“A Dream Reflection Of Reflected Reality: FEAR NO EVIL – An Observance”

EXT. GRAVEYARD-NIGHT-MOVING SHOT

Our FIRST PERSON CAMERA PROBES SLOWLY through the mist-shrouded reaches of a rank and ancient graveyard idealized to our grotesque purposes. Visions of headstones crumbling and statues dissolving into faceless chimeras. Vines and creepers imprison all. Here are burning torches, set as if to light our way. The CHORAL SCORE gives a sense of tormented SIGHING, of ANGUISHED VOICES locked within the dank earth.

Strange relics APPEAR to the searching CAMERA: the spare wreckage of a pendulum clock, its pulse still beating – a night creature taking sudden flight from beneath its base; a skull sealed within a tortured bird cage on a tapestry of rotted velvet, a light gleaming through its eye sockets; an iron gate appearing to bar our way and then swinging soundlessly inward.

“There was a time, we were told, when shapeless evils stalked the earth in search of human souls. In our own time, if such nightmare spirits exist, it is by disguising themselves in familiar forms – to dwell upon us – friend and neighbor – and thereby seek their victims. I submit to you now that there is indeed a case for the bedeviled. My name is Dr. David Sorell. And I have seen such things.”

These are the opening images, and narration by Louis Jourdan, for the original TV pilot, THE BEDEVILED, not used in FEAR NO EVIL.

FEAR NO EVIL was one of those films I had taken for granted, along with its talented director, Paul Wendkos, for many years, until I was reintroduced to the title at a private screening (along with another Wendkos feature, THE BROTHERHOOD OF THE BELL) giving me a chance to view this gem with a fresh, mature eye. Critically acclaimed when broadcast as a television movie on March 3, 1969, for NBC Television’s first “Movie Of The Week”, this intelligent and well-written motion picture is nearly forgotten, and in many ways can almost be viewed as a ‘lost film’. As of this writing I had contacted Universal Pictures, who replied that no copy is in their collection. And the UCLA Television Archives doesn’t list it in their collection either. But after getting e-mails from Mr. Gary Gerani (PUMPKINHEAD co-creator/writer), who then sent me a copy of the shooting script, and finally talking with him personally, I was assured that Universal does indeed have the original negative, which is believed to be in good condition. Additional information was also given to me by Jonathan Etter; the author of an excellent book on Quinn Martin ( “Quinn Martin, Producer: A Behind-The-Scenes History Of QM Productions and It’s Founder”. McFarland & Company. 2003, and again in 2008). And the Library Of Congress informed me that it has a 16mm copyright print on file. My real concern is the condition/existence of the original printing materials, said to be in the vaults at Universal. Are they in pristine/acceptable condition, and outside of faded TV print sources, will the film ever be restored and released to lovers of the fantastic?

The 1960′s were a time of experimentation by the motion picture industry that extended to the small screen. Made-For-Television features were just starting to get attention. The first TV movie was Universal’s See How They Run (aired in October, 1964). It starred John Forsythe, Senta Berger, and Pamela Franklin. In many cases, when it came to experimentation in television, Universal was ahead of the other studios.

Universal filmed a well-received motion picture for this new genre, broadcast on NBC on January 21, 1967 entitled THE LONGEST HUNDRED MILES. A well acted World War Two drama that was directed by Don Weiss and starring Doug McClure, Ricardo Montalban, Katherine Ross and Ronald Remy, it was a fast-paced tale of an American soldier (McClure) who aids in evacuating a group of refugees from the advancing Japanese after the fall of Bataan. Having seen this when first broadcasted, I never forgot the catchy theme music which I later discovered was composed by Hollywood legend Franz Waxman.

Gary Gerani wrote me: “For the record: NBC’s made for TV movies were called “WORLD PREMIERES.” These two-hour productions were broadcast on “Tuesday Night at the Movies” and “Saturday Night at the Movies” during this period, interspersed with theatrical films being presented on TV for the first time (many of them Universal releases from the 60′s, including films like the remake of MIRAGE with Bradford Dillman called JIGSAW, which began life as a made-for-TV movie. ABC’s “Movie of the Week” offered cheaper, shorter (90 minutes with commercials) TV movies every week in the same time slot. Although these became cult classics in their own right (THE NIGHT STALKER being the highest-rated TV movie of its day), they were generally inferior to Universal’s more expensive product (Universal would jump on ABC’s 90 minute bandwagon a few years later with “Movie of the Weekend”, which yielded DUEL, among others).”

Bradford Dillman

Speculating on the seed of the story that would be released as FEAR NO EVIL, in view of the flood of medical dramas then on television, was it originally meant to be a story of a hip professional shrink dealing with mental illness, or was a supernatural element plot device intended from the start? Again, Gary points out, “Although psychiatry served as the basis for a number of TV series (“The Breaking Point”, “Eleventh Hour”) and Universal was giving every professional prime-time leading man treatment during this period (Roy Thinnes as “The Psychiatrist”), I honestly feel that THE BEDEVILED/FEAR NO EVIL was always intended as a story about a handsome psychiatrist who realizes that x-amount of his patients aren’t crazy, just beset by demons…hence his special interest in all things dangerously supernatural, starting with the Siletski case. The “Enter David Sorell” speech pretty much says it all. And FNE and RITUAL OF EVIL were green-lit by NBC Programming exec Mort Werner, who is on record as saying “There’s always interest in the occult…the Jourdan character could return annually.”

BEDEVILED was given the go ahead with veteran Hollywood writer Guy Endore signed on to do the story. But, as reported to me by Jonathan Etter, the writer was unable to deliver a finished product and Richard Alan Simmons ended up doing the project. Despite the problems, Endore was still given a screen credit for story. Richard Alan Simmon’s story about death, loss, demonic forces, and the fight to restore faith and life was totally original in this highly intelligent and dramatic presentation. The dialogue, written for Louis Jourdan’s David Sorrell, is brisk and interesting (with a caustic dry humor) as his opening scene, taking place at a gathering of friends at his apartment, illustrates. We see a comfortable flat, the walls decorated with various images of primitive art (occult related?), as a sonorous voice intones “In the name of the smoldering legions of hell…I call upon The Devil and his servants…the demon Baal and Forcas…demon Marchocis…Buer…Astaroth…Behemoth…Asmodeus…And Theutus….All these [the camera finally sets upon the speaker - a casual, hip, cigarette-smoking younger man, scotch in hand. This is psychiatrist David Sorell, played by Jourdan] summoned hot upon these hours…to do battle with a pack of infidels…who never know when to go home and who drink up all of my booze and sit around insulting their host”.

Later in the story, meeting with his patient, Barbara Arnholt (Linda Day George), who had just lost her future husband, Paul Varney (played by Bradford Dillman, who we eventually discover was set up by a coven of Demonologists), the viewer gets a glimpse into his professional mindset as they go over the woman’s situation and question whether she has experienced seeing her dead lover.

“Trying to explain the unexplainable is a parlor game; by definition, it’s an exercise in futility”, Sorell lectures Barbara. “The challenge – the real challenge – is to crack the riddle of what can be explained – even though the explanation lies beyond the bounds of what we call normal experience-reason-logic. And the then we find ourselves face to face with the whole bag of tricks – E.S.P.-Psycho-kinesis-Foreknowledge-Ghost Phenomena-Possession – all those things that simply can’t be-could be-might be-sometimes are – no matter how much that jolts our comfortable, common sense universe. Mine was jolted a few years ago – the Siletski case. Still, these occurrences are very rare. They usually have more conventional explanations. Do you have one?”

Caroll O'Conner

Despite her unnerving experiences, Barbara nonetheless displays the self-deprecating humor she will exhibit throughout the story: “I… think there’s every possibility that I’m losing my mind,” she cracks. Sorell offers that this is still a good reason to visit a psychiatrist, then adds that her visions of a dead lover coming back might offer luster to what may be erotic fantasies. “Is that what you think they are?” Barbara asks. “For the moment, it doesn’t matter. I assume you’re here for help; I want to help you.” Barbara insists they weren’t fantasies. Sorell asks if she wants these experiences to stop? After a lengthy pause, Barbara replies, softly but firmly, ‘NO!’, explaining that she cannot let Paul go – she loves him. The doctor responds that Paul is dead.

“Not for me! Not…when these things happen.” David responds that in some way, in some place, her lover still exists. Satisfied that she has given him truthful responses, Sorell pushes with this question: “There’s only one way to be with him, isn’t there Barbara?”. He pushes a little more: What must you do?” Barbara, hushed, says “Die”. David then asks if that is what she wants? The girl shakes her head ‘No’.

It is from this point on that the complex screenplay by Richard Alan Simmons goes into high gear as the viewer is plunged into a nightmarish dark world of power-mad obsession, betrayal, loss, and the supernatural. Adding to the tension is the cutting back and forth from Dr. Sorell’s investigation to his patient Barbara Arnholt’s ongoing struggle with the demonic forces attempting to possess her. The mixture of Lynda Day George’s involving acting style with the detached, and cold direction of Paul Wendkos, plays on the viewer’s anxieties concerning the Barbara character. As does the Simmons script. In fact, each time the story cuts from the Barbara character to the Dr. David Sorell character, Barbara is left in an extremely vulnerable state. The character of David Sorrel comes across almost as an alternate Father Karras from THE EXORCIST (with Harry Snowden, his friend and mentor, in the Father Merrin role) as a man who first uses his mind to find a rational explanation (shock-survivor’s guilt – mental illness) to Barbara Arnholt’s situation before exploring the other possibility).

FEAR NO EVIL received high ratings when broadcast on March 3, 1969, and excellent reviews. When one thinks about it, the film represented a number of ‘firsts’ in the history of television: 1. The first made-for-television horror film. 2. The first tele-project featuring Carroll O’Conner, who would of course would go on to fame as Archie Bunker in “ALL IN THE FAMILY” and 3. Famed writer Guy Endore’s final Hollywood project before his death on February 12th, 1970.

Guy Endore (full name Samuel Guy Endore) was born Samuel Goldstein July 4, 1900 to Isidore and Malka Hapern Goldstein in New York. His father was a coal miner, investor and inventor who was not very successful. When he was four years old, Guy’s mother took her own life. Isidore changed their names and placed his children in a Methodist orphanage, later gaining enough money from the sale of an invention to move the family to Vienna (the man said his wife came to him in a dream and wished the children to have a European education). For five years the children lived in Vienna until their father disappeared, the money ran out, and what was left of the family settled in Pittsburgh.

For myself, THE DEADLY BEES brings back the memory of my Dad and I going to the movies in the late 1960′s and catching this, along with DOCTOR TERROR’S HOUSE OF HORRORS, at the Lane Theatre in New Dorp, Staten Island, NY (Mom went into labor with me on Halloween and I arrived the following day – I understand I’m to be buried at a crossroad for some reason). I caught the film from time to time, edited, on regular television over the years until it gradually dropped from sight. Many fans, including director Freddie Francis, had little love for this movie but to tell you the guilty truth – I kinda like it! This was the first ‘Killer Bee’ film made and the idea of using bees as a bio-weapon is pretty novel when you think about it.

Based upon the novel ‘A Taste For Honey’ by noted British writer H.F. Heard, and a screenplay by Robert Bloch (rewritten upon Francis’s request by Anthony Marriott), TDB tells the story of pop singer Vicki Robbins (Suzanna Leigh) who collapses from exhaustion and is put under the care of Doctor Lang (Michael Gwynn, best remembered by fans for his roles in REVENGE OF FRANKENSTEIN and SCARS OF DRACULA) who decides his patient needs peace and quiet. The kind doctor calls his friend Ralph Hargrove (Guy Doleman) who owns an Inn/Farm on a small island – Seagull Island – off the coast. Arriving at the island Vicki gradually is plunged into a series of horrific events: Hartgrove and another islander, Manfred, keep bees, and one of them has developed a strain of ‘killer bees’ to be sold as, mentioned earlier, a bio-weapon (the government had written the offer off as a crank). The singer sees various individuals attacked (and in one case killed) before she ends up discovering and confronting the madman.

As stated earlier, Freddie Francis wasn’t too happy with the production, but he still developed an interesting film for for an afternoon’s entertainment – a harken-back to days when films had titles like THE DEADLY MANTIS or THE SHE CREATURE. The cast is a familiar one to fans of not only Amicus and Hammer, but British cinema in general: besides Gwynn, lead Suzanna Leigh also appeared later in Hammer’s THE LOST CONTIENT and LUST FOR A VAMPIRE, and does a good job in the role here with what she is given. Katy Wild, seen as the mute girl in Francis’s EVIL OF FRANKENSTEIN, appears and pretty much walks through her role, as does Michael Ripper as her father. Guy Doleman as farm owner Ralph Hargrove (the actor had appeared in numerous productions such as THUNDERBALL, BILLION DOLLOR BRAIN, THE IPCRESS FILE and the 1959 theatrical version of ON THE BEACH) play’s the usual surley farmer type while Catherine Finn (TORTURE GARDEN, JOURNEY INTO DARKNESS, CREEPING FLESH) has the thankless, one-dimensional, frumpy bitch role here. Frank Finlay, who had appeared in several major productions in cinema, TV and the stage (fans of fantasy will recall him for his Quatermass-like role in Tobe Hooper’s LIFEFORCE) plays the harmless, likeable eccentric (or it seems!) who inspires Suzanna Leigh’s interest and does a good job in the role. But the real fun is catching future Rolling Stone’s guitarist Ron Wood in the band “The Birds” (not to be confused with “The Byrds”) during the tv studio scene at the film’s start.

LEGEND FILMS’ DVD is a no-frills release – no theatrical trailer or any extras – and does not have a subtitle option even though it is close-captioned. The picture and colour is excellent and the Dolby Digital mono English track is likewise very good. It is presented at a 1:75:1 Anamorphic Widecreen ratio and the image is well balanced. So-make like a bear, hang on to your honey, and get buzzzzzeeeedddd!!!

For myself, the late 1960′s and early 1970′s were a transition time that, for a while, showed great promise to the viewers of the genre that many called ‘the celluoide fantastique’ or ‘cine fantastique”. Arthur P. Jacobs’s PLANET OF THE APES and Stanley Kubrick’s monumental epic, 2001 A SPACE ODYSSEY, began to push cinema science fiction/fantasy slowly into a new direction. It seemed, finally, that creative evolution had begun to leave behind forever a Mesozoic landscape littered with B.E.M. (Bug Eyed Monster) corpses in its hoped-for omnipotent wake. Suddenly, going to the theatre during this period began to take on new depth as some thought-provoking pieces of cinema began to emerge to challenge and stimulate. To see on a big screen, for the first time, such titles as A CLOCKWORK ORANGE, JOURNEY TO THE FAR SIDE OF THE SUN, IF, COLOSSUS: THE FORBIN PROJECT, THE ANDROMEDA STRAIN, SILENT RUNNING, NO BLADE OF GRASS, ZPG and THE HELLSTROM CHRONICLE had moved us out of the bottom of the quagmire to the very top of Olympus.

Sadly, for the most part, this time of thought-provoking cinema eventually gave way to the more exploitable fare that resulted in big loud sensory overloads such as STAR WARS (and sequels), STAR TREK movies and the heart-tugging (but PC) ET.

One film that came and went, unnoticed by many, but highly intelligent and at times, visually hypnotic, was PHASE IV, which was the directing debut, and remained the only feature of, Academy Award winning cinema graphic artist Saul Bass. But now, Legend Films has released a beautiful new transfer on DVD, miles better than the VHS transfer of several years ago, so that a new generation can give this movie a fresh look and evaluate it anew.

In PHASE IV, a cosmic event triggers what appears, at first glance, to be a minor biological imbalance in a Arizona Valley. Later, two scientists (Nigel Davenport and Michael Murphy) are sent to set up a field lab and begin to study the area’s ant population, which seems to have undergone a strange mutation in a collective way: various species of ants have ceased warring on each, joining together, and have begun killing off species that prey on them with military precision. The human population, with the exception of one ranch, have fled the area. This is Phase I.

The second phase comes when the scientists try to cope with the disturbance by attempting to destroy the ants by means of chemical and sound waves. The ants, however, develop a genetic immunity to the spray and despite heavy casualties, also manage to survive. The scientists then attempt to correlate a language system to communicate with the ants.

Phase III takes the form of a clash of intelligences, with the ants beginning to show the superior intellect. The final phase – “Phase IV”, shows the outcome and the choice mankind must make.

Saul Bass had already made his name as one of the world’s most respected graphic designers. Examples of his work could be found in the fields of industrial and exhibition design, and are in the permanent collection of the Museum of Modern Art, New York, The Library of Congress and the Smithsonian Institute, Washington. In filmmaking, he began with a short called “The Seeing Eye”, which won the Grand Award at Venice. “From Here to There”, another short, earned the Special Jury Award at Chicago. They were shown at the New York World’s Fair.

Hollywood had used his flair in such motion pictures as THE BIG COUNTRY (FIR Editor Roy Frumkes supplied excellent liner notes as well as an interview with Bass for the laserdisc presentation from Image. On a personal note I thought the LD was a much better release than the DVD which, while very good, reproduced the color palette a bit too strong and the contrast was off as well), PSYCHO, NORTH BY NORTHWEST, WEST SIDE STORY, WALK ON THE WILD SIDE, and a host of others. On PHASE IV, his use of people and the environment around them (the desert) brought to mind Jack Arnold and some of his Universal International science fiction films. Photography was handled by Ken Middeham, who also delivered the jaw dropping ant sequences, and was hailed in the Academy Award winning documentary THE HELLSTROM CHRONICLE. His incredible time lapse/closeup images were done from his basement studio workshop as we are drawn into the world of the ants and try, as the humans do, to understand what is happening as the story progresses.

The human leads in the cast were a very good choice and each did an excellent job. Nigel Davenport, reunited with co-star Lynne Frederick from the bio-pic NICHOLAS AND ALEXANDER, was a famed stage actor before his leap into cinema, who’s stage credits include London’s Royal Court Theatre. He hade his film debut in 1958 with LOOK BACK IN ANGER with other performances following in HIGH WIND IN JAMAICA, PLAY DIRTY, THE LAST VALLEY, NO BLADE OF GRASS LIVING FREE, A MAN FOR ALL SEASONS and THE MIND OF MR. SOAMES. As Professor Hubbs, Davenport takes on an almost Ahab-like search for a way to defeat the ants but does it, in my opinion, without the needed chewing up of the scenery. To Hubbs, this is a mystery to be resolved at all costs (similar to Robert Cornthwaite in THE THING FROM ANOTHER WORLD). The late Lynne Frederick, who died at the early age of 40 (July 25, 1954-April 27,1994), played Kendra, the rancher’s daughter who almost appears to be existing on another plain of reality with her vulnerable looks (was she also changed by ‘the event’ at the same time as the ants?). Others of her roles included VOYAGE OF THE DAMNED and the Hammer Film VAMPIRE CIRCUS. She made entertainment news also for being the final wife of actor Peter Sellers. Michael Murphy, who had worked with Robert Altman many times (going back to the television series COMBAT) including MASH, and was also in such films as MANHATTAN, AN UNMARRIED WOMEN, SALVADOR, and McCABE AND MRS. MILLER, was cast as James Lesko, a mathematician who tries hard to use communication with the ants, and eventually discovers man’s ultimate choice in the scheme of things.

Legend Films has released the 84 minute cut of PHASE IV (the film was originally over 90 minutes with a longer ending where Murphy, during his revelation, has visions of possible outcomes for Humanity in relationship to the new intelligence now given to the ants. This version was pulled and reedited before being sent into general release). Too bad Legend was unable to track down the longer cut, but the film will still hold the viewer’s interest. The disc has a sharp image and despite a few flaws on the print, the color is strong and the contrast very good. The picture, anamorphic widescreen at 1:75:1 is well balanced. Audio playback is clear, and I didn’t hear any major distortion from my speakers. There are no extras or subtitle option but the movie is close-captioned.

Legend Films has done us all a great service by digging this movie out of the vaults over at Paramount Pictures, and giving us a new set of speculations to ponder!

For many years this title had made its way to collectors via the ‘grey market’ (boy! I just love this PC term, don’t you?) vhs/dvdr transfers taken from Cinemax broadcasts. But now it is another exciting release from Legend Films, who has obtained a package of Paramount films, in a decent authorized DVD transfer. Terence Fisher’s Hammer Film production THE MAN WHO COULD CHEAT DEATH (1959), while not a totally perfect experience, is still a total joy not only for fans of Hammer, but lovers of fantasy cinema in general.

The plot is simple and straight-forward. Paris, 1890: Doctor George Bonnet (Anton Diffring), a famed surgeon and artist, while physically appearing to be in his thirties, is actually 104 years old. An experimental procedure done long before has not only stopped the aging process but held off all physical ailments as well. Drinking a green, bubbling solution every six hours keeps the process stable but, unbeknownst to the scientist, a gradual madness has slowly taken effect as well, resulting in several murders.

During an exhibit of his latest sculptures, Bonnet runs into his former model, Janine Dubois (Hazel Court), who he had fallen in love with, and her companion, Doctor Pierre Gerard (Christopher Lee). They connect, causing jealous current model Margo Phillipe (Delphie Lawrence) to confront Bonnet after the others have gone. Bonnet goes into a regressive fit and tries to silence the screaming model (when he puts his hand across her mouth his skin takes on a corrosive effect – burning his hand print across her face). He then hides the now totally insane girl away in a storage area and waits for his old friend, Doctor Ludwig Weiss (Arnold Marle), to replace the gland via surgery. To his horror, Weiss had suffered a stroke that makes it impossible to perform the operation and later, after discovering that Bonnet had murdered to obtain a gland, refuses to help his friend, with tragic results.

THE MAN WHO COULD CHEAT DEATH, based upon a play by Barre’ Lyndon (who also wrote DARK INTRUDER, reviewed elsewhere in FIR), and scripted by Hammer vet Jimmy Sangster, lacks the action seen in other Hammer productions, resulting in a talkative storyline. But Terence Fisher does his best with the script and there are some terrific scenes (the confrontation between Margo and Bonnet, the transformation scene at the fire shrouded climax, and especially the use of green lighting on Diffring’s face, by cinematographer Jack Asher, as our protagonist goes into one of his pain-wracked episodes.)

The cast imbues the storyline with interest but, with the exception of Hazel Court, are fairly one-dimensional. Anton Diffring, an excellent actor if given the right script, chews up the scenery as the insane Bonnet (he had acquitted himself well on Hammer’s TALES OF FRANKENSTEIN, a tv pilot co-produced by Universal Pictures for a proposed series that never sold) with his distended eyes and cries of anguish. You really don’t see the dedicated scientist he started out as, trying to help mankind. Arnold Marle, reprising his wise old scientist role from CURSE OF FRANKENSTEIN, offers a sincere performance but pretty much falls by the wayside as the film progresses (his best Hammer role was the High Lama in THE ABOMINABLE SNOWMAN OF THE HIMALAYAS). Christopher Lee comes across pretty stiff, if not outright insufferable, in his manner, and it is the very lovely Hazel Court as Janine Dubois who steals our attention – an aggressive, liberated women who is not afraid to go after what she wants, even using her sexuality. Sadly, Ms. Court died this year (April 15, 2008) and she will be missed by fans across the globe. Other cast members include Francis De Wolff as Inspector Legris (best known to fans as Doctor Mortimer in Fisher’s THE HOUND OF THE BASKERVILLES), and Michael Ripper as a morgue attendant.

The Legend Films DVD transfer is up a few points from the Cinemax broadcast, at a nice 1:66:1 anamorphic widescreen ratio, but I noticed some grain and scratches, things a digital overhaul could have done wonders to in not only cleaning up the imperfections but tweaking the colour level just a tad. Fans hoping to see Hazel Court’s topless scene will be disappointed here – this is taken from the US release print (The Hammer magazine, “LITTLE SHOPPE OF HORRORS” ran a colour shot of it in issue 16).

The audio, Dolby Digital Mono English, sounds wonderful with little distortion when cranked up. Sadly, no trailer is included or any extras, but despite this, the DVD is worth obtaining and can be found at Best Buy or at www.legendfilms.net. So for film buffs everywhere, sit back and enjoy the show!

“There are certain pleasures you get – little jabs of pleasure when a swordfish takes the hook…or watching a great dancer – you don’t have to know about ballet. That little bell rings inside – that little jolt of pleasure. That’s what happened to me just now.” James Mason in A STAR IS BORN.

That pretty well sums it up for me when I stumble upon a little seen film that turns into, for someone like myself, a discarded gem lying in the dust. A few years ago I attended a private screening and viewed two beautiful 16mm copies of FEAR NO EVIL starring Louis Jourdan (Universal MCA -1969) and THE BROTHERHOOD OF THE BELL (Cinema 100 -1971), two made-for-television films I had pretty much forgotten about. Seeing them both again, uncut, with no commercials, and with beautiful color and sound, was a jab of that pleasure Mr. Mason talked about. And it made me appreciate the talent of Paul Wendkos (THE MEPHISTO WALTZ) as a truly creative talent.

Now we come to another little sapphire – DARK INTRUDER. Originally produced as a television pilot for a planned series entitled “The Black Cloak” by Universal Pictures, the film was unsold to the networks and as a result was released to theatres on January 1, 1965, at a running time of 59 minutes (another television pilot, put out by Warner Brothers, called HOUSE OF WAX, was also released to theatres as CHAMBER OF HORRORS the following year). Produced by Jack Laird, who would go on to create Rod Serling’s “Night Gallery,” and written by “Man In Half Moon Street” author Barre Lyndon (who incorporates elements from H.P. Lovecraft and both “The Scarlet Pimpernal” and “The Shadow”). Direction chores were by Harvey Hart, who would go on to produce and direct many hit television shows (including STAR TREK fave “Mudd’s Women”), and worked here with the moody cinematography of John F. Warren, giving this telefilm the feel of a Universal Horror entree right out of the 1940′s (on a personal note the film also reminded me, with its opening scene, of the Peter Cushing/ Burke and Hare historical drama THE FLESH AND THE FIENDS directed by John Gilling).

Leslie Nielsen, in a wonderful leading role, plays wealthy ne’er-do-well Brett Kingsford, leading player among the San Francisco jet set (early 20th Century that is!), with an eye for the ladies and a strong hangover the following morning. But like Lamont Cranston and Jules de Grandin, Kingsford is drawn to the dark side and as an expert on the occult, leads a secret life known only to his man-servent Nikola (Charles Bolender) and Police Inspector Harvey Misbach (Gilbert Green), as a warrior of Light against the forces of Evil. In this film his best friend, Robert Vandenburg (Mark Richman, best known for his role in the classic “Outer Limits” episode “The Borderland” with Nina Foch) is the target of dark forces on the eve of his wedding to socialite Evelyn Lang (Judi Meredith in a wonderful over-the-top role as a hyper/sometimes screechy-voiced whirlwind). A trail that is part of a series of unrelated murders, so it seems, leads to the door of deformed wizard Professor Malakai (Werner Klemperer – best known as the inept Colonel Klink on television’s “Hogan’s Heroes”). There, on the night before Vandenburg’s wedding, Kingsford battles to save his friend…but does he?

This movie came and went, with few television showings, finally dropping out of sight. Now thanks to Greg Luce at SINISTER CINEMA (www.sinistercinema.com), DARK INTRUDER lives again in all its B&W glory! The print. taken from 16mm, is very clear, with just a few scratches, and the audio is likewise excellent (crank it up to hear Lalo Schifrin’s wild score!) with very little pop or distortion. The DVD is not enhanced with supplements, but it will not lose your interest if you love old and rare movies. Turn down the lights, crank up the sound and enjoy!

Click here to purchase DARK INTRUDER through Sinister Cinema

1974
92 Minutes

In 1991 filmmaker Keith Crocker obtained a 16mm print of the William Girdler film, ABBY (1974), that was released for a short time by American International. In a situation similar to Val Lewton’s GHOST SHIP, the film was withdrawn from circulation due to a Warner Bros. lawsuit claiming that films dealing with possession were in violation of copyright due to THE EXORCIST, released in 1973. American International caved in and withdrew the movie, robbing viewers of an enjoyable experience and suppressing promising director William Girdler from getting the credit due him. It was not until Donn Davison, the American importer of the Italian film “Chi Sei?”, released as BEYOND THE DOOR (1975), took Warner Brothers to court and proved that the large film company did not have a monopoly on the subject of either possession or exorcism, that films with such themes were allowed to compete in the marketplace. Interesting to note that some elements of ABBY were to be later found in John Boorman’s EXORCIST II: THE HERETIC, released by Warner Bros!

But American International had by this time lost interest in Girdler’s film and never reissued it. Thirty years later, Keith Crocker and Cinefear Video (www.cinefear.com), working with a tight budget, has issued a DVD that is a real labor of love. Some have complained that the end result is not major studio perfect, but, when you consider the care that has gone into taking a lost film and working with little money, no backing, and then putting it back into circulation for all to view and enjoy, it is a relative complaint indeed. I got so caught up in the story that I hardly noticed the occasional emulsion scratch, splice, or slight color fading that would impair the viewing.

The cast is very good in this simple story of good against evil. 6 ft 5 in William Marshall, best known for his role as Prince Manuwalde in BLACULA, plays Bishop Williams, a cleric and professor of archaeology who enjoys his family and his work. At a picnic, William’s tells his son, Reverend Emmet Williams (Terry Carter), and his wife, Abby (Carol Speed) of his upcoming trip to Nigeria to gather information on the Yoruba religion. Arriving at the excavation site – located in a huge cave, a phallus-shaped box is discovered and opened which frees, in a scene of chaotic wind, the demon Eshu – god of depraved sexuality.

The demon makes its way back to the home of Emmet and Abby, where the entity starts to takes over the woman, gradually transforming her into the living incarnation of a foul succubus. Abby’s husband, brother (Austin Stoker) and Bishop Williams finally confront the possessed woman in a bar for a battle between light and darkness. With the exception of William Marshall, who felt the script needed work (it didn’t really go into African culture and the script wasn’t improved upon as promised him), the cast, especially Carol Speed, enjoyed making the movie, even writing and singing one of the film’s songs.

William Peter Blatty, author of the novel THE EXORCIST, was against the Warner Bros. lawsuit and was one of ABBY’s defenders. The writer had visited the set and saw that Girdler was making his own variation on the possession theme and had no problem with the movie – stating he liked it.

Now viewers finally have a chance to see this movie for themselves in the comfort of their own homes. So turn off the lights, get the popcorn popped up and snuggle up next to your honey.

Then get amused, grossed out, and scared stiff!

DVD Features:
Full Screen. Not enhanced for 16×9 monitor screens.
Digital master from 16mm print.
Scene Access.
Interactive Menus.
Stereo Sound.
Original Theatrical Trailer.
Original Radio Spot.
Theatrical Lobby Cards.
Poster Gallery.
Rare Production Stills.
The History Of ABBY.

CAST:
William Marshall,
Terry Carter,
Austin Stoker,
Juanita Moore
Carol Speed as “Abby”.

PRODUCTION:
Screenplay: G. Cornell Layne,
Story: William Girdler & G. Cornell Layne,
Producers: William Girdler, Mike Henry & G. Cornell Layne.
Music Composed and Conducted: Robert O. Ragland
Directed by William Girdler.

47 Minutes / Silent / Full Symphonic Score
Black and White NTSC Region O

While fantasy authors such as Edgar Allan Poe, Ray Bradbury, Bram Stoker, Mary Shelley and Stephen King have contributed to the Hollywood grist factory – with results of varying quality, the works of American writer Howard Philips Lovecraft (1890-1937) have still not caught on with the general public, nor have been treated, with rare exceptions, with respect by Major or Low Budget Hollywood studios.

Most film translations of Lovecraft’s prose, I am sorry to say, are nothing more than disguised sexual romps fused with demonstrations of the latest gore makeup effects (the REANIMATOR series and DAGON), using the original stories as just a basis for hack revisionist plots. There have been several close attempts such as the Roger Corman THE HAUNTED PALACE (an entertaining film based upon the novel “The Case of Charles Dexter Ward”) from American International. We can also site the “Night Gallery” television series with their attempts (COOL AIR,PICKMAN’S MODEL) at bringing the writer’s work to a wider public awareness.
But with very few exceptions, cinematic and televised attempts have been pretty dismal…..

UNTIL NOW!

From HPLHS MOTION PICTURES comes the most sincere, and the first really accurate vision of the grand master’s work – one that would have had him stop spinning in his grave, stand up and salute! It is a totally absorbing, almost hypnotic piece of cinema, a true labor of love. Shot in glorious b/w as a SILENT MOVIE with a wonderful orchestral soundtrack, THE CALL OF CTHULHU, budgeted at $50,000, the producers cast actors (almost 50) by their face and body types, an old trick from the silent film era. I thought of Abel Gance’s casting for NAPOLEON in 1927.

Sean Branney’s screenplay, set up like the H.P. Lovecraft short story (which originally appeared in the 1928 “Weird Tales” magazine to great success) as a series of flashbacks as ‘The Man’ (Matt Foyer) explains to ‘The Listener’ (John Bolen) in a hospital setting, the various series of events that are linked to a horrifying reality about mankind’s fate.

A series of global earthquakes seem to trigger an epidemic of violent dreams, mental breakdowns, and suicide in hyper-sensitive groups of people (artists, writers, poets. An investigation into the origin of the aberrations leads from Rhode Island to New Orleans to Australia to Norway to, eventually – via flashback – a hellish blight of a city called R’lyeh (and its horrible master – The Great Old One called “Cthulhu”).

As a fan of the silent film era, I thought the idea of shooting the movie in b/w with only music tracks in place of spoken voices was an inspired move (and this is not intended as an insult to the wonderful cast of actors in the movie). As a result, the viewer is drawn to the incredible starkness of the images. The only flaw – and it is a tiny one I assure you – is the stop-motion animation for Cthulhu itself. But the creature is only barely glimpsed in quick flashes, so it does no harm to the story flow.
The DVD release of THE CALL OF CTHULHU includes extras like stop-motion footage, behind the scenes footage and set construction (cardboard and wood), comments by the people behind the production (the footage with Chad Fifer is really funny as you actually HEAR his dialogue as he goes into a wonderfully demented Dwight Frye/Dennis Miller/Mancow rant, adlibbing insanely). Also included are the original trailer, and complete intertitles in 24 languages including Catalan, Croatian, Czech, Danish, Dutch, English, Euskera, Finnish, French, Galician and Welsh.

The film costs $20.00 and can be ordered at
The H.P. Lovecraft Historical Society
2466 Chevy Chase Lane,
Glendale, CA 91206

This DVD is a great way not only to show that a small budget, with a wonderful group of talented people at the helm, can really go a long way. It’s a fabulous glimpse into the mad world of H.P. Lovecraft.

CTHULHU LIVES!!

Note: As of this writing, Sean Branney and the gang are preparing the groundwork for their next production: “THE WHISPERER IN THE DARKNESS”, also penned by the extraordinary HP.

Special Features in Life-like color.
Trailer
Behind The Scenes:Pictures, Interviews& Anecdotes
Replica prop: Sydney Bulletin accessible and printable via personal computer (Adobe Acrobat required).
Deleted Material
Complete Intertitles in 24 Languages.

Screen Adaption by Sean Branney
Music by Troy Sterling, Ben Holbrook, Nicholas Pakovic, Chad Fifer.
Costumes by Laura Brody.
Makeup by Andra Carlson
Special Visual Effects by Dan Novy.
Associate Producer Chris Lackey
Produced by Sean Branney and Andrew Leman
Photographed and Edited by David Robertson.
Directed by Andrew Leman.
An HPLHS Motion Picture

CAST: MATT FOYER, JOHN BOLEN, RALPH LUCAS, CHAD FIFER, SUSAN ZUCKER, KALAFATIC POOLE, JOHN KLEMANTASKI, JASON OWENS, D. GRISBY POLAND, DAVID MERSAULT, BARRY LYNCH, DON NOVAY.

(Sinister Cinema) 1960, 81 Minutes, Black and White, Not Enhanced For 16×9 Monitors.

The cinema archeologists over at Sinister Cinema never fail to amaze collectors by digging up and rediscovering another lost gem of forgotten cinema, be it over 50 years ago or just a few years past, they keep the torch lit and deserve the credit . For fans of Peter Cushing, Sinister Cinema has kindly given us a much talked about non-Hammer Film the British actor appeared in, a non horror story as well, that now has a chance to be viewed by lovers of obscure motion pictures.

THE RISK (released in the U.K. as “Suspect”), is a tight, well-written drama dealing with the moral dilemma of the right of government authority to repress a benevolent medical discovery that could be equally used for evil if it fell in the wrong hands. The scientists, headed by Tony Britton and Peter Cushing, are bound by Britain’s Official Secrets Act which monitors all government projects and how or if they should be made public. The scientist’s viewpoint is that all knowledge should be given to humanity, even if there is a risk that a discovery can be perverted. The other actors: Virginia Maskall, Ian Bannen (as the bitter veteran Alan Andrews. Bannen would later achieve notice for his talent in THE HILL in 1965), Thorley Walters (in a serious role here) and Donald Pleasence are convincing in their various roles.

Director/Producers John and Roy Boulting filmed this project as a streamlined, almost television movie (after achieving success with the brilliant SEVEN DAYS TO NOON (1950), comedies – I’M ALRIGHT JACK and THE MAN IN THE COCKED HAT – both released in 1959) by using few sets and location shooting. The film was released with excellent reviews in “The New York Times”, “The New York Daily News” and “The New York Journal American”.

The 16mm print source used by Sinister Cinema does have a few spots of wear at the reel changes, and the audio is at times a bit weak, but the overall print is very, very good when you consider how obscure this film is. It will not wear on the viewers’ nerves as you get pulled into the story and the wonderful acting. The film can be obtained from Sinister Cinema P.O. Box 4369 Medford, Oregon 97501-0168. Phone 541-773 6860. Fax 541-779-8560. www.sinistercinema.com.

Cast:
Tony Britton, Virginia Maskell, Peter Cushing, Ian Bannen, Raymond Huntley, Thorley Walters, Donald Pleasence, Spike Milligen, Kenneth Griffith.

Crew:
Directed and Produced: John and Roy Boulting. Screenplay: Nigel Balchin, from his novel: “A Sort Of Traitor”. Dialouge: Jeffrey Dell, Roy Boulting. Director Of Photography: Max Greene. Camera: Peter Allwork. Makeup: Freddy Williamson. Music: Chopin and Schriabin, arranged by John Wilkes. Editor: John Jympson. Released by British Lion (UK). Kingsley International (US).

1969. 97 Minutes. 2/35:1 AR, though not enhanced for 16X9 monitor screens.

When it comes to bringing back to the light of day “lost” or “neglected” pieces of cinema, we occasionally have to rely on uncompromising mavericks who go against the grain, putting sweat and money into obscure titles. Such a deserving gem is THE WITCHMAKER. Today, in the horror/science fiction genre, most people quickly think of NIGHT OF THE LIVING DEAD or the original EVIL DEAD movies when it comes to “Indie” horror productions, but the good people at Midnight Video have brought back, in full widescreen glory, one of the better made and sadly ignored excursions into the supernatural. Clearly a labor of love, the Midnight Video presentation was taken from a near mint Technicolor/Techniscope print and transferred to its full 2.35:1 screen ratio.

The story, which might have helped inspire both THE LAST BROADCAST and THE BLAIR WITCH PROJECT (and was shot on location in Marksville, Louisiana), deals with a group of psychic investigators arriving at an isolated bayou to look into a series of ritual/black magic murders. The group, headed by Alvy Moore (best known for his role as Mr. Kimble on the “Green Acres” TV series) are unaware that they have blundered onto the killing ground of “Luther The Berserk” (played with feral perfection by John Lodge), a powerful Satanist who has fixed his eyes upon Tasha (Thordis Brandt), who had an ancestor who was said to be a witch. Wanting at all costs to bring her into his coven, Luther summons Jessie of Coventry (Helene Winston), an old hag from the past (and a powerful witch herself) to help him. In return for her help, Luther murders one of the team and transforms Jessie into a young woman (Warrene Ott). A Sabbath is called, bringing ten powerful practitioners of the Black Arts, which results in Tasha being taken. The remaining team decide to go on the offensive and save the girl.

THE WITCHMAKER had seen video release here and abroad (and on television) in grainy, cropped versions that did it no justice. Midnight Video’s professional presentation not only has relatively bright, strong colors and clear sound, but includes as a supplement the original trailer (under the title LEGEND OF WITCH HOLLOW) and the trailer for DISCIPLES OF DEATH – a David Cass film, as well as a poster gallery.

An intelligently written film, and a DVD worth owning!

CAST: Alvy Moore, Thordis Brandt, John Lodge, Anthony Eisley, Helene Winston, Shelby Grant, Robyn Millan, Tony Benson, Burt Mustin, Susan Bernard.

PRODUCTION: Executive Producer: LQ Jones, Associate Producer: Alvy Moore,
Written, Produced and Directed by William O. Brown, Music by Jaimie Mendoza-Nava.

Sinister Cinema DVD
Aka SPELLBOUND, THE SPELL OF AMY NUGENT, GHOST STORY.
1940. 82 Minutes. B/W Not enhanced for 16×9 monitor screens.

I just love one of those little-seen horror films: the type that few people have ever heard of, and discovering upon seeing the movie for the first time that it catches your interest to the point of renewed viewings. PASSING CLOUDS is one of those little pleasures that harkens back to the era of watching an old movie, before cable, on a rainy afternoon. Originally released as SPELLBOUND in Great Britain and THE SPELL OF ANY NUGENT in the U.S., the print used for this Sinister Cinema release came from the collection of the late film historian William K. Everson (a beloved FIR contributor), and the source print is in very good condition for a title this old and obscure.

The plot, dealing with lost love, spiritualism, demonic possession and love conquering all, is a little dated and “stay within your social class” by today’s standards, but it has some really creepy moments. Young aristocrat Laurie Baxter (Derek Farr) is in love with shop-girl Amy Nugent (Diana King) despite his mother’s objections. The mother would rather Laurie get involved with his childhood friend Diana (Vera Lindsay), who belongs to his same social class. Laurie proposes marriage to Amy, who is suffering from a life-long illness. Not too long afterward, Amy dies. The depressed Laurie stumbles upon a book of spiritualism, which leads him to Mr. Vincent (Frederick Leister), a totally ruthless psychic who discovers that the distraught young man is a natural medium. Vincent is more than willing to exploit Laurie and convinces the young man to take part in a seance to call forth the spirit of Amy Nugent. The experiment is a disaster. Vincent is struck down and Laurie becomes the host for a demonic force that had taken the image of the dead girl. It is up to Diana to put her faith to the test to free Laurie. The director, John Harlow, did an effective job on this production, putting together elements to make it work fairly well despite some flaws.

The screenplay, by writer/actor Miles Malleson (acting credits include THIEF OF BAGDAD (’40), HORROR OF DRACULA and BRIDES OF DRACULA), though having more than its share of cliches, nonetheless holds the interest of the viewer. Walter Harvey’s photography, with its deep shadows and tight closeups (especially during the scenes where Laurie screams in the dark) are well done in the best Val Lewton style.

The source print is in very good shape, showing a little wear which isn’t too much of a distraction. The sound is clear and I heard no real major distortion when I played it through my system. The DVD comes with box art using the PRC release title THE SPELL OF AMY NUGENT. So pull up a good chair and judge for yourself – “Who You Gonna Call?”

Cast:
Derek Farr, Vera Lindsay, Frederick Leister, Hay Petrie, W.G. Fay, Felix Aylmer, Marian Spencer and Diana King.

Production:
Produced by R. Murray-Leslie.
Directed by John Harlow.
Screenplay: Miles Malleson.
Based upon the novel “THE NECROMANCERS” written by Robert Hugh Benson.
Photography: Walter Harvey.
Camera: Guy Green.
Recording: John Dennis.
Editing: Frederick Wilson.
Music: George Walter.

A Pyramid Amalgamated Picture