MonsterGirl’s 150 Days of Classic Horror: #1 13 Ghosts (1960) & House on Haunted Hill (1959)

MonsterGirl’s 150 Days of Classic Horror!

13 GHOSTS (1960)

13 ghosts lobby card

Director/Showman extraordinaire William Castle brings us writer Robb White’s story centered around a quirky, dilapidated mansion once owned by eccentric scientist/occultist Dr. Plato Zorba, who collected ghosts from around the world and invented goggles that enable you to see them. When Dr. Zorba dies, he wills the strange house and its contents to his nephew Cyrus Zorba (Donald Woods) and family, wife Hilda (Rosemary De Camp), son Buck (Charles Herbert), and daughter Medea (Jo Morrow). The Zorba family is broke; the bank has even reclaimed the last bit of furnishings. While blowing out the candles on his birthday, Buck wishes for a house with furniture that can’t be taken away.

So, the fortuitous inheritance comes just in time. Not long after moving in, they discover that the house is haunted. Cyrus finds Uncle Plato’s notes and learns about the 12 ghosts that inhabit the house, including Dr. Zorba himself, who also leaves his housekeeper, Elaine Zacharides (Margaret Hamilton), whom Buck constantly refers to as a witch, not a subtle homage to her role in The Wizard of Oz. Hamilton adds a nice bit of nostalgic camp to the creepy environment: floating objects, hidden panels, a bed canopy that closes up like a vice grip to crush the person sleeping in it, and lurking cobwebby fiends who lunge from the shadows. Trapped within the walls of the house are the 12 manifested ghosties: the crying lady, a feisty skeleton, a meat-cleaving Italian chef who murdered his wife and her lover in the kitchen, a roaring lion alongside its headless tamer, and Dr. Zorba himself. They need a 13th ghost to set them free. The family is in danger because of the fortune hidden in the house. Martin Milner plays Benjamen Rush, the lawyer who handles the estate for the Zorbas. Is there a flesh-and-blood killer among them looking for the hidden fortune? Well, you’ll just have to find out for yourself… A true William Castle fun house ride.

HOUSE ON HAUNTED HILL 1959

Full feature below:

House on Haunted Hill (1959) “Only the ghosts in this house are glad we’re here”

William Castle’s House on Haunted Hill (1959) is a quintessential campy horror film that has become a cult classic. Starring Vincent Price as the eccentric millionaire Frederick Loren, the movie follows a group of strangers invited to a supposedly haunted mansion for a night, with the promise of $10,000 each if they survive until morning.

The film’s plot revolves around Loren and his wife, Annabelle (Carol Ohmart), who have a tumultuous relationship filled with suspicion and accusations of attempted murder. Loren even gives out guns, which are presented as little party favors set inside mini coffins. The guests encounter various terrors as the night progresses, including apparent ghosts, gliding white-eye-balled witches, mysterious attacks, a severed head, and unexplained phenomena, all while Elisha Cook Jr. revels in the violent history of the house while he drinks himself into a stupor.

Castle’s direction combines gothic horror elements with psychological tension, creating a unique atmosphere that blends genuine scares with campy theatrics. The movie is famous for its use of carnival-style haunted house props and effects, which contribute to its distinctive tone. And his infamous gimmicks like Emergo, which entails a floating skeleton that elicited laughs from theatergoers who threw popcorn boxes at it rather than shiver in their seats.

House on Haunted Hill is particularly notable for its twist ending, which plays with audience expectations about the nature of the haunting. The film keeps viewers guessing whether any of the major players elaborately staged the happenings or if it was supernatural in nature.

The movie’s impact extends beyond its initial release, influencing future horror films and inspiring remakes. Vincent Price’s iconic performance has cemented the film’s place in horror cinema history.

1 down, 149 days to go… Your EverLovin’ Joey, formally, affectionately known as MonsterGirl

A Season in Clay: A Little Tribute to a Visionary of the Surreal & the Fantastical: Ray Harryhausen 1920-2013

Harryhausen at work

Ray Harryhausen passed away in London where he lived, on May 7th, 2013 at the age of 91. How do you begin to summarize the extent of this brilliant master’s contributions to the world of fantasy and science fiction? His iconic career spans half a century literally bringing to life some of the most memorable creations that inhabit the fantastical realms of cinematic invention. Filmmakers like Steven Spielberg, John Landis, George Lucas, and Peter Jackson all claim to have been influenced by Harryhausen’s legacy.

From early on I can remember how much I was drawn to Harryhausen’s mystical visions, as they seemed to truly possess a certain extraordinary dynamism. I remember being frozen to the chair gripped with excitement when those bloodthirsty, bone-rattling skeletons broke through the crumbling earth and rose up in their fury to battle Jason and his men. How the expressive Ymir evoked such sympathy in me as a kid and how much I trembled when the imposing giant Octopus ‘Kraken’ emerged from the depths of the ocean floor to wreak havoc on the Golden Gate Bridge and oh, how I thought Talos was one of the coolest things I had ever seen. I think it’s these films that inspired my love of skeletons and fear of going over bridges!

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Talos

Ymir

It Came From Beneath the Sea the bridge

Kraken-It Came from Beneath the Sea

From The Beast From 20,000 Fathoms (1953)to Clash of the Titans (1981) and all the marvelous monsters, invaders, magnetic characters, and mythic legends in between, Harryhausen has dazzled us with what I feel is something akin to Beethoven or da Vinci in the way he has conjured his uniquely stylish special effects techniques setting off a whole new spectrum of imagination and movie magic.

Harryhausen was born in Los Angeles where as a teenager he met (at a sci-fi club) and became lifelong friends with Ray Bradbury and Forrest J. Ackerman. When he was only 13, watching King Kong in 1933, he became entranced with Willis O’Brien’s work with stop-motion photography.

From an interview in 2000 “I went to see it again and again, I was a King Kong addict! I loved the way the film took you from the mundane world into the surreal.”

He contacted O’Brien showing him a short demo he had created using an allosaurus, which impressed O’Brien enough to put him to work with George Pal (The Time Machine 1960, 7 Faces of Dr. Lao 1964) who was with Paramount. Eventually, he wound up working with O’Brien on Mighty Joe Young (1949) having done most of the animation on the film, yet O’Brien is the one who received the credit.

Mighty Joe Young Harryhausen

Harryhausen and Might Joe Young

Harryhausen finally got his chance to shine when Warner Bros. hired him to do the special effects for The Beast from 20,000 Fathoms (1953)

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It was in this film that he used split-screen or rear projection on overlapping miniature screens. Placing fantastical beasts in the midst of real-life landscapes and becoming the most influential sci-fi film of the 1950s. Ray Harryhausen started working with producer Charles H. Shneer at Columbia where in 1958 he did his first split-screen motion picture in color The 7th Voyage of Sinbad.

7th Voyage of Sinbad the cyclops

7th Voyage's Kali

Apparently, it could take Harryhausen up to two years to complete a project. He only shot 13 frames a day, which equaled half of a second of elapsed time each day.

His dedication to precision and the diligence and patient execution of detail culminated in memorable scenes like one of my favorites, the skeleton army forged from the teeth of the slain Hydra rising up with their swords to do battle, in Jason and the Argonauts.

Jason fights the skeleton army

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Ray Harryhausen also considered Jason and the Argonauts to be his best film work. My all-time favorite films that he imbued with his visual magic are It Came From Beneath the Sea 1955,  Earth vs the Flying Saucers 1956, 20 Million Miles to Earth 1957, and Jason and the Argonauts 1963.

In 2002, Seamus Walsh and Mark Caballero the two fabulous animators who created the deliriously delightful Mysterious Mose’ (which always kicks off my Halloween celebration in the month of October), worked with Harryhausen to finally finish his The Story of the Tortoise and the Hare a film which was initially started in 1952.

He was honored for his 90th birthday with a special tribute at The BFI Southbank Theater, where Peter Jackson presented him with a special BAFTA award from the British Academy of Film and Television Arts.

Ray Harryhausen with the Ymir

“I’m very happy that so many young fans have told me that my films have changed their lives. That’s a great compliment. It means I did more than just make entertaining films. I actually touched people’s lives, and I hope changed them for the better”-Ray Harryhausen

And indeed Ray Harryhausen did touch my life in a profound and wonderful way that helped pattern my own imagination. I’ll always feel grateful to the man for being part of the fond memories I carry from my childhood, and still honor today. I haven’t lost my enthusiasm for the films he breathed life into or the wonder and awe his work evokes in me, tapping into those bygone years. His contribution is immense, entertaining, and timeless.

7th Voyage of Sinbad

20 million miles to earth

Earth vs the Flying Saucers

earth vs flying saucers

saucers

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Eye of the Octopus

Moon men

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Cyclops fights the dragon

Harryhausen's cyclops

mythical creatures fight in 7th Voyage

Medusa from Clash of the Titans

harryhausen-and clash of the titans

Ray and Pegasus Clash of the Titans

Take your place now with all the mythical titans, we’ll miss you- love, MonsterGirl

From Wikipedia: Ray Harryhausen’s Filmography:

Filmography

Quote of the Day! Flight To Hong Kong (1956)

FLIGHT TO HONG KONG 1956

Flight To Hong Kong

Gritty film noir directed by Joseph M. Newman (Dangerous Crossing 1953, This Island Earth 1955) starring Rory Calhoun who plays the suave Tony Dumont an import/exporter or dealer in stolen gems who becomes enamored by chic novelist Pamela Vincent played by the lovely Barbara Rush. Pamela is drawn to Tony, when they first meet on a plane bound for Hong Kong, which is hi-jacked for it’s shipment of diamonds. Tony is a soft hearted rogue master-mind who smuggles gems for the syndicate in Macao.

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CapturFiles_17 "No papa, no mama no whiskey soda"
“No papa, no mama… no whiskey soda”
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“Me too kid”

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Mama Lin played by the wonderful Soo Yong (The Good Earth 1937, Sayonara 1957, Flower Drum Song 1961) has been a benefactor to Tony since he was a boy, and looks after him like a sagely mother.

She cautions him that it is a time for goodbyes, because his infatuation with Pamela will cause him to lose his steady girl Jean Blake (Dolores Donlon). Tony doesn’t heed Mama Lin’s warning and he winds up cheating the mob out of the stolen shipment and lamming it with the diamonds in order to be with Pamela in San Francisco… I won’t spoil the outcome, just catch it if you can on Netflix!

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“The heart is a small room Tony… when someone enters it, someone else must move out”-Mama Lin

Wise words Mama Lin… MonsterGirl

Happy Birthday to the inimitable Bea Arthur!

bea arthur

Today is Bea Arthur’s birthday. The grand lady would have been 91. I had the wonderful opportunity to see her one woman show with accompanist Billy Goldenberg in her dynamic ”Bea Arthur on Broadway: Just Between Friends” back in 2002.

I just adore Bea Arthur, from her performance as Vera Charles along side Lucille Ball in 1974 Mame  singing ‘Bosom Buddies’… to her performance as Edith Bunker’s cousin Maude Finley who was on her fourth husband and a raging liberal breaking the mold of the American Television Housewife…

Bea Arthur as Maude

Or her portrayal of the erudite and snarky Dorothy Zbornak on The Golden Girls.

Bea Arthur as Dorothy Zbornak The Golden Girls

Below she sings Irving Berlin’s ‘What’ll I Do’, a song that melts me into a puddle, and a duet I’ve done with my Siamese cat Daisy…

Happy Birthday Bea Arthur you’re still in our hearts bigger than life!

Joey

MonsterGirl’s 150 Days of Classic Horror!

Good Evening… Joey, formally & affectionately known as MonsterGirl in certain circles, is here to let you know that I’ve decided to give myself a challenge. I know I write a lot about obscure gems, and I do love shining my flashlight on the deep, cobwebby corners of cinema, throwing a little Joey radiance on films you might not ordinarily think of.

But I got to pondering. People won’t truly know what my personal favorite films are if I never get a chance to write about them in depth. I don’t spend a consistent enough amount of time here at The Last Drive In covering particular films that have absolutely resonated with me over the years. Masterpieces or little artistic offbeat offerings that I love so much I often find it hard to articulate the way I feel about them, and wind up chickening out like Don Knott’s Luther Heggs (The Ghost & Mr. Chicken) for fear my post just won’t do them justice.

So I thought to myself, it’s really time I start posting at least a little snippet of the films that are my chosen favorites. But because I go off on tangents and get so easily distracted, I should try and challenge myself to get to the point and list my TOP classic horror films, YET use only ONE photo, and ONE brief commentary about the film working through my list with the ease of a tortoise who’s been sipping espresso! So… grab your sidecar & ride along…

Barney's Sidecar

I started out with trying to list 100. I failed miserably. Then I thought, okay, let’s do 120. Again, that was as big a flop as Barney Fife’s sidecar or one of Grandpa Munster’s wily inventions!

Grandpa and Herman in the lab

I managed to come up with 150, with my sneaky way of fitting in a bunch of extras by making certain film pairings or triple features. Some I chose to put together because they naturally seem to be companion pieces for each other. The stories somehow connect, or the imagery or their confluence matches up with the vision of the filmmakers who made them.

Whatever the reason, it made it to my list, so you’ll have to accept that I am not one who can narrow down her love to one thing. It can’t be done. I’ve tried. Even with that proverbial gun to my head, like Bette Davis’s good twin/bad twin in Dead Ringer, I had to keep the list rolling. How can I leave out certain films that I just adore?

Now, I can tell you that Rosemary’s Baby and The Haunting are my all-time obsessions. Polanski’s masterpiece, but the devil’s in the details, and that’s a lot of writing! I’ve been putting off covering Rosemary’s Baby, but it’s time soon, lest Minnie Castevet (Ruth Gordon) appear at my doorstep, chocolate mouse and tannis root in hand, and demand I give birth to this critical masterpiece—after all, she chose me, honey, from all the writers in the world to give this film its due!”

For my 500th post here at The Last Drive In, I did pay tribute to The Haunting!

Robert Wise’s The Haunting (1963) “No one will come any further than town, in the dark… in the night”

I’ve finally got to talk about Tourneur’s Curse of the Demon and expand on Narciso Ibáñez Serrador’s beautifully Gothic The House That Screamed 1969 with Lili Palmer. And there are a few others that are absolutely going to wind up being examined extensively here at The Last Drive-In. Whichever I’ve already covered like Roeg’s Don’t Look Now 1973.

Unraveling the Knot: Don’t Look Now (1973) A Mesmeric Paradox of Grief in Uncanny Red: Part 1

Unraveling the Knot: Don’t Look Now (1973) A Mesmeric Paradox of Grief in Uncanny Red: Part 2

I’ll add the link inside each 150 Days post that briefly covers those films!

Any of these films are ones I’d pick to show as a marathon on Halloween or at my own real Drive- In Movie Theater if I ever won the lottery and managed to open up a fabulous retro Drive-in Theater/Cat Sanctuary/Coffee House. That’s a dream of mine, you know…

3D Audience

And you know, something funny happens when you post YOUR own list of movies? People leave the most delightful (exasperating) unsolicited comments like, “Why didn’t you include?” or “Nice list but, what about? “  And I find myself becoming like Daffy Duck who uncovers the pearl in the giant clam and goes off on his little tirade spewing, ‘It’s mine, it’s mine, it’s all mine, you understand!”

The list is mine! It’s mine!

That’s the point of making my own list. Because it’s MINE. If you don’t see a film here, don’t take it personally. Make a list of your own, and please feel free to let me know what YOUR favorites are.

Another essential thing to take note of here is that I can not possibly qualify which films are better than the rest. I won’t nor can’t do that. I think it’s theoretically impossible to compare different films and decide which is the best in order of rank. Which should take the #1 spot. To facilitate things, I’ve put them in alphabetical order. Not from better to worse. I hate qualifying things anyway. To me, lists that try to do that seem to elevate one film by diminishing another. And…

Some could be considered Horror/Sci-Fi/Fantasy hybrids or Suspense/Horror hybrids. The ones I’ve chosen seem to fall nicely into the classic horror realm, even if there is a science element to them, because there is a strong presence of the supernatural. Also, within the contexts of what makes a suspense-driven narrative that delves into the deep end of horror, I also take into consideration. If it contains a rather grotesque, brutal, or savage set of details, that’s how I’ve chosen to rank it as a horror film and not just a suspense film. BTW, I will not be including made-for-TV horror movies, in case you’re wondering why you don’t see treasured titles here like Don’t Be Afraid of the Dark and Trilogy or Terror!

So anyways, don’t think that I love 13 Ghosts the most and White Zombie the least, or that I’m batty because I think that anyone who carries around a hatbox containing a woman’s severed head, as was the case in Night Must Fall, doesn’t qualify as horrific as in Horror film.

Let's Go Out To The Lobby

Just to recap, this challenge is a way of forcing myself to fill my blog with films that fascinate, titillate, and inspire me. It really is a personal challenge for me to write only ONE short commentary with ONE defining photograph from that film. ONE image that sums up the story and nothing else. There is none of my long-winded synopsis, referential tangents, or my usual visual narrative that goes on and on and on and on…

I’ll still be releasing more deep dives and substantive overviews as usual; you can count on me as sure as the House of Usher crumbled and fell,  I’m looking to present these 150 little posts and tell you– as if we were in an elevator only going up a few floors– about my favorites as I count down through the 150 or so, (er, hum says long-winded me) classic horror films.

Here’s a sneak peek at the list. It is in alphabetical order and will also include double and triple features, just like the good old days of sitting in the musty old movie theater with the smell of buttered popcorn assaulting your nose for hours because you could sit through three movies for a $1.50 or those balmy Saturday afternoons at home watching rare ones on the telly or those star-filled summer nights at the drive-in wearing your pajamas: I hope some of your favorites are on here too!

  1. 13 GHOSTS/HOUSE ON HAUNTED HILL 1959
  2. ALICE SWEET ALICE 1976
  3. AND SOON THE DARKNESS 1970
  4. ABBOTT & COSTELLO MEET FRANKENSTEIN 1948
  5. ASYLUM 1972 /TALES FROM THE CRYPT 1972
  6. AT MIDNIGHT, I’LL TAKE YOUR SOUL 1964
  7. THE ABOMINABLE DR. PHIBES 1972/THEATER OF BLOOD 1973
  8. THE AMITYVILLE HORROR 1979
  9. THE AWFUL DR. ORLOFF 1962 / THE HORRIBLE DR. HITCHCOCK 1962
  10. BABA YAGA 1973 / NECROMANCY 1972
  11. BEAUTY AND THE BEAST 1946 / THE QUEEN OF SPADES 1949
  12. BEDLAM 1946 /THE BODY SNATCHER 1945
  13. BEFORE I HANG 1940 / THE MAN THEY COULD NOT HANG 1939
  14. THE BELL FROM HELL 1973
  15. BLACK CHRISTMAS 1974
  16. BLACK SABBATH 1963 / BLACK SUNDAY 1960
  17. THE BLOOD SPATTERED BRIDE 1972 /BLOOD AND ROSES 1960
  18. THE BLACK CAT 1934 / THE RAVEN 1935
  19. BEWARE MY BRETHREN 1972 / WHEN A STRANGER CALLS 1979
  20. BLACULA  1972 / SCREAM BLACULA SCREAM 1973
  21. BURNT OFFERINGS 1976
  22. THE BROTHERHOOD OF SATAN 1971
  23. THE BIRD WITH THE CRYSTAL PLUMAGE 1970 / DEEP RED 1975
  24. BEAST IN THE CELLAR 1970 / THE SHUTTERED ROOM 1967
  25. THE BAD SEED 1956
  26. THE BEAST WITH FIVE FINGERS 1946
  27. THE CAR 1977
  28. THE CHANGELING 1980 / GHOST STORY 1981
  29. THE CANTERVILLE GHOST 1944
  30. THE CRAZIES 1973
  31. CARNIVAL OF SOULS 1962
  32. CASTLE OF BLOOD (DANZE MACARBRA) 1964
  33. CAT PEOPLE 1942 / CURSE OF THE CAT PEOPLE 1944
  34. CHILDREN SHOULDN’T PLAY WITH DEAD THINGS 1972
  35. CORRIDORS OF BLOOD 1958 /THE HAUNTED STRANGLER 1958
  36. COUNT YORGA VAMPIRE 1970 /RETURN OF COUNT YORGA 1971
  37. THE CHILDREN 1980
  38. CRY OF THE BANSHEE 1970
  39. CURSE OF THE DEMON 1957
  40. DAUGHTERS OF DARKNESS 1971
  41. DEAD AND BURIED 1981
  42. DEAD OF NIGHT 1945 / FLESH AND FANTASY 1943 / CARNIVAL OF SINNERS 1943
  43. DEATHMASTER 1972
  44. DEMENTIA 13 (1963) / NIGHT TIDE 1961
  45. DON’T LOOK NOW 1973
  46. DRACULA (1931) / NOSFERATU 1922 / DRACULA’S DAUGHTER 1936
  47. DEAD RINGER 1964 / THE NANNY 1965
  48. THE DEVIL COMMANDS 1941
  49. THE DEVIL’S RAIN 1975
  50. THE DUNWICH HORROR 1970
  51. DOCTOR X 1932
  52. DEATH DREAM 1974
  53. EYE OF THE DEVIL 1966
  54. EYES WITHOUT A FACE 1960
  55. THE EVIL DEAD 1981 /PHANTASM 1979
  56. THE EVICTORS 1979 / THE TOWN THAT DREADED SUNDOWN 1976
  57. EYES OF LAURA MARS 1978
  58. THE EXORCIST 1973 / THE OMEN 1976
  59. NEITHER THE SEA NOR THE SAND 1972 / THE WITCH WHO CAME FROM THE SEA 1976
  60. THE FOG 1980 / HALLOWEEN 1978
  61. FRANKENSTEIN 1931 / BRIDE OF FRANKENSTEIN 1935 / SON OF FRANKENSTEIN 1939
  62. FRIGHT NIGHT 1985 / THE LOST BOYS 1987
  63. FOUR SKULLS OF JONATHAN DRAKE 1959 / THE THING THAT WOULDN’T DIE 1958
  64. FREAKS 1932 / THE UNKNOWN 1927
  65. GAMES 1967 / WHAT’S THE MATTER WITH HELEN? 1971 / THE MAD ROOM 1969
  66. GOD TOLD ME TO 1976
  67. GRAVE OF THE VAMPIRE 1972
  68. THE GHOST SHIP 1943 / THE LEOPARD MAN 1943 / THE 7th VICTIM 1943
  69. GOODBYE GEMINI 1970
  70. THE GHOUL 1933 / THE OLD DARK HOUSE 1932
  71. HATCHET FOR A HONEYMOON 1970
  72. HOMEBODIES  1974
  73. THE HAUNTED PALACE 1963
  74. THE HAUNTING 1963 / THE INNOCENCE 1961
  75. THE HAUNTING OF JULIA 1977
  76. THE HOUSE THAT SCREAMED 1969
  77. HORROR HOTEL (CITY OF THE LIVING DEAD) 1960 / BURN WITCH BURN 1962
  78. HOUSE OF USHER 1960 /PIT AND THE PENDULUM 1961
  79. HOUSE OF WAX 1953
  80. HOMICIDAL 1961 / THE NIGHT WALKER 1964 / THE TINGLER 1959
  81. HUSH… HUSH, SWEET CHARLOTTE 1964 / WHAT EVER HAPPENED TO BABY JANE? 1962
  82. I BURY THE LIVING 1958
  83. I WALKED WITH A ZOMBIE 1943 / ISLE OF THE DEAD 1945 / THE BODY SNATCHER 1945
  84. ISLAND OF LOST SOULS 1932
  85. THE INVISIBLE MAN 1933
  86. THE INVISIBLE RAY 1936 / THE WALKING DEAD 1936
  87. KILL , BABY, KILL 1966 / LISA AND THE DEVIL 1973
  88. THE KILLER INSIDE ME 1976
  89. KWAIDAN 1964
  90. THE LEGEND OF HELL HOUSE
  91. LEMORA: A CHILD’S TALE OF THE SUPERNATURAL
  92. LIVING DEAD AT MANCHESTER MORGUE (Let Sleeping Corpses Lie) / TOMBS OF THE BLIND DEAD
  93. LET’S SCARE JESSICA TO DEATH
  94. THE LODGER 1944/THE LODGER HITCHCOCK/HANGOVER SQUARE
  95. LEGEND OF HELL HOUSE 1973
  96. MARTIN 1977
  97. M 1931 / MAD LOVE 1935
  98. MESSIAH OF EVIL (DEAD PEOPLE) 1973 / DREAM NO EVIL 1970
  99. THE MAN WHO LAUGHS 1928 / THE UNKNOWN 1927
  100. THE MAN WHO TURNED TO STONE 1957
  101. THE MASK 1961
  102. THE MASQUE OF THE RED DEATH 1964
  103. THE MAZE 1953 / THE SCREAMING SKULL 1958
  104. MR. SARDONICUS 1961
  105. THE NIGHT DIGGER 1971
  106. NIGHT MONSTER 1942
  107. NIGHT MUST FALL 1937 / SECRET BEYOND THE DOOR 1947 / NIGHT OF THE HUNTER 1955
  108. NIGHT OF THE LIVING DEAD 1968 / DAWN OF THE DEAD 1978
  109. NO WAY TO TREAT A LADY 1968 / MAN ON A SWING 1974
  110. THE OMEGA MAN 1971 / THE LAST MAN ON EARTH 1964
  111. THE OTHER 1972
  112. THE PSYCHOPATH 1966
  113. PSYCHO 1960 / THE BIRDS 1963
  114. THE PREMONITION 1976/ PSYCHIC KILLER 1975
  115. PLAY MISTY FOR ME 1971 / THAT COLD DAY IN THE PARK 1969 / A REFLECTION OF FEAR 1973
  116. THE TEXAS CHAINSAW MASSACRE 1974
  117. PSYCHOMANIA 1973
  118. RACE WITH THE DEVIL 1975
  119. REPULSION 1965 / DIABOLIQUE 1955
  120. ROSEMARY’S BABY 1968 / THE MEPHISTO WALTZ 1971
  121. RUBY 1977
  122. THE REINCARNATION OF PETER PROUD 1977
  123. SHOCK WAVES 1977
  124. SILENT NIGHT BLOODY NIGHT 1972 / DON’T LOOK IN THE BASEMENT 1973
  125. SISTERS 1972
  126. SCANNERS 1981 / SHIVERS 1975
  127. SPIDER BABY 1967
  128. SQUIRM 1976 / FROGS 1972 / SSsss 1973
  129. STRAIT-JACKET 1964
  130. THE SENTINEL 1977
  131. THE SHINING 1980
  132. THE STEPFORD WIVES 1975
  133. STRANGLER OF THE SWAMP 1946 / FäHRMANN MARIA 1936
  134. SUSPIRIA 1977
  135. SUGAR HILL 1974
  136. SPIRITS OF THE DEAD 1968
  137. TARGETS 1968
  138. THE TENANT 1976
  139. TAM LIN 1970 / QUEENS OF EVIL 1970
  140. THE UNINVITED 1944 / THE GHOST AND MRS. MUIR 1947
  141. THE VELVET VAMPIRE 1971
  142. TOURIST TRAP 1979
  143. TERROR AT RED WOLF INN 1972
  144. TRACK OF THE VAMPIRE (BLOOD BATH) 1966
  145. VAMPYR 1932
  146. VAMPIRE CIRCUS 1972
  147. THE WICKER MAN 1973 / BLOOD ON SATAN’S CLAW 1971
  148. THE WITCHES MIRROR 1962 / CURSE OF THE CRYING WOMAN 1963
  149. WHITE ZOMBIE 1932
  150. THE WOLF MAN 1941 / THE MUMMY 1942

The Mary Astor Blogathon: The Man With Two Faces (1934) A Caligarian Black Comedy with Astor as a Trilby like Sylph and the tell-tale Mustache in a Gideon’s Bible

Astorthon

THE MAN WITH TWO FACES (1934)

or ‘Of Mice and Mustaches’

Man With Two Facs Lobby Card

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Mary Astor plays Jessica Welles a Trilby-Like Sylph who falls under the spell of her treacherous husband played by Louis Calhern. Robinson’s role the tagline would suggest, “It’s the most unusual picture since “Dr. Jekyll and Mr. Hyde.”  is quite misleading as his character Damon is not a split personality, induced by mad science or a fractured id run amok. He is simply impersonating a fictitious mustache, spectacles and goatee wearing Frenchman in order to lure his vicious prey into his vengeful murderous trap. Louis Calhern is an archetypal Svengali/Caligarian figure and ultimately it’s Damon’s fake mustache accidentally left in a Gideon’s Bible that gives the crime away. Archie Mayo had actually directed Svengali in 1931.

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Astor and Calhern Archetypal Trilby and Svengali characters
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Barrymore and Marian Marsh in Svengali

The Man With Two Faces is a mystery thriller with comical overtones. Invoking Jekyll & Hyde is far off the mark as Edward G. Robinson only dons a disguise to rid his bewitched sister of her treacherous, conniving, abusive and murderous husband. The character of Damon is more like Zorro or The Lone Ranger exacting out a theatrical brand of vigilante justice. As an actor the milieu is perfect for him to wear a ‘mask’ posing as a producer to lure his tortured sister’s husband Vance (Yiddish for bedbug, pronounced ‘vants’ but it applies as Stanley Vance is quite the vermin) into his trap so he can kill him"¦

Mary Astor The Man with Two Faces
Mary Astor as the bewitched Jessica Welles in The Man with Two Faces
Mary Astor
photo of Mary Astor courtesy of Doctor Macro

Mary Astor has a classy, understated beauty. She’s sophisticated and smart, refined and polished and worldly-wise. Often poised and self-possessed with a simmering kind of sexiness. Yet here in The Man With Two Faces, her light is just a bit diminished by the role of Jessica Welles who is forced to shape-shift from lovely star of the stage into a doll imprisoned in a fugue state.

I was thrilled when Dorian from Tales of the Easily Distracted and Ruth of Silver Screenings let me participate in The Mary Astor Blogathon. I wanted to pick a film that I hadn’t seen in order to enhance the fun of bringing some of her films to the attention of readers and really be inclusive while paying tribute to this great woman. I adore Mary Astor. And as much as I like The Maltese Falcon 1941, and simply adore Bogie, it wasn’t that iconic bit of Film Noir flight of fancy that brought Miss Astor to my attention. I hadn’t truly started to notice her work until I did an extensive feature on Robert Aldrich’s Grande Dame Guignol masterpiece Hush"¦ Hush Sweet Charlotte 1964 It was then that I became taken in with Mary Astor’s performance as the bitter and time worn Jewel Mayhew. Then of course being a huge fan of Boris Karloff’s Television series Thriller, I am one of the few people who actually think Rose’s Last Summer was one of the finest episodes of that series. Mary Astor bringing her classy swank and snark to the role of Rose French. I became a devout fan of hers from that time on, and have started trying to devour as much Mary Astor as I can"¦

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It’s funny how most people might connect her with her role as Brigid O’ Shaughnessy in The Maltese Falcon 1941, but I think of her other contributions like Sandra Kovac in The Great Lie 1941 Mme. DeLaage  The Hurricane 1937 Antoinette de Mauban The Prisoner of Zenda 1937  and of course in Dodsworth 1936 as Mrs. Edith Cortright.

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Mary Astor and Walter Huston in Dodsworth 1936

The Man With Two Faces is a Warner Bros. black comedy not so much of a mystery, with tinges of the 19th Century melodramatic tradition written for the stage by George S. Kaufman and Alexander Woollcott with a screenplay by Tom Reed and Niven Busch. The original play opened in New York City in 1933 and had 57 performances. Margaret Dale who plays Aunt Martha originated her movie role on the stage. The original cast included Porter Hall and Margaret Hamilton (The Wicked Witch of the West from Oz)

Produced by Hal Wallis, Jack L Warner and Robert Lord and Directed by Archie Mayo (Svengali 1931, Bordertown 1935, The Petrified Forest (1936) Moontide 1942 Angel on My Shoulder 1946) and with the production and art design by John Houghs (Treasure of the Sierra Madre 1948, The Thing From Another World 1951)

Mary Astor as well as Mae Clarke (Frankenstein 1931, Waterloo Bridge 1931 and Public Enemy’s memorable grapefruit in the face girl) seem to be wasted in both these roles where the women are subverted ridiculed, demeaned and inconsequential. I wish Astor had more presence in the film… even the housekeeper Nettie has more spark to her character as does Aunt Martha. Astor just isn’t given enough layers to work with because she is in a trance most of the time, her character Jessica’s lack of affect doesn’t suit her usual spirited performances, here there are only little bursts of the dimension she is capable of.

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Ricardo Cortez titles

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David Landau and Emily Fitzroy

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I went to Syosset High School which was the town right next to Locust Valley… just a little sentimental factoid about your little MonsterGirl

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Jessica-“doctor dear why are you such a bother”
Dr. Kendall– “the bother was getting you well enough to act at all"¦ if you think it’s been a picnic”
Jessica-“Alright I’ll rest but do you mind if I get a little excited, it’s the first time in three years"¦ doctor why did all those people remember me?”
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Dr. Kendall-” Why shouldn’t they, you weren’t entirely unknown you know.”
Jessica-“I know but comebacks you know, you know what they are. Critics staying home out of kindness. And the Times saying you were ‘adequate’

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Damon throws books at Barry as he enters the dressing room
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John Eldredge as playwright Barry Jones
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Daphne-“Give the gentleman a cigar”
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Barry-Why, he missed me
Damon “Ah, just my luck I always get buck fever when I see an author
Barry-“Damon, I don’t know what you’re sore about your sister has a whole basket full of telegrams and everybody thinks it’s a grand play
Damon– “Yeah, grand for a high school strawberry lawn festival, somebody oughta stuff that second act and put it in a museum"¦”

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Barry– “You, you’ve had a hangover for the last ten years. You, you just hangover with him.”

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Daphne– “f I had known that, I’d never have acted in your play”
Damon– “Oh Daphne my love… you never acted in any play, never will.”

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Aunt Martha– “Well you’ve never said a truer word in your life Mr.Weston the work was just the medicine that Jessica needed”
Ben Weston– “Well I always knew she would act again.”
Aunt Martha “Well I didn’t. I was in front the night she collapsed. They dismissed the audience, you’d a thought she’d been drugged.”
Ben Weston– “A lot of people said it was drugs.”
Aunt Martha– “There were all sorts of stories around but the truth was that husband of hers"¦ Stanley Vance.”
Ben Weston– “From what I’ve heard, he must have been the lowest form of animal life.”
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Aunt Martha– “You put it mildly”
Ben Weston– “What I can’t understand is, how a girl of Jessica’s type would"¦ I mean to say, a girl with her brains and talent”
Aunt Martha -“Brains and talent don’t mean much to the Devil Mr. Weston.”
Ben Weston– “I don’t follow you”
Aunt Martha-“Did you ever see a snake with a bird Mr Weston? That’s Jessica and Stanley Vance. Horrible"¦ of course you know the night she collapsed was the night he left. But this is something you may not know. The day she learned that he’d been shot dead in San Francisco was the day her mind began to heal"¦.”

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Damon-“Why do you always break down, you did that tonight”
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Damon coaches Jessica on the finer points of her acting…

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“Hattie I’m famished”

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Daphne asks Barry to accompany her on a bit of Stormy Weather.  

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Mary Astor who plays actress Jessica Welles, is a delicate Trilby-like sylph who is married to a cold-blooded cad Stanley Vance (Louis Calhern The Asphalt Jungle 1950) Vance is a conniving, controlling Svengali/Caligari-esque cutthroat who not only bilks old ladies out of their fortunes but actually murdered his first wife. He seems to possess the art of hypnosis and uses it to manipulate Jessica into a state of virtual somnambulist enslavement. With the mere tilt of his head and leering eyes that penetrate she goes deeper under his control. In his presence she is a wilting flower, powerless, catatonic and as submissive as Trilby, a piece of clay to be molded in any form Vance desires.

Continue reading “The Mary Astor Blogathon: The Man With Two Faces (1934) A Caligarian Black Comedy with Astor as a Trilby like Sylph and the tell-tale Mustache in a Gideon’s Bible”

Postcards from Shadowland No.11

Beast from 20,000 Fathoms
Beast from 20,000 Fathoms 1953
Bela in Chandu the Magician
Bela Lugosi and Irene Ware in Chandu the Magician 1932
Black Caesar
Fred Williamson in Black Caesar 1973
Cat People 1942 Alice at the pool
Cat People 1942 Alice at the pool
Chaney Sr., Lon (He Who Gets Slapped)_
Lon Chaney -He Who Gets Slapped 1924
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Claudette Colbert and Henry Wilcoxon in Cleopatra 1934
Try and Get Me
The Sound of Fury aka Try and Get Me 1950
CrimeWave
Crime Wave 1954
Dante's Inferno
Dante’s Inferno (1911)
FallenAngel
Fallen Angel (1945) Dana Andrews, Alice Faye and Linda Darnell
Gun Crazy
Gun Crazy (1950) Peggy Cummins and John Dall
InALonelyPlace
In a Lonely Place (1950) Gloria Grahame
kitten with a whip
Ann -Margret in Kitten With a Whip 1964
Laura
Gene Tierney and Dana Andrews Laura (1944)
Innocents 1961
The Innocents 1961 with Deborah Kerr
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Mary Astor The Maltese Falcon (1941)
misterbuddwing1965
James Garner and Angela Lansbury -Mister Buddwing (1966)
out of-the-past
Out of the Past (1947) Robert Mitchum and Virginia Huston
plunder road
Plunder Road (1957) Elisha Cook Jr.
Seance on a Wet Afternoon
Kim Stanley and Richard Attenborough Seance on a Wet Afternoon 1964
svengali Barrymore and Marsh
Svengali (1931) John Barrymore and Marian Marsh
The blue dahlia alan ladd and veronica lake
The Blue Dahlia (1946) Alan Ladd and Veronica Lake
z-Aelita
Aelita: Queen of Mars (1924)

Quote of the Day! Stolen Identity (1953)

STOLEN IDENTITY (1953)

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Joan Camden is the hostage, wife Karen Manelli prisoner to jealous, mad, and murderous concert pianist husband Claude Manelli (Francis Lederer)Handsome Donald Buka (Street With No Name 1948) plays an American in Vienna in search of a passport to freedom and happiness. He steals the identity of the dead man in his cab, and fate throws him and Karen together. The film is produced by actor Turhan Bey and directed by Gunther Von Fritsch who co-directed with Robert Wise on The Curse of The Cat People 1944.

Stolen Identity lobby card

“Claude has one great love… himself. His love is like a religion and his God asks for human sacrifices!”

Lederer and Camden Stolen Identity

Stolen Identity Donald Buka Joan Camden

MonsterGirl