The TSL’s Horror Grindhouse: The Giant Gila Monster (dir by Ray Kellogg)


The 1959 film, The Giant Gila Monster, takes place in a small Texas town, where everyone’s either a drunk, a law enforcement officer, or a teenager who wants to go the sock hop. In fact, the teens are so enthused about the sock hop that it takes them a while to notice that two of their friends are missing! What happened to Pat and Liz!?

Well, as we already know what happened because we saw it at the start of the film! Pat and Liz were parked at the ravine, making out in Pat’s car, when they fell victim to a giant Gila monster! Though, if we’re going to be honest …. the monster actually isn’t really a Gila monster. It’s just a really big lizard that was filmed wandering over around a miniature set. It moves very slowly and it sticks out its tongue at the camera. It’s a nice looking lizard but it’s no Gila monster. No matter, though! What’s important is that it’s big, it’s dangerous, and it’s making its way towards the town!

Anyway, the teens eventually figure out that their friends have disappeared and they try to appeal to the town’s useless sheriff to help them find them. The sheriff doesn’t really seem to care though. He’s got an entire town of drunks to deal with. So, it looks like the teens are going to have to save the town themselves!

The Giant Gila Monster is a pretty silly film. It’s a little over 70 minutes long and it’s obvious that the majority of the budget was spent on the cars that the various teenagers drive. It was an independent production, made to be sold to drive-ins around the South. Teenagers in 1959 probably watched the film and honked their car horns whenever the monster showed up. The script is bad, the actors are bad, the direction is bad, but you know what isn’t bad? The fake Gila Monster is actually kind of cute. I mean, we’re told that we shouldn’t like it and that it’s responsible for killing a lot of people but who cares? Whenever it shows up, slowly lumbering its way across the countryside, it’s hard not to admire the determination of the Gila Monster. Though the actors often seem to be confused by their dialogue, the lizard is obviously having the time of its life. Go, Lizard, go!

The Giant Gila Monster is one of those independent 50s monster movies that are pretty much impossible to resist. To its credit, the film does have a sense of humor about itself. It is meant to be a comedy, though most of the laughs are unintentional. And, as I said before, vintage car lovers will enjoy seeing some of the roadsters that pop up in this film. Even with all the classic cars, though, the big lizard in the main attraction. It walks around the miniature desert set as if it owns the place. The star is the monster and that’s really the way things should be.

Finally, The Giant Gila Monster was filmed outside of Dallas.  Apparently, the film was funded by none other than Gordon McLendon, who is best-known for founding Dallas’s first talk radio station, KLIF.

Horror On The Lens: The Giant Gila Monster (dir by Ray Kellogg)


For today’s horror on the lens, we present to you the 1959 film, The Giant Gila Monster!

As you can tell from the title, this is another one of those big lizard films, which were so popular back in the 50s and early 60s.  For reasons that aren’t quite clear, a lizard grows to giant size and it’s up to a bunch teenagers, law enforcement officers, and small town citizens to put nature back in its place!

The Giant Gila Monster was filmed outside of Dallas and it was produced by Gordon McLendon.  Now, admittedly, you might not recognize the name but he was one of the most important figures in the history of DFW.  McLendon founded KLIF, which is DFW’s top talk radio station.  He also once ran for the Senate, as a conservative Democrat.  By most accounts that I’ve read, he was a true Texas character so I guess it makes sense that, along with all of his other accomplishments, he would add film producer to the list.

Anyway, enjoy this movie about a giant lizard!  Gila monsters, I should add, are freaking scary enough when they’re normal-sized.  That said, the lizard in this film is actually a Mexican beaded lizard and not an actual Gila monster.

Enjoy!

Horror on TV: Kolchak: The Night Stalker 1.18 “The Knightly Murders” (dir by Vincent McEveety)


Tonight on Kolchak….

The armor of a 12-century knight is possessed and determined to keep anyone from harming the museum in which it is currently housed.  This includes anyone who might want to build a nightclub nearby.  With the armor trying to prevent Chicago from enjoying disco, it’s up to Carl Kolchak to report the story and solve the case!

I like this episode because it features a holy ax.

This episode originally aired on March 7th, 1975.

Enjoy!

Shattered Politics #18: The Man Who Shot Liberty Valance (dir by John Ford)


The_Man_Who_Shot_Liberty_Valance“When the legend become fact, print the legend.” — Maxwell Scott (Carleton Young) in The Man Who Shot Liberty Valance (1962)

Though I understand and respect their importance in the history of both American and Italian cinema, I have never really been a huge fan of westerns.  Maybe its all the testosterone (“A man’s got to do what a man’s got to do…”) or maybe it’s all the dust but westerns have just never really been my thing.

However, I will always make an exception for The Man Who Shot Liberty Valance, which is not just a great western but a great film period.

But you already knew that.  It’s a little bit intimidating to review a film that everyone already knows is great.  I even opened this review with the exact same quote that everyone uses to open their reviews of The Man Who Shot Liberty Valance.  To a certain extent, I feel like I should have found a quote that everyone hasn’t already heard a thousand times but then again, it’s a great quote from a great film and sometimes, there’s nothing wrong with agreeing with the critical consensus.

The Man Who Shot Liberty Valance opens with a train stopping in the small western town of Shinbone.  The residents of the town — including newspaper editor Maxwell Scott (Carleton Young) — are shocked when Sen. Rance Stoddard (James Stewart) and his wife Hallie (Vera Miles) get off the train.  Sen. Stoddard is considered to be a front-runner to become the next Vice President of the United States.  Scott is even more shocked to discover why the Stoddards are in town.  They’ve come to Shinbone to attend the funeral of an obscure rancher named Tom Doniphon (played, in flashback, by John Wayne).

Sitting in the funeral home with Doniphon’s coffin (and having reprimanded the local mortician for attempting to steal Tom’s boots), Rance tells Scott why he’s come to pay respect to Tom Doniphon.  We see, in flashback, how Rance first came to Shinbone 25 years ago, an idealistic lawyer who — unlike most of the men in the west — refused to carry a gun.  We see how Rance was robbed and assaulted by local outlaw Liberty Valance (a wonderfully intimidating and bullying Lee Marvin), we discover how Rance first met Hallie while working as a dishwasher and how he eventually taught her how to read, and we also see how he first met Tom Doniphon, the only man in town strong enough to intimidate Liberty Valance.

At first, Rance and Doniphon had an uneasy friendship, epitomized by the condescending way Doniphon would call Rance “pilgrim.”  Doniphon was in love with Hallie and, when he attempted to teach Rance how to defend himself, he was largely did so for Hallie.  Rance, meanwhile, was determined to bring law and society to the west.

And, eventually, Rance did just that.  When Shinbone elected two delegates to the statehood convention in the territory’s capitol, Rance attempted to nominate Doniphon for the position but Doniphon refused it and nominated Rance instead, explaining that Rance understood “the law.”  When Liberty Valance attempted to claim the other delegate spot, Rance and Doniphon worked together to make sure that it instead went to newspaper editor Dutton Peabody (Edmond O’Brien).  And when Liberty Valance attempted to gun Rance down in the street, Rance shot him.

Or did he?

That’s the question that’s at the heart of The Man Who Shot Liberty Valance.  However, as a film, The Man Who Shot Liberty Valance is far less interested in gunfights than it is in politics.  Perhaps the most important scene in the film is not when Rance and Liberty meet out on that dark street.  Instead, it’s the scene at the statehood convention where the reformers (represented by Rance) and the cattlemen (represented by John Carradine) battle over who will be the territory’s delegate to Washington.  Between John Carradine orating, the horses riding in and out of the hall, Edmond O’Brien drinking, James Stewart looking humble, and John Wayne glowering in the background, this is one of the best political scenes ever put on film.

When Rance first arrives in the west, there is no political system in place.  With the exception of the ineffectual town marshal (Andy Devine), there is no law.  The peace is kept by men like Tom Doniphon and, oddly enough, by Liberty Valance as well.  (Whether he realizes it or not, Shinbone’s fear of Liberty has caused the town to form into a community.)  What little official law there is doesn’t matter because the majority of the Shinbone’s citizens can’t read.

When Rance arrives, he brings both education and the law.  He makes Shinbone into a town that no longer needs Liberty Valance but, at the same time, it no longer need Tom Doniphon either.  Hence, it’s Rance Stoddard who goes from dishwasher to U.S. Senator while Tom Doniphon dies forgotten.  Rance represents progress and unfortunately, progress often means losing the good along with the bad things of the past.

(It’s no coincidence that when Rance and Hallie return to Shinbone, the first person that they see is the former town marshal, who no longer wears a star and who, we’re told, hasn’t for years.  Time has passed by.)

It’s a bittersweet and beautiful film, one that features four great performances from Stewart, Wayne, Marvin, and Vera Miles.  Personally, I like to think that maybe Sen. Stoddard had a daughter who married a man named Smith and maybe they had a son named Jefferson who later made his way to the Senate as well.

It would be fitting.