combines them into a new storyline. The protagonist -- if you can call him that -- is an American cowboy-entertainer named Ethan Chandler (Josh Hartnett of The Black Dahlia). He is hired by Sir Malcolm Murray (Timothy Dalton) and family friend Vanessa Ives (Eva Green of Casino Royale) to retrieve Murray's daughter, Mina (Oliva Llewellyn), who has been kidnapped by vampires. Frankenstein's monster (Rory Kinnear), the first of two "unliving" beings that Victor has cobbled together, hates his creator and, as in Mary Shelly's great novel, wants Victor  to make him a mate. A series of gruesome mutilation murders are occurring all over London but the killer doesn't seem to be Jack the Ripper. All we need is Dracula and Dr. Jekyll and we're ready to go ...  Penny Dreadful for the most part is a literate, handsomely produced, well-written, and very well-acted Gothic soap opera that mercifully eschews camp (American Horror Story for instance), but the series goes completely awry when it suddenly turns into The Exorcist with its very contemporary-type scenes of demonic possession -- complete with spitting, cursing, useless priests, and so on -- that smack more of the 1970's than the 19th century. The show also throws in a fairly unexpected homoerotic sequence in the episode Demimonde, that is hot but hardly ever mentioned again, and has more to do with "shock" value and snaring some gay fans than with good story-telling -- although the scene certainly plays. [Internet trolls railed that the series turned into gay porn, which is hilarious as the two men are never actually seen in bed together, and the frequent male-female couplings in the show are much, much more explicit.] There's a final twist at the end of the first season that I should have seen coming but didn't, for shame. Let's just say that it summons up images of the tormented Lon Chaney Jr. in The Wolf Man. The show has just begun its third season but I have mixed emotions about watching season two -- will it retain the classy aura it exhibited in the earlier episodes or just descend into silliness? Eva Green is especially superb in this and Billie Piper also scores as Ethan's tubercular girlfriend, Brona, but everyone in this, down to the smallest role (including Alex Price as Proteus), is wonderful. Abel Korzeniowski composed the rather lush score and excellent theme music.

Verdict: Interesting, with many fascinating and clever facets, but ... **1/2.

UNFRIENDED

UNFRIENDED (2014). Director: Levan Gabriadze.

On the anniversary of the suicide of Laura Davies (Heather Sossaman), several of her friends receive dire threats from an unknown party who is stalking them one by one, resulting in more than one grisly demise. What's unique about Unfriended is that the viewer never sees anything but the computer screen on which the friends (and enemy) are emailing and visually communicating with one another. At first you can't imagine watching a whole movie this way, but once you get into the concept it works -- at least this once. The trouble with this stunt movie isn't the format so much as the fact that it should be scary, but aside from a couple of creepy moments, it isn't. Just when things are getting taut and suspenseful, there's a revelation of one character cheating on another that dissipates the tension for too long. Unfriended is a melange of computer hacking, Facebook, cyber stalking, bullying, and posting nasty videos on youtube, but the method chosen to deal with all this is fairly shallow, The actors, especially Shelley Hennig as Blair, are not bad, however, although this is not the type of movie to build a career on. Apparently we'll have to wait until Unfriended 2 to find out who the crazed maniac really is.

Verdict: Gets a couple of points for an interesting idea. **1/2.

THE HORROR OF IT ALL

THE HORROR OF IT ALL: One Moviegoer's Love Affair with Masked Maniacs, Frightened Virgins, and the Living Dead. Adam Rockoff. Scribner; 2015.

As a horror enthusiast and author in the field (fiction and non-fiction) I was intrigued by The Horror of It All. [Rockoff also wrote Going to Pieces, on slasher films.] I admit that I'm not quite certain what to make of this tome, as instead of a survey of All Things Horror it functions more as one man's memoir while discussing horror/slasher movies [mostly if not exclusively splatter films] and ruminating on everything from teachers he hated to political issues such as the death penalty to what he thinks of French people. I thought Rockoff was quite a good writer when he did Going to Pieces, and I appreciate the often tongue-in-cheek tone of Horror as he destroys some sacred cows, discusses the shortcomings (to put it mildly) of horror fandom, and dissects some movies he feels are over-rated. [I can't understand what he sees in the mostly dull Paranormal Activity, which could have used an ax murder or two.] Of course, there's a difference between a horror enthusiast and a horror geek and I don't mean it unkindly when I say that Rockoff appears to be the latter. Sometimes there is an adolescent approach to the material, with him settling old scores from years ago, and reminding the reader how he is heterosexual at least once in every chapter. But Rockoff does have some interesting things to say about horror films (if he likes horror fiction, such as Poe, Lovecraft or even King he never says so) and the book, despite some plodding sections, is a breezy read.

Verdict: For geeks, gore-hounds, and fringe horror fans who didn't get laid in high school. **1/2.

REMEMBER THE DAY

John Payne and Claudette Colbert

REMEMBER THE DAY (1941). Director: Henry King.

"Remember when Dan and I took the train together. I was so proud of him in his uniform." -- Dewey

"The House of Representatives will never pass an income tax plan." -- the Dean

Teacher Nora Trinell (Claudette Colbert) waits at a Washington reception to renew her acquaintanceship with an old pupil, Dewey Roberts (Sheppard Strudwick), who is now a Presidential nominee. She thinks back to when Dewey was a boy (Douglas Croft) and developed a big crush on her, even as she became secretly married to another teacher, Dan (John Payne), who goes off to war. One might wonder why this woman would want to go see a man that she hasn't been in contact with since he was a boy -- presidential nominee or no -- but it is made clear in a scene between Nora, Dewey and his wife, (Frieda Inescort) at the very end of the picture. Remember the Day is a lovely and touching film with excellent performances from Colbert, Payne [The Crooked Way] and especially young Douglas Croft [George Washington Slept Here], the screen's first Robin (of Batman and Robin), who nearly walks off with the movie. (Tragically, Croft died at only 37 years of age, which adds another poignant element to the picture.) There are other fine performances from Anne Revere as another teacher; Jane Seymour and Harry Hayden as Dewey's parents; Steve O'Brien as a bellboy; and William Henderson and Ann E. Todd as students; Marie Blake and Chick Chandler are also in the cast.

Verdict: Sentimental in the right way. ***1/2.

A TALENT FOR TROUBLE: WILLIAM WYLER

A TALENT FOR TROUBLE: The Life of Hollywood's Most Acclaimed Director, WILLIAM WYLER. Jan Herman. Putnam's; 1995.

This memorable biography of the great director looks at his private life; his work during the war making documentaries which often put him into dangerous situations; and the wonderful movies he made, including The Heiress, The Letter, The Good Fairy, Ben-Hur, The Big Country, The Children's Hour, These Three, Carrie, Dodsworth, Jezebel, Detective Story, and many, many others, most of which are certified masterpieces. Herman not only examines the director's private life, but shows what made him great by examining his movies (although Herman is not enamored of everything). Wyler got his start directing quickie silent westerns, but it was clear that there were much greater things in store for him. He directed Dead End, a stand-alone picture that became the first of many Eastside Kids films; directed Bette Davis in some of her best roles (and had an affair with her); survived the communist scare of the fifties and stood up for blacklisted individuals; introduced Audrey Hepburn in Roman Holiday; and remained married to actress Margaret Tallichet for many years. The book goes behind the scenes of virtually all of the movies, with comments from his fellow actors and others, as well as from his wife. Wyler was a superb director, my favorite after the perhaps showier and more publicity-driven Hitchcock, and it's very good that he's been given his due in this fine biography.

Verdict: Excellent biography of a gifted artist. ***1/2.

LOVE TAKES FLIGHT

LOVE TAKES FLIGHT (1937). Director: Conrad Nagel.

"Colossalific -- that's what it is!"

During a flight across the country, stewardess Joan Lawson (Beatrice Roberts) catches the attention of movie producer Dave Miller (Edwin Maxwell), who wants to make her a star to replace the difficult Diane Audre (Astrid Allwyn). Joan turns down the offer, but it is accepted by the pilot, Brad Bradshaw (Bruce Cabot), who goes to Hollywood in her stead. Brad begins hanging around with Diane, which causes consternation for Joan, who is in love with Brad. She gains much attention herself by taking well-publicized solo flights, but will Brad interfere ...? Bruce Cabot [Fallen Angel] is good as Brad, Allwyn isn't bad as the bitchy movie star, and Roberts is appealing enough as Joan but not special. Grady Sutton [Hot Saturday] plays a poor sap who keeps asking Diane for a date and getting turned down, and Bill Elliott is a man who dates Joan while she hopes to forget Brad. The movie has a somewhat feminist perspective due to Joan's independent stance, but of course the movie has to cop out at the end with the patronizing Brad taking over her flight. Otherwise, this is not a bad comedy-drama. This was the only film directed by actor Conrad Nagel [All That Heaven Allows], who amassed dozens of credits from the silent era until the late sixties. This was one of Roberts' few leading roles, as in most of her films she had very small parts.

Verdict: Pleasant trifle with some good acting. **1/2.

FANFARE FOR A DEATH SCENE

Richard Egan and Al Hirt with his trumpet

FANFARE FOR A DEATH SCENE (1964). Director: Leslie Stevens.

"An intelligent enemy is better than a foolish friend." -- Lord Kahn

This telefilm certainly has an intriguing title, but it's actually just the unsold pilot for a series called Stryker. Richard Egan [Wicked Woman] plays an agent in an ersatz spy movie (somewhat reminiscent of The Man from U.N.C.L.E.) who is up against a mysterious evil figure named Lord Kahn (Telly Savalas). The opening scene is a macabre one in which dozens of poisoned corpses are found in a sanitarium after a harried Professor Bannermann (Burgess Meredith) has made his escape. Both the good guys and the bad guys want Bannermann's formula. The interesting cast includes trumpeter Al Hirt (playing a trumpeter); a pre- Mary Tyler Moore show Ed Asner; Tina Louise from Gilligan's Island; J. D. Cannon [An American Dream]; Joseph Ruskin: and Viveca Lindfors [Silent Madness], who nearly walks off with the whole movie as a kind of femme fatale, along with Savalas.

Verdict: It's just as well this didn't become a series. **.

OPERATION BULLSHINE

OPERATION BULLSHINE (1959). Director: Gilbert Gunn.

On a remote English Army base during WW2, there is a full complement of female soldiers as well as men. Lt. Gordon Brown (Donald Sinden) is secretly married -- against orders -- to one of the lady soldiers, Betty (Barbara Murray), which causes complications when she arrives at the base. The chief complication is private Marge White (Carole Lesley), a vivacious blonde who has set her sights on Gordon. When the two ladies both wind up in a hotel room with Gordon, his commanding officer, Major Pym (Naunton Wayne of The Hidden Room/Obsession) is appalled. Can everything be straightened out? Operation Bullshine is not as smarmy as you might imagine, although it can't avoid the usual condescension towards women of this era. The three leads are all attractive and capable, although the movie never actually erupts into hilarity. Except for one brief sequence, you would never know there's a war going on. This is really a drawing room/mistaken identity picture disguised as a military comedy. Pretty Lesley could have been considered England's answer to Marilyn Monroe, whom she resembles, only she doesn't quite have Monroe's mystique or panache; tragically she committed suicide at 38. John Cairney, who was in Jason and the Argonauts, plays Gunner Willie Ross, who sings with a dubbed voice more than once. Gilbert Gunn also directed The Cosmic Monsters/Strange World of Planet X.

Verdict: Appealing cast puts this over. **1/2.

STRANGERS IN THE NIGHT

Helene Thimig

STRANGERS IN THE NIGHT (1944). Director: Anthony Mann.

Sgt. Johnny Meadows (William Terry) has exchanged letters with a young lady named Rosemary, and is on his way to Marteflores to finally meet her in the flesh. But he encounters another young woman, a doctor named Leslie (Virginia Grey), on a train and the two are immediately attracted to one another. Leslie turns out to be the new doctor in Marteflores, and pays a call on Rosemary's family, as does Johnny. There to greet them are Rosemary's mother. Hilda (Helene Thimig), and Hilda's companion, Ivy (Edith Barrett of I Walked with a Zombie). But where the hell is Rosemary? Most viewers will figure out what's going on, but there's still a twist or two. The leads are fine, but the picture is stolen by a wonderful Barrett, and Thimig is outstanding in her portrait of a seriously disturbed and lonely woman -- she is beautifully dramatic without chewing the scenery. Anne O'Neal is also notable as Leslie's nurse. This is a compelling little "B" movie, less than an hour long, that is bolstered by the acting. The appealing Terry also starred in Johnny Doesn't Live Here Anymore. Anthony Mann turned out lower-budgeted movies like this for Republic before going on to bigger and better items like The Furies and many others.

Verdict: Loneliness kills. ***.

HOLLYWOOD SCREEN TESTS

HOLLYWOOD SCREEN TESTS: Take One (1999 TV special). Director: Edith Becker.

Narrated by Robert Culp, AMC presented this first of two specials showing and commenting on various Hollywood screen tests. The tests are interesting, even if some of them go on a little too long. We see tests for Candice Bergen, Ann-Margret, Mitzi Gaynor, Barbara Eden and Andy Williams doing a scene for State Fair, and Patty Duke in Valley of the Dolls, among others. (How anyone could have given the role in the movie to Duke after seeing how horrible she was in the screen test is beyond me!) Singer Marni Nixon, who dubbed Audrey Hepburn and many others, is tested for the lead in The Sound of Music, but wound up playing Sister Sophia. Dustin Hoffman does a "personality" test and obviously passes it, and there's also Raquel Welch, Marlon Brando, and several big names doing tests after they were already established stars.

Verdict: Fun. ***.