Frontier Uprising (1961, directed by Edward L. Cahn)


In the 1840s, frontier scout Jim Stockton (Jim Davis) is hired to lead a wagon train down the Oregon Trail.  Accompanying him and the settlers are a group of calvarymen, commanded by Lt. Kilkpatrick (Don Kelly).  When the wagon train is attacked by a group of Native Americans who have been given rifles by Mexican soldiers, Stockton can’t figure out why,  When he suggests that the settlers take an alternative route through California (which was then controlled by Mexico), Kilkpatrick explains that such a detour would be considered an act of war and that he and his men cannot be a part of it.  What Stockton and Kilkpatrick don’t know (but soon find out) is that Mexico has already declared war on the United States.  Complicating matters even further is that both men have fallen for a Mexican woman named Consuela (Nancy Hadley) and her loyalties are now in question.

A 68-mintue B-western, Frontier Uprising is mostly interesting because of the amount of stock footage that was used to try to make this low-budget film seem like an epic.  For instance, when the rifle-bearing Natives attacked the settlers, I recognized a lot of footage from a lot of other movies.  One particular shot, of a wounded Native falling off of his horse, was used in so many films of the period that I’ve lost track of how many times I’ve seen it.  Much of the stock footage features Monument Valley prominently in the background, which suggests that Stockton was not doing a very good job of leading the settlers to Oregon.

Frontier Uprising is one of the 11 (!) films to be directed by Edward L. Cahn in 1961.  Cahn is credited with directing 127 films over the course of 30 years.  Some of them were good.  Most, like Frontier Uprising, were competent but forgettable.

30 More Days of Noir #3: Guns, Girls, and Gangsters (dir by Edward L. Cahn)


Guns, Girls, and Gangsters!  The title of this 1958 film pretty much sums it all up.

Now, technically, I guess you could debate whether or not the criminals in this film really qualify as gangsters.  When I hear the term “gangster,” I tend to think of the big Mafia chieftains, like Al Capone and the Kennedys.  Maybe it’s because I’ve seen The Godfather too many times but I always associate gangsters with wealth, big mansions, elaborate weddings, and aging crooners who need someone to chop off a horse’s head in order to get a role in From Here To Eternity.  However, the gangsters in this film are all basically small-time criminals.  One of them does own a nightclub but it’s not a very impressive nightclub.  If anything, they’re wannabe gangsters.  However, Guns, Girls, and Wannabes just doesn’t have the same ring to it.

Chuck Wheeler (Gerald Mohr) has a plan.  He wants to rob an armored car.  It’s a Vegas armored car, so of course it’s going to be full of money and since Michael Corleone killed Moe Greene three years before, there shouldn’t be too many repercussions from hijacking it.  (Sorry, I’m still thinking about The Godfather.)  To enlist the aid of a nightclub owner, he enlists the aid of a singer named Vi (Mamie Van Doren).  Vi just happens to be the wife of Chuck’s former prison cellmate, Mike (Lee Van Cleef).  Vi has been demanding a divorce for a while but Mike won’t grant it because he’s insanely jealous.  He probably wouldn’t be happy to find out that Chuck and Vi are now a couple but, fortunately, he’s locked up.

Except, of course, Mike escapes from prison around the same time that Chuck and the gang manage to hijack that armored car.  As you can guess, this leads to mayhem and havoc.  That’s where the guns of the title come into play….

Guns, Girls, and Gangsters is an entertaining little B-noir.  It’s only 70 minutes long so the film doesn’t waste any time getting to the action.  (There’s also a narrator who serves to fill in any plot holes and to keep the audience entertained with his rather self-important delivery.)  Gerald Mohr is a bit on the dull side as Chuck but you better believe that Lee Van Cleef is 100% menacing and oddly charismatic as the as the always angry Mike.  Van Cleef brings a charge of very real danger to the film.  (Perhaps he’s the gangster that the title was referring to, though I would still think of him as being more of an outlaw than a gangster.)  And, of course, you’ve got Mamie Van Doren, playing yet another tough dame in dangerous circumstances.  Van Doren gets to perform two musical numbers in Guns, Girls, and Gangsters and they both have a low-rent Vegas charm to them.  Watching this film, it occurred to me that Van Doren may not have been a great actress but she had the perfect attitude for films like this.  She played characters who did what they had to to do survive and who made no apologies for it and it’s impossible not to be on her side when she’s having to deal with creeps like Chuck or sociopaths like Mike.

Guns, Girls, and Gangsters is an entertaining B-noir.  There’s enough tough talk, cynical scheming, and deadly double crosses to keep noir fans happy.

Flesh and the Spur (1956, directed by Edward L. Cahn)


When farmer Matt Ransom (John Agar) is murdered for his horse and his gun, his twin brother Luke (also John Agar) sets out to get revenge.  He knows that his brother’s murderer was a member of the infamous Checkers Gang.  Because the gun that the killer stole was one of two identical pairs specially made for the twins by their father, Luke knows that all he has to do is find the outlaw who is carrying a gun that looks just like his.  During Luke’s search, he meets several others who have their own reasons for wanting to destroy the Checkers Gang.  Luke teams up with a beautiful Native American woman named Willow (Marla English), a snake oil salesman named Windy (Raymond Hatton), and a mysterious but deadly gunman named Stacy Doggett (Mike “Touch” Connors).

This B-level Western is best known for a scene where a group of rogue Indians tie Willow to an anthill in order to punish her for “traveling” with the white man.  The scene was not originally in the script.  It was added after a poster was designed that featured Willow bound to a stake.  While the scene was undoubtedly enjoyed by the teenage boys who the film was marketed towards, it feels out-of-place in the movie.  Some of the problem is that, while shooting the scene, the ants refused to go anywhere near Marla English and would instead run away whenever they were dropped on English’s feet.  After spending several minutes tied to a stake and having ants poured on her, English said, “Look, you’ve got six ants there.  Isn’t that enough?”  Marla English retired from acting shortly after appearing in this film.

Flesh and the Spur is a B-western through and through but it has a few good moments, like the scene where Luke and Stacy check out a saloon’s gun rack to see if anyone has hung up Matt’s gun.  Touch Connors is convincingly deadly as Stacy and there’s a good twist with his character at the end of the film. Marla English gives such a good performance as Willow that it’s too bad that the ants may have played a part in her early retirement from acting.  Unfortunately, John Agar is just as dull and colourless as always and he was obviously too old to be playing someone like Luke, who is meant to be a naive neophyte.

Flesh and the Spur may not be a classic but there’s enough there to keep western fans entertained.

Horror on the Lens: The Four Skulls of Jonathan Drake (dir by Edward L. Cahn)


It’s the voodoo!

Today’s horror on the lens in 1959’s The Four Skulls of Jonathan Drake.  It’s a film about a family, a zombie, decapitation, and a family curse.  Someone is murdering all of the descendants of the legendary Captain Drake.  Can Jonathan Drake be saved or is he destined to become just another skull?

The Four Skulls of Jonathan Drake is an atmospheric little movie, one that treats its potentially campy plot with the utmost seriousness.

Enjoy!

Four Shots From Horror History: La Bruja, Cult of the Cobra, Dementia, The She Creature


This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we continue to look at the 1950s.

Four Shots From Four Films

La Bruja (1954, dir by Chano Urueta)

La Bruja (1954, dir by Chano Urueta)

Cult of the Cobra (1955, dir by Francis D. Lyon)

Cult of the Cobra (1955, dir by Francis D. Lyon)

Dementia (1955, dir by John Parker)

Dementia (1955, dir by John Parker)

The She Creature (1956, dir by Edward L. Cahn)

The She Creature (1956, dir by Edward L. Cahn)

Moon Madness: INVISIBLE INVADERS (1959)


invade1

Edward L. Cahn (1899-1963) was one of those unsung Hollywood minions who had long careers. Beginning as an editor in the waning days of the silent era, Cahn steadily worked his way up to director, helming 26 of MGM’s later Our Gang shorts. Moving from the majors to the seedy world of low-budget filmmaking, Cahn’s feature film output found him at poverty stricken studios like PRC and for a number of years American International Pictures. He worked mainly in the science-fiction realm, but labored on everything from teen delinquency pics (DRAGSTRIP GIRL) to war dramas (SUICIDE BATTALION) to westerns (FLESH AND THE SPUR) and noir (WHEN THE CLOCK STRIKES). Cahn’s features were interesting. Not very good mind you, but interesting.

INVISIBLE INVADERS is a interesting one, in a car wreck sort of way. Atomic radiation from mankind’s nuclear testing has filtered into outer space. The late Dr. Karol Noyman’s corpse (veteran boogieman John Carradine) has been reanimated by an invisible alien from the moon (!) and sent to give his former colleague Dr. Penner a warning: all nations on Earth must surrender or the aliens will take over dead bodies and annihilate the world! Penner’s daughter Phyllis and associate Dr. Lamont are supportive, but the press has a field day scoffing at the old scientist. When the alien zombies go on a destructive, stock footage filled rampage, they start taking the old duffer seriously.

invade2Army Major Bruce Jay is sent to whisk Penner and company to a secret atomic lab. There, the scientists work diligently to figure out a way to stop the zombie invasion. It’s learned that by disrupting the alien’s molecular structure with high pitched sound waves, they leave their host bodies and die. Building a sonic ray gun (and how they built it so fast is beyond me), they successfully knock off a horde of the marauding monsters. Our heroes have the zombie cure and save the world from certain death.

Whew! I laughed out loud at some of the ridiculous situations presented in INVISIBLE INVADERS. The phony special effects and shoddy props would make Ed Wood proud. The cast tries, but are defeated by the ludicrous dialogue forced on them. John Agar (Maj.Jay) starred in way too many of these Grade Z schlockfests to mention here. Agar is clearly trying to emulate his former co-star John Wayne in this one, but falls far short of the mark. Pretty Jean Byron (Phyllis) had much more success as the mom in the mid-60s sitcom THE PATTY DUKE SHOW. Robert Hutton (Lamont) was a Hollywood also-ran who’s career never took off. He later starred in another low-budget masterpiece, 1967’s THEY CAME FROM OUTER SPACE (which I’ll get around to reviewing sooner or later). And Carradine is totally wasted in a role he could play in his sleep…and in this turkey. it looks like he did!

invade3  Despite it all, I still liked INVISIBLE INVADERS. As a connoisseur of bad movies, I thought it was fun in a dopey kind of way. If you’re a fan of stuff like PLAN 9 FROM OUTER SPACE, TEENAGERS FROM OUTER SPACE, BEAST OF YUCCA FLATS, or a die-hard John Agar fan, you’ll enjoy INVISIBLE INVADERS. I did (guess there’s just no accounting for good taste!)