Horror on TV: The Veil 1.2 “Girl on the Road” (dir by George Waggner)


From 1958, it’s The Veil!

The Veil was a horror anthology series that, because of financial difficulties at Hal Roach Studios, were never actually aired on television.  10 episodes were filmed before production was abruptly canceled.  Each episode was hosted by (and often starred) Boris Karloff.  Karloff later stated that he was never actually paid for his work on the show but his work as the host did eventually lead to him being hired to host Thriller, a horror anthology series that eventually did air.

As for The Veil, the ten episodes that were produced were never actually sold to a network but, in the 60s, several episodes were edited together to create films that aired on late night television.  It wasn’t until the 90s that the episodes were actually released on video.  For that, we largely have Something Weird Video to thank.

Each episode of The Veil opened with Karloff promising the lift the veil on a strange, perhaps supernatural, event.  (Most of the stories were supposedly based on true stories.)  Karloff would also play a role in each episode.  For instance, in tonight’s episode, he plays Morgan Debs.

Tonight’s episode is called Girl on the Road.  It’s a nicely atmospheric tale about a man (Tod Andrews) who picks up a mysterious woman (Eve Brent) who is stranded on the side of the road.  What is the woman’s secret and why is she terrified of Morgan Debs?  Why does everyone in the town refuse to talk about her?  Watch to find out!

This episode was directed by George Waggner, who is perhaps best known for directing the original Wolf Man.

Enjoy!

Halloween Havoc!: FROM HELL IT CAME (Allied Artists 1957)


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I’ve seen a lot of movie monsters in my time. Vampires and werewolves, zombies and mutated bugs, but nothing prepared me for the horror of… Tabanga, the Terrible Tree Monster and star of FROM HELL IT CAME! I’ve seen a lot of Grade ‘Z’ “so-bad-they’re-good” movies as well, and let me tell you, this one’s right up there with the best of the worst. This was the last film from Milner Brothers Productions (who brought you the equally ludicrous PHANTOM FROM 10,000 LEAGUES) and rightly so. FROM HELL IT CAME is so inept it makes Ed Wood’s epics look like Cecil B. DeMille spectaculars!

So there’s this tribe of suspiciously Caucasian-looking natives living on this South Seas island, okay. The very Caucasian Kimo (Gregg Palmer, ZOMBIES OF MORA TAU) is staked to the ground, accused of poisoning his chieftain father with the white man’s “bad medicine”. This is only a ruse by witch doctor Tano…

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Cleaning Out The DVR Yet Again #38: The Baby (dir by Ted Post)


(Lisa recently discovered that she only has about 8 hours of space left on her DVR!  It turns out that she’s been recording movies from July and she just hasn’t gotten around to watching and reviewing them yet.  So, once again, Lisa is cleaning out her DVR!  She is going to try to watch and review 52 movies by the end of Thursday, December 8th!  Will she make it?  Keep checking the site to find out!)

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On October 30th, I recorded The Baby off of TCM.

First released back in 1973, The Baby is a seriously strange little movie.  It’s about a 21 year-old man named Baby (played by David Manzy).  Why is he called Baby?  Because he lives in a crib.  And he wears a diaper that occasionally needs changing.  And he sounds exactly like a baby.  (Whenever he opens his mouth, the sound of an actual baby is dubbed in.)  When he’s alone with his babysitter, he eagerly sucks on her breast, half-nursing and half-perving.

Baby is the only son of Mrs. Wadsworth (Ruth Roman, giving a chillingly evil performance).  Mrs. Wadsworth was abandoned by her husband shortly after Baby was born and the film implies that she’s taken a lot of her hatred towards her ex out on her son.  Despite not liking her son, Mrs. Wadsworth is determined to hold onto him.  She gets a weekly welfare check from the state.  The money is supposed to be used to take care of Baby but Mrs. Wadsworth uses it to take care of herself and her two daughters.

Who are her daughters?  Alba Wadsworth (Suzanne Zenor) is an implied nymphomaniac who has a way with a cattle prod.   Germaine Wadsworth (Marianna Hill) is an actress and model who, it’s suggested, has incestuous designs on her brother.

That’s right — they’re a messed up family!  However, they do throw great parties, the type that are full of all the typical characters who you would expect to appear in a low-budget film from 1973.  Hippies, hipsters, aspiring disco dancers, they all show up.  Michael Pataki shows up as well!  You my not know the name but if you’re a fan of 70s exploitation films like me, you’ll immediately recognize Michael Pataki.

In order to continue receiving money from the government, the Wadsworths have to impress their case worker.  They’ve moved through several social workers and, for the most part, they’ve survived by being so strange that no one wants to spend too much time dealing with them.  However, their case has just been assigned to Ann Gentry (Anjanette Comer) and she actually takes an interest in Baby and his life with the Wasdworths.

Ann says that she thinks Baby could benefit from going to a special school.  The Wadsworths suggest that she mind her own business.  Ann, however, has no intention of doing that.  Ann refuses the give up on giving Baby a chance at a better life.

Sounds heart-warming, right?

Well, no.

At first, Ann seems like just another concerned do-gooder.  But, at the film progresses, we start to suspect that Ann might have some secrets of her own.  We’re told that she lost her husband in a car accident but the details are left intentionally vague.  What we do know is that Ann lives in a huge house with her mother-in-law (Beatrice Manley Blau) and we find ourselves wondering why, if her husband is gone, are the two of them still living together.

We also fin ourselves wondering: Does Ann have Baby’s best interests in mind?  For that matter, does anyone?

Being a 70s movie, it all ends with a violent home invasion that’s followed by a surprise twist.  The twist caught me totally off-guard and forced me to reconsider everything that I had previously seen.  It was shocking, it was borderline offensive, it was just a little bit ludicrous, and it was rather brilliant in its odd way.

The same can be said for The Baby as a whole.  This is one weird movie and you’ll never see another like it.  For that reason alone, The Baby is worth seeing at least once.

Cleaning Out The DVR #33: Heaven Can Wait (dir by Ernst Lubitsch)


(For those following at home, Lisa is attempting to clean out her DVR by watching and reviewing 38 films by the end of today!!!!!  Will she make it?  Keep following the site to find out!)

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The 1943 film Heaven Can Wait opens with a 70 year-old man named Henry Van Cleve (Don Ameche) stepping into an opulent drawing room and having a conversation with a refined but menacing man known as His Excellency (Laird Cregar).  From their conversation, it quickly becomes obvious that Henry has recently died and His Excellency is in charge of Hell.  Most people who come to see His Excellency do so because they want to argue that they do not belong in Hell and they usually end up falling through a convenient trap door.  However, Henry is there to argue that, after living an enjoyable but dissolute life, he belongs in Hell.

Henry tells the story of his life.  He tells how he was born into great wealth and influenced by his down-to-Earth grandfather (Charles Coburn).  As a young man, he spent most of his time chasing after showgirls bur eventually, he met the beautiful and kind-hearted Martha (Gene Tierney).  He immediately fell in love with Martha but, unfortunately for him, she was engaged to his cousin (Allyn Joslyn).  Henry, however, used his considerable charm to convince her to elope with him.

(It helps, of course, that Henry’s cousin was totally and completely obnoxious, in the way that rival suitors often are in films like this.)

And, for 25 years, Henry was happy with Martha.  It took him a while to settle down and, at one point, Martha even left him as a result of his affairs.  However, they always got back together and Henry eventually did settle down, even going so far as to prevent his son from running off with a showgirl of his own.  It was only after Martha herself died that Henry, who always felt he didn’t deserve her love, returned to his old ways.

And, Henry argues, it’s because he was unworthy of his wife that he deserves to spend an eternity in Hell.  Does His Excellency agree?

Well, it would certainly be a depressing movie if he did.

One of the great things about TCM’s 31 Days of Oscar is that it gave me a chance to discover several films from director Ernst Lubitsch, films like The Smiling Lieutenant, The Love Parade, Ninotchka, and Heaven Can Wait.  Of those four Lubitsch films, Heaven Can Wait is probably the least substantial but it’s still an undeniably entertaining and nicely romantic film.  This is one of those films that you watch because the sets look wonderful, the costumes are to die for, and the performers are all pleasant to watch.  It’s pure entertainment, a crowd-pleaser in the best sense of the word.

In fact, tt was such a crowd-pleaser that it was nominated for best picture of the year.  However, it lost to the ultimate crowd-pleaser, Casablanca.