ATLRetro

By Lucas Hardwick
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

DRESSED TO KILL – 1980
4 out of 5 Bananas
Starring: Michael Caine, Angie Dickinson, Nancy Allen, and Keith Gordon
Director: Brian De Palma
Rated: Unrated
Studio: Kino Lorber
Region: 4K UHD Blu-Ray and 2K Blu-ray, Region Free
BRD Release Date: October 25, 2022
Audio Formats: English DTS-HD Master Audio 2.0 Mono and 5.1 (48kHz, 24-bit)
Video Codec: HEVC / H.265 (70.00 Mbps)
Resolution: Native 4K (2160p)
Aspect Ratio: 2.39:1
Run Time: 104 minutes
CLICK HERE TO ORDER

The lament of the sexually frustrated housewife gets everyone rooting for adultery. It’s never not a shame to see a beautiful woman carnally neglected or subject to something as mundane as “married sex,” or in the case of Angie Dickinson’s Kate Miller, obligatory sex. But where there’s smoke there’s fire and where there’s a sexually frustrated housewife, there’s a split diopter and a cross-dressing maniac with a straight razor, eventually making us all complicit to murder. Brian De Palma spells out the consequences of this particular instance of infidelity in his 1980 thriller DRESSED TO KILL.

Kate Miller has needs just like everyone else, the extent of which is luridly expressed in the film’s opening scene as her fantasy of being violently ravaged in the shower unfolds before revealing a two-pump chump reality. Kate is not a satisfied woman. That’s not to say her husband isn’t a good-looking man. He’s quite handsome, but he’s not a guy who’s really into “needs.”

It’s no surprise that Kate 1) sees a therapist who very openly, yet somehow very professionally, confesses that he’d like to sleep with her, and 2) that she’s willing to side-step a few Commandments when Mr. Tall, Dark, and Handsome takes a seat next to her at the art museum.

In what amounts to a horny game of cat-and-mouse, Kate and her handsome stranger pursue each other through the labyrinthine museum, culminating in a sultry cab ride that puts Kate in Mr. Handsome’s bed without her panties. Mr. Handsome’s name is Warren Lockman (Ken Baker), and at least part of Kate’s apprehensions are realized when she discovers Mr. Lockman has a venereal disease after pilfering the man’s desk drawer while he sleeps. This is only the beginning of a fatal exacting of Murphy’s Law for poor Kate.

Her walk of shame is interrupted when she goes back to retrieve her wedding ring from Lockman’s apartment. At this point Kate is feeling pretty low; she’s going to be late getting home, she’s cheated on her husband, and she may have a gnarly venereal disease pulsing through her veins. Things couldn’t get much worse—that is until she winds up on the business end of a straight razor at the hands of a strange blonde woman in sunglasses in a near verbatim remake of the famous shower scene in Alfred Hitchcock’s PSYCHO.

Witness to Kate’s murder is hooker-with-a-heart-of-gold Liz Blake (Nancy Allen). Liz is mid-escort when the murder occurs, which sends her client running. During the fracas, Liz catches a glimpse of the killer, immediately conscripting herself into the role amateur detective and dramatically changing the film’s tone from sordid romance on the down-low to a bona fide murder mystery of the giallo variety. From this point forward it’s Liz’s movie as she teams up with Kate’s nerdy teenage son Peter (Keith Gordon) to track down the mysterious blond-haired butcher, and tries not to get herself killed or arrested in the process.

The problem with the traditional murder mystery is there’s only so many people who can be the killer. Anyone with half a brain and an astute sense of empathy and narrative can pin down whodunit with relatively little difficulty. This is one instance where the saying “Italians do it better” rings true. The typical Italian giallo film will have audiences guessing to the very end with any number of red herrings at varying degrees of coherency along the way. And usually, it’s not the person you least expect, rather, it’s the person you least, least expect, like the paraplegic who’s been laid up in a bed the entire movie.

Once it’s revealed that Kate is in danger as she leaves the museum, De Palma mostly ditches the Hitchcock vibe he was working with and leans more into the giallo aesthetic. All the right pieces are there: a black-gloved hand, a weird cutting tool, a pretty blonde, and a bad disguise. Narratively, however, the director plays it safe and sticks to a pretty standard murder thriller.

This movie in any other director’s hands would be dangerously close to coming across like a made-for-TV film (not that there’s anything wrong with that). DRESSED TO KILL isn’t really about being a murder mystery, though; it’s about the thrill of a murder mystery, the shock of revelation, and the vicarious event of watching other people endure terror. It is an experience, and conclusively, it’s an opportunity for De Palma to play around in that old Hitchcock sandbox and lay down some of the distinct visual style for which he’s known.

De Palma’s critics corner him as misogynistic for his treatment of women in his films. DRESSED TO KILL, in particular, is an example of implicating a woman in a dangerous situation where arguably her own decisions lead to her death. What’s really happening in this film is more along the lines of satire. At face value, sure, Kate Miller does bad things, and as a result, bad things happen to her; but what about the bad things Kate’s husband is guilty of? If only he were more attentive in the way Kate needed him to be, she wouldn’t be compelled to do the bad things that get her killed. The lack of attention from Kate’s husband empowers her to go find what she feels she deserves.

Furthermore, if there were any doubt about De Palma’s intentions, one needs to look no further than the occupation of Liz Blake, who could have been a schoolteacher or a bank teller, but in a story where a woman searching for sex is murdered, what better hero than a sex worker? How appropriate that Kate’s husband is exactly the type of man with which Liz so often works. And while Kate’s husband isn’t interested in the needs of his sexual partner, Liz reciprocates this particular theme as someone who is only interested in the needs of her sexual partners. Liz, the expert on the needs of others, becomes empowered to find Kate’s killer. Liz, the sex worker — not the schoolteacher or the bank teller — is a hero. Liz’s role is emphasized in the final moments of the film that finds her waking in terror in the very bed in which Kate was having all that unsatisfying sex. Kate’s marital bed — curiously missing Kate’s husband, but involving Peter as a comfort to Liz—represents the thematic stakes of the movie. The prostitute is the sacrificial lamb of chilly sex, making Liz not only the hero of the film, but the Patron Saint of passion.

The killer’s confused sexual identity certainly adds to the film’s sexually charged dynamic, but seems to be employed mostly as a red herring device. Kate’s murderer is driven by the male side of jealously, but acts as a female. It seems that a true case of sexual identity crisis would work better if the killer were a woman killing as a man. In the case of what occurs, the psychological implications lean more into a dual identity disorder. The killer’s motivation and identity crisis are particularly interesting because the script for this film was originally written for CRUISING (1980) until that project went to William Friedkin. De Palma repurposed the script into DRESSED TO KILL.

DRESSED TO KILL is presented in Ultra High Definition on 4K UHD disc by Kino Lorber. New and legacy supplementary features, including multiple interviews and documentaries, are featured on a bonus Blu-ray disc. The UHD disc also contains a new commentary by film critic and author Maitland McDonagh.

Brian De Palma is eager to let audiences know what a Hitchcock fan he is, almost to the point of overdoing it. DRESSED TO KILL is textbook De Palma and holds up as one of the director’s best films. Here, De Palma isn’t interested in satisfying anyone’s need to solve a murder so much as he’s looking to thrill with good old-fashioned sex and violence with a troubling twist that’ll have you hankerin’ for a stick of Doublemint gum.

When he’s not working as a Sasquatch stand-in for sleazy European films, Lucas Hardwick spends time writing film essays and reviews for We Belong Dead and Screem magazines. Lucas also enjoys writing horror shorts and has earned Quarterfinalist status in the Killer Shorts and HorrOrigins screenwriting contests. You can find Lucas’ shorts on Coverfly.

 Ape caricature art by Richard Smith.

by Anthony Taylor
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

BATTLE OF THE WORLDS (Il Pianeta Degli Uomini Spenti) – 1961
2.5 out of 5 Bananas
Starring: Claude Rains , Bill Carter , Umberto Orsini , Maya Brent
Director: Antonio Margheriti (as Anthony Dawson)
Rated: Unrated
Studio: The Film Detective
Region: A
BRD Release Date: August 9, 2022
Audio Formats: English: DTS-HD Master Audio 2.0 Mono (48kHz, 16-bit)
Video Codec: MPEG-4 AVC (29.28 Mbps)
Resolution: 1080p HD
Aspect Ratio: 1.85:1
Run Time: 84 minutes
CLICK HERE TO ORDER

Antonio Margheriti worked as a model maker and special effects artist while making the transition to Director, and his talent for creating dynamic space battles is on display in BATTLE OF THE WORLDS. In his second outing in the big chair, Margheriti delivers a film high on concept but low on coherent storytelling; his directing skills were still being honed, and it shows. With a penchant for working with maquette and models, his lack of experience with actors is obvious – especially in relation to his star, Claude Rains.

Rains had recently starred as Prof. Challenger in Irwin Allen‘s production of  THE LOST WORLD, but was nearing the end of his career. An over-the-top personality, Rains was set loose on a cast of Italian actors and English-speaking bit players and literally chews them up and spits them out all over the screen. It’s like watching a lawnmower approaching a litter of puppies in some scenes. Both director and actor had brighter days ahead; Rains was yet to appear in LAWRENCE OF ARABIA and THE GREATEST STORY EVER TOLD, and Margheriti had better fish to fry in films like THE WILD, WILD PLANET, TAKE A HARD RIDE, and WEB OF THE SPIDER, just to name a few.

The “Outsider,” an interstellar satellite on a collision course with Earth, proves to be a planetoid-sized mothership filled with hostile flying saucers bent on destroying our defense forces so that the alien controllers can colonize our planet. Dr. Benson (Rains) has plans to stop them, but will only share them if he is given complete control of the task force charged with combatting the invasion. It’s all highly melodramatic and the conclusion is a bit disappointing to all involved, but there are definitely entertaining moments in the film. The art direction by Umberta Cesarano —on a shoestring budget— is colorful and appealing, as might be expected in an Italian sci-fi film of the era. Music by Mario Migliardi  is atonal and unsettling, which works some of the time and annoys just as often.

The Film Detective’s presentation of the film is a definite improvement in terms of picture and sound quality than previous releases, but is problematic on other fronts. Approximately nine minutes that was included in a previous DVD release from Reel Vault seems to be missing and, to be honest, this Blu-ray is rife with jump cuts throughout. Though created from a new 4K scan of the source material, the source was a 35mm print that itself needed restoration, though provided the best quality elements that could be found. Though the packaging claims it is “newly restored”, there are numerous analog artifacts present from the original source. I suspect that The Film Detective did in fact do some audio restoration to smooth the dialog during the jump cuts, and possibly ran the new master through several A.I. filters for stabilization purposes.

While I do understand their dilemma regarding a full restoration- which should include new color timing to correct a visible red shift due to the source print’s Eastman-color film stock, as well as a total audio remix – is there enough of an audience for this film to make the cost of restoration commercially viable? It’s hard to say. Should the film be preserved? Absolutely. But as a less than classic offering in the genre, does it warrant a stem-to-stern restoration? Let me know your thoughts in the comments below.

The disc also includes a new featurette from Ballyhoo Motion Pictures, “A Cinematic Outsider: The Fantastical Worlds of Antonio Margheriti” (HD; 30:38) with historian and critic Tim Lucas discussing the director’s oeuvre, as well as a new feature length commentary from author Justin Humphreys. Both are well put together and informative, and worth viewing.

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Famous Monsters of Filmland, SFX, Video WatcH*Dog, and many more.

 Ape caricature art by Richard Smith.

by Anthony Taylor
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

If you have a retro cinema and television buff in your life, consider yourself lucky! Finding gifts for them just got a whole lot easier thanks to our handy Gift Giving Guide. Below are our deep dive (and shallow end) choices for the greatest gifts released in 2022 for lovers of physical media. All titles are in Blu-Ray or 4K format unless otherwise noted.

Get the popcorn ready and Happy Holidays!

MULTI-DISC/TITLE SETS

Dr. Phibes Double Feature [THE ABOMINABLE DR. PHIBES/DR. PHIBES RISES AGAIN] – Kino Lorber: It’s impossible not to love the kitschy fun of director Robert Fuest’s Phibes movies. Vincent Price chews scenery like bubble gum, and the Art Deco styling is gorgeous. It’s hard to hate a film whose tagline was “Love Means Never Having to Say You’re Ugly.” Both films come on a single disc, so it’s not stuffed with extra features, but definitely bargain-priced.

The Incredibly Strange Films Of Ray Dennis Steckler Collector’s Set – Severin: Twenty – COUNT ‘EM! – Twenty films by the master of cheap ass, WTF? cinema, Ray Dennis Steckler! Most well-known for THE INCREDIBLY STRANGE CREATURES WHO STOPPED LIVING AND BECAME MIXED-UP ZOMBIES!!?, Steckler’s films were always startlingly tapped into the contextual zeitgeist of the times. Absurd, yes – consequential, no doubt; he created some of the best cinema to make out to at drive-in screenings. Severin’s box set is fantastically featured, with new HD scans of the films, hours of bonus features and a book about the filmmaker. Get it!

Night Gallery (Season 3) – Kino Lorber: Return to the landscape of darkness with Rod Serling! Kino’s Season 3 Blu-ray set is filled to the top with classic episodes like “The Girl With The Hungry Eyes,” “Fright Night,” and “Something In The Woodwork,” as well as those amazing commentaries by the team that did the first two season sets and other supplements. Go all-in with this final offering of the early 1970’s television terror!

The Six Million Dollar Man: The Complete Series – Amazon Exclusive Collector’s Edition – Shout! Factory: They rebuilt him… in BLU-RAY! Thirty-three (that’s NOT a typo!) discs of all the bionic goodness you remember form the classic 1970’s television series! All the episodes plus the three TV movies that launched the series and the reunion movies, The Bionic Woman crossover episodes, as well as hours of bonus content and behind the scenes featurettes. A full ninety-two hours of Steve Austin and friends! It’s honestly a mind-blowing package of amazing high-definition entertainment, and I can’t believe there’s anyone on the planet over the age of 35 that wouldn’t be thrilled to get this in their stocking!

SINGLE TITLE/DISC GIFTS

 ARMY OF DARKNESS [Limited Edition Steelbook] – Shout! Factory: “This is my BOOMSTICK!” Another fun title that should be in every media Library. Sam Raimi and Bruce Campbell can do no wrong in this third installment of the EVIL DEAD franchise, and arguably the funniest. This four-disc set has every cut of the film imaginable (including a brand new 4K scan of the theatrical cut) as well as a full slate of supplementary features, all wrapped up in an attractive steelbook case. Just accept that if your special film fan doesn’t have this package, they need it.

THE GREAT ESCAPE 4K UHD – Kino Lorber: The classic. Director John Sturges’ WWII P.O.W. odyssey features possibly the greatest cast in the history of war movies (THE LONGEST DAY excepted) and just about every line of dialog is quotable. Steve McQueen is the coolest as the Cooler King, and performs the most memorable motorcycle jump in cinema history. This 2-disc set includes the film on 4K, a well as a bonus Blu-ray disc of extras and featurettes. Essential.

STAR TREK I: The Motion Picture 4K UHD – The Director’s Edition Complete Adventure – Paramount: Excuse me while I hyperventilate a bit… WOW! What a set for the all-too-often- maligned first Star Trek film! The director’s cut, the theatrical cut, a bonus disc jam packed with new and legacy special features, poster, photos, stickers, booklet, and more. It’s enough to make one gambol about like a Muppet. STAR TREK: TMP is a better film than most remember, and totally worth all the hoopla associated with the brand new remaster in this package. Boldly go get it now!

HIGHLANDER (Collector’s Edition) – Studio Canal: There can be ONLY ONE! The 80’s classic fantasy to end all fantasies, director Russell Mulcahy and writer Gregory Widen created an entirely new immortal breed to populate a franchise that included multiple films and television series, and an upcoming remake starring Henry Cavill, so yeah… maybe more than one. Studio Canal’s set includes a poster, a comic book, buttons, photos, and two discs full of immortals dueling with swords to the amazing music of Queen. How can you go wrong?

I could go on for pages and pages. We’re living in a jet stream of great releases and film fans should be very happy about that. Check out our previous and future columns for more recommendations and HAPPY HOLIDAYS FROM APE CITY!

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Famous Monsters of Filmland, Retro Fan, SFX, Video WatcH*Dog, and many more.

 Ape caricature art by Richard Smith.

by Anthony Taylor
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

PLANET OF THE VAMPIRES – 1965
4 out of 5 Bananas
Starring: Barry Sullivan, Norma Bengell, Ángel Aranda , Evi Marandi
Director: Mario Bava
Rated: Unrated
Studio: Kino Lorber
Region: A (locked)
BRD Release Date: July 26, 2022
Audio Formats: English: DTS-HD Master Audio 2.0
Video Codec: MPEG-4 AVC
Resolution: 1080p HD
Aspect Ratio: 1.85:1
Run Time: 88 minutes
5 Disc Set
CLICK HERE TO ORDER

Mario Bava is high in the pantheon of admired and revered film directors among film lovers, with good reason. He never failed to create an eminently watchable film, many of which were then copied incessantly by admirers and detractors alike. Starting his career as a cinematographer, Bava applied his unique vision as a colorist and scenarist to the kind of story material that appealed to him, most of which consisted of horror, science fiction, or fantasy. The list of directors and writers that he inspired is long and varied, but for the sake of this review, let’s confine that list to Dan O’Bannon, Ronald Shusett, and Ridley Scott, the men behind ALIEN (1979).

The trio were heavily influenced by Bava’s PLANET OF THE VAMPIRES in which; a spaceship (or two) responds to a distress signal from an uninhabited planet, descends to the surface to find an abandoned alien craft with giant skeletons (an idea Shusett admitted stealing from Bava) and crew members begin to die one by one. Scott denied ever seeing it at the time of ALIEN’s release, and O’Bannon admitted to only seeing part of it many years before writing his screenplay. Somehow, the film seeped into their collective groundwater, as did Edward L. Cahn‘s IT! THE TERROR BEYOND SPACE (1958), in which a malevolent alien stalks the inhabitants of a rocket in space, and several other sources including Clifford Simak’s story “Junkyard,” published in the May 1953 edition of GALAXY Magazine.

Bava’s film is seminal and stylish, truly worth the watch whether you’ve seen it before or not. While Scott’s movie provides more character definition and development, Bava achieved incredible visuals without the use of a single optical process shot. All of the special effects were achieved in-camera, and the planetary landscapes and vast interior shots of the ships were achieved with the Schufftan process. The art direction and production design would go on to influence many movies and television programs, especially as U.S. broadcasting moved into the “…IN COLOR!” era. The film’s costumes, sets, and props show a consistence of style that was only equaled by directors like Hitchcock or John Ford at the time.

Kino Lorber’s presentation of PLANET OF THE VAMPIRES is sourced from an exclusive new 2K master. Color saturation is gratuitous – as it should be here – and picture sharpness is only slightly softer than would be my preference having seen the film on 35mm several times. The single audio track is perfectly adequate and recreates the eerie atmospheric sounds and music of Gino Marinuzzi Jr. (of which I wish there was more) well. Supplemental materials include an exclusive new audio commentary by writers Kim Newman and Barry Forshaw; an archival audio commentary by critic and Bava biographer Tim Lucas; episodes of Trailers From Hell with Joe Dante and Josh Olson; the original trailer for the film and more.

Planet of the Vampires should be an old favorite for just about anyone with an interest in science fiction, horror, or Italian movies. Bava’s resume is filled with fantastic films that should be on every cineaste’s list; this one is near the top of the heap for me, superseded by both earlier and later works. Add this disc to your collection without hesitation.

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Famous Monsters of Filmland, SFX, Video WatcH*Dog, and many more.

 Ape caricature art by Richard Smith.

by Anthony Taylor
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems, and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

Apes on Film also appears on Nerd Alert News. Check them out HERE!

Night Gallery Season 2 – 1971-’72
4.5 out of 5 Bananas
Starring: Rod Serling, Leslie Nielsen, Vincent Price, Laurence Harvey, Patty Duke, Elsa Lanchester, Stuart Whitman, Jill Ireland, Bill Bixby, Richard Thomas, Lana Wood
Directors: John Badham, Jeannot Szwarc, Jeff Corey , Jack Laird, John Astin
Rated: Unrated
Studio: Kino Lorber
Region: A (locked)
BRD Release Date: July 26, 2022
Audio Formats: DTS-HD Master Audio 2.0 Mono (48kHz, 24-bit)
Video Codec: MPEG-4 AVC
Resolution: 1080p HD
Aspect Ratio: 1.33:1
Run Time: 1164 minutes
5 Disc Set
CLICK HERE TO ORDER

Silent Snow

Sigmund Freud famously said, “Sometimes a cigar is just a cigar,” but then again sometimes it’s not. Sometimes a painting is just a pretty way to ornament one’s walls, but sometimes, as Rod Serling might say, “Each one captures on a canvas, suspended in time and space, a frozen moment of a nightmare.” This was the premise of Serling’s second television series, Night Gallery.

The series began as a rotating segment in a wheel anthology series called FOUR IN ONE, with series mates McCloud, The Psychiatrist, and SFX (San Francisco International Airport). Only McCloud and Night Gallery made it to a second season, and Night Gallery became a weekly series under the supervision of producer Jack Laird and Serling. But in the case of this series, Laird was the creative show runner and Serling merely a staff writer and on-air host. As such, he had little control over the path the series took, and some of Laird’s choices didn’t sit well with the multiple Emmy winner.

Caterpillar

More a horror anthology than The Twilight Zone, which had been comprised of mainly science fiction tales, Serling was very concerned with providing a continuity of viewer experience throughout each episode that was usually comprised of two or three stories. Laird, on the other hand found the format a suitable showcase for his own personal sense of humor and inserted a series of short “black-out” sketches as time fillers between stories. Only occasionally were these humorous sketches actually funny, unfortunately, and it did certainly break the tension between the horror-based stories in each episode.

Kino Lorber has released the second season of Night Gallery with an embarrassment of riches on the supplemental features department. Suffice it to say that the team who provided commentaries for the first season volume is back with guns blazing. Many special features from the earlier DVD release of the series are included as well, the full list is included below.

You Can’t Get Help

Though the set contains some very memorable episodes – Green Fingers, Class of ’99, Silent Snow, Secret Snow, Sins of The Father, The Caterpillar, and You Just Can’t Get Help Like That Anymore to name but a few – the real reason to buy this set is all of the amazing extras contained within. They do a lot of heavy lifting to fill in gaps in behind-the-scenes and production information and give context to many moments that might otherwise leave some people scratching their heads. As a snapshot of early 1970’s television horror, Night Gallery Season 2 is unsurpassed.

Blu-ray Extras:

– BRAND NEW 2K MASTERS
– LOST TALES FROM SEASON 2 (DIE NOW, PAY LATER/ROOM FOR ONE LESS/WITCHES’ FEAST/LITTLE GIRL LOST)
– NEW Audio Commentary for THE BOY WHO PREDICTED EARTHQUAKES/MISS LOVECRAFT SENT ME/THE HAND OF BORGUS WEEMS/PHANTOM OF WHAT OPERA? by Film Historian Craig Beam
– NEW Audio Commentary for DEATH IN THE FAMILY/THE MERCIFUL/CLASS OF ’99/SATISFACTION GUARANTEED by Night Gallery Authors/Historians Scott Skelton and Jim Benson
– NEW Audio Commentary for A DEATH IN THE FAMILY/THE MERCIFUL/CLASS OF ’99/SATISFACTION GUARANTEED by Television Music Historian Dr. Reba Wissner
– NEW Audio Commentary for SINCE AUNT ADA CAME TO STAY/WITH APOLOGIES TO MR. HYDE/THE FLIP-SIDE OF SATAN by Night Gallery Authors/Historians Jim Benson and Scott Skelton
– NEW Audio Commentary for SINCE AUNT ADA CAME TO STAY/WITH APOLOGIES TO MR. HYDE/THE FLIP-SIDE OF SATAN by Television Music Historian Dr. Reba Wissner
– Audio Commentary for A FEAR OF SPIDERS/JUNIOR/MARMALADE WINE/THE ACADEMY by Night Gallery Authors/Historians Jim Benson and Scott Skelton
– NEW Audio Commentary for THE PHANTOM FARMHOUSE/SILENT SNOW, SECRET SNOW by Screenwriter/Historian Gary Gerani
– Audio Commentary for THE PHANTOM FARMHOUSE/SILENT SNOW, SECRET SNOW by Legendary Filmmaker Guillermo del Toro
– NEW Audio Commentary for A QUESTION OF FEAR/THE DEVIL IS NOT MOCKED by Novelist/Critic Kim Newman and Writer/Editor Stephen Jones
– NEW Audio Commentary for MIDNIGHT NEVER ENDS/BRENDA by Night Gallery Author/Historian Jim Benson and Actress Laurie Prange (Star of BRENDA)
– NEW Audio Commentary for MIDNIGHT NEVER ENDS/BRENDA by Author/Historian Amanda Reyes
– NEW Audio Commentary for THE DIARY/A MATTER OF SEMANTICS/BIG SURPRISE/PROFESSOR PEABODY’S LAST LECTURE by Night Gallery Authors/Historians Jim Benson and Scott Skelton
– NEW Audio Commentary for HOUSE—WITH GHOST/A MIDNIGHT VISIT TO THE NEIGHBORHOOD BLOOD BANK/DR. STRINGFELLOW’S REJUVENATOR/HELL’S BELLS by Night Gallery Authors/Historians Jim Benson and Scott Skelton
– NEW Audio Commentary for THE DARK BOY/KEEP IN TOUCH – WE’LL THINK OF SOMETHING by Author/Historian Amanda Reyes
– NEW Audio Commentary for PICKMAN’S MODEL/THE DEAR DEPARTED/AN ACT OF CHIVALRY by Actress Louise Sorel (Star of PICKMAN’S MODEL) and Night Gallery Authors/Historians Scott Skelton and Jim Benson
– NEW Audio Commentary for PICKMAN’S MODEL/THE DEAR DEPARTED/AN ACT OF CHIVALRY by Screenwriter/Historian Gary Gerani
– NEW Audio Commentary for COOL AIR/CAMERA OBSCURA/QUOTH THE RAVEN by Author Mark Dawidziak, Director John Badham and Screenwriter/Historian Gary Gerani
– NEW Audio Commentary for COOL AIR/CAMERA OBSCURA/QUOTH THE RAVEN by Novelist/Critic Kim Newman and Writer/Editor Stephen Jones
– Audio Commentary for COOL AIR/CAMERA OBSCURA/QUOTH THE RAVEN by Night Gallery Authors/Historians Jim Benson and Scott Skelton
– Audio Commentary for THE MESSIAH ON MOTT STREET/THE PAINTED MIRROR by Legendary Filmmaker Guillermo del Toro
– NEW Audio Commentary for THE DIFFERENT ONES/TELL DAVID…/LOGODA’S HEADS by Film Historian Craig Beam
– NEW Audio Commentary for GREEN FINGERS/THE FUNERAL/THE TUNE IN DAN’S CAFE by Director John Badham and Night Gallery Author/Historian Scott Skelton
– UPDATED Audio Commentary for LINDEMANN’S CATCH/THE LATE MR. PEDDINGTON/A FEAST OF BLOOD by Night Gallery Authors/Historians Jim Benson and Scott Skelton
– NEW Audio Commentary for THE MIRACLE AT CAMAFEO/THE GHOST OF SORWORTH PLACE by Night Gallery Authors/Historians Jim Benson and Scott Skelton
– NEW Audio Commentary for THE WAITING ROOM/LAST RITES FOR A DEAD DRUID by Author/Historian David J. Schow
– NEW Audio Commentary for DELIVERIES IN THE REAR/STOP KILLING ME/DEAD WEIGHT by Night Gallery Authors/Historians Jim Benson and Scott Skelton
– NEW Audio Commentary for I’LL NEVER LEAVE YOU – EVER/THERE AREN’T ANY MORE MACBANES by Author/Historian David J. Schow
– NEW Audio Commentary for THE SINS OF THE FATHERS/YOU CAN’T GET HELP LIKE THAT ANYMORE by Night Gallery Author/Historian Scott Skelton
– NEW Audio Commentary for THE SINS OF THE FATHERS/YOU CAN’T GET HELP LIKE THAT ANYMORE by Novelist and Critic Tim Lucas
– NEW Audio Commentary for THE CATERPILLAR/LITTLE GIRL LOST by Screenwriter/Historian Gary Gerani
– Audio Commentary for THE CATERPILLAR/LITTLE GIRL LOST by Legendary Filmmaker Guillermo del Toro
– Audio Commentary for LOST TALES FROM SEASON 2: DIE NOW, PAY LATER/ROOM FOR ONE LESS/WITCHES’ FEAST/LITTLE GIRL LOST by Night Gallery Authors/Historians Jim Benson and Scott Skelton
– Revisiting the Gallery: A Look Back – Featurette with Actors Lindsay Wagner, Pat Boone, Joseph Campanella, Laurie Prange, James Metropole; Directors John Badham, Jeannot Szwarc, William Hale; Composer Gil Mellé; Make-Up Artist Leonard Engelman; Artist Tom Wright; and Night Gallery Authors/Historians Jim Benson and Scott Skelton (29:55)
– THE SYNDICATION CONUNDRUM PART 2: A Look at the Show’s Troubled Second Life in Reruns – A Featurette by Film Historian Craig Beam
– Art Gallery: The Paintings – Featurette with Artist Tom Wright (3:28)
– 19 TV Spots (Newly Mastered in HD)
– NBC TV Promos (12:51) – From the 2008 DVD Release
– DVD Easter Eggs
– Optional English Subtitles

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Famous Monsters of Filmland, SFX, Video WatcH*Dog, and more.

*Art Credit: Anthony Taylor as Dr. Zaius caricature by Richard Smith

by John Michlig
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems, and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

Apes on Film also appears on Nerd Alert News. Check them out HERE!

UNIVERSAL TERROR: Karloff in NIGHT KEY, THE CLIMAX, THE BLACK CASTLE Special Edition 2-Disc BluRay – 1937-1952
5 out of 5 Bananas
Starring: Boris Karloff , Jean Rogers, Turhan Bey, Lon Chaney Jr., Richard Greene
Directors: Lloyd Corrigan, George Waggner, Nathan Juran
Rated: Not rated
Studio: Eureka Entertainment
Region: B (UK & Ireland) A, C untested
BRD Release Date: July 18, 2022
Audio Formats: LPCM 2.0 (48kHz, 24-bit)
Video Codec: MPEG-4 AVC
Resolution: 1080p
Aspect Ratio: 1.37:1
Run Time: 68 minutes, 86 minutes, 82 minutes
CLICK HERE TO ORDER

A confession straight out of the gate: When I first encountered Eureka Entertainment’s new Universal Terror collection featuring Boris Karloff in NIGHT KEY, THE CLIMAX, and THE BLACK CASTLE, my thoughts drifted to the childhood disappointments that invariably arose in a small television market. I grew up in the Midwest, where you were guaranteed good reception of two local channels: CBS WSAW-7 and ABC WAOW-9 (a fortunate few — owners of antennae or with houses perched atop hills — also got NBC WAEO-12). That meant that you consumed that which ABC (9) and CBS (7) provided and were aware of little else.

The CBS affiliate’s weekly creep show entry, 7 CEMETERY ROAD, featured a pretty effective (if low budget) opening featuring eerie music and a graveyard. If you were up that late for some reason, it was a terrific set-up that put visions of Frankenstein, Dracula, and even Kong Kong(!) in your head. These movies aired at 12:30 a.m., which was far, far beyond grade-school bedtime. For some reason the name of the film being shown would rarely appear in advance. The TV Guide listed “Movie,” and even the local newspaper schedule failed us. That meant if you negotiated the ability to stay up into the wee hours of the morning, you had no guarantee whatsoever that you’d be treated to some actual, classic monster-containing horror.

(THE BLACK CASTLE)

For a period of time, the Universal “horror” catalog that went to small markets did not include the “cornerstone classics” of the 30s and 40s. The package featured promising-titled flicks from the 50s like REVENGE OF THE CREATURE, CULT OF THE COBRA, THE PROJECTED MAN, and THE WASP WOMAN—the “close, but no cigar” class of films that caused my 12-year-old self to sigh deeply after negotiating late night viewing based upon reading or hearing a flimsy description that tossed out a reliably iconic horror-genre name in the cast. Occasionally, I would be treated to older films that “starred” familiar horror icons, which brings us to the new UNIVERSAL TERROR collection from Eureka Entertainment.

This collection consists of three films that do indeed feature Boris Karloff — a “trigger name” for young film geeks, to be sure — including two from the 30s and 40s. However, the package title and contents are highly reminiscent of the 7 CEMETERY ROAD formula in that, alas, there are no classic monsters to be seen. And, let’s face it, these are not horror films.  However, they are very, very entertaining. Bear in mind that this set is coded for UK and Ireland viewing, and you’ll need a region-free player to view it in the U.S.

(NIGHT KEY)

NIGHT KEY (1937) features Karloff as the inventor of a high-tech security anti-theft system who is victimized by a nefarious businessman who wants to market his devices and rip off his patents and profits. Facing the onset of blindness, Karloff’s character is then kidnapped by bad guys who want to use his knowledge of the devices to pull off serial robberies. Yes, this does sound like an almost impossibly accurate allegory for, and prediction of, cybercrime, does it not? That being said, Karloff or not, it isn’t “terror.” Watching a late-thirties film predict hackers and viruses in the pre-transistor era is great fun, however.

THE CLIMAX (1944) comes at you in what can very honestly be described as stunning Technicolor (Karloff’s first color film). This is not studio hyperbole; it really is beautifully photographed, and the filmmakers take full advantage of the new visual tool to fill the screen with magic. Sets from 1925’s and 1943’s PHANTOM OF THE OPERA are re-used, and revealed in all their glory, throughout the film. (THE CLIMAX was announced as a sequel to the 1943 Phantom, though the final product is only loosely related thematically.)

Again, the film is visually astounding. However, it must be said that motion picture depictions of opera in this era are a bit hard to take. Opera as seen and heard in films of this period did not represent an accurate reproduction of actual staged performances. Rest assured the shrill, “look how high this note is” noise you hear in is not what audiences experienced in live venues. Get used to vocal gymnastics, however; you are treated to four (!) musical numbers in the first 20 minutes.

(THE CLIMAX)

Plot-wise, this is the closest we get to a horror film in the set. Karloff plays the Vienna Royal Theatre’s in-house physician, Dr. Hohner. He is an obsessed and jealous man; he wants his fiancée, a prima donna, to himself and therefor kills her, preserving her in his “chambers.” A decade later, another young singer, Angela, reminds him of his late diva, and he decides she too must sing only for him or die. Pretending to examine Angela’s throat following a performance, he hypnotizes her and commands her never to sing again.

THE BLACK CASTLE (1952) takes place in the 18th century (and all over the Universal Studios back lot, you will notice), so there’s a lot of swordplay, and mid-battle smart-ass comments fly freely from the mouth of our dashing hero, Sir Ronald Burton, a British gentleman played by Richard Greene (who went on to portray Robin Hood). He is investigating the disappearance of two of his friends at the Austrian estate of the sinister Count von Bruno, and nothing — be it sudden swordplay at an inn while trying to have dinner, or the appearance of an alligator pit (in Austria!) — breaks his cool. Sir Ronald, it could be said, was the proto-James Bond (“I can condone bad swordsmanship, but not bad manners…”).

(THE CLIMAX)

In this film, Karloff plays a good guy(!), a doctor who helps the protagonist in his quest for justice. We also see Lon Chaney, Jr. in his last role at Universal (which is, unfortunately, pretty ragged). So, you have Chaney and Karloff, as well as a pretty creepy scene with our protagonists sealed alive in coffins, making this the closest to “horror” of the three. It’s a very entertaining ride, however. Director Nathan Juran went on to work with Ray Harryhausen (and also directed THE BRAIN FROM PLANET AROUS, previously reviewed here).

The audio commentaries provided with these films are absolutely first rate, full of useful information and a solid sense of humor throughout. NIGHT KEY and THE CLIMAX are handled by Kevin Lyons and Jonathan Rigby; THE BLACK CASTLE features author Stephen Jones and author/critic Kim Newman.

Are these horror movies? Not so much. However, they are solid entertainment — and, unlike childhood visits to 7 Cemetery Road, do not require negotiating with parents to stay up past midnight.

When he’s not hanging around the top of the Empire State Building, John Michlig spends his time writing books like It Came from Bob’s Basement, KONG: King Of Skull Island, and GI Joe: The Complete Story of America’s Favorite Man of Action. Read more at The Fully Articulated Newsletter and The Denham Restoration Project.

Ape caricature art by Richard Smith.

by Anthony Taylor
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

Apes on Film also appears on Nerd Alert News. Check them out HERE!

THE UFO INCIDENT – 1975
4.5 out of 5 Bananas
Starring: James Earl Jones, Estelle Parsons , Barnard Hughes
Director: Richard A. Colla
Rated: Unrated
Studio: Kino Lorber
Region: A
BRD Release Date: June 14th, 2022
Audio Formats: English: DTS-HD MA 2.0 Mono
Video Codec: MPEG-4 AVC
Resolution: 1080p HD
Aspect Ratio: 1.33:1
Run Time: 92 minutes
CLICK HERE TO ORDER

In the 1990s and early 2000s, you just weren’t anybody unless you’d been abducted and intimately probed by aliens. Everybody from Harvard professors to carpetbagging novelists published “true” accounts of abduction, creating a culture in which the truly chic were all part of the ET-erati, and if you hadn’t taken the probe you weren’t relevant. It’s easy to laugh at the proliferation of accounts that all read exactly the same from story to story, but what is the genesis of this phenomena? It all started in New Hampshire in 1962, with an account that’s a little harder to shake your head at; the tale of Betty and Barney Hill.

The Hills experienced a lost time episode one night while driving home from Montreal. They saw a UFO coming towards them, got out and watched it until it got a bit too close for comfort, then got back in the car and tried to outrun it. Two hours later, they realized they were almost home and had no memory of how they had gotten there. Unsettling dreams and memories began to surface, and eventually they sought help from Psychiatrist Benjamin Simon, who regressed them via hypnosis and discovered some very unsettling details of their encounter.

THE UFO INCIDENT is a harrowing account of their experience, and includes a tour de force performance by James Earl Jones (CONAN THE BARBARIAN) as Barney Hill. His recollections under hypnosis are both heartbreaking and terrifying, and Jones pushes limits in creating an uncomfortable environment for the viewer. Equally compelling is the performance of Estelle Parsons (BONNIE AND CLYDE) as his wife, Betty. Barnard Hughes (THE LOST BOYS) tries to make sense of what he’s hearing as Simon, but ultimately decides that true or not, the catharsis the couple experiences is the most important aspect of the treatment.

After this movie aired on television, reports of alien abduction to authorities and aerial phenomena research groups jumped from a trickle to a deluge. Almost all of these accounts reported similar details as the Hills, creating a pattern that was to continue to this day. But they were the first; they had no reason to lie, and every reason to avoid the public eye as an interracial couple in the time period when such marriages had only recently become legal. They were both highly intelligent, well educated, and active in their community, advocates for social justice. Barney was a postman and Betty, a social worker. It’s difficult to fathom why they might have made up their account. Truth or fantasy, it’s hard to conceive of this story as an outright lie. The Hills truly believed they were abducted by beings from another planet.

Overall, picture and sound for this film have never looked or sounded better than on this disc. The transfer is from a new 2K restoration, and supplementary materials include a new (and excellent) audio commentary by film historian/screenwriter Gary Gerani, ROMANTIC MYSTICISM: THE MUSIC OF BILLY GOLDENBERG – a feature length documentary by Gerani, trailers for other films (including FUZZ, directed by Richard Colla), and optional English subtitles. While the supplemental materials are fascinating, it would have been interesting to hear audio from some of the Hills’ original hypnosis sessions as well, and possibly a documentary on their experience.

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Famous Monsters of Filmland, SFX, Video WatcH*Dog, and more.

*Art Credit: Anthony Taylor as Dr. Zaius caricature by Richard Smith

by John Michlig
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

Apes on Film also appears on Nerd Alert News. Check them out HERE!

THE BRAIN FROM PLANET AROUS – 1957
5 out of 5 Bananas
Starring: John Agar , Joyce Meadows , Robert Fuller
Director: Nathan Juran
Rated: Not rated
Studio: The Film Detective
Region: A
BRD Release Date: 6-21-2022
Audio Formats: English: DTS-HD Master Audio 2.0 Mono
Video Codec: MPEG-4 AVC
Resolution: 1080p
Aspect Ratio: Widescreen (1.85:1) and Full Frame (1.33:1)
Run Time: 71 min.
CLICK HERE TO ORDER

Independently produced, THE BRAIN FROM PLANET AROUS represents the all-too-common intersection of former A-level talent (in front of and behind the camera) making the most of a frugal situation. Still, there’s a lot to like here in terms of the original film and excellent added features.

The flick opens with a speck of light, under credits, moving over a still image of what we will soon learn is Mystery Mountain (sounds preordained, no?). Next, an indeterminate explosion; what happened? Fear not, because Steve March, a nuclear physicist played by John Agar (A man once married to Shirley Temple!) will soon provide narrative cover as he describes to his lackadaisical colleague, Dr. Dan Murphy (Robert Fuller), that there are indeed some mysterious radioactive readings coming from the area.

(Side note): For the first ten minutes or so of this film, you will swear there is a hamburger sponsorship involved. Steve’s fiancé Sally, as portrayed by Joyce Meadows, is rather firmly focused on making sure the men know how perfect the charcoal was glowing under the grill and how their lives will surely be diminished if they miss her patties. Once the burgers are ingested and properly appreciated, Steve and Dan head out for a “three or four-day” trek into the desert, alone, without notifying any authorities or organization ahead of time, of course. They’re just going to head out with some rifles and take care of business.

(Another side note): I think most sensible people would agree that any trip you take that involves firearms and possible radiation should be explicitly covered in the employee handbook as “Notification required before deployment,” particularly if you apparently work for a government entity.

Here, by the way, is where we are greeted by our first pith helmet.

We know it’s hot out in the desert because our heroes are sweating profusely (and exclusively) from their armpits. We also know that when they encounter a giant, levitating (and bored looking) brain named Gor, John Agar’s character will survive because as noted earlier, he was once married to Shirley Temple. Robert Fuller, on the other hand, went on to star in TV’s Emergency! – not enough to spare his character’s life, alas.

Gor now possesses Steve March, and a great deal of the visual appeal of the film (at substantial cost to Agar; we’ll learn via commentary and featurettes that his silver contacts were quite painful) lay in the periodic “transformations” when Gor takes over March’s body in order to put his Earth-conquering project in place (the prototype, perhaps, for Bill Bixby’s The Incredible Hulk contortions).

While we’re on the topic of silver contacts, the name Jack Pierce jumps out at you in the opening credits, but rest assured there is nothing in terms of interesting or effective makeup effects to be found in this film. There is, however, a fairly epic distortion of Agar’s face as viewed through a water dispenser that beats any and all other visual effects in the film.

One of the interesting wrinkles in The Brain is the fact that the bad-guy brain, Gor, is fairly horny and seems to very much appreciate Steve’s fiancé, Sally Fallon (I SAW WHAT YOU DID’s Joyce Meadows) on a level that seems…odd for a being that consists of brain matter and eyeballs. This, one supposes, ties in with the titular planet Arous sounding like “eros” and looking like “arouse.”

In terms of special features, The Film Detective’s presentation of THE BRAIN FROM PLANET AROUS is a marvelous buffet. Meadows contributes an enthusiastic introduction called Not the Same Old Brain, where she wanders the Bronson Canyon filming location while talking about her experiences making the flick. Tom Weaver ’s commentary track is chock-full of cerebral – and useful – observations, with worthwhile contributions from Larry Blamire and David Schecter. Also, there are two fact-filled featurettes included: The Man Before the Brain: Director Nathan Juran, and The Man Behind the Brain: The World of Nathan Juran. On top of all that, Weaver contributes a fact-filled essay booklet that explores the background of producer Jacques Marquette.

All in all, The Film Detective’s THE BRAIN FROM PLANET AROUS package is a multi-level delight – recommended without hesitation.

When he’s not hanging around the top of the Empire State Building, John Michlig spends his time writing books like It Came from Bob’s Basement, KONG: King Of Skull Island, and GI Joe: The Complete Story of America’s Favorite Man of Action. Read more at The Fully Articulated Newsletter and The Denham Restoration Project.

Ape caricature art by Richard Smith.

by Anthony Taylor
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

Apes on Film also appears on Nerd Alert News. Check them out HERE!

JEKYLL AND MR. HYDE – 1941
3 out of 5 Bananas
Starring: Spencer Tracy , Ingrid Bergman , Lana Turner
Director: Victor Fleming
Rated: Unrated
Studio: Warner Archive Collection
Region: A
BRD Release Date: May 17, 2022
Audio Formats: English: DTS-HD Master Audio 2.0 Mono (48kHz, 24-bit)
Resolution: 1080p HD
Aspect Ratio: 1.37:1
Run Time: 113 minutes
CLICK HERE TO ORDER

Robert Louis Stevenson’s treatise on the duality of man, Strange Case of Dr Jekyll and Mr. Hyde, was born in London in 1886.  Like Dracula eleven years later, the novella has permeated the groundwater of our culture and stands as a landmark of gothic horror literature. The term “Jekyll and Hyde” has punctuated our vernacular and has come to be shorthand for someone who presents a friendly face but harbors private evil. There have been over 120 stage and film adaptations of the story since its publication, and today’s column features the 1941 film version from Metro-Goldwyn-Mayer. But let’s back up 10 years to set the scene for this movie.

Paramount Pictures made what many consider to be the definitive version of the film in 1931, directed by Rouben Mamoulian and starring Fredric March, who won the Academy Award™ for Best Actor for his performance.  The film was a box office and critical success, and has stood the test of time with classic film fans. Ten years later, MGM created as literal a remake of the Paramount film as they could, with slight changes to Samuel Hoffenstein‘s and Percy Heath‘s 1931 screenplay made to satisfy the Hays Code, enacted in 1934. This code regulated the film industry in matters of “moral decency” in what was presented to the public for exhibition. The result, while quite watchable, is an inferior film.

There was no need to remake a 10 year old film – barring the fact that there was little chance to see the original, as television, home video, and streaming services were still science fiction at the time – but MGM bought the rights to a filmable script, had bankable stars to populate the film, and in order to avoid lackluster comparisons, did everything they could to hide the Mamoulian version away, causing it to become mired in legal restrictions which kept it out of the public eye for many years.

The trio of Tracy, Turner, and Bergman are certainly enticement to see the film, but Fleming’s direction seems uneven and meanders through a story that should be taut, and fast paced. The majority of the heavy lifting acting-wise is handled with aplomb by Bergman, who was originally cast in Turner’s role. She begged Fleming to switch the actresses’ places as she was tired of playing saintly women (as she would in JOAN OF ARC, 1948) and longed to be the bad girl in the film. Tracy acquits himself decently in the title roles, but his appearance as Hyde is not nearly as effective as Fredric March’s in the original. In fact, he winds up looking a bit like George Hamilton after a serious bender in many scenes. Lana Turner does as much as she can with her role, and she and Ingrid Bergman look fabulous throughout…a definite point in the movie’s favor.

Warner Archive Collection’s presentation of the film reveals an enormous amount of detail unseen on previous home video releases. The studio’s restoration creates a much-improved viewing experience both in sharpness and accuracy of contrast levels. The sound quality is consistent with a film of this era, and presents Franz Waxman’s original score well. Unfortunately, the only supplementary feature on this disc is the film’s original trailer.

I wish I liked this movie more, but I won’t recommend you skip it. However, Warner Archive is set to release the 1931 version on BRD in October. Don’t miss that disc.

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Famous Monsters of Filmland, SFX, Video*WatcHDog, and more.

*Art Credit: Anthony Taylor as Dr. Zaius caricature by Richard Smith

by Anthony Taylor
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

Apes on Film also appears on Nerd Alert News. Check them out HERE!

FRANKENSTEIN’S DAUGHTER – 1958
3 out of 5 Bananas
Starring: John Ashley , Sandra Knight , Donald Murphy , Felix Locher
Director: Richard E. Cunha 
Rated: Unrated
Studio: The Film Detective
Region: A, B, C
BRD Release Date: October 26, 2021
Audio Formats: DTS-HD Master Audio 2.0 Mono, Dolby Digital 2.0 Mono
Video Codec: MPEG-2
Resolution: 1080p HD
Aspect Ratio: 1.85:1
Run Time: 84 minutes
CLICK HERE TO ORDER

There’s a lot to unpack about a movie called FRANKENSTEIN’S DAUGHTER. Made for a measly $60 thousand at the behest of a third-rate distributor who merely supplied a title and a budget of $80 thousand. Director Richard Cunha and producer Marc Frederic hired an anonymous soap opera writer to craft a script and shot the film in six days. They had no illusions that they would be making art, they only cared to make a competent product. What they wound up with met the criteria of Astor Pictures and was released to the public in 1958. The pair pocketed the $20 thousand surplus and moved on to their next project.

So, how’s the film? Calling it a mixed bag would be generous. On the positive side, the cinematography, effects make up, and musical score are pretty good. Several performances are better than the script (which is the real villain here) deserve. John Zaremba as a chatty police lieutenant stands out, and Donald Murphy as the titular descendent of the original Frankenstein is smarmy and competently menacing in most scenes. Sandra Knight makes the most of a poorly developed character, as does Sally Todd .

On to the negatives, mainly the script, which might as well have been called “Frankenstein’s Date Rapes.” The pseudonymous writer H.E. Barrie delivers a stinker of a story that barely makes sense and focuses on Murphy’s Oliver Frank character roofie-ing Knight’s Trudy Morton repeatedly, turning her into a walking fright-wig with googly eyes in an effort to impart everlasting life on a cobbled-together corpse he’s putting together in her uncle’s basement laboratory. Eventually, he murders Todd’s character to supply the monster with a brain who subsequently terrorizes the neighborhood, but politely knocks at front doors rather than simply barging through them. The script endlessly echoes the action on screen, with characters describing what viewers are already seeing. What makes all of this worse is Harold Lloyd’s son, Harold Jr., monkeying about making broad attempts to chew the scenery which he’s clearly not talented enough to digest. Seriously, “cringeworthy” barely begins to cover his sins.

The best part of the whole viewing experience is The Film Detective’s presentation. Sourced from a newly restored 4K print grabbed from the original 35mm film elements, the picture is a vast improvement over the previous DVD release. The audio tracks are also quite improved, and the company put real care into creating this disc, though a few mistakes were made in identifying special features. For example, Larry Blamire does not provide a full commentary track as advertised on the package. Instead, he contributes some characterization to Tom Weaver’s track. Weaver himself is misidentified on the menu as “Jason A. Ney.” Nonetheless, Weaver’s contributions to this disc make the whole thing worth a purchase. Between his commentary and the interview video with Cunha forming the bulk of the bonus features documentary on the director, there’s little doubt that this is the most “special” special edition this film will be getting.

Speaking of bonus features, they include the aforementioned full commentary track with author/ historian Tom Weaver; full color booklet with original essay by Weaver; a new career retrospective from Ballyhoo Motion Pictures featuring an archival interview with director Richard E. Cunha (“Richard E. Cunha: Filmmaker of the Unknown”); and, a new career retrospective featuring film historian C. Courtney Joyner (“John Ashley: Man from the B’s”).

Don’t expect any revelations from the film on this disc, but there are plenty in the bonus features and in the new presentation. Worth a watch on a Sunday afternoon.

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Famous Monsters of Filmland, SFX, Video*WatcHDog, and more.

*Art Credit: Anthony Taylor as Dr. Zaius caricature by Richard Smith