Finally! The weather here in New England has begun to break, and we’re heading into summer. I even managed to get some beach time in today. TCM beat me to the punch when they aired BEACH PARTY as part of their month-long salute to American International Pictures, a blast from the past filled with sand, surf, teenage sex, and plenty of good ol’ rock’n’roll! BEACH PARTY spawned a series of films and a whole slew of imitators , but AIP did ’em first and best.
Teen idol Frankie Avalon and ex-Mouseketeer Annette Funicello starred in most of the AIP’s, using the same plot over and over. Frankie wants sex, but Annette wants to wait for marriage. They fight, and try to make each other jealous by dating someone new, but wind up together by film’s end. Simple, and rehashed using gimmicks like bodybuilding, drag racing, sky diving, and skiing to make things seem fresh…
How have I ignored Roger Corman here for so long, save for a short “Cleaning Out the DVR” review of THE TERROR ? The King of the Low Budget Quickies has long been a favorite filmmaker of mine, and has probably had more impact on American cinema than people realize. Well, now that TCM is running its month-long salute to AIP, I’m about to rectify that oversight. (By the way, Corman himself is cohosting the retrospective every Thursday night along with TCM’s own Ben Mankiewicz!)
American International Pictures scored a hit with 1960’s HOUSE OF USHER, an Edgar Allan Poe adaptation starring Vincent Price and directed by Corman. Studio honchos James Nicholson and Samuel Z. Arkoff looked at the box office numbers and, realizing they had a cash cow on their hands, asked Corman to produce a follow-up. Rapid Roger decided on PIT AND THE PENDULUM, shot in 15 days for less…
Shock opens with a young housewife named Jane Stewart (Anabel Shaw) waking from a dream, getting out of bed, looking out a window, and seeing something rather serious happening in the house next door. A man and a woman are arguing. Though Jane doesn’t recognize the man, horror fans will immediately realize that he’s Vincent Price, without a mustache. As Jane watches, the man beats the woman to death. When Jane’s husband, Lt. Paul Stewart (Frank Latimore), returns home, he discovers that Jane is in a catatonic state.
Paul calls the local cranky physician, Dr. Harvey (Charles Trowbridge), to the house. Dr. Harvey takes one look at Jane and announces, “She’s in shock!” (YAY! WE HAVE A TITLE!) Paul looks confused so Dr. Harvey goes on to explain, “She’s had a great shock.” Unfortunately, Dr. Harvey is not trained to deal with shock but he knows someone who is. That man’s name is Dr. Richard Cross.
Soon Dr. Cross shows up and — OH MY GOD, IT’S VINCENT PRICE! That’s right — Dr. Cross not only caused Jane’s shock but now he’s going to treat it! Or is he? Though Dr. Cross claims to be wracked with guilt over the murder, his nurse, Elaine Jordan (Lynn Bari), is less concerned about it. In fact, since Elaine is also his mistress, she’s rather happy that Dr. Cross has murdered his wife. Now, she just has to convince him to murder Jane before she recovers from her shock.
(Interestingly enough, Dr. Cross’s plan involves treating Jane with insulin shock therapy, which would seem to indicate that Dr. Cross has seen Dr. Kildare’s Strange Case too many times.)
I had high hopes for Shock, largely because of the presence of Vincent Price. From what I’ve read, the box office success of Shock changed the course of Price’s career. Before Shock, Price was a character actor who occasionally got a good supporting role. After Shock, he was transformed into the horror icon who we all know and love today. Shock was the first time that Price was cast in the type of mad scientist role that would later become his trademark. For that reason, Shock has an important place in the history of cinematic terror.
But, unfortunately, Shock itself is kind of forgettable. It’s pretty much your standard thriller, one that makes the mistake of revealing Price’s villainy from the start. (It would have been far more effective if the film tried to shock us with the realization that Price is the bad guy.) It’s always fun to watch Vincent Price in a movie but he actually gives a rather subdued performance here and, as a result, he’s not as much fun as he would be in his later films. In other words, Shock is no House On Haunted Hill.
That said, Shock is definitely a piece of film history and, as such, it’s worth watching. And here it is:
“People don’t go to the movies to see how miserable the world is; they go there to eat popcorn, be happy“- Wynton (Jim Backus) in HIS KIND OF WOMAN
Right you are, Mr. Howell, err Backus. There’s an abundance of fun to be had in HIS KIND OF WOMAN, the quintessential RKO/Robert Mitchum movie. Big Bob costars with sexy Jane Russell in a convoluted tale that’s part film noir, part Monty Python, with an outstanding all-star cast led by Vincent Price serving up big slices of ham as a self-obsessed movie star. And the backstory behind HIS KIND OF WOMAN is as entertaining as the picture itself!
But we’ll go behind the scenes later. First, let’s look at the movie’s plot. We meet down on his luck gambler Dan Milner (Mitchum) in a bar…. drinking milk! Dan just got done doing a 30 day stretch in a Palm Springs jail…
Let’s all wish Edgar Allan Poe a happy 207th birthday! In honor of the occasion, here’s four different actors reading The Raven!
First here’s Vincent Price!
And now it’s time for Christopher Lee!
Check out James Earl Jones!
And, of course, we have to include Christopher Walken!
And here’s the poem, in all its glory. Read it aloud in your own voice!
Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door— Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December; And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow;—vainly I had sought to borrow From my books surcease of sorrow—sorrow for the lost Lenore— For the rare and radiant maiden whom the angels name Lenore— Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain Thrilled me—filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating “’Tis some visitor entreating entrance at my chamber door— Some late visiter entreating entrance at my chamber door;— This it is and nothing more.”
Presently my soul grew stronger; hesitating then no longer, “Sir,” said I, “or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you”—here I opened wide the door;— Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before; But the silence was unbroken, and the stillness gave no token, And the only word there spoken was the whispered word, “Lenore?” This I whispered, and an echo murmured back the word, “Lenore!”— Merely this and nothing more.
Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. “Surely,” said I, “surely that is something at my window lattice; Let me see, then, what thereat is, and this mystery explore— Let my heart be still a moment and this mystery explore;— ’Tis the wind and nothing more!”
Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately Raven of the saintly days of yore; Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door— Perched upon a bust of Pallas just above my chamber door— Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore, “Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shore— Tell me what thy lordly name is on the Night’s Plutonian shore!” Quoth the Raven “Nevermore.”
Much I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning—little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blessed with seeing bird above his chamber door— Bird or beast upon the sculptured bust above his chamber door, With such name as “Nevermore.”
But the Raven, sitting lonely on the placid bust, spoke only That one word, as if his soul in that one word he did outpour. Nothing farther then he uttered—not a feather then he fluttered— Till I scarcely more than muttered “Other friends have flown before— On the morrow he will leave me, as my Hopes have flown before.” Then the bird said “Nevermore.”
Startled at the stillness broken by reply so aptly spoken, “Doubtless,” said I, “what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore— Till the dirges of his Hope that melancholy burden bore Of ‘Never—nevermore’.”
But the Raven still beguiling all my fancy into smiling, Straight I wheeled a cushioned seat in front of bird, and bust and door; Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore— What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking “Nevermore.”
This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom’s core; This and more I sat divining, with my head at ease reclining On the cushion’s velvet lining that the lamp-light gloated o’er, But whose velvet-violet lining with the lamp-light gloating o’er, She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim whose foot-falls tinkled on the tufted floor. “Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee Respite—respite and nepenthe from thy memories of Lenore; Quaff, oh quaff this kind nepenthe and forget this lost Lenore!” Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!— Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted— On this home by Horror haunted—tell me truly, I implore— Is there—is there balm in Gilead?—tell me—tell me, I implore!” Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil! By that Heaven that bends above us—by that God we both adore— Tell this soul with sorrow laden if, within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore— Clasp a rare and radiant maiden whom the angels name Lenore.” Quoth the Raven “Nevermore.”
“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting— “Get thee back into the tempest and the Night’s Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken!—quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door!” Quoth the Raven “Nevermore.”
And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon’s that is dreaming, And the lamp-light o’er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted—nevermore!
For tonight’s vintage Christmas film, allow me to present a 1949 television special. This adaptation of A Christmas Carol is unique for being hosted by none other than Vincent Price!
What better way to end another month of horror here at Through the Shattered Lens than with a showing a the greatest music video ever made (not even a contest or a question). No matter what one’s personal opinion of Michael Jackson as a person there’s no denying the genius talent the man had and this video just speaks to the horror fan even if one was not into his music.
It has a werewolf (though here it’s a werecat), 50’s horror trope of the girl in distress, zombies, John Landis directing, Vincent Price with one of the best spoken word performance in a music video…and did I say zombies courtesy of make-up FX guru Rick Baker.
A music video that was more a short film plus horror musical, Thriller would become a cultural phenomenon that spread across the globe. It didn’t matter whether one lived in the US or the furthest corner of Mongolia. Everyone saw and enjoyed this music video. Even it’s detractors could only nitpick flaws from the final product.
Oh yeah, it has ZOMBIES!
Hope everyone had a great, happy and safe Halloween!
Thriller
It’s close to midnight, and something evil’s lurkin’ in the dark Under the moonlight, you see a sight that almost stops your heart You try to scream, but terror takes the sound before you make it You start to freeze, as horror looks you right between the eyes You’re paralyzed
‘Cause it’s a thriller, thriller night And no one’s gonna save you from the beast about to strike You know it’s thriller, thriller night You’re fighting for your life inside a, killer, thriller tonight, yeah
You hear the door slam, and realize there’s nowhere left to run You feel the cold hand, and wonder if you’ll ever see the sun You close your eyes, and hope that this is just imagination Girl, but all the while, you hear a creature creepin’ up behind You’re outta time
‘Cause it’s a thriller, thriller night There ain’t no second chance against the thing with the forty eyes, girl (Thriller, thriller night) You’re fighting for your life inside a killer, thriller tonight
Night creatures call and the dead start to walk in their masquerade There’s no escaping the jaws of the alien this time (They’re open wide) This is the end of your life
They’re out to get you, there’s demons closing in on every side (boom!) They will possess you, unless you change that number on your dial Now is the time, for you and I to cuddle close together, yeah All through the night, I’ll save you from the terror on the screen I’ll make you see
That it’s a thriller, thriller night ‘Cause I can thrill you more than any ghoul would ever dare try (Thriller, thriller night) So let me hold you tight and share a killer, diller, chiller thriller here tonight
‘Cause it’s a thriller, thriller night Girl, I can thrill you more than any ghoul would ever dare try (Thriller, thriller night) So let me hold you tight and share a (Killer, thriller)
I’m gonna thrill you tonight
(Vincent Price voiceover)
“Darkness falls across the land The midnight hour is close at hand Creatures crawl in search of blood To terrorize your neighborhood And whosoever shall be found Without the soul for getting down Must stand and face the hounds of hell And rot inside a corpse’s shell”
I’m gonna thrill you tonight (Thriller, thriller) I’m gonna thrill you tonight (Middle of the night, thriller) I’m gonna thrill you tonight Ooh, babe, I’m gonna thrill you tonight Middle of the night, babe
(Vincent Price voiceover)
“The foulest stench is in the air The funk of forty-thousand years And grizzly ghouls from every tomb Are closing in to seal your doom And though you fight to stay alive Your body starts to shiver For no mere mortal can resist The evil of the thriller”
For today’s horror on the lens, check out the 1963 film, Diary of a Madman!
It’s simply not October without at least one film featuring the great Vincent Price. In Diary of a Madman, Price plays Simon Cordier, a French magistrate. What is it that’s causing Simon’s personality to change? What is making him suffer from greater and greater delusions? Is he just going insane? Or is he being haunted by a malevolent spirit known as a horla!?
Any film that features Vincent Price being sinister is worth watching and Diary of a Madman actually features one of his better performances. Overall, Diary of a Madman is an enjoyable attempt at psychological horror.
What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable? This feature is all about those insomnia-inspired discoveries!
If, last night, you were suffering from insomnia at 3 in the morning, you could have turned on TCM and watched the 1957 faux epic, The Story of Mankind.
I call The Story of Mankind a faux epic because it’s an outwardly big film that turns out to be remarkably small on closer inspection. First off, it claims to the tell the story of Mankind but it only has a running time of 100 minutes so, as you can imagine, a lot of the story gets left out. (I was annoyed that neither my favorite social reformer, Victoria C. Woodhull, nor my favorite president, Rutherford B. Hayes, made an appearance.) It’s a film that follow Vincent Price and Ronald Colman as they stroll through history but it turns out that “history” is largely made up of stock footage taken from other movies. The film’s cast is full of actors who will be familiar to lovers of classic cinema and yet, few of them really have more than a few minutes of screen time. In fact, it only takes a little bit of research on the imdb to discover that most of the film’s cast was made up of performers who were on the verge of ending their careers.
The Story of Mankind opens with two angels noticing that mankind has apparently invented the “Super H-Bomb,” ten years ahead of schedule. It appears that mankind is on the verge of destroying itself and soon, both Heaven and Hell will be full of new arrivals. One of the angels exclaims that there’s already a housing shortage!
A celestial court, overseen by a stern judge (Cedric Hardwicke) is convened in outer space. The court must decide whether to intervene and prevent mankind from destroying itself. Speaking on behalf on humanity is the Spirit of Man. The Spirit of Man is played by Ronald Colman. This was Colman’s final film. In his heyday, he was such a popular star that he was Margaret Mitchell’s first choice to play Rhett Butler in Gone With The Wind. However, in The Story of Mankind, Colman comes across as being a bit bored with it all and you start to get worried that he might not be the best attorney that mankind could have hired.
Even more worrisome, as far as the future of mankind is concerned, is that the prosecutor, Mr. Scratch, is being played by Vincent Price. Making his case with his trademark theatrics and delivering every snaky line with a self-satisfied yet likable smirk on his face, Vincent Price is so much fun to watch that it was impossible not to agree with him. Destroy mankind, Mr. Scratch? Sure, why not? Mankind had a good run, after all…
In order to make their cases, Mr. Scratch and the Spirit of Man take a tour through history. Mr. Scratch reminds us of villains like the Egyptian pharaoh Khufu (John Carradine) and the Roman Emperor Nero (Peter Lorre, of course). He shows how Joan of Arc (Hedy Lamarr) was burned at the stake. The Spirit of Man argues that, despite all of that, man is still capable of doing good things, like inventing the printing press.
And really, the whole point of the film is to see who is playing which historical figure. The film features a huge cast of classic film actors. If you watch TCM on a semi-regular basis, you’ll recognize a good deal of the cast. The fun comes from seeing who tried to give a memorable performance and who just showed up to collect a paycheck. For instance, a very young Dennis Hopper gives a bizarre method interpretation of Napoleon and it’s one of those things that simply has to be seen.
And then the Marx Brothers show up!
They don’t share any scenes together, unfortunately. But three of them are present! (No, Zeppo does not make an appearance but I imagine that’s just because Jim Ameche was already cast in the role of Alexander Graham Bell.) Chico is a monk who tells Christopher Columbus not to waste his time looking for a quicker way to reach India. Harpo Marx is Sir Isaac Newton, who plays a harp and discovers gravity when a hundred apples smash down on his head. And Groucho Marx plays Peter Miniut, tricking a Native American chief into selling Manhattan Island while leering at the chief’s daughter.
And the good thing about the Marx Brothers is that their presence makes a strong argument that humanity deserves another chance. A world that produced the Marx Brothers can’t be all bad, right?
Anyway, Story of Mankind is one of those films that seems like it would be a good cure for insomnia but then you start watching it and it’s just such a weird movie that you simply have to watch it all the way to the end. It’s not a good movie but it is flamboyantly bad and, as a result, everyone should see it at least once.
It seems a little bit strange that today was, for many people, the first day of Spring Break.
First off, it was cold and rainy today and, whenever I found myself glancing out a window and being confronted by the gray weather, it was very hard for me to imagine having any fun on a beach.
Secondly, for reasons that I never quite understood, the University of North Texas’s Spring Break was always a week after everyone else’s. As a result, I’ve been conditioned to think of Spring Break as starting during the third week of March.
I always looked forward to Spring Break, despite the fact that we always got out a week late. In fact, it was kind of nice to know that, when my friends and I got down to that year’s beach, the most obnoxious of the alcoholic frat boys would already be back in Oklahoma. I’ve always loved the beach, which is odd because I’m scared of drowning. Fortunately, you don’t have to swim to look good in a bikini.
Now, of course, I’m an adult and I don’t get a Spring Break. But that doesn’t mean that I can’t relive the fun of it all by spending the next few days watching and reviewing beach movies!
For instance, earlier today, I discovered that the 1963 film Beach Party was available on Netflix. I watched the first 40 minutes during my lunch and then, as the day progressed, I watched the rest of it in bits and pieces until finally, nearly 8 hours after starting the film, I finished it. Needless to say, this is absolutely the worst way to watch a film like Beach Party. Beach Party was designed to be a film to be enjoyed but not thought about. It’s the cinematic equivalent of fast food. Watching Beach Party in increments of 2 or 3 minutes at a time is a bit like buying a Wendy’s bacon cheeseburger and not eating it until the next day.
(Or so I assume. I would never do that because, seriously, Wendy’s makes the best bacon cheeseburgers!)
It feels kind of silly to try to describe the plot of something like Beach Party but here goes: Frankie (Frankie Avalon) and Delores (Annette Funicello) are two teenagers in love. Or, at the very least, Delores is in love. Frankie, however, has a hard time saying it. Frankie and Delores are planning on spending the weekend at a beach house where, Frankie tells her, it will be just like they’re married. Though it’s never explicitly stated (like many films from the early 60s, Beach Party is all about the euphemisms), Frankie is obviously expecting that he and Delores will finally be having sex in that beach house. However, Delores had the same idea so she invited all of their friends to stay at the beach house as well, specifically to keep her from giving in during a moment of weakness.
Meanwhile, Prof. Robert Sutwell (Robert Cummings) is also hanging out on the beach. He’s an anthropologist who has a rather prominent beard. He’s studying the sex lives of teenagers. Since they’re adults, Robert and his assistant Marianne (Dorothy Malone) are actually allowed to say the word “sex.”
Speaking of which, that’s one thing that nobody on the beach seems to be doing. Robert is too obsessed with his work, Marianne is too frustrated with his lack of interest, Frankie is too busy surfing and singing, and Delores says she’s not interesting in “being a woman” until she’s married. There’s constant flirting going on, of course but, for the most part, these teenagers make the spring breakers from From Justin To Kelly look wild. (One can only guess what would happen if any of them ever ran into the spring breakers from Spring Breakers….)
That said, I do think that I did spot Frankie and his friends passing around a joint during one scene. According to some comments at the imdb, it was probably meant to be a cigarette that Frankie was sharing with his friends Ken (John Ashley) and Deadhead (Jody McCrea) but it sure looked like a joint to me. Plus, Frankie was listening to beatnik poetry at the time and we all know those crazy kids loved the poetry and loved the marijuana.
Oh! And did I mention that there’s a motorcycle gang in this film? Because there so totally is. The Rat Pack is led by a guy named Erich Von Zipper (Harvey Lembeck) and they pretty much show up whenever the film starts to run out of ideas…
Now, it may sound like I’m being pretty critical of Beach Party but actually, I thought it was fun in a time capsule sort of way. This is one of those films that is so obviously a product of the time in which it was made that watching it is a bit like getting to take a ride in a time machine. Everything about this film — from the dialogue to the cultural attitudes to the clean-cut teenagers to the music to the bizarrely modest bikinis — practically screams 1963. As a secret history nerd, I loved the part of Beach Party.
Add to that, Vincent Price has a cameo! That’s always fun.
Anyway, Beach Party is currently available to be watched on Netflix and Hulu. If you can’t get to the beach this year, you can always watch Frankie Avalon getting high in Beach Party.