Horror On TV: Kolchak: The Night Stalker 1.13 “Primal Scream” (dir by Robert Scheerer)


Tonight on Kolchak….

What happens when an oil company discovers new, undefined organic matter in the arctic circle?

Well, first off, they mishandle it and it ends up turning into a prehistoric, killer ape-man.

Secondly, it’s time for a corporate cover-up!

Fortunately, the world’s greatest (if unluckiest) journalist, Carl Kolchak, is on the case!

Anyway, this is an okay episode of Kolchak.  If I don’t seem as enthused about it as I’ve been about some of the previous episodes, it’s because a killer, prehistoric ape-man just isn’t as much fun as a Cajun demon or a killer robot.  Still, this episode has a nicely done, underground tunnel-set climax.  Seriously, you can’t go wrong with an underground tunnel.

This episode originally aired on January 17th, 1975.

Enjoy!

The TSL’s Horror Grindhouse: Scream Blacula Scream (dir by Bob Kelljan)


Am I correct in assuming that everyone knows who Blacula was?

Blacula is often described as being the black Dracula but actually, it’s a little bit more complicated than that.  In life, he was an African prince named Mamuwalde who, in 1780, went to Dracula’s castle and asked for the count’s help in suppressing the slave trade.  Dracula turned him into a vampire instead and, after declaring that Mamuwalde would forever be known as Blacula, he proceeded to lock Mamuwalde in a coffin.  That’s where Mamuwalde remained for 290 years, until he managed to escape.  By that point, his coffin had been relocated from Transylvania to Los Angeles.

All of that was revealed in the 1972 film, BlaculaBlacula, which starred a distinguished Shakespearean actor named William Marshall in the lead role, was a surprise hit so, of course, Mamuwalde (played again by Marshall) returned the following year in a sequel.  It didn’t matter that the first Blacula ended with Mamuwalde deliberately ending his existence by walking out into the sunlight.  Blacula would return!

It also didn’t matter if anyone in the audience for Scream, Blacula, Scream had somehow missed seeing the first movie.  Scream, Blacula, Scream features lengthy flashbacks to the first film.  It makes sense, really.  Why waste money on all new footage when you can just pad the sequel with scenes from its predecessor?

I’m disappointed to say that Scream, Blacula, Scream did not feature any disco action.  When I saw that this movie would be airing on TCM Underground, I decided to watch it specifically because I figured there would be at least one scene of Blacula dancing underneath a spinning disco ball.  I mean, it was a movie from the 70s, right?  Honestly, I think that if Scream, Blacula, Scream had been made later in the decade, it would have featured at least one disco dance scene.

What the film did have was a lot of voodoo.  Judging from this movie, Live and Let Die, and the House on Skull Mountain, it would appear that people in the early 70s were really obsessed with voodoo.  When the movie opens, a voodoo priestess named Mama Loa is dying and she’s just named her apprentice, Lisa (Pam Grier), as the new head of the cult.  Mama Loa’s son, Willis (Richard Lawson), isn’t happy about this decision so, for some reason, he decides that it would be a good idea to bring Blacula back to life.

Willis apparently thought that the revived Blacula would be his servant but it doesn’t work out like that.  First off, Blacula was perfectly happy being dead.  Secondly, he is no one’s servant.  Blacula promptly bites Willis on the neck and then proceeds to vampirize nearly everyone that he comes across.  Soon, Blacula has an army of vampires but all he wants is to be human again.

And who can help him reach that goal?

How about the city’s newest voodoo priestess, Lisa?

Now, I will say this about Scream, Blacula, Blacula.  The main character is named Lisa and that automatically makes it an above average movie.  The entire movie features people saying, “Lisa” over and over again and you know I loved listening to that.

Other than that, though, the movie was kind of a mess.  It was obviously written and filmed in a hurry and, as a result, a lot of the action felt like padding.  For a subplot that wasn’t that interesting to begin with, the voodoo cult power struggle got way too much screen time.  On the plus side, William Marshall and Pam Grier were both a hundred times better than the material that they had to work with.  Regardless of how ludicrous the dialogue was, Marshall delivered it with dignity and just the right hint of ennui.

Scream, Blacula, Scream is not a particularly good film but it’s worth seeing for Marshall and Grier.

 

Lisa Watches An Oscar Nominee: The Goodbye Girl (dir by Herbert Ross)


Goodbye_Girl_movie_poster

After I watched San Francisco, I decided to watch yet another film that I had DVRed during TCM’s 31 Days of Oscar.  I had several films to choose from and I ultimately decided to watch the 1977 best picture nominee The Goodbye Girl because, in general, I like movies from the 70s.  Add to that, the film was described as being a comedy and who am I to turn down the chance to laugh?

The Goodbye Girl asks the question, “What would happen if two of the most annoying people on Earth were forced to live together and then ended up falling in love with each other as a result?”  Paula (Marsha Mason) is recently divorced and is trying to raise her 10 year-old daughter, Lucy (Quinn Cumming), while also trying to relaunch the dance career that she put on hold when she got married.  As played by Marsha Mason, Paula is probably one of the most humorless characters to ever be at the center of a romantic comedy.  It’s not just that Paula is written to be a very angry character.  (For the most part, Paula has every right to be angry).  Instead, it’s that Mason gives such a totally sour performance that you get the feeling that Paula has probably never smiled once over the course of her entire life.  When, later on in the film, she does smile, it feels forced and unnatural.  You worry that her face is going to split in half.

In the course of one very bad week, she is abandoned by her actor boyfriend (he’s going to Italy to shoot a film) and she discovers that, before he left, her ex also sublet their apartment to another actor.  That actor is Elliott Garfield (Richard Dreyfuss), who is hyperactive, immature, self-centered, and very, very talkative.  He does things like play guitar in the nude and meditate in the morning.

Once Elliott shows up and barges his way into the apartment, a familiar pattern is established.  Elliott does something eccentric.  Paula yells at him.  Elliott yells back.  Paula yells in reply.  Elliott yells some more.  Even if you never quite buy the idea that the two of them would ever fall in love, you’re glad when they do because at least it gives them something to do other than yell.

(Of course, The Goodbye Girl was written by Neil Simon, which means that not only are Elliott and Paula yellers but they’re also very quippy yellers.  And while I guess we should be happy that Elliott tells the occasional joke, the constant barrage one liners is ultimately rather alienating.  Every time you think that the film is about to make an interesting point about human relationships, Elliott says something quippy and ruins the mood.)

Which is not to say that The Goodbye Girl is a terrible movie.  The scenes where Elliott rehearses and then appears in a terrible production of Richard III are brilliantly done and wonderfully satirize theatrical pretension.  As well, during its second hour, the film settles down a little bit.  Or, I should say, Richard Dreyfuss settles down and actually starts to give a performance that’s more than just a collection of nervous tics.  It helps that once Elliott and Paula are in love, they don’t yell at each other quite as much.  There’s even a rooftop dinner scene where the two actors finally show a hint of chemistry.

Ultimately, The Goodbye Girl is an uneven film that feels a lot like a sitcom.  It’s one of those films that you watch and, even though it’s not terrible, you still find yourself thinking, “This was nominated for best picture?”