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 take a look at the latter half of the 1920s.
4 Shots From 4 Horror Films
The Phantom of the Opera (1925, dir by Rupert Julian)
Faust (1926, dir by F.W. Murnau)
London After Midnight (1927, dir by Tod Browning)
The Fall of the House of Usher (1928, dir by Jean Epstein)
I’ll admit it right now. I’ve never really been a dog person.
That’s the way it’s been my entire life. According to my sisters, I was bitten by a dog when I was two years old. Needless to say, I don’t remember that happening but that still might explain why, when I was growing up, I was scared to death of dogs. Seriously, if I was outside and I heard a dog barking or if I saw a dog running around loose (or even on a leash), I would immediately start shaking. It didn’t help that, for some reason, I always seemed to run into the big dogs that wanted to jump and slobber all over me. (“Don’t be scared,” one dog owner shouted at me, “that’ll just make him more wild,” as if it was somehow my responsibility to keep his dog under control.)
Then there was that time when was I was ten and I was visiting Lake Texoma with my family. There was another family there and they had a big black dog with them. When I first saw him, the dog was very friendly. He ran up to me and, tentatively and with my sisters standing beside me for moral support, I even patted his head,. He seemed so nice! Finally, I had met a dog that didn’t scare me. My family was really happy. We went down to the lake and everyone told me how proud they were that I had managed to face a dog without running away. As we came back from the lake, I saw the dog laying down next to his family’s van. I smiled at the sight of him. He raised his head, looked at me, and started to growl. He wasn’t growling at my sisters or my parents. He was growling at me. Terrified, I went over to my family’s car and I ducked down behind it. I could hear my Dad telling the dog to stop and then I heard the loudest barking and saw the dog running towards me. I jumped in the car and locked the doors. The dog’s owners eventually grabbed their dog and took him back to their van. They said that I probably looked like someone who had been mean to it a few weeks earlier. One thing that they did not really do was apologize. Instead, they just made me feel like it was somehow my fault. They didn’t seem sympathetic when my Mom explained that I was terrified of dogs. When they realized my Dad was on the verge of punching someone, they retreated to their van and quickly left. At that time, I decided that 1) I would never trust another dog and that 2) dog owners are the most selfish people on the planet. I know that sounds harsh but seriously, I was traumatized!
As I grew up, I mellowed a bit. I met nice dog owners who actually made the effort to control their pets. I even met some friendly dogs and slowly realized that not all of them were going to try to kill me. I became less scared of dogs but they still definitely make me nervous. I still cringe when listening to the barking and I still reflexively step back whenever I see a big dog anywhere near me. Now that I know more about dogs, I have to admit that I feel a little bit guilty about not liking them more. Knowing that dogs actually blame themselves for me not liking them is kind of heart-breaking and I have been making more of an effort to be, if nothing else, at least polite to the canines who lives in the neighborhood. That said, I’m a cat person and I’ll always be cat person. Cats don’t care if you like them or not nor do they blame themselves if you’re in a bad mood, which is lot less of an emotional responsibility to deal with.
1977’s Dogs is a film that seems like it was especially made to give people like me nightmares. It’s a pretty simple movie. At a college in Southern California, the students and the faculty find themselves under siege from a bunch of dogs that have been driven mad by pheromones being sprayed into the atmosphere by a nearby, top secret government experiment. Two professors (David McCallum and George Wyner) attempt to convince everyone to evacuate the college and the town but, in typical Jaws fashion, no one wants to admit the truth about what’s happening. By the end, nearly everyone is dead (and the final scene of all the dead bodies spread across campus is genuinely haunting) and the cats are starting to hiss at humans.
Dogs is a low-budget drive-in flick but it’s still a frightening film, largely because the dogs are relentless and the victims may be largely stupid but they’re all stupid in realistic ways. A group of college students is told to wait inside until George Wyner comes back for them but Wyner takes so long in returning that the terrified students decide to make a run for it themselves. It doesn’t end well but it’s the sort of thing that I can actually imagine happening. No one likes being told to wait and, with no idea of what’s actually going on, making a run for it might actually seem like as good an idea as any. Even when the movie recreates the Psycho shower scene (with dogs instead of Norman Bates), it’s far more effective than it perhaps has any right to be.
Would this film be as effective from the point of view of someone who doesn’t have a history of being scared of dogs? It’s a legitimate question. Dogs aren’t like sharks. Most people like dogs. But when they’re barking and growling and determined to bite your throat, they can be pretty scary! I’ll just say that Dogs is a film that seemed to be uniquely designed to give me nightmares.
Those words are spoken in the 1958 film, The Hideous Sun Demon. Sultry pianist Trudy (Nan Peterson) may just be talking about her own nocturnal lifestyle and her job as the entertainment at a bar but those words also have a double meaning to scientist Gil McKenna (Robert Clarke). Whenever the sun comes up, Gil is transformed into the Hideous Sun Demon!
In theory, of course, this is an interesting take on the werewolf legend or even a traditional vampire tale. Typically, monsters aren’t supposed to come out until the sun goes down and they can move under the cover of darkness. The werewolf is transformed by the moonlight. The vampire is destroyed by the sun. (Or, at least, he used to be. Largely due to authorial laziness, many modern vampire tales have abandoned the whole idea of not being able to go out during the day.) Gil, however, reverses the trend. By night, he’s a handsome and brooding scientist. By day, he’s not just the sun demon. He’s the …. HIDEOUS SUN DEMON!
(Seriously, that can’t be good for his self-esteem.)
Like all great monsters, Gil doesn’t want to be the sun demon. He tries to stay in his house until night falls so that he won’t be transformed into a monster. But it’s difficult when he finds himself talking to Trudy and getting lost in their conversation. The beach looks so nice at night but it looks even better at dawn!
As for Gil, he’s got a lot of scientists working on a cure for his condition but he knows it’s hopeless and he’s pretty bitter about it. Poor guy. I may not turn into a demon but I do have red hair so I could slightly relate to his feelings. Redheads don’t tan as much as we just burn. I guess that’s one reason why I love this time of year. The skies are full of clouds and one can safely walk around during the daylight hours.
As for The Hideous Sun Demon, it is a ludicrous and fun B-movie, a quick 74-minute beach romp with a convincing performance from Robert Clarke and an effective monster costume. The scientists investigating Gil’s case are all extremely sober while Gil is extremely mopey and Trudy is extremely sultry and George (Peter Similuk), a bar patron who also likes Trudy, is a true middle-aged 50s tough guy. It’s very much a film for the 50s drive-in crowd and all the more entertaining because of it.
Esperanto was an international language that was briefly promoted by one-world government weirdos but which never really caught on. Four movie have been made in Esperanto but only one is still remembered. 1966’s Incubus features William Shatner, giving a very Shatnerish performance, as a solider who is tempted by a mysterious woman. The cinematography of the legendary Conrad Hall gives this one a very dream-like feel, even before everyone starts to talk.
Yes, this movie has subtitles. But, so what? Who hasn’t wanted to see William Shatner speak Esperanto?
In 2022’s OneCop’sJourney, Keith Knotek (Tim Perez-Ross) is involved in a traffic accident. Because Keith is clearly intoxicated, he’s taken to jail. Because it’s the start of the weekend, Keith is going to have to spend three days in jail before the Magistrate will see him and determine the amount of money that it will take to get him out.
Keith sits in a jail cell for three days. Because he’s a cop, the other police officers treat him with perhaps a bit more sympathy than they would give the usual inmate. You need a private cell? Here you go. You want us to call your wife? No problem! You want to get changed for court in the officer’s locker room? Sure, why not? Here’s a phone, go ahead and call your minister.
That minister is played by Dean Cain. The cop calls the minister and admits to getting a DUI and maybe hurting some people in the car accident.
“We all make mistakes,” Dean Cain replies.
And isn’t that the truth! OneCop’sJourney attempts to show the stress that would lead a cop to start drinking. His partner and best friend is gunned down while pursuing a suspect. Keith, himself, is nearly killed while conducting a routine traffic stop. No one wants to hear the details of what a cop has to deal with on daily basis. His wife has grown tired of him being depressed and emotionally withdrawn all the time and, when she discovers that he never told her about one traumatic incident that happened shortly before they were married, she considers it to be the same as telling her a lie. Worst of all, his teenage daughter decides to attend an anti-police rally, holding a sign that reads “No Justice No Peace,” while her friends all hold signs that read, “Defund the Police.”
Since this is a faith-based film, Keith eventually finds redemption and hope through prayer and he goes on to write a book about the pressures of being a cop. That’s to be expected and, to its credit, the film doesn’t get particularly preachy when it comes to the religious angle. I imagine that most people who would regularly get offended by the religious subtext will be too busy getting upset over the film’s political subtext to really notice.
OneCop’sJourney is thoroughly and unapologetically pro-cop and that’s never more obvious than in the protest scene when the blue collar, salt-of-the-earth policemen find themselves being yelled at by a bunch of bitter geriatrics and a few smirking college students. There’s nothing subtle about it but, then again, there’s nothing subtle about most left-wing movies either. As is so often the case when it comes to political movies, how you react will depend on how you felt about the issue before the movie started. (My own personal opinion is that police reform is something that needs to be considered, especially when it comes to the militarization of the police. At the same time, the “abolish the police” folks were and are living in a fantasy world.)
OneCop’sJourney is only 63 minutes long and there is an effective dream sequence in which Keith finds himself looking at the headshots of everyone who he feels he has left down. That said, the film still had far too many slow spots for so short of a production. Putting Keith in the jail cell really did make the whole thing feel pretty stagey. Still, the film did find the time to share some information about Post Traumatic Stress amongst first responders. It’s heart was in the right place.
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Saturdays, I will be reviewing Good Morning, Miss Bliss, which ran on the Disney Channel from 1988 to 1989 before then moving to NBC and being renamed Saved By The Bell. The entire show is currently streaming on Prime!
This week, Miss Bliss takes over the school.
Episode 1.12 “Clubs and Cliques”
(Dir by Burt Brinckerhoff, originally aired on March 11th, 1989)
Mr. Belding is teaching Miss Bliss’s class!
Why?
Well, the answer doesn’t make much sense but here it is. The School Board has ordered Belding to name one of the teachers as an “assistant principal” who can be in charge whenever he’s out of the building. Most schools just hire an assistant principal but whatever. Maybe this is an Indiana thing. Since there are only three teachers to choose from and one of them is the mad scientist who wanted to force Nikki to dissect a frog, Mr. Belding goes with Miss Bliss. But, before Miss Bliss can officially have the job, she has to serve as a principal for a week. Belding covers her class.
At first, Mr. Belding is nervous. But, by the end of the class period, he’s thrilled. He tells Miss Bliss that he thinks he did a wonderful job and that the kids really got something out of it.
“Mr. Belding,” Miss Bliss replies, “it’s only homeroom.”
Okay, I’m just going to say it …. WHAT A BITCH! Seriously, how condescending can one person be? This is who you want to make principal? Is this how you motivate people? Again, this is why I cannot stand Miss Bliss. Seriously, if anyone ever said that to her — “It’s only homeroom,” — she would have rightly been offended.
(Then again, I have to wonder whether or not Mr. Belding’s ever taught a class before. This episode seems to imply that he hasn’t. Was that a common thing with principals back in the 80s?)
Miss Bliss has a lot to deal with because it’s pledge week. Apparently, the coolest club at JFK Middle School is the Rigma club and Zach has been told by Rick (J. Trevor Edmond) and Trevor (Christopher Carter) that he can wear a Rigma jacket if he’s mean to all of his friends. Zach calls Lisa’s parents and let them know that she wears makeup in school. He throws ice cream at Nikki’s sweater. He reveals that Mikey has a crush. He calls Screech a “nothing.” He loses all of his friends and then he finds out that he wasn’t even being considered for Rigma membership. Instead, it was all a big joke on the part of Rick and Trevor.
Now, to give credit where credit is due, Mark-Paul Gosselaar did a pretty good job playing up Zach’s regret after he realized he had lost all of his friends for nothing. The episode is interesting because it shows a side of Zach that would totally disappear over the course of Saved By The Bell. In this episode, Zach is insecure and desperate to belong. By the time Saved By The Bell really got going, it had been established that Zach had no insecurities and was automatically loved by everyone he met. Insecure Zach is infinitely more compelling but a bit less fun than confident Zach. Watching this episode, it’s hard to believe we’re watching the same Zach Morris who will eventually lie about a being a descendant of Chief Joseph.
Things work out in the end. His friends forgive Zach. Even more importantly, Miss Bliss gets in trouble for not calling and asking for permission from the Board of Education before giving everyone everything they wanted. “She’s not perfect,” Belding chuckles. You got that right, Mr. Belding!
For the most part, I’ve spent this week watching horror movies and reviewing them. That said, I did get caught up with a handful of shows. Here are a few thoughts:
Abbott Elementary (Wednesday Night, ABC)
I got pretty bored with Abbott last season but I still caught the season five premiere this week. I laughed quite a bit so I guess I’m going to give the latest season a chance. The show got a bit heavy-handed last season and I got bored with all of the golf course nonsense. Hopefully, this season will put the focus back on teaching.
Big Brother 27 (Sunday Night, CBS)
BigBrother ended on Sunday and I’ve already forgotten all about it. That’s the way things should be.
Hell’s Kitchen (Thursday Night, Fox)
I got caught up with the latest two episodes of Hell’s Kitchen. The men seem to be especially incompetent this season. I know that every season seems to start out with the men weak and the women strong before reversing things later on but seriously, this season, I wouldn’t want any of these people cooking for me.
Law & Order (Thursday Night, NBC)
I decided to give Law & Order another try this season. (Last season, I stopped watching about halfway through.) Of course, when I watched the first two episodes of the current season, the first thing I saw was Price on the verge of tears. Is there ever a time when Nolan Price isn’t on the verge of tears? Just as with the previous season, I preferred the Law to the Order part of the show. If Maroun and Price are always miserable about having to do this jobs, why are they even working for the District Attorney’s office to begin with? Ever since this show was revived, we’ve had a steady stream of new detectives and yet Price and Maroun are still the same colorless characters that they were when they first appeared.
The Prisoner (Night Flight Plus)
I watched two episodes of this cult classic on Friday. My favorite character is Rover.
Seinfeld (Netflix)
Kramer starts a talk show in his living room. It made me laugh!
Special Forces: World’s Toughest Test (Thursday Night, Fox)
Yet another group of celebrities have gathered to see if they can pass Special Forces training. I watched the first two episodes this week. I laughed when one of the instructors yelled, “How badly do you want this!?” They probably just want their paycheck. I also laughed at Jussie Smollett, trying to make a comeback as one of the celebs. What if Smollett wins this season and is sent to Afghanistan with orders to take down the Taliban? That would be a hell of a redemption arc!
The Young and the Restless (Weekday Morning, CBS)
I watched an episode on Monday, largely to see if Victor was still around. He was.
In the third episode of Hammer House of Horror, Denholm Elliott plays an estate agent who finds himself having a series of nightmares about his wife (Pat Heywood) and his secretary (Lucy Gutteridge) and a murder that may or may not have happened on Friday the 13th. This episode is an enjoyably surreal trip into the subconscious.
In the UK, Rude Awakening originally aired on September 27th, 1980.
In 2021’s Grim Reaper, escaped mental patient Victor Cunningham (Deron Cunningham) is wandering around a small country town and killing people.
That’s pretty much the entire plot. Grim Reaper is only a 70-minute film and the majority of those minutes are made up of either Cunningham wandering around in his grim reaper mask, Cunningham’s victims being stalked, and the police being ineffective. (The main detective wears a baseball cap that read: POLICE. It’s a good thing that the guy was wearing that baseball cap because, otherwise, I would have just mistaken him for a local bartender.) Our final girl has a big bruise on her face and is trying to escape an abusive relationship, which adds a level of poignance to her story.
There’s a tendency amongst many to be automatically dismissive of DIY slasher films like GrimReaper. It’s true that Grim Reaper has its amateurish moments and that the soundtrack leans a bit too heavy on the metal and it’s also obvious that most of the actors were not professionals but I have to admit that I kind of enjoyed the movie and not just in an ironic sense. It helps that the film was obviously made by people who appreciate the genre and, watching the film, one gets the feeling that it was a fun set. It may seem like a backhanded compliment to say that the film is comfortable with being what it is but you need only compare it to some of the current big budget horror films to see the difference between a horror film made be fans of the genre and people who think that they’re somehow better than the horror label. Even shot on video, the film still had somewhat effective shots. Director James Ian Mair appears to have a good eye and he even manages to make good use of natural light. That’s the same thing that got Chloe Zhao an Oscar and a Marvel movie.
Sometimes, you just have to be willing to appreciate a film for what it is.
In 1979’s The Toolbox Murders, someone is murdering the female tenants of a building in Los Angeles. The killer, who wears a mask and a leather jacket, uses tools. One woman is killed by a hammer to the head. Another is skewered by a power drill. One is stabbed with a screwdriver. Another is shot with a nail gun. The identity of the killer would be a total mystery if not for the fact that we’ve already seen Cameron Mitchell’s name in the cast list.
Indeed, it’s a bit pointless to cast Cameron Mitchell in any sort of whodunit-type of film. Nine times out of ten, Mitchell being in a movie means that that Mitchell (who, in the early days of his career, originated the role of Death of a Salesman‘s Happy Loman on Broadway) is going to be revealed as the murderer. In this case, Mitchell plays Vance Kingsley, the owner of the building. Vance has never recovered from the death of his daughter so he’s punishing women who he considered to be sinful.
The actual toolbox murders are pretty much finished after the first twenty minutes of the film. The rest of the movie deals with Laurie (Pamelyn Ferdin), a 15 year-old girl who is kidnapped by Vance and his nephew, Kent (Wesley Eure). Joey (Nicholas Beauvy), who is Laurie’s brother, attempts to find and then rescue his sister and turns out to very much not up to the task. The film itself ends on a rather sick note, one that is followed by a title card that informs us that the film is based on a true story. Yeah, sure, it was.
The Toolbox Murders has somehow earned a reputation for being a gory and shocking grindhouse film. It was among the films that was banned in the UK for several years. It’s actually not that gory and the use of tools to commit the murders is not quite as clever as the film seems to think it is. Even the nail gun murder (which is the film’s best known moment) feels rather awkward as the victim (Kelly Nichols) never really makes a run for it despite the fact that Vance has to stop to reload after every nail that he fires.
The scenes with Laurie being held hostage are far more disturbing and weird, largely due to Mitchell’s characteristically over-the-top portrayal of Vance’s psychosis. When you watch a movie called The Toolbox Murders, you’re probably not expecting a lengthy scene where Laurie — pretending to be Vance’s dead daughter — tells a long story about what it’s like in the afterlife. In the role of Vance’s nephew, Wesley Eure is even more disturbing than Mitchell. As opposed to the sinister-looking Mitchell, Eure actually has the look of a nice, young community college student and that makes his actions at the end of the film all the more icky to watch.
The Toolbox Murders doesn’t quite live up to its bloody reputation but it’s still a disturbing film nonetheless. Did you know that Heaven smells like lollipops? After this film, you’ll never forget.