International Horror Film Review: From the Dark (dir by Conor McMahon)

Posted on October 2, 2020 by Lisa Marie Bowman

It’s an Irish horror film!

As a reviewer, I think it’s important for me to be open about my biases. Especially in October, I think it’s important for you to know that I love horror movies in general and that I especially tend to like low-budget horror films. You should also know that I tend to value positivity over negativity and, as a result, I’m always going to spend more time on what I like about a movie than on what I don’t like. I have no interest in joining in with the parade of bitterness that’s consumed so many otherwise intelligent people.

You should also know that I take a lot of pride in my Irish heritage. Whenever I get stressed out here in America, I remember visiting Argdlass two years ago. It calms me down. It makes me happy. I hope to be able to visit again soon. As a result, I’m naturally biased towards Irish films. That’s particularly true now, when I find myself often thinking about what life was like before the start of this year.

Needless to say, with those biases in mind, I was probably the ideal audience from From The Dark.

From The Dark open with a man named Mark (Stephen Cromwell) and a woman named Sarah (Niamh Algar) in a car. As I watched them drive across Ireland, I shouted, “I’ve done that!” When Mark and Sarah got lost while trying to navigate the Irish roads, I said, “I’ve done that.” When the car ends up getting stuck in mud, I said, “Yep, I’ve done that.” Finally, when Mark and Sarah approached a scary-looking farmhouse in the middle of the night while looking for help, I said, “Oh, Hell no!”

Once you’ve seen enough horror movies, you know that it’s always a mistake to approach a farmhouse in the middle of the night. Farmhouses are always full of either zombies or inbred rednecks or blood farmers. Stay away from the farmhouses! That’s what Sarah and Mark should have done because they soon find themselves being chased and attacked by a monster who seems to thrive on the darkness of the night….

Albeit uneven, From The Dark has its moments. The low-budget is obvious in almost every shot but the film makes good use of that farmhouse location and, even more importantly, it keeps us guessing about the monster that’s living there. Wisely, the film keeps the monster off-camera for as much as possible, leaving both the audience and Mark and Sarah to wonder where in the darkness it could be hiding. I’ve always felt that horror is more effective on a low-budget than a big budget and From The Dark shows why. The more expensive a monster is, the more obligated the filmmaker is going to be to show it off. Low-budget monsters, though, are usually kept off-camera for the majority of the film and therefore, they’re much more intimidating. There’s nothing scarier than what the human imagination can come up with and nothing sparks one’s imagination quicker than trying to figure out what might be hiding in the dark.

From the Dark does have some pacing issues. As much as I enjoyed the footage of the Irish countryside, the scenes of Sarah and Mark driving dragged a bit. As well, Sarah and Mark aren’t always the most sympathetic of protagonists. Usually, I don’t mind it when characters in horror films do stupid things because, quite frankly, we all do stupid things. But when there’s only two humans in the entire film, it’s a lot easier to dwell on the dumb things that they did that led to them getting in their dire situation in the first place.

Taking all of that into consideration, From the Dark may be imperfect but, when it works, it’s effectively creepy. Plus, it’s Irish!

Horror Film Review: Everfall (dir by John Kissack)

Posted on October 2, 2020 by Lisa Marie Bowman

The 2018 horror film, Everfall, tells the story of Eva and Daniel.

Eva Saint (Jessica McLeod) is a figure skater who, at one time, had a bright future.

Daniel (Joe Perry) is the world’s worst boyfriend.

Daniel is also the reason why Eva’s skating career get derailed. Daniel hosts his own “extreme sports YouTube channel,” which he calls “The Daniel Show.” Daniel is the type who tends to say things like, “This is going to be a totally new direction for the Daniel Show!” One of Daniel’s new directions was to convince his girlfriend to stand on a ledge. Unfortunately, while Daniel was showing off for the camera, Eva fell off that ledge and broke her leg.

A year later, Eva’s leg is scarred but healed. She wants to get back into the world of competitive figure skating but she’s struggling. She’s no longer as confident in herself as she once was. None of her old partners want to work with her anymore. Even worse, she’s still going out with Daniel. I’m not sure why. If I was dating a guy who was responsible for me falling off a roof, I’d probably break up with him as soon as I regained consciousness.

Eva’s coach gives her one last option. She can go to an obscure little town called Everfall, where they have an annual skating competition. Eva’s never heard of it before but she knows that she has to do something so she agrees. And again, for some reason, she takes Daniel and Daniel’s cameraman, Jordan (Kristian Wang), with her.

The competition at Everfall turns out to be even worse than Eva was expecting. First off, the ice skating rink appears to be on the verge of collapse. Secondly, there don’t seem to be another other skaters around. The mysterious Mrs. Redgrave (Catherine Gell) sends Eva to Dressing Room #5. Dressing Room #5 turns out to be a not very pleasant place to be….

Everfall is an effectively creepy film, one that makes good use of its eerie location and which features an excellent performance from Jessica McLeod. Everfall is also a film that never really makes much sense but, in this case, that’s acceptable. When you’re dealing with a skating rink that may or may not be haunted by several ghosts, you can get away with a little incoherence. The film is full of surreal moments and disturbing imagery. Characters appear to die and then, just as quickly, they show back up again. It’s a film that was obviously influenced by Kubrick’s The Shining — particularly the final few scenes — but it also manages to carve out its own rather odd identity.

While Eva, Daniel, and Jordan are wandering around the skating rink from Hell, there’s also wildfire raging around the town of Everfall. Amazingly enough, Eva’s father is a fireman but he refuses to acknowledge that Eva’s in any sort of danger. Eva’s parents are played by Jayson Therrien and Julie Orton. They bicker through the entire film and, to be honest, I could have done without the majority of their scenes. The scenes between Therrien and Orton wreck havoc on the film’s narrative momentum. Whenever you’re really starting to get into whatever’s happening to Daniel, Eva, and Jordan, Eva’s parents pop up and start arguing with each other. The main theme of these scenes is that Eva’s dad isn’t willing to rescue her from a fire despite the fact that he is a fireman and that’s literally his job. You really can’t help but feel sorry for Eva. She never had a chance.

Everfall has its flaws. This is one of those films where the camera is always moving, even when it should be sitting still. That said, there’s enough strange details and out-there plot twists to make it an effective head trip and it ends on a nicely surreal note. That’s always a good thing.

Horror on the Lens: An Evening With Edgar Allan Poe (dir by Kenneth Johnson)

Posted on October 2, 2020 by Lisa Marie Bowman

What better way to get ready for Halloween than spending a little time with Vincent Price?

In this 1970 film, Price recites four of Poe’s works in front of a live studio audience. Price performs as only Price could, proving once again that he was not only an iconic figure in the history of horror but an iconic actor as well.

Enjoy!

Music Video of the Day: The Shining Main Titles, covered by Kevin Bias (2016, dir by Kevin Bias)

Posted on October 2, 2020 by Lisa Marie Bowman

For today’s music video of the day, we have a cover (by Kevin Bias) of the main title theme from Stanley Kubrick’s The Shining. As I’ve often said on this site, The Shining is one of my favorite horror movies and I think it has one of the best scores to be found in a non-Italian horror film.

This is taken from Bias’s own description of the video on YouTube:

Written by Wendy Carlos & Rachel Elkind
Cover of the original from the opening credits of Stanley Kubrick’s 1980 film ‘The Shining’.
Equipment: Alesis Ion, Ensoniq Sq2, OP-X PRO II emulation software

I pre-recorded my own sound effects and ambience which are not reflected in the visuals in the video. All of the visual takes seen in the video are the takes heard in the audio and mixed using Sonar X2.

If you like this cover, be sure to check out Kevin Bias’s YouTube channel and subscribe!

The TSL’s Horror Grindhouse: Blood Rage (dir by John Grissmer)

Posted on October 1, 2020 by Lisa Marie Bowman

Filmed in 1983 but not released until 1987, Blood Rage tells the heart-warming story of two twin brothers, Todd and Terry Simmons (both played by Mark Soper).

In 1974, young Todd and Terry go to a drive-in movie with their mother, Maddy (Louise Lasser) and Maddy’s boyfriend. (It’s suggested that Maddy has had many boyfriends over the years.) The twins fall asleep in the back of the station wagon but, when they wake up, they discover that Maddy is making out with her date. This inspires Terry to sneak out of the car, grab a nearby hatchet, and walk from car to car. When he comes across another couple making love, he hacks the man to death and then watches as the man’s naked date runs into the night. Realizing that he’s about to get in a lot of trouble, Terry hands the hatchet to Todd and then rubs blood on his brother’s face. As a result, everyone assumes that Todd is the murderer.

Nine years later, Terry is living with Maddy at a secluded apartment complex called Shadow Woods. Todd, on the other hand, is stuck in an asylum and not very happy about it. On Thanksgiving, Todd escapes from the asylum and heads off to Shadow Woods.

Here’s where things get strange. Everyone assumes that Todd is heading to Shadow Woods to get revenge. That’s certainly what I assumed when he first escaped. But it turns out that Todd, despite all he’s been through, is still a gentle soul. He just wants to be free and to see his family. However, when Terry learns that Todd has escaped, he sees it as a perfect excuse to go on another killing spree.

So, while Todd is sneaking around the complex, Terry is killing Maddy’s latest boyfriend and all of their neighbors. Everyone who sees Todd asumes that he’s Terry and almost everyone who sees Terry assumes that he’s Todd. It’s an intriguing premise that has a lot of potential. Unfortunately, Blood Rage never gets as much mileage out of the idea as it should. It’s not until the last few minutes of the film that it really digs into just how messed up Maddy and her sons really are.

Every by the standards of an 80s slasher film, Blood Rage is brutal. Hands are hacked off. Heads are separated from necks. One unfortunate victim is chopped in half and spends what seems like several minutes feeling around for the lower half of her body. As opposed to emotionless killing machines like Jason Voorhees and Michael Myers, Terry Simmons seems to get real kick out of what he’s doing, which makes him all the more disturbing. Interestingly, it’s not just the killing that Terry enjoys. Terry also seems to enjoy knowing that he’s specifically going to get Todd in even more trouble. He’s the ultimate bad sibling.

Mark Soper plays both Todd and Terry and he does a good enough job in the role that you can tell the two twins apart. Occasionally, Soper does occasionally go a bit overboard as Terry but then again, most murderers aren’t known for their subtle personalities. The film is pretty much stolen by Louise Lasser, who gives a memorably eccentric performance as Maddy who is, in her own way, just as unstable as her sons. Some of the performances from the surprisingly large number of victims are inconsistent but, in the end, everyone dies convincingly and that’s what really matters in a film like this.

As I mentioned at the start of this review, Blood Rage was filmed in 1983 and sat on the shelf for four years. Apparently, several different versions of the film have been released. There’s a version called Nightmare at Shadow Woods that has almost all of the gore cut out. The version that’s on Shudder is apparently uncut but it also opens with a title card that reads Slasher. Blood Rage is a bit of a generic title but it is appropriate. There is a lot of blood and there’s a lot of rage.

In the end, Blood Rage is an effective, if uneven, slasher movie. Though the budget was undeniably low, the gore effects are convincing and the whole twin subplot allows from some unexpected moments. The low-budget look of the film actually works to Blood Rage‘s advantage. The grainy images occasionally give the film a rather dream-like feel. At its best, it looks like a filmed nightmare. At its worst, it just looks like another low-budget slasher flick from Florida.

Blood Rage may not be a masterpiece but it is a good film for the Halloween (and, given the film’s set-up, Thanksgiving) seasons.

Horror Book Review: The Exorcist by William Peter Blatty

Posted on October 1, 2020 by Lisa Marie Bowman

Which is better, the movie or the book?

That’s a question that’s often asked and I think the knee jerk reaction is always to say that the book was better but that’s certainly not always true. There are a few notable cases where the film has been dramatically better than the book. Just check out The Godfather, if you don’t believe me. Occasionally, you’ll run into something like the recent two-part adaptation of Stephen King’s It. The first film was dramatically better than the novel while the second film was significantly worse.

And then occasionally, you’ll have a case where the book and the movie are equally good, albeit for different reasons. That’s the case with William Peter Blatty’s 1971 novel, The Exorcist.

The book and the movie both tell the same story. Perhaps because Blatty served as both the writer and the producer of the film version, the movie sticks closely to the basic plot of his novel. Regan McNeil, the daughter of an atheist actress named Chris McNeil, is possessed by a demon called Pazuzu. It falls to Father Merrin and Father Karras to perform an exorcism. Unfortunately, Merrin is old and in bad healthy while Karras fears that his faith might not be strong enough to defeat the demon.

Though the plot does remain the same, there are, of course a few differences between the film and the book. As befits a novel written by a screenwriter, the book gets a bit more gossipy when detailing the production of Chris’s film. The book also spends a good deal more time on Inspector Kinderman’s investigation into the deaths of characters like film director Burke Dennings. In the film, Kinderman only appears in a few scenes. In the book, he’s as important a character as Karras and it’s rather obvious that he was Blatty’s favorite character to write. (It’s not a surprise that Kinderman was subsequently the main character in Legion, which was filmed as The Exorcist III and which starred George C. Scott as Kinderman.) The book also spends a good deal more time on Karras’s crisis of faith. In the film, Karras was portrayed as being initially hesitant to accept that Regan was possessed. In the book, Karras researches the history of exorcisms and considers almost every other alternative before committing himself to performing the exorcism. When the book was first published, those scenes were included to make the reader themselves question whether or not Regan was actually possessed. Modern readers, however, already know that answer to that.

Myself, I appreciated the extra time that the novel spent with Kinderman and Karras. As written by Blatty, they’re both engaging characters and Karras’s crisis of faith is actually handled with a good deal more skill in the book than in the movie. If the movie is a nonstop roller coaster of terror, the book is a bit more thoughtful. Whereas the movie shocks you into accepting its premise, the book actually tries to convince you that demons are real and that they’re responsible for the evil in the world. (The books opens with a series of quotes from real-life dictators and mobsters.) The movie aims for your gut while the book’s horrors are often more cerebral but they both get under your skin and inspire you to make sure that every door is locked and every window is closed. Not that any of that would protect you, of course. Both the movie and the novel understand that the scariest thing about what happens to Regan is that it’s out-of-her-control and could, in theory, happen to any of us. Demons are going to do whatever they can. Both the book and the film are fantastically effective and worthy of being known as horror classics.

This October, definitely be sure to watch The Exorcist and The Exorcist III. Hell, maybe even watch The Exorcist II. It’s not that bad! (Okay, well, actually, it is. But still, it’s kind of …. fun, in its way.) But also take the time to read the books. Doing one without doing the other is only getting half the story.

International Horror Film Review: Kung Fu Zombie (dir by Hwa I Hung)

Posted on October 1, 2020 by Lisa Marie Bowman

Kung Fu Zombie, a 1981 film that was produced in Hong Kong, tells the story of….

Well, it’s a little bit difficult to explain just what exactly it tells the story of. I’ve watched it a total of three times over the past two months and I’m still not totally sure what’s going on in the movie. Some of that is because, like many martial arts films, it was heavily cut and haphazardly dubbed when it made it’s way over to New York’s 42nd Street theaters. Most of it, however, is because Kung Fu Zombie is a mess. It’s a big, glorious, wonderfully entertaining mess.

Pang (Billy Chong) is a martial artist who is respected in town but who can’t get any respect from his father. Even after Pang foils a bank robbery and and sends the bandit, Lu Dai (Cheng Ka Ying) to prison, Pang’s father, Fong (Chang Tao), continues to say that Pang is not good enough to inherit the estate. As if to prove his point, Fong randomly attacks Pang whenever he gets a chance. Pang usually fights his father until Fong has a heart attack and falls over. Pang is never sure whether or not Fong is actually dead because apparently, Fong like to pretend to be dead so that he can attack Pang while the latter is celebrating his father’s death.

Anyway, Lu Dai comes back to town and recruits the local wizard, Wu Lang (Chan Lau), to create a bunch of zombies that he can then use to kill Pang. Wu Lang creates the zombies but they don’t do much good. When Lu Dai summons Pangs to the local graveyard and then attacks him, Lu Dai ends up falling in a coffin and landing on a bed of spikes. Lu Dai’s body may be dead but his spirit is still following around Wu Lang, demanding a new body.

When Pang kills yet another criminal — a serial killer named Kwan Weig Long (Kwon Young Moon) — Wu Lang tries to put Lu Dai’s spirit into Long’s body. However, Long is so evil and Wu Lang is such an incompetent sorcerer that, instead of allowing Lu Dai to take over Long’s body, Lang’s spell instead causes Long to come back to life as a vampire. Soon, Long is roaming through the village, drinking everyone’s blood. Whenever Long appears, the James Bond theme song plays on the soundtrack, which is odd but enjoyable.

Meanwhile, Lu Dai still needs a body. Fortunately, Fong has died for real. With so many different dead people walking around, can Pang bring peace and safety to the village?

Kung Fu Zombie is thoroughly berserk movie, one that mixes well-choreographed fights with moments of bizarre comedy and even stranger horror. Now, admittedly, the film itself isn’t exactly scary. I mean, the vampire looks fearsome but every time he appears, the Bond music starts up and it pretty much becomes impossible to take him seriously. But, at the same time, how can you not appreciate a movie that not only steals the Bond theme but then uses it as the calling card of a serial killer-turned-vampire? It’s just so weird that there’s no way you can’t love it. Really, that’s pretty much the perfect description of Kung Fu Zombie. It’s messy but the action is nonstop and the plot is wonderfully weird. One gets the feeling that the director and his actors just made up the story as they were going along. It’s impossible not to love it.

Kung Fu Zombie is a gloriously chaotic film and it’s currently on Prime. Watch it and keep a eye out for the dead.

Horror Film Review: Blumhouse’s Fantasy Island (dir by Jeff Wadlow)

Posted on October 1, 2020 by Lisa Marie Bowman

Welcome to Fantasy Island, where your fantasies come true….

Well, some of them do. Some of them don’t. Some of them play out ironically and some of them play out literally. How does the island work? Who knows? It seems to be kind of random. Mr. Rourke (Michael Pena) is your host and he’s got a tragic backstory of his own. Is he a friend or an enemy? Is he an angel or is he a devil? Who knows? Who cares? The film doesn’t.

My point here is that Blumhouse’s Fantasy Island does not make much sense. It’s about a group of people who go to Fantasy Island and each get their own individual fantasy from Mr. Rourke. Apparently, all you have to do to get a fantasy is fill out a one-page questionnaire and have a conversation with Mr. Rourke. It sounds like it should be fun but sometimes, people die!

Gwen Olsen (Maggie Q) visits the island so that the love of her life will propose to her and then they can get married and have a child. Gwen’s lover, Nick (Evan Evagora), died in a fire years ago but suddenly, he’s alive and he’s proposing! But is a fantasy family the same as a real family?

Melanie Cole (Lucy Hale) wants revenge on a girl who tormented her in junior high but is torturing Sloane (Portia Doubleday) really worth giving up her humanity and working with the fearsome Dr. Torture (Ian Roberts)? Seriously, the dude’s name is really Dr. Torture.

Patrick Sullivan (Austin Stowell) is a policeman who wants to serve in the army, like his father did. Patrick’s fantasy leads to him being forced to wander around in the jungle until he gets taken prisoner by a bunch of soldiers, one of whom is his father (Mike Vogel)! Considering his father is dead, Patrick is initially shocked but then a few minutes later, Patrick’s like, “Cool, whatever”

J.D. (Ryan Hansen) and Brax (Jimmy O. Yang) are brothers who want to “have it all!” That’s their fantasy. For them, having it all means a big mansion, sexy models, and a nonstop pool party. But what if having it all also means getting hunted by a drug cartel led by Devil Face (Kim Coates) and …. wait a minute. That doesn’t make any sense at all. If their fantasy was, “I want to be a super rich like Scarface or Escobar,” maybe it would then make sense for a drug cartel to show up but how does “having it all” lead to Kim Coates running around with a machine gun?

Anyway, needless to say, everyone’s fantasy goes differently than how they were expecting. Eventually, all the fantasies connect because everyone has a Final Destination-style connection. For some reason, this leads to everyone ending up in an underground cavern, where they’re chased by random killers. I’m not sure why, to be honest.

Usually, I love incoherent movies but Fantasy Island was just annoying. The main problem is that the fantasies were all just ripped off from other, better movies. For instance, Melanie’s fantasy was basically just a sequel to Saw. J.D. and Brax were in a cheap, Hulu action comedy. Patrick and Gwen’s fantasies felt as if they were lifted from one of those religious films where someone prays and gets a chance to visit with their dead loved ones.

Now, at this point, I should say that Fantasy Island is based on an old TV show where, every week, different guest stars would visit the island and they would have a fantasy and, I assume, learn a lesson. I’ve only seen a few episodes of the show but my impression is that the island was always portrayed as being a benevolent force. People didn’t come to the island and say, “I want this experience” and then end up getting shot in the head. I imagine that explained why the Island was able to remain open and popular. In the movie, though, the Island leads to several deaths and you have to wonder why that wouldn’t hurt business. I mean, if I survived a trip to the movie’s Fantasy Island, I’d probably call my senators and demand that the island by nuked into oblivion. Both of my senators are Republicans so you know they’d be willing to do it, too.

Anyway, my fantasy was for Blumhouse’s Fantasy Island to be shorter than it was because the movie’s about 30 minutes too long and not really interesting enough to hold your attention during the slow spots. Unfortunately, my fantasy did not come true.

Horror on the Lens: Satan’s Triangle (dir by Sutton Roley)

Posted on October 1, 2020 by Lisa Marie Bowman

Hi there and welcome to October! This is our favorite time of the year here at the Shattered Lens because October is horror month. For the past three years, 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 start things off with the 1975 film. Satan’s Triangle! Satan’s Triangle tells the story of what happens when a derelict boat is spotted floating in the middle of the ocean. An attempt to rescue the boat leads to mystery, tragedy, horror, and …. well, let’s just say that there’s a reason why this stretch of ocean belongs to Satan.

Featuring atmospheric direction from Sutton Roley and a great performance from none other than Kim Novak, Satan’s Triangle is one of the best made-for-TV horror films that I’ve ever seen and I think it’s the perfect way to start off this year’s horrorthon!

Enjoy!

Film Review: Mister 880 (dir by Edmund Goulding)

Posted on September 28, 2020 by Lisa Marie Bowman

First released in 1950, Mister 880 is a wonderful surprise.

The film opens like a typical 50s crime drama. We’re told that counterfeiting is a serious crime and that the dedicated agents of the Secret Service are working very hard to try to wipe out the scourge of fake money. We’re also told that Mister 880 is based on a true story and that it was produced with the full cooperation of the U.S. Treasury Department. As a result, modern viewers will probably be expecting Mister 880 to be a work of pro-government propaganda, where wholesome treasury agents track down and stop soulless thieves. Instead, Mister 880 turns out to be a wonderfully charming portrait of a criminal who doesn’t mean to cause anyone any harm.

Burt Lancaster stars as Steve Buchanan, a Treasury agent who is well-known for never letting a case go. He’s developed a personal obsession with tracking down a counterfeiter who, for the last ten years, has been passing phony one dollar bills around a certain New York neighborhood. The Treasury Department has named him Mister 880. Mister 880 is definitely an amateur. The money that he prints is sloppy. At the same time, he also only prints one dollar bills and it appears that he only does so on occasion. Just as no one can figure out his identity, everyone is also baffled by his motivation. If he was looking to get rich through printing his own money, he would surely print more than just a bunch of sloppy one dollar bills.

Investigating the neighborhood that he believes to be Mister 880’s base of operations, Buchanan meets and falls in love with Ann Winslow (Dorothy McGuire). He also happens to meet Ann’s neighbor, Skipper Miller (Edmund Gwenn). Skipper is an elderly man, a Navy veteran who lives with a dog and who says that he is financially supported by a rich cousin who nobody has ever met. Skipper is a junk dealer and he’s a genuinely nice man. Everyone in the neighborhood, including Ann, loves Skipper. Buchanan soon comes to like the old eccentric as well.

Of course, as you’ve probably already guessed, Skipper is the counterfeiter. He is Mister 880. He doesn’t mean to cause any harm, of course. He only prints money when he absolutely needs to and he always makes sure to not use too much of it. He doesn’t want to steal from anyone. He’s just an elderly man who wants to live out his days in peace and who doesn’t want to be a bother to anyone.

When Buchanan discovers the truth about Skipper, he’s faced with a dilemma. Skipper is hardly a master criminal but Buchanan has sworn an oath and he has a job to do. Not making things any simpler is that Skipper doesn’t deny what he’s done and he also says that he’ll plead guilty to his crime because …. well, he is guilty. Skipper’s not a liar, despite the fake money. Both Buchanan and Ann know that Skipper won’t survive spending years behind bars. What do you do with a man who has broken the law but who, at heart, is not really a criminal? Can a crime be forgiven just because the man who committed it is really, really likable?

Mister 880 is a sweet-natured comedy, one that doesn’t necessarily argue that Skipper’s crime should have been forgiven but which, at the same time, does make the case that not all law-breakers are created equal. Gwenn, who is best-known for playing Santa Claus in the original Miracle on 34th Street, gives a wonderful performance as Skipper. It’s hard not to love Skipper. It’s not just that Skipper doesn’t make any excuses for being a counterfeiter. And it’s not just that Skipper is an eccentric who loves his dog and has his own unique way of looking at the world. It’s that Skipper is just a genuinely kind man. He’s someone who would rather go to prison than be too much of a burden to the people who he cares about. He’s the sweetest criminal you could ever hope to meet.

Gwenn was rightfully nominated for an Academy Award for his work in this film. Not nominated but equally strong were Burt Lancaster and Dorothy McGuire. Even though they don’t get any big, show-stopping moments like Gwenn does, both Lancaster and McGuire bring their characters to wonderful life and both do a great job of capturing their own mixed feelings about what should be done about Skipper. Lancaster, in particular, is convincing as the by-the-book agent who is torn between his professional obligations and his feelings for both Ann and Skipper.

Mister 880 is one of my favorite movies, a wonderfully and unexpectedly good-hearted film about a real-life criminal who wasn’t the bad of a guy. Emerich Juenetter, the real-life counterfeiter who served as the model for Skipper, reportedly made more money from the release of this film than he ever did over the course of his counterfeiting career. After watching Mister 880, it’s hard not to feel that he earned every cent of it.