1945’s The Vampire’s Ghost takes place in the African port of Bakunda. It’s the colonial period and the port is full of not just adventurers and local plantation owners but also all sorts of disreputable people who are looking to disappear from civilization for a while. A series of murders have recently rocked the port. Victims, almost all of them women, have been discovered drained of blood. The natives claim that it is the work of vampire but the colonialists dismiss that as superstition. Plantation owner Thomas Vance (Emmett Vogan) says that there is no such things are vampires. Thomas’s daughter, Julie (Peggy Stewart), says that there is no such things as vampires. Julie’s boyfriend, Roy (Charles Gordon), says that there is no such thing as vampires. Mysterious casino owner Webb Fallon (John Abbott) says that …. well, actually, Webb’s thoughts on the subject are a bit less certain.
Webb Fallon is known to be an expert on the occult and voodoo. The natives consider him to be a vampire and it turns out that they’re right! After he is wounded in an assassination attempt, Fallon is forced to reveal the truth of his existence to Roy. He also puts Roy under his psychic command, forcing him to serve as Fallon’s servant while Fallon proceeds to kill several people. Can Father Gilchrest (Grant Withers) save Roy from Fallon’s control and also prevent Fallon from turning Julie into his eternal vampire bride? And why exactly did Thomas think it was a good idea to buy a plantation next to the infamous Temple of Death in the first place?
It may not sound like it from the plot description but The Vampire’s Ghost is actually a fairly interesting take on the traditional vampire story. The film was made by Republic Studios and, as was so often the case with Republic, the budget was noticeably low and the film’s African locations were obviously just sets on a Hollywood soundstage. The film was apparently shot in ten days, which was considered to be a long shoot by Republic standards. And yet, despite the low budget, director Lesley Selander does a good job of creating a properly eerie atmosphere, opening with a POV shot of the vampire stalking a native woman and filling the soundtrack with the sound of beating drums in the distance. The beautiful Adela Mara appears as a dancer in Abbott’s casino and her dance scene is definitely one of the film’s highlights, a sudden burst of energy that fills the screen with life. With his somewhat wan appearance, John Abbott may not immediately strike most viewers as the most intimidating of vampires but, as the film progresses, Abbott’s performance win us over. He plays Webb Fallon as being a calculating villain who suffers from just a touch of ennui. He’s grown weary of his existence but he’s still driven by his vampiric urges.
This film was an early credit for screenwriter Leigh Brackett. Apparently, Howard Hawks hired her to adapt The Big Sleep after seeing this film. Brackett would go on to work on the scripts for Rio Lobo, El Dorado, The Long Goodbye, and The Empire Strikes Back. And it all started with a vampire named Webb.
It’s October and with my Rangers not in the MLB playoffs this year, I’ll have even more time than usual to help out with this site’s annual Horrorthon!
Are you having trouble getting into the October spirit? Don’t worry! The pulps and the comics are here to help! Here are a few covers that should get anyone into the Halloween mood!
Hi there and welcome to October! This is our favorite time of the year here at the Shattered Lens because October is our annual horrorthon! For the past several years (seriously, we’ve been doing this for a while), we have celebrated every October by reviewing and showing some of our favorite horror movies, shows, books, and music. That’s a tradition that I’m looking forward to helping to continue this year!
Let’s get things started with 1982’s Mazes and Monsters!
Based on a best-seller by Rona Jaffe, Mazes and Monsters tell the story of some college students who enjoy playing a game called Mazes and Monsters. Now, I realize that Mazes and Monsters may sound a lot like Dungeons and Dragons but they are actually two separate games. One game takes place in a dungeon. The other takes place in maze, got it?
When the players decide to play the game in some nearby caves, it causes the newest member of the group (Tom Hanks — yes, Tom Hanks) to snap and become his character. Convinced that he’s living in a world full of monsters and wizard, Hanks runs away to New York. How does that go? During a moment of clarity, Hanks calls his friends and wails, “There’s blood on my knife!”
It’s all fairly silly. There was a moral panic going on about role playing games when this film was made and this film definitely leans into the panic. But, in its own over-the-top way, it works. If you’ve ever wanted to see Tom Hanks battle a big green lizard, this is the film for you. And I defy anyone not to tear up a little during the final scene!
From 1982, here is MazesandMonsters! Happy Horrorthon!
Directed in 1989 by Farhad Mann, Nick Knight (a.k.a. Midnight Cop) was a made for tv movie meant as a pilot for a series filmed in Los Angeles. It would take another 3 years to for the show to be picked up as Forever Knight, and even then, it was difficult show to catch given you could really find it sometime after Midnight on Saturdays and/or Sundays. As Vampires in media go, Nick Knight is tucked away in a very small place between the success of Kathryn Bigelow’s Near Dark in 1987 and Francis Ford Coppola’s Bram Stoker’s Dracula in 1992. It’s nowhere near as good as either of those films, but plays on most of the vampire tropes. Allergic to Garlic? Check. Aversion to sunlight? Sure. As I’m writing this the way I would cover a TV episode, this review will have spoilers and will be a bit long in the tooth. My apologies in advance. For the TSL Horrorthon this year, I’m hoping my contribution will be (at least) the first season of Forever Knight. For the film, If you search for it, you can find on YouTube.
Detective Nick Knight (Rick Springfield, Hard to Hold) loves to work the night shift, but not before getting in a quick visit at a local suntan spa. It’s a bit uncomfortable, enough for him to hit the panic button and bring in a few staff to check in on him. He blames it on claustrophobia, “It’s like a coffin in there.”, he says and moves on. When an ancient jade goblet is stolen from a museum, leaving a guard murdered, Knight is brought on to the scene where Don Schanke (John Kapelos, The Shadow, The Breakfast Club) is already helping the cops take photos of the crime scene, and putting himself in the way of things. Nick interviews Dr. Alyce Hunter (Laura Johnson, TV’s Falcon Crest) about the homicide. Alyce reports the goblet was used in ritual blood drinking sacrifices (something that Knight sounds like he’s aware of since he can understand some of the ancient writing in the museum).
Cleaning up the scene, the media approaches Knight and asks if it’s “another Vampire murder”. Word has gotten out that there’s no blood in the course. Knight’s rescued by Captain Brunetti (Richard Fancy, The Girl Next Door) who asks to have him stop by his office after he gets the autopsy work. At the morgue, Nick is given a mug of tea that he just can’t stomach. Thankfully, Dr. Jack (Robert Harper, Twins)knows about Nick’s true nature, and is working helping him find a cure (which includes the tea). “How is your tanning coming along?”, Jack asks. “I’m up to ten minutes.” is Nick’s response, with a smile. When Nick returns to the Precinct, the Captain assigns Knight a new partner to help him with the vampire crimes. Nick’s been able to work alone for the most part, but now he finds himself paired with Schanke. This poses a few problems with hiding his nature.
Schanke and Knight get to know each other on their first night shift, with some talk about Schanke’s married life vs. Nick being forever single. The conversation is interrupted by a dispatch call about an Uzi toting gunman terrorising a local gym. They arrive on the scene, and much like Riggs & Murtaugh, Nick is gung ho about the situation, which causes a third cop on the scene to get killed. With a hostage in stow, the gunman threatens Nick. The girl gets herself out of trouble with a swift knee to the gunman’s gut, causing him to unload a full magazine into Knight. This brings out the vampire in Nick, who throws the gunman into an electrical fence, killing him.
With the case wrapped up, Nick visits Alyce, who spent her evening going through a book on the dig that discovered the cup. Before his arrival, she found a picture of the archeological team that includes someone who looks just like Nick. She makes a copy of the picture, but never mentions it to Nick during his visit. They have a moment, leading to a kiss. Of course, this also causes Nick’s fangs to sprout. He makes a hasty exit.
Having not seen Nick during the evening, Dr. Jack visit’s Nick’s haven, a closed down movie theatre with It’s a Wonderful Life still on the marquee. He finds Nick chugging on a wine bottle full of blood. They have a small argument over Nick’s humanity, leading Nick to admit his desire for love and companionship despite the vampiric side effect of watching people die around them. They make up and move on, there’s crime on the streets and the city needs it’s Midnight Cop. Nick explains that the stolen goblet is part of a pair (one of which he owns) that may be able to cure one of vampirism. The other goblet was coveted by Nick’s maker, LaCroix (Michael Nader, TV’s All My Children), who wants Nick to embrace his vampirism instead of trying to fix it. Could he be the thief?
When a homeless couple goes missing, Nick visits a local vampire nightclub. There he finds Janette (Cec Verrell (Silk). She informs him that while, yes, LaCroix is in town and yes, he may have something to do with the goblet, the missing couple has nothing to do with him. On his way out of the nightclub, Nick bumps into Alyce, who followed him. When some other vampire locals approach the couple, she notices a scar on Nick’s chest (matching one in the photo she had), and confronts him. He doesn’t outright admit to being a vampire, but she gets the feeling she’s on the right track. She even dares him a little, baring her neck. Nick doesn’t take the bait.
On the radio, we hear “The Nightcrawler” who is really LaCroix. The Nightcrawler hosts “Metal for the Ages”, lamenting that he hasn’t seen his old friend Jean Pierre (Nick) in some time. LaCroix dedicates his next song to him, which just happens to be Bobby Brown’s “My Prerogative”. I don’t remember Bobby Brown’s music ever being Metal, but we’ll roll with it.
Eventually, Nick has to deal with both LaCroix and the real villain in this tale. The story ends on a bit of a dark note, resolving the whole mystery, but still leaves open the promise of Nick’s search for Mortality. The city is safe for now, and that’s what counts.
Though the film isn’t terribly strong on the plot, it does shine with the music choices. With classic 80s hits like Steve Winwood’s “Don’t You Know What the Night Can Do” and “Human” by The Human League, Nick Knight definitely has a bit of style, though it’s a bit over the top and campy on the action sequences. It was one of those films that I had a better memory of than what it truly was.
Here’s hoping this month finds you with joy, family, friends, fiends, ghouls, and ghosts!
Today is also the start of the Shattered Lens’s annual horrorthon! Sit back, enjoy the reviews, the art, and the music videos, and have a great month of ghoulish fun!
Welcome to October! October is a big month here at the Shattered Lens. It’s the month when we devote the majority of our time to the horror genre. It’s time for our annual Horrorthon! Last year, we had a record number of Horrorthon posts. I’d love to break that record this year but mostly. I just want this year’s Horrothon to be fun for both our writers and our readers!
Here’s what I’m looking forward to in October!
Guillermo Del Toro’s Frankenstein — I think I was one of the few people who unreservedly loved Del Toro’s version of Nightmare Alley and I’m very much looking forward to seeing what he does with Mary Shelley’s classic tale. Oscar Isaac as Victor Frankenstein just feels like perfect casting.
The Horror Movies On TCM — TCM never lets me down in October. I can’t wait to binge all of the classic horror that will be aired this month.
Nouvelle Vague — Richard Linklater’s tribute to the French New Wave is scheduled to be released in theaters on October 31st and then on Netflix two weeks later. While I was a bit disappointed with last year’s Hit Man, I still look forward to every new Linklater film. Speaking of which….
Blue Moon — Linklater’s other 2025 film is scheduled for an October 17th release. Ethan Hawke is said to be brilliant in this film.
After The Hunt — I’m not really a huge fan of director Luca Guadagnino and I’ll probably never forgive him not only his Suspiria remake but also his uncharitable words about the original. That said, After The Hunt has gotten such mixed reviews that I’m intrigued. Julia Roberts is said to give one of her best performances in the film but the film’s storyline has been criticized. Whenever critics give a negative review to a politically-charged film, I feel almost duty-bound to watch the film and decide for myself.
Halloween — It’s my favorite holiday! I can’t wait to see all the decorations, all the parties, and all the costumes!
October’s going to be a great month and those of us at TSL can’t wait to celebrate it with you! What are you looking forward to in October?
Happy Horrorthon! I’m writing this in July because I enjoy it, not this particular short- this short is garbage trash. It got 1.2 Million views and I’m certain at least 3 of those views were On Purpose! Mustafa Nohekhan should be featured on the Real Men of Genius ad campaign. Here’s to you Mr. Super Low-Budget Horror Film Maker [sung]. It’s hard to make a movie when all you have is your iPhone, Party City makeup, and some leftover jello for blood from your Sunday picnic, but you showed them- YOU SHOWED THEM ALL! Here’s to you – God of the bloody goop and unpaid crew. Mr. Super Low-Budget Horror Film Maker because when your critics said that this film couldn’t and shouldn’t be done. You responded, “I can do it!” They responded, “But why?”
This short does have a beginning, middle, and an end. The protagonist, an actress, says bloody mary in a mirror and is killed by “Mary” between takes. The acting is worthy of the finest 7th grade home movies. It has a we’ve got an iPhone let’s make a movie vibe. If you don’t want to take my word for it and wish to watch this piece of cinema- Here is the link:
I have Jeff to thank for introducing me to the British ska band Madness. The first Madness song that he played for me was Our House, which was the band’s biggest hit in America. I liked the song, so much that I found myself humming it incessantly after first listening to it. Perhaps to get to me hum something else, Jeff then sent me a playlist including Night Boat To Cairo, The Prince, One Step Beyond, It Must Have Been Love, Michael Caine, Driving In My Car, Grey Day, and a host of other songs. It was not only my introduction to Madness but also my introduction to two-tone ska in general. I was quickly hooked.
Here in America, Madness is often incorrectly described as being a one hit wonder. While it is true that Our House was Madness’s biggest hit in America, it’s also true that, ever since the late 70s, Madness had been hugely successful in their native UK, spending 214 weeks on the UK Singles Charts and essentially becoming a bit of a cultural institution. They’ve had 16 singles reach the UK top ten and, somewhat charmingly, the band that formed in 1976 is still largely together.
Ever since the Beatles made A Hard Day’s Night, it’s been almost a rule that almost any successful British band should make a movie. 1981’s Take It Or Leave It is the Madness movie. Admittedly, it’s not a film with a great reputation. The members of the band have themselves described the film as being a bit amateurish and, as I watched the film, I couldn’t help but notice that lead singer Suggs always seemed to be struggling not to look straight at the camera when delivering his lines. Watching the film, it was obvious that the members of Madness were better musicians than actors. It’s interesting to consider that one of the things that makes Madness such an amazing band is that every member comes across as being a star. Watching them perform in their music videos, you get the feeling that you’re watching a group of seven extroverts having the time of their lives. And yet, even though the film’s director also directed the majority of the band’s videos, the members of the band still seemed to be unsure how to play themselves in Take It Or Leave It. It wasn’t just Suggs looking at the camera. It was also the other members of the band, often looking down at the floor when they had to deliver their lines or speaking so softly that it was a struggle to actually hear what they were saying.
The film attempts to tell the story of Madness, from the early days of Chris Foreman, Lee Thompson, and Mike Barson playing in a living room to the full band heading out on their international tour. Along the way, there’s arguments about the band’s musical direction, frequent personnel changes, and Suggs becoming the lead singer, leaving, and then becoming the singer again. The drama is all very lowkey. It’s perhaps a bit too lowkey. A scene where one of the members of the band attacks a drummer seems to come out of nowhere because the members of the band all just come across as being too mellow and friendly to really attack anyone.
Here’s the thing, though. None of that mattered. The members of the band were all so likable that it really didn’t matter that they weren’t particularly good actors. The scenes of the band performing were full of so much energy and joy that it more than made up for the parts of the film that dragged. Watching the band perform One Step Beyond in a pub, it’s impossible not to get pulled into the excitement. Even the use of slow motion during a performance of Night Boat To Cairo works because it allows us to watch a group of young men who are obviously having the best night of their lives. It’s moments like those that make life worth it. It’s moments like those that make you love a band like Madness.
In the end, Take It Or Leave It is a film that will best be appreciated by people who already like the band. It may not work as a drama but, as a celebration of music and performance, it’s the nutsiest sound around.
